Movies

Film directors walk viewers through one scene of their movies, showing the magic, motives and the mistakes from behind the camera.Film directors walk viewers through one scene of their movies, showing the magic, motives and the mistakes from behind the camera. More

Two major entertainment industry unions have settled an internecine dispute over streaming theater, reaching an agreement that should make it easier for professional theaters around the country to film plays and musicals for broadcast during the coronavirus pandemic.The dispute centered on a distinctly pandemic-era question: As theaters that have been shut down by the outbreak try to stream productions, should their contracts fall to the union that represents people who work in theater, or the one that represents film and television workers?After a sometimes-bitter dispute, the Actors’ Equity Association, which represents 51,000 stage actors and state managers, and SAG-AFTRA, which represents 160,000 people who work primarily in film and television, announced the agreement Thursday evening.“This is a great day,” Kate Shindle, the Equity president, said in an interview Thursday. “This gives people who make theater the ability to innovate in ways that they need in order to survive.”Shindle said she was hopeful that the agreement will make it possible for theaters to stream more work for the duration of the pandemic. “We want this work to happen,” she said.Under the agreement, which is tentatively scheduled to last until Dec. 31, 2021, the two unions agreed that Equity will cover work recorded for digital distribution that replaces, or supplements, a live audience.There are many restrictions — the Equity-covered work is supposed to be distributed to ticketholders or subscribers, and not broadcast to the general public. The audience, over the course of the streaming run, must not exceed twice the theater’s seating capacity over that time period, or three times the capacity for theaters with fewer than 350 seats.“The program may not include work that is more in the nature of a television show or movie, including work that is shot out of chronological order, that is substantially edited prior to exhibition, or that includes visual effects or other elements that could not be replicated in a live manner,” the agreement says.The unions agreed that ordinarily, meaning during non-pandemic times, most work made for streaming is part of SAG-AFTRA’s jurisdiction.“The agreement preserves SAG-AFTRA’s historic jurisdiction while creating an important accommodation that serves performers,” that union’s president, Gabrielle Carteris, and David White, the national executive director, said in a letter to their members. “We are pleased that we are able to help create work opportunities for AEA members when it is vitally needed, while also protecting SAG-AFTRA members’ work opportunities now and into the future,” they added.The dispute, between two unions that are both part of the AFL-CIO, has been unfolding throughout the pandemic, as theaters increasingly pivoted to streaming because government regulations and union safety protocols prohibited most performances before live audiences.Both unions argued that they should have the right to represent performers working on streamed plays and musicals; theaters and commercial producers were caught in the middle, often frustrated that Equity at times seemed like an obstacle to making work, but also aware that Equity objected to theaters’ working with SAG-AFTRA.Equity had argued that SAG-AFTRA was undercutting it, paying its members less and making it harder for them to qualify for health insurance, while SAG-AFTRA argued that filmed entertainment had always been its territory.Equity has filed grievances against some theaters over streaming deals already reached with SAG-AFTRA, and those grievances will still need to be resolved. More

Opening with a montage in which the financier George Soros is shown as the object of unrelenting anti-Semitic conspiracy theories, the documentary “Soros” positions itself as a corrective. The movie highlights Soros’s life as a Holocaust survivor, successful investor and, mainly, philanthropist. It lays out how Soros contributed to such causes as fighting apartheid, aiding democratizing forces in the Soviet Union and, lately, a closing title card says, helping Covid-19 relief efforts.[embedded content]This isn’t an objective portrait and doesn’t aspire to be. Directed by Jesse Dylan, who for several years did video production work for Soros’s philanthropic organization Open Society Foundations (and also directed an “American Pie” sequel), the film boasts interviews with Soros, his adult children and various humanitarians who have worked with him. It’s light on biographical detail. While we hear about Soros’s upbringing and influences (like his father or the philosopher Karl Popper), the most insight we get into his business career is in an anecdote about how he reacted to news of financial troubles at Rolls-Royce.But even as hagiography, “Soros” is unfocused; it races from topic to topic, with clips that seem arbitrary at best. (To describe the atmosphere at the fall of the Soviet Union, why not cut to James Hetfield of Metallica?) “George always feels an individual can make a difference, and doesn’t hesitate to try,” says Kofi Annan, the former United Nations secretary general, in an interview, offering a typical platitude. Soros is forthright in acknowledging that his wealth has made such difference-making easier. It hasn’t, however, made him a dynamic movie subject.SorosNot rated. Running time: 1 hour 25 minutes. Watch through virtual cinemas. More

In the middling family drama “Team Marco,” 11-year-old Marco (Owen Vaccaro) lives with his mother, Anna (Anastasia Ganias), in Staten Island. His father, Richie (Louis Cancelmi), left them, going west to chase the technological gold rush. Richie talks only about tech and coding, and he encourages Marco’s obsession with video games. Marco in turn rejects offers of friendship, hates the outdoors and is as absent from his own social life as his father is from Marco’s life.Everything changes when Marco’s grandfather moves in. Nonno (Anthony Patellis) is an old-timer who springs out of bed with the sunrise to play bocce matches with friends. At first, Marco sniffs at Nonno’s lust for living. But eventually, as Nonno introduces the boy to sunshine and rainbow cookies and games that can be enjoyed without a console, Marco’s disdain melts away.[embedded content]If there is an aspect of “Team Marco” worth richly enjoying, it’s that the movie has a loving sense of place. The director Julio Vincent Gambuto takes a golden view of Staten Island, with its bocce courts, Italian bakeries and gaggles of older men who still wear hats to the park. He just doesn’t extend the same warmth to his protagonist.As a character, Marco is a collection of faults designed to be corrected. It’s hard to be on his side and harder still to see him as a reflection of genuine childhood. Instead, he stands in for the grievances an older generation holds against a younger one, with their infernal virtual reality headsets and online games. Marco’s sourness curdles the confection and his undercooked complaints clack against the movie’s warm tone, sending its simple pleasures into a scatter.Team MarcoNot rated. Running time: 1 hour 32 minutes. Rent or buy on iTunes, Google Play and other streaming platforms and pay TV operators. More