Movies

This documentary explores the incident on Jan. 18, 2019, when a high school student grinned and stared at a Native American demonstrator at a raucous Lincoln Memorial gathering.Jonathan Schroder’s “The Boys in Red Hats” is a maddening instance of a movie at war with itself. That’s appropriate enough since its subject is the encounter on Jan. 18, 2019, between white high school students and a Native American demonstrator at the Lincoln Memorial. The incident became a viral flash point over one teenager’s grinning in the face of the Native American elder.As an alumnus of the students’ school, Covington Catholic in Kentucky, Schroder presents this film as his journey toward understanding. He hears out pooh-poohing parent chaperones, agitated former students, one student’s attorney and a current pupil whose identity is concealed. Black activists on the day and Covington’s penchant for pep rallies are both advanced as explanations for the teens’ behavior.Between a bro-friendly voice-over and “TMZ Live”-style bull sessions with his producer, Schroder’s exploratory pose comes to feel exasperatingly clueless. Yet the film also assembles soothingly sharp commentators who lay bare the power and race dynamics and aggression at play in the Lincoln Memorial encounter. These include Mohawk journalist Vincent Schilling; Anne Branigin, a writer for The Root; and Allissa Richardson, a journalism professor who sees a “textbook example of white privilege.”Schroder’s request to interview the Covington Catholic student who attracted so much ire is turned down, and the same happens (in person) with Nathan Phillips, the Native American drummer. (I don’t even know where to begin with his weirdly nostalgic story of being punched in the head by a Covington teacher while a student.)A fizzled ending points fingers at media bias and our “bubbles.” Some viewers of the Lincoln Memorial events might instead invoke the pioneering media theorists The Marx Brothers: “Who are you going to believe, me or your own eyes?”The Boys in Red HatsNot rated. Running time: 1 hour 27 minutes. In virtual cinemas. More

Jörg Adolph uses the sensorial capacities of cinema to thrillingly visualize a German forester’s contention that trees are social, sentient beings.In his best-selling book, “The Hidden Life of Trees,” the German forester Peter Wohlleben drew in millions of readers with a tantalizing hypothesis: that trees are social, sentient beings, who talk to each other, feed and nurse their young, sense pain and have personalities. While Wohlleben’s anthropomorphic language and seductive blend of science and speculation rankled some professionals, this was precisely the selling point for lay readers: an opportunity to see how trees share some of our own traits, and are worthy of our empathy and care.Directed by Jörg Adolph, the documentary “The Hidden Life of Trees” uses the sensorial capacities of cinema to thrillingly visualize Wohlleben’s observations. Jan Haft’s camera peers deep into tree bark, and the entire universes of organisms therein; it captures the blooming of plant life in rapturous time-lapse shots; it lovingly traces the outlines of rustling, sun-kissed canopies. All the while, the voice-over reads snippets from Wohlleben’s book, letting us into the secrets of nature that lie beyond human vision and temporality.These scenes are interspersed with Wohlleben’s field trips and lectures, and as in the book, his accessible style and infectious passion is the main draw here. What the film successfully imparts is not so much scientific certainty as an affecting sense of curiosity and reverence, which Wohlleben deploys to a pragmatic end: to argue for the ecological management of forests, which would ensure their communal health and longevity, and therefore that of humankind. Crouching next to a 10,000-year-old spruce, Wohlleben reminds us of man’s comparative insignificance as well as power. “The only thing it cannot withstand,” he says of the spindly tree, “is a chain saw.”The Hidden Life of TreesRated PG. In German, Korean and English, with subtitles. Running time: 1 hour 25 minutes. In theaters. More

Arnold’s new documentary, “Cow,” is one of the most moving films at Cannes. “A few times, I’ve just burst into tears about it,” she says.CANNES, France — Andrea Arnold waved her hands in front of her face, trying to keep her composure. “I’m a bit pathetic today, sorry,” the British director said, tearing up.Arnold hadn’t expected to cry during our interview, just as I hadn’t expected to be so moved by her new film, “Cow,” which debuted at the Cannes Film Festival this week. On the face of it, “Cow” hardly sounds like a tear-jerker: It simply chronicles the day-to-day life of Luma, a cow on a dairy farm. She moos, she is milked, she mates and she gives birth.But maybe those black-and-white patterns on a cow’s hide form a sort of Rorschach blot, because as I watched Luma lick her newborn calf or endure the indignity of a milking machine, I began to ponder all sorts of weighty concepts: love, nature, dehumanization and death. Arnold lets her camera linger for a while and as you’re staring into Luma’s enormous eyes, you may start to wonder if it’s the cow you’re recognizing or something within yourself.Previously known for directing “American Honey” and the second season of “Big Little Lies,” the 60-year-old Arnold welcomed the change of pace that “Cow” afforded, and filming (shot on a farm just outside London) stretched for years. Arnold told me she had long wanted to make a documentary about an animal, but she was unprepared for the cinematic and emotional connection she ended up forging with her star.Andrea Arnold in Cannes. She had been working on “Cow” in between projects like “Big Little Lies.”Caroline Blumberg/EPA, via ShutterstockHere are edited excerpts from our conversation.Did you always know you wanted a cow as your subject?I considered all the animals, of course, and I thought about a chicken because chickens usually live for about 90 days and they’ve got amazing personalities. But for some reason, I just kept coming back to the cow. Dairy cows work so hard and they have such a busy life, I thought that would be interesting to look at.How much experience did you have with cows before?When I was about 18, I met my first herd of cows. I was with a boyfriend walking in the countryside, and we just walked to a field of cows and they all came and sat around me. I remember it really vividly because I was just amazed at how huge and gentle they were. Actually, they were all licking me as well.Really? Were you putting your hand out?The natural thing I did was sit down so I didn’t seem threatening, and I guess they were like, “Who are you? What are you?” They’ve got these huge tongues and they were licking my clothes and my hands. At that point, it had a profound effect on me.So once you decided it would be a cow, what’s the first step? How do you cast a documentary subject like that?I wasn’t sure whether we’d need a cow that you could pick out in a crowd. Luma had a very distinct white head, with this sort of black eyeliner around her eyes. She also was described as having some attitude and I loved the sound of that. All the people I spoke to who look after cows say that they do have quite distinct personalities.You can sense that personality, though I couldn’t help but wonder if that’s part of the empathy and projection that’s created when you watch a movie. When you were on the ground observing Luma, could you feel that personality, too?Very much so. I was saying the other day to somebody that I find it very moving when she … [Arnold pauses, tearing up.] I can’t say it, almost. I find it moving now, telling you. A few times, I’ve just burst into tears about it.What is it she did that you found so moving?I always said early on that if the cows are aware of the camera, just let it be honest. We can’t pretend we’re not there and our presence is going to have an impact on the way she behaves. Sometimes, she did get sort of angry with us and head-butt the camera, but I really felt over time that she felt seen. I don’t know if I’m right, but it feels very profound, because the whole point was to see her.Some of the looks she gave us when I was there, I thought, “She’s really looking at me and I’m really looking at her and we see each other.” Obviously, she doesn’t know what this thing is that is filming her, but she could certainly feel that we are focusing on her. I think she felt the gaze. When we were editing, I kept feeling like, “I see you Lu, I see you.”It must have been an interesting thing to return to this in between projects.And I did “Big Little Lies” in the middle of that.A very different production.Very different. This was a project from a very true place in myself, so it was always like a touchstone to go back to it.Would the farm give you a heads up when anything significant was happening with Luma?We were in touch all the time because that’s their lives: Having calves and making milk is what they do, and that’s incredibly hard. They start really early and they work so hard on the farm and they just do it every day. I’d be absolutely exhausted, and I was full of admiration for them at the end of it.And it made me think about our own lives, too.I’m having so much of that reaction from people, which is really interesting. I kind of hoped for that, actually. I’m getting stopped on the street and people are telling me very interesting takes on how they found it and what it brought up for them.What are they telling you?All kinds of things. Some people think it’s really feminist, some people think that it’s about being discarded, some people think it’s about systems. I’m quite enjoying that actually, hearing people’s take on things.As the maker of this film, what surprised you about the final film you’ve made?I hadn’t seen it on the big screen, and that was like seeing it anew. I guess what I found surprising is that I thought, “Gosh, this is tough.” And I’m used to it! I know the story and I’m very realistic about their lives and how it is and … [She tears up again.] It’s so weird! Talking about it really gets me.I never wanted to explain this film, I just wanted to show it and allow people to have their own experience. I knew I was being bold, but I’m not deliberately being bold, I’m just trying to do something that’s pure. I genuinely wanted to know if you followed her around enough, would you connect and see her? I feel like in the world, we don’t see each other. We don’t see other living things.Not in that way.Not in that way. If we could, then things would be different, maybe. More

The Bollywood director Rakeysh Omprakash Mehra attempts — with some success — to deepen the standard-issue sports drama with sociopolitical strife ripped from Indian headlines.When Aziz Ali (Farhan Akhtar), the starry-eyed gangster at the heart of “Toofaan,” first comes across videos of Muhammad Ali, he’s hooked. Though it goes unsaid, the appeal clearly isn’t just the boxer’s athletic artistry — it’s also his chosen name. To our hero, Ali is one of his own.That surname, and the faith that it represents, becomes the albatross around Aziz’s neck. In “Toofaan,” the Bollywood director Rakeysh Omprakash Mehra attempts — with some success — to deepen the standard-issue sports drama with sociopolitical strife ripped from Indian headlines. Aziz, who hails from a lower-class Muslim neighborhood of Mumbai, finds himself imbued with new purpose when he’s taken underwing by the top boxing coach Nana Prabhu (a superbly committed Paresh Rawal). The grizzled mentor sculpts his overeager student into a formidable talent: a “toofaan” (storm).Nana is a pious Hindu whose grief at losing his wife in a terrorist attack has calcified into Islamophobia. His passion for the sport transcends his faith, but only to a limit. When he discovers that Aziz is dating his daughter, Ananya (Mrunal Thakur), he kicks them both out. “Toofaan” takes a surprisingly gritty turn at this point, switching from slick fight montages to scenes of Aziz and Ananya’s struggle to live as an interfaith couple in Mumbai — a city where cosmopolitanism coexists with crude bigotry.This brief stretch of the movie is its best: life-size, attuned to everyday urban realities, and bravely blunt in its portrayal of prejudice. But Mehra takes the easy way out with a contrived, tragic turn that returns the film in its second half to the much-beaten path of the tarnished athlete fighting to reclaim his honor.ToofaanNot rated. In Hindi and Marathi, with subtitles. Running time: 2 hour 43 minutes. Watch on Amazon. More

This eight-hour drama follows a woman’s life on her family’s farm.In “The Works and Days (of Tayoko Shiojiri in the Shiotani Basin),” a woman moves through life on her family’s farm in a Japanese mountain village. As her husband falls ill, she spends more and more time on the chores, though visits from friends and relatives bring comfort and joy. Shot over 14 months, the film is a life event in and of itself, spanning eight hours.You may flash back to a line from “Inside Llewyn Davis,” delivered by Bud (F. Murray Abraham) after hearing Llewyn’s (Oscar Isaac) song: “I don’t see a lot of money here.” But watching “The Works and Days,” I began to feel that it could perfectly suit someone breaking a pandemic moviegoing drought: Its homey environs and lushly photographed natural world induce a heightening of the senses and an attention to lovely subtleties of light, color and fellow feeling.How the movie passes the time is how you or I would probably pass the time, or much of it — through the routines and conversations that bind together our moments and ourselves. The film opens with a hilarious drinking session, followed by a drive home that drops us into the domestic sphere at the film’s heart. Tayoko (Tayoko Shiojiri) — whose real diary entries are periodically read in voice-over — is seen minding the household, chatting with neighbors who bring food (a touching community bond), sharing stories with her granddaughter and visiting a shrine. Junji (Kaoru Iwahana), her husband, whom she dotes on, likes to shoot the breeze and watch matches of the board game Go on television.A thread of nostalgia and even regret curls its way through the conversations. The filmmakers, C.W. Winter and Anders Edstrom (who is Tayoko’s son-in-law), linger on objects so that they feel vividly present but also like memories, reminiscent of shots from a lost-and-found camera roll. This isn’t durational cinema that’s dead-set on making you feel the heft of labor (though it can). The directors’ camera eye fosters more of a muscle memory for these places through sonic overtures and finely wrought images of lattices (brambles or wires), opaque screens and windows, and careworn pots. “The Works and Days” also plumbs the depths of night and twilight like few films do, harnessing a theater’s darkness.The movie reflects upon how people organize experience through our memories and our actions, but the filmmakers also have a self-awareness about their steadfast methods. One of the movie’s five sections opens with the following observation: “By the fifth month, one has had his fill of seeing willows.” Their penchant for decentered shots can feel a tad obdurate. But as someone in the film says, what one wishes of the people you love is that you could spend even more time with them — and the same could be said of the loveliest images in this film.The Works and Days (of Tayoko Shiojiri in the Shiotani Basin)Not rated. Running time: 8 hours. In theaters. More

Outdoor venues in and around the city are reliable resources for scary movies this summer. Here are our picks, for the squeamish and slasher-lover alike.The outdoors is a terrible place to be if you’re in a horror movie being pursued by a knife-wielding maniac. He’ll always know the woods better than you.But for horror-movie fans, outside has been a refuge this past year. When theaters went dark, old-school drive-ins stayed alive with the help of scary movies, some of which became box-office hits, at least by pandemic standards.This summer, outdoor venues in and around New York continue the promise of spine-tingling nights under the stars. Most of their programming is heavy on blockbusters, classics and children’s films, but a few evenings are devoted to actual screams. From creepy-cuddly animated films for kids to terrifying exploitation shockers, here’s a selection of horror movies (and a sprinkling of sci-fi) to accentuate your summer. Most films begin at dusk, with venues encouraging viewers to arrive an hour before to set up blankets or lawn chairs.Not-So-Scary ScaresMovies Under the StarsVarious locations in New York City; free.Outdoor movie screenings come to green spaces across the five boroughs in this summer-long series presented by the Mayor’s Office of Media and Entertainment and NYC Parks. Showing on July 22 is the 2016 reboot of “Ghostbusters,” starring Melissa McCarthy, Kristen Wiig, Kate McKinnon and Leslie Jones, in Highbridge Park in the Bronx. Seating is limited so get there early.Pix on the PlazaManhattan; $30 spending minimum; reservations recommended.The Standard, High Line, a chic Meatpacking District hotel, has turned its open-air terrace into a summer cinema, free popcorn included. A night of nostalgia is in store for Gen Xers on July 26, when the hotel shows “The Goonies” (1985). The antic-adventure movie, starring Corey Feldman and Josh Brolin, isn’t quite in the horror category, but it will definitely keep kids — and parents — on the edge of their seats.Movies With a ViewBrooklyn Heights, Brooklyn; free.“Grit” is the theme for the 21st season of this popular film series from the Brooklyn Bridge Park Conservancy. “Shaun of the Dead” (2004), a surprisingly tender zombie apocalypse comedy, kicks things off on Aug. 5. The movie will be shown at Harbor View Lawn, located at the highest point in Brooklyn Bridge Park, and that means fantastic views of the Statue of Liberty and downtown Manhattan. Before the movie starts at sundown, there will be music courtesy of Brooklyn Radio at 6 p.m. and a short film selected by BAMcinématek. There’s also a free bike valet and vendors from Smorgasburg.Queens Botanical GardenFlushing, Queens; $10 for members; $15 for nonmembers.On Aug. 20, the Garden’s movie night series — its first — will feature the animated film “Abominable” (2019), about a cuddly Yeti named Everest. In addition to after-hours access to the Garden, attendees can sample icy treats and make snowpeople-themed crafts out of botanical materials.Greenville Drive-In in upstate New York is about a two-and-a-half hour drive from the city.Beth Schneck Greenville Drive-InGreenville, N.Y.; $8 per ticket.This Catskills drive-in, established in 1959, has become a popular spot for visitors to Greene County, about a two-and-a-half hour drive north of New York City. The summer film schedule includes a two-night stint (July 30-31) of the sci-fi meta-comedy “Galaxy Quest” (1999), starring Tim Allen, about a group of actors from a “Star Trek”-like show who are transported to outer space for an actual mission. Pair the film with concessions that include a rotation of beers from local breweries.Demarest FarmsHillsdale, N.J.; $25 per car.Founded in 1886, this Bergen County farm is known for peach picking, cake doughnuts and an annual Halloween light show. But this summer there are movies on the calendar as the venue brings back its popular drive-in theater space. The very family-friendly film lineup includes the animated comedy “Monsters Inc.” (2001), on July 16; the scarier-than-you-remember creature feature “Gremlins” (1984), on July 24; and the undead-with-a-smile teen comedy “Zombies 2” (2020), on Aug. 14.Movies by MoonlightOyster Bay, Long Island; free.Here’s another chance to see “The Goonies,” this time at Theodore Roosevelt Memorial Park and Beach on July 28, as part of this summer series of pop-up drive-in movie nights. Vehicles will be admitted to the parking lot on a first-come, first-served basis beginning at 7 p.m.Be Very AfraidMost drive-ins like Skyline allow viewers to watch from their cars or set up lawn chairs.Jeenah Moon for The New York TimesSkyline Drive-InGreenpoint, Brooklyn; $55 per car; $22 per outdoor seat.Located on the East River with killer views of Manhattan, this popular outdoor cinema offers a dark slate of very scary horror movies at midnight all summer long. High points include “The Nun” (2018), on July 16; “The Texas Chainsaw Massacre 2” (1986), on July 17; “Grindhouse: Death Proof” (2007), on July 24; “Army of Darkness” (1993), on July 30; and “The Cabin in the Woods” (2012), on July 31. Watch from your car, or get there by bike or by foot and use a chair provided by the venue. Movies are shown rain or shine, and pets are welcome.Rooftop FilmsVarious locations in New York City; $16 per ticket.Adventurous programming is on the calendar for this outdoor cinema organization celebrating its 25th anniversary. On July 19, Green-Wood Cemetery in Brooklyn will show “October Country” (2010) with a live score by Michael Palmieri and Donal Mosher, a member of the troubled family featured in the 2009 documentary. On July 24, the cemetery will also present a program of eerie short films about “the living, the dead and those caught in between the two,” as the listing puts it. On July 28, the Old American Can Factory in Gowanus, Brooklyn, will play host to a free screening of the playfully dark German psychological thriller “Sleep” (2020).Movie Lot Drive-InBayshore, N.Y.; $40 per car.This Suffolk County pop-up venue, located in a parking lot at the Westfield South Shore Mall, is heavy on horror all summer. Late-night screenings include “Us” (2019), on July 16, and “Night of the Living Dead” (1968), on July 17. There’s also a Christmas in July lineup that includes some playfully dark ones: “Rare Exports: A Christmas Tale” (2010), on July 30, about a monstrous Santa Claus; and “Krampus” (2015), on July 31, about a demonic creature who terrorizes children on Christmas. Even better: They’re shown on a 52-foot screen, the largest on Long Island.The Mahoning Drive-InLehighton, Pa.; $10 per ticket.About a 90-minute drive from New York City, this is a go-to destination for die-hard horror fans. Highlights include a deadly Christmas double feature (July 23-24) that includes the ’80s slasher films “Silent Night, Deadly Night” and “Christmas Evil,”; a 10-film, 35-mm “Schlock-o-Rama” series (July 30-Aug. 1) that includes “The Tingler” (1959) and other movies by the schlockmeister director William Castle; and Herschell Gordon Lewis’s exploitation jolter “The Wizard of Gore” (1970), on Aug. 3. Parts of the grounds are available for folks who want to set up a tent and camp overnight. In the dark. In the woods. (You’ve been warned.) More

How the Cannes Film Festival ChangedStephanie GoodmanIn New York, watching France 🇫🇷 Violette Franchi for The New York TimesThe Cannes Film Festival returned after a year off. Unlike other festivals, which went online during the pandemic, Cannes organizers had vowed to wait until an in-person event was possible.All is not exactly back to normal → More

The first documentary from the “Hostel” director uses a little expert advice and a lot of pathos to advocate against damaging commercial fishing practices.Eli Roth really, really loves sharks. That’s the newest information available in his first feature documentary, “Fin,” a screed against shark fishing that borrows its most galling stats and images primarily from other places and fills in the gaps with footage of Roth being upset.There is little here that was not already tackled in Rob Stewart’s 2007 documentary “Sharkwater,” nor in the more recent, less artful “Seaspiracy.” Though where Stewart painstakingly explained the beauty, intelligence and importance of sharks, Roth would rather that we love these animals simply because he does. This presents a challenge for anyone prone to find Roth, the director of exploitative horror films like “Hostel” and “The Green Inferno,” unsympathetic.The fishing practices shown in “Fin” are harming our oceans, to be sure, but Roth seems more comfortable painting East Asian people as savages for eating shark fin soup than he does explaining marine biology. (He spends a good half of this documentary doing the former, and very little time on the latter.) In one scene, as he sits down to try the delicacy, he compares what he is about to do with his own film, the cannibal horror movie “The Green Inferno,” in which a cartoonish Amazonian tribe butchers a group of American college students.Roth stands in for the outraged viewer for the duration of “Fin,” his indignation apparent as he repeatedly condemns the shark fishing he witnesses as crazy and pointless. Roth calls a shark clubbing the worst thing he’s ever seen. He passionately pushes for the maternal rights of a felled pregnant shark. He snidely condemns women who wear cosmetics, which can be made with shark liver oil. These words — coming from a director who helped coin “torture porn,” and whose fiction work consistently and degradingly compares makeup-caked bombshells to animals — feel disingenuous at best.There are passionate, knowledgeable experts at the margins of this film: ecologists, activists and divers. Why Roth had to be its focal point is anybody’s guess.FinNot rated. Running time: 1 hour 28 minutes. Watch on Discovery+. More