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      Queer Women Behaving Badly: These Movies Scrap the Coming-Out Story

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      “Love Lies Bleeding,” “Bottoms” and “Drive-Away Dolls” are leading a wave of stories about lesbians living their lives, committing crimes along the way.To a queer woman going to the movies, it may seem as if there has been something in the ether for the past year. First, in August, there was “Bottoms.” Then “Drive-Away Dolls” arrived in February. “Love Lies Bleeding” joined the fray in March. This cluster of relatively mainstream films about queer women, deliciously frothy and fun to watch, feels unprecedented.It isn’t, of course — film always has a precedent. But the latest titles are different. These movies lean into camp: heightened realities, suspended disbelief, larger-than-life plots. What’s more, queer women had a significant hand in crafting each release, and none of the movies involve coming-out stories. Their protagonists are already out, living their lives, committing crimes along the way.“I don’t think that these three films, even taken individually, could have quite existed in the pretty mainstream public sphere even a few years ago,” said Clara Bradbury-Rance, a film scholar and the author of “Lesbian Cinema After Queer Theory.” “At what point,” she added, “do you reach a sense that lesbians are represented enough to represent them in their badness and toxicity and irritation?”“Bottoms” follows two lesbian high school seniors, PJ (Rachel Sennott) and Josie (Ayo Edebiri), who start a fight club (sorry, self-defense club) as a ruse to hook up with cheerleaders. “Drive-Away Dolls” is a crime caper about unsuspecting friends, Jamie (Margaret Qualley) and Marian (Geraldine Viswanathan), who find a mysterious package in the trunk of their car during a road trip. And in “Love Lies Bleeding,” Jackie (Katy O’Brian), an ambitious bodybuilder, comes to town and falls for Lou (Kristen Stewart), a gym manager with a shadowy past.With their offbeat B-movie feel, these stories are “managing to mess with this dichotomy between the good representation and the bad representation,” Bradbury-Rance said, allowing us to think, “there are ways of finding pleasure in ambivalence and ambiguity and tension.”These films are part of a recent larger wave of lesbian stories that includes “Tár,” “Nyad,” “The Color Purple” and “Silver Haze,” and they stand in stark contrast to another recent cluster: the period dramas of the late 2010s. Think: “Carol,” “The Favourite,” “Portrait of a Lady on Fire” and “Ammonite.” Andrea Torres, one of the programmers behind the recent Sapph-o-Rama series at Film Forum in Manhattan, referred to this as the “lesbian saints era.” It even had its own “Saturday Night Live” sketch: “Lesbian period drama,” went the tagline. “You get one a year — make the most of it.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Netflix’s New Film Strategy: More About the Audience, Less About Auteurs

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      Dan Lin, the streaming service’s new film chief, wants to produce a more varied slate of movies to better appeal to the array of interests among subscribers.Back in, say, 2019, if a filmmaker signed a deal with Netflix, it meant that he or she would be well paid and receive complete creative freedom. Theatrical release? Not so much. Still, the paycheck and the latitude — and the potential to reach the streaming service’s huge subscriber base — helped compensate for the lack of hoopla that comes when a traditional studio opens a film in multiplexes around the world.But those days are a thing of the past.Dan Lin arrived as Netflix’s new film chief on April 1, and he has already started making changes. He laid off around 15 people in the creative film executive group, including one vice president and two directors. (Netflix’s entire film department is around 150 people.) He reorganized his film department by genre rather than budget level and has indicated that Netflix is no longer only the home of expensive action flicks featuring big movie stars, like “The Gray Man” with Ryan Gosling and Chris Evans or “Red Notice” with Ryan Reynolds, Gal Gadot and Dwayne Johnson.Rather, Mr. Lin’s mandate is to improve the quality of the movies and produce a wider spectrum of films — at different budget levels — the better to appeal to the varied interests of Netflix’s 260 million subscribers. He will also be changing the formulas for how talent is paid, meaning no more enormous upfront deals.In other words, Netflix’s age of austerity is well underway. The company declined to comment for this article.“Maestro,” starring and directed by Bradley Cooper, right, was produced by Netflix and cost around $80 million to make. It was nominated for seven Oscars, but did not win any.NetflixNow that Netflix has emerged as the dominant streaming platform, it no longer has to pay top dollar to lure auteur filmmakers like Martin Scorsese, Alfonso Cuarón and Bradley Cooper. It also helps that some of the big studios are again allowing their films to be shown on Netflix not long after they appear in theaters, providing more content to attract subscribers. The latest list of the 10 most-watched English-language films on the service featured six produced outside Netflix.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A.I. Made These Movies Sharper. Critics Say It Ruined Them.

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      Machine-learning technologies are being used in film restoration for new home video releases. But some viewers strongly dislike the results.In 1998, Geoff Burdick, an executive at James Cameron’s Lightstorm Entertainment, was hunched in front of a 12-inch monitor at a postproduction house, carefully preparing “Titanic” for release on LaserDisc and VHS. A state-of-the-art computer process had made it possible for Burdick and his team to scour the film frame by frame, removing tiny imperfections embedded in the original negative: little scratches, flakes of dirt, even water stains that smeared the image. The computer could erase these blemishes using a kind of copy-paste tool, concealing the defects with information from another frame.Burdick, now a senior vice president at the company, told me that this process “seemed like freaking magic at the time.” And yet the results were not entirely well-received. “There were a lot of people who said that this was the most beautiful VHS they’d ever seen in their life, because we’d gotten rid of all that gobbledygook,” he recalled. “But there were a lot of folks who said, ‘This is not right! You’ve removed all of this stuff! If the negative is scratched, then we should see that scratch.’ People were really hard-core about it.”In the decades since, home video formats have reached higher and higher resolutions, with VHS and LaserDisc giving way to DVD and Blu-ray, and eventually to ultra high-definition 4K discs, known as Ultra HD Blu-rays. As the picture quality has improved, restoration tools have evolved with them, making it easier than ever for filmmakers to fine-tune their work using computers. Several of Cameron’s films, including “The Abyss,” “True Lies” and “Aliens,” were recently released on Ultra HD Blu-ray in newly restored versions that are clearer and sharper than ever before — the product of painstaking attention from Lightstorm and Cameron himself. “I think they look the best they’ve ever looked,” Burdick said.Bill Paxton with Schwarzenegger in the film’s streaming version, top, and the Blu-ray version. Details in the background and colors in the foreground are clearer in the new take.20th Century FoxBut as with the old “Titanic” home video, these restorations have proved controversial, with many viewers objecting strenuously to their pristine new look. What has caught the particular ire of critics is the fact that these versions have been restored, in part, using artificial intelligence. Park Road Post Production, the New Zealand company owned by the filmmaker Peter Jackson, helped clean up Cameron’s films using some of the same proprietary machine-learning software used on Jackson’s documentaries “The Beatles: Get Back” and “They Shall Not Grow Old.” The images in Cameron’s classic blockbusters were refined in a way that many felt looked strange and unnatural.The level of detail is eye-popping. Water looks crystalline; colors are bright and vivid, while blacks are deep and inky. Some surfaces, however, do look a little glossy, with a buffed sheen that appears almost lacquered. It can be hard to pinpoint what is changed. But there does seem to be a difference, and depending on the viewer, it can feel slightly uncanny.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Eleanor Coppola, Who Chronicled Her Family’s Filmmaking, Dies at 87

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      She made documentaries of her husband Francis Ford Coppola’s “Apocalypse Now” and her daughter Sofia Coppola’s “The Virgin Suicides” and recalled their lives in books.Eleanor Coppola, a documentary filmmaker and artist who called herself “an observer at heart,” a description borne out through works chronicling the cinematic triumphs and ordeals of her husband, Francis Ford Coppola, and their daughter, Sofia Coppola, died on Friday at her home in Rutherford, Calif. She was 87.Her family announced her death in a statement, which did not state a cause.Ms. Coppola’s career as a documentarian began when her husband asked her to record the production of “Apocalypse Now,” his 1979 exegesis of the Vietnam War that took so long to make, some began calling it “Apocalypse Never.” By then Mr. Coppola was Hollywood royalty on the strength of his first two “Godfather” movies. But with “Apocalypse Now,” he stumbled.He came close to going broke as the movie, its roots in Joseph Conrad’s “Heart of Darkness,” ran way over budget and over schedule. Filming was slowed by steady rains on location in the Philippines, which served as a stand-in for Vietnam. A typhoon destroyed movie sets. Major parts of the script were written on the fly. Marlon Brando was overweight and underprepared for his role as a deranged Green Berets colonel. To top it all off, the film’s principal actor, Martin Sheen, had a heart attack during the shooting.As for the Coppolas, they careened toward divorce, a marital collapse set in motion largely by his sexual infidelities and frequent tantrums on and off the movie set. “My greatest fear,” his wife captured him on tape as saying, “is to make a really pompous film on an important subject, and I am making it.”Ms. Coppola had her own lapses. “If I tell the truth, we both strayed from our marriage, probably equally, each in our way,” she wrote in “Notes on the Making of Apocalypse Now,” a 1979 account of that period. “Francis has gone to the extremes in the physical world, women, food, possessions, in an effort to feel complete. I have looked for that feeling of completeness in the non‐physical world. Zen, est, Esalen, meditation.”Ms. Coppola with her husband, Francis Ford Coppola, in 2022. They had a trying marriage but remained together. Hunter Abrams for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      How the O.J. Simpson Trial Changed What Comics Could Roast

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      Norm Macdonald and Jay Leno made the double homicides such a constant topic that refraining from jokes the way David Letterman did was noticeable.The weekend after a jury found O.J. Simpson not guilty of murder, the comedian Norm Macdonald opened Weekend Update on “Saturday Night Live” at his desk next to a photo of the defendant. “Well, it is finally official,” he said. “Murder is legal in the state of California.”The 1995 trial of Simpson, who died Wednesday at 76, didn’t just dominate and revolutionize the media. It also became an unlikely staple of comedy. The details of the killings of Nicole Brown Simpson and Ronald L. Goldman were daily fodder for punchlines on talk shows, sitcoms and stand-up stages. And Macdonald cemented his status as one of the finest comedians of his generation thanks to a fixation on what turned into one of the largest comedy genres of the 1990s: the O.J. joke.In his 1996 breakthrough special, “Bring the Pain,” Chris Rock’s button-pushing analysis of the dynamics of the O.J. Simpson case helped change the course of his career. He argued that fame is what saved Simpson. “If O.J. drove a bus, he wouldn’t even be O.J.,” he said. “He’d be Orenthal, the bus-driving murderer.”The O.J. joke was so pervasive in the 1990s that not telling one could make you stand out. In the week after Simpson’s arrest, Howard Stern went on “Late Show With David Letterman” during the most heated era of the late-night wars and asked the host why he was avoiding the subject. “I’ll tell you my problem with the situation,” Letterman responded. “Double homicides don’t crack me up the way they used to.”Letterman eventually did tell some jokes about the trial, including a Top 10 list of things that will get you kicked off the jury (No. 1: “Keep frisking yourself.”). But his caution was in sharp contrast to Jay Leno, who went all in on O.J. jokes on the “Tonight Show.” A study that tracked his monologues revealed that Leno told more punchlines about Simpson than about any other celebrity, edging out Michael Jackson and Martha Stewart. In one running bit, he imagined the trial judge, Lance Ito, and the lead prosecutor, Marcia Clark, as members of a Broadway chorus line. In an even more perversely glib parody, Leno recast the murder trial as a sitcom using the theme song from “Gilligan’s Island” and portraying Simpson as the lovable title character. Was this sketch turning real-life tragedy into diverting entertainment or parodying it? Watching it now makes the difference seem pointless.Moments like Simpson trying on the gloves at trial became fodder for Jay Leno, Macdonald and other comics. Vince Bucci/Agence France-Presse — Getty ImagesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Alain Delon’s Best Performances Showcased in a Retrospective

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      The French star is the subject of a series at Film Forum focusing on movies from the ’60s and ’70s, when he became an international sensation.When Luchino Visconti first saw Alain Delon, he is said to have cried out, “It’s him!” Visconti had found his Rocco, the tragic, tender soul of his next film, the 1960 family drama “Rocco and His Brothers.” One of the founders of Italian neorealism, Visconti apparently didn’t bother introducing himself to the young French actor. Perhaps he was tending to the tears that I like to think fell from his eyes when he saw his future star. I like to think that’s how everyone reacts when they initially see Delon, whose beauty has long inspired paroxysms of rapture.This is, after all, a star whose looks over the years have been described as sensual though also insolent, cruel, self-absorbed and androgynous, a word that helps explain why his beauty — as with that of other men whose looks threaten tidy gender norms — makes some viewers uneasy even as it sends others into ecstasy. (“My mother had to put a sign on my pram,” Delon once said, ‘You can look, but you can’t touch!’”) You may want to break out your thesaurus to find your own mot juste to describe Delon, now 88: A selective series that includes “Rocco” and 10 of his other films (he’s made scores more), opens Friday in New York at Film Forum.Delon opposite Annie Girardot in “Rocco and His Brothers.”Film ForumBorn in 1935, Delon had a rough early life by all accounts. After his parents divorced when he was young, he was placed with a foster family and later sent to boarding school. By 17, he was in the military and France’s war in Indochina. A providential trip to Cannes with some friends in 1957 soon found him in the sights of a talent scout working for the Hollywood producer David O. Selznick, who wanted to sign the actor to a contract but also work on his English. Delon instead stayed in France, kick-starting a prolific career that rapidly gathered momentum. By the end of the 1950s, he had become known as the French James Dean.You understand why when you dip into the series, which includes some of Delon’s most famous films and a few oddities, all culled from the 1960s and ’70s, when he became a huge star at home and then an international sensation. His breakout came when he played the sly, sinister Tom Ripley in “Purple Noon” (1960), a French thriller adapted from Patricia Highsmith’s novel “The Talented Mr. Ripley” and directed by Réne Clément. Much of the film’s appeal rests with Delon, a hypnotic, destabilizing presence whose stardom was sealed the moment Ripley peels off his shirt, baring his chest. He repeats this bit of striptease after committing his first murder, a distillation of Delon’s startling violent eroticism.The actor in his breakout role in “Purple Noon.”Film ForumWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Watch a Sniper Scene From ‘Civil War’

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      Alex Garland, the film’s writer and director, narrates a sequence from his movie.In “Anatomy of a Scene,” we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series on Fridays. You can also watch our collection of more than 150 videos on YouTube and subscribe to our YouTube channel.In this sequence from the writer and director Alex Garland’s latest film, “Civil War,” about a modern-day conflict that has broken out in America, journalists making their way to Washington, D.C., stumble across a field set up with Christmas decorations. But the situation couldn’t be less festive. A sniper is set up in a house on a hill above the field. And men in uniform are trying to take the sniper down.Discussing the scene and its surrealist imagery in his narration, Garland said that in scouting locations, he and his crew came across decorations that were intact more or less as you see them in the film. He said they initially belonged to “a guy who’d put on a winter wonderland festival. People had not dug his winter wonderland festival and he’d gone bankrupt. And he decided just to leave everything just strewn around on a farmer’s field.”Garland’s aim for the sequence, he said, was to show that “when things get extreme, the reasons why things got extreme no longer become relevant. And the knife edge of the problem is all that really remains relevant.”Read the “Civil War” review.Read an extensive interview with Alex Garland.Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More