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    Olivia Wilde Imposes 'No A*shole' Policy on Her Movie Set

    WENN

    The ‘Don’t Worry Darling’ director says in a new interview she introduces a new policy on the set of her movie projects to make sure ‘everybody is on the same level.’

    Feb 6, 2021
    AceShowbiz – Olivia Wilde has introduced a new policy on her sets to ensure “everybody is on the same level.”
    The “Don’t Worry Darling” director opened up to Variety about her famed “no a*sholes” policy, and explained she wanted to reform the traditional “hierarchy” on a movie set when it came to helming her own films.
    “The no a*sholes policy, it puts everybody on the same level,” she said. “I also noticed as an actress for years how the hierarchy of the set separated the actors from the crew in this very strange way that serves no one… I think actors would actually like to know more about what’s happening there when you’re pulling my focus? What is that lens change? But the idea of, don’t bother the actors and keep them separate, and don’t look at them. I think it makes everyone quite anxious.”

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    Olivia added that it was the advice from a fellow director that she needed to have “three big arguments” a day to enforce her position of power that made her realise she needed things to be different on her sets.
    “I think that it is an unfortunate part of the kind of the paradigm, that has been created over the last 100 years, the idea that great art has to come from a place of discomfort and anxiety,” she mused. “That the pressure cooker has to get to a point where it can be something intense and valuable in that way. I do think it may be a uniquely female instinct to say, ‘Look, we can be nurturing. And we can multitask.’ ”
    “It doesn’t mean that anyone needs to be uncomfortable. And it doesn’t mean that I have to constantly remind you of my position, because I don’t think anyone on a set has ever forgotten who’s in charge.”

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    Stream These Great Christopher Plummer Movies

    #masthead-section-label, #masthead-bar-one { display: none }Christopher Plummer (1929-2021)Obituary5 Movies to StreamA Look Back at ‘The Sound of Music’Theatre Review: BarrymoreReview of His MemoirAdvertisementContinue reading the main storySupported byContinue reading the main storyStream These Great Christopher Plummer MoviesThe oldest actor ever to win an Academy Award, Plummer only needed a few minutes to leave a lasting impression.Jamie Lee Curtis, Christopher Plummer and Don Johnson in “Knives Out,” one of Plummer’s last roles.Credit…Claire Folger/LionsgateFeb. 5, 2021Updated 7:35 p.m. ETThe Canadian actor Christopher Plummer, who died Feb. 5 at 91, made his first appearances on the Broadway stage and in Hollywood movies in the 1950s, when he was still in his 20s. He left behind a wealth of unforgettable work in film, theater and television, including Oscar-, Emmy- and Tony-winning performances.Originally introduced to the public as a dignified leading man in the classical English mold of Laurence Olivier and James Mason, Plummer would go on to play a range of roles — from adventure heroes to villainous creeps — and would find some of his greatest success in supporting parts. In his later years especially, Plummer specialized in bringing a sense of depth and weight to characters who sometimes appeared on-screen for just a handful of scenes. He only needed a few minutes to leave a lasting impression.Here are 10 of Plummer’s best roles, all available to stream:Mr. Plummer as Captain von Trapp with Julie Andrews as Maria and their harmonious children in “The Sound of Music.”Credit…20th Century Fox Film Corporation‘The Sound of Music’Stream on Disney+; rent or buy it on Amazon Prime, Apple TV, Google Play, Vudu or YouTube.Throughout the late 1950s and early 1960s, Plummer focused much of his creative attention on theater in the U.S. and the U.K., while dabbling only occasionally in television and cinema. Then he played a stuffy Austrian naval officer and widowed father in the film version of the musical “The Sound of Music,” and he became a bona fide movie star. In the decades that followed, Plummer would sometimes dismiss the film, one of his biggest box office hits, as cloying and simplistic. But the picture is beloved for many reasons, one of which is the rich romantic chemistry between its leading actors: Julie Andrews as a headstrong governess, and Plummer as a heartbroken grump who melts when he hears her teach his children to sing.Christopher Plummer, left, and Ewan McGregor in “Beginners.”Credit…Focus Features‘Beginners’Stream it on HBO Max; rent or buy it on Amazon Prime, Apple TV, Google Play, Vudu or YouTube.Plummer became the oldest actor ever to win an Academy Award when he took home his first Oscar at 82 for the writer-director Mike Mills’s semi-autobiographical drama “Beginners.” He plays Hal, a septuagenarian who belatedly comes out as gay and subsequently strengthens his bond with his mixed-up middle-aged son Oliver (Ewan McGregor), who learns a lot from his dad’s embrace of radical honesty. At once gently funny and tearjerking, this is a film about how people subtly affect each other’s lives.‘The Silent Partner’Stream it on The Criterion Channel; rent it on Amazon Prime, Apple TV, Google Play or YouTube.Plummer was proud of his Canadian roots, and though he worked all over the world, he frequently returned to make movies with some of his home country’s finest filmmakers. In the cult favorite “The Silent Partner,” he plays a brutal thief who matches wits with a devious bank teller (Elliott Gould) after a heist goes awry. The director Daryl Duke focuses primarily on the teller, treating Plummer’s master criminal as a shadowy force of evil, applying pressure from the periphery. The actor leans into the assignment, delivering a performance dripping with menace.James Mason as Dr. Watson and Christopher Plummer as Sherlock Holmes in “Murder by Decree.”Credit…Screenshot, via Amazon‘Murder By Decree’Rent or buy it on Amazon Prime, Apple TV, Google Play or YouTube.Another venerable Canadian director, Bob Clark, guided Plummer through one of his juiciest roles, playing Sherlock Holmes in a movie about the Jack the Ripper murders. James Mason plays the part of Dr. Watson, while Donald Sutherland plays the real-life medium Robert Lees, who claimed to have solved the case via psychic visions. But the star of the show is of course Plummer, who conveys the steely persistence of Sir Arthur Conan Doyle’s famous sleuth, but also gives the character a bit of joyful bounce whenever he gets to outsmart somebody.‘An American Tail’Rent or buy it on Amazon Prime, Apple TV, Google Play, Vudu or YouTube.One of Plummer’s most useful tools as a performer was his voice: deep and resonant, with just enough rasp to add a little edge. He was in-demand as a voice-over artist for documentaries and commercials; and he brought gusto to several classic animated films, including “Up” and “My Dog Tulip.” His first turn in a cartoon was a charmingly kooky one, playing a French pigeon who encourages the hero to follow his dreams by singing the can-do ditty “Never Say Never.” It’s a refreshingly light performance from Plummer, spotlighting his showman’s spirit.‘The Insider’Rent or buy it on Amazon Prime, Apple TV, Google Play, Vudu or YouTube.In this docudrama about how the tobacco industry’s lawyers pressured the producers of the CBS newsmagazine “60 Minutes,” Plummer plays the reporter Mike Wallace, known and feared for his dogged interviewing style. The actor doesn’t attempt a Wallace impression. Instead he embodies the contradictions of a famous journalist, who believes in the pursuit of truth but also fears losing corporate sponsorship. Plummer captures Wallace’s natural charisma, along with his deep insecurities.Christopher Plummer as the mystery writer Harlan Thrombey in “Knives Out.”Credit…Lionsgate‘Knives Out’Stream it on Amazon Prime; rent or buy it on Apple TV, Google Play, Vudu or YouTube.In one of Plummer’s final performances, he plays a popular mystery novelist whose accidental death causes problems for his greedy, scheming family. Plummer’s character Harlan Thrombey only appears in flashbacks, but his friendship with his nurse Marta (Ana de Armas) — and his keen understanding of his heirs’ failings — help to fill the writer-director Rian Johnson’s clever murder plot with both genuine warmth and a sharp point-of-view. Harlan comes across as so wise and so kind that the audience will believe anything he says.‘The Thorn Birds’Rent or buy it on Amazon Prime, Apple TV, Google Play, Vudu or YouTube.Plummer notched one of the 11 Emmy nominations earned by this popular TV mini-series adaptation of Colleen McCullough’s novel. (He lost the “Outstanding Supporting Actor” award to his castmate, Richard Kiley.) Reunited with Duke, who had directed “The Silent Partner,” Plummer plays a very different kind of character: a high-ranking Catholic Church official who mentors a young priest (Richard Chamberlain) struggling with his desire for a woman (Rachel Ward) in the Australian farmlands. The elder archbishop has a small but vital part to play in this sweeping saga, serving as a voice of conscience and compassion to a man in spiritual crisis.‘The Last Station’Rent or buy it on Amazon Prime, Apple TV, Google Play, Vudu or YouTube.It took until 2010 — 52 years after his movie debut — before Plummer picked up his first Oscar nomination, for playing Tolstoy in the writer-director Michael Hoffman’s adaptation of the Jay Parini novel “The Last Station.” The story is set during the last year of the Russian author’s life, and mostly concerns how his wife Sofya (Helen Mirren) battled with her husband’s devotees over whether his work should fall into the public domain after he died. Though he’s at the center of the intrigue, Plummer’s Tolstoy remains a fascinating enigma, enjoying the raging argument around him, which recalls many of the themes of his work.Christopher Plummer as a Klingon general in “Star Trek VI: The Undiscovered Country.”Credit…Screenshot, via Amazon‘Star Trek VI: The Undiscovered Country’Stream it on Amazon Prime or Hulu; rent or buy it on Apple TV, Google Play, Vudu or YouTube.Plummer brings some Shakespearean brio to what may be his best bad guy role, as the one-eyed Klingon general Chang. One of the great “Star Trek” nemeses, Chang takes advantage of a moment of mercy from his sworn enemies to upend their peace negotiations, and gives the Federation and the starship Enterprise one of their toughest tests. Between Chang’s blustering monologues and his ruthless machinations, Plummer makes villainy look fun.AdvertisementContinue reading the main story More

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    ‘Life in a Day 2020’ Review: A Video Diary of a Difficult Year

    #masthead-section-label, #masthead-bar-one { display: none }At HomeExplore: A Cubist CollageFollow: Cooking AdviceVisit: Famous Old HomesLearn: About the VaccineAdvertisementContinue reading the main storySupported byContinue reading the main story‘Life in a Day 2020’ Review: A Video Diary of a Difficult YearThis YouTube documentary seeks to be a time capsule during a period of great racial divide and pandemic distress.A scene from the YouTube documentary “Life in a Day 2020.”Credit…YouTube OriginalsFeb. 5, 2021Updated 6:29 p.m. ETLife in a Day 2020Directed by Kevin MacdonaldDocumentary1h 30mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.Will we ever fully be ready to remember 2020? The masks. The quarantines. Racial injustice. So much death.Assembled from video footage shot by people from around the world on July 25 of last year, “Life in a Day” is a well-meaning but unnecessary crowdsourced documentary, a companion piece to a 2011 version of the same name, that thinks we’re ready.The film gets off to an obvious start: with a symphony of child birth. Mostly, though, the breezy snippets capture everyday mundanities that encompass a vast range of human experiences and multicultural behavior, juxtaposing beauty and darkness, birth and death. It’s a call for empathy with some genuinely moving moments. What this video portrait doesn’t do is focus enough on its subjects to allow for any true investment in their lives.[embedded content]Though participants’ experiences are singular, their clips are cut together into montages to create a sense of pandemic-era interrelational connection. A few subjects get extended screen time, their narratives stitched throughout this patchwork of life. The result is a tediously formatted stream of categorized segments that might as well fall into hashtagged classifications: Environmental Conservation, Zoom Life, Class of 2020, Love Is Love and You Weren’t the Only One Cooking All the Time.The film indicates that the director Kevin Macdonald (“The Last King of Scotland”) and the producer Ridley Scott received 324,000 videos submitted from 192 countries for this project. That’s a lot of videos. And yet, amid Black Lives Matter marches and medical workers in hazmat suits, the filmmakers devote considerable time to a man who drives around chasing trains on all seven Class 1 railroads. Spoiler alert — he succeeds at whatever he’s trying to achieve (the film assumes you understand why this is an accomplishment). And, honestly, good for that guy. I know his pursuit is meant to be a quaint respite. But over and over in a film about 2020? When a young Black woman is only briefly shown lamenting the death of two of her brothers who died while in police custody? I want her story.“Life in a Day” seeks to be a time capsule during a period of great racial divide and pandemic distress. But since the time it’s memorializing is still fresh, the film arrives about 10 years too soon. As it stands, it hasn’t captured anything that 90 minutes of TikTok surfing can’t.Life in a Day 2020Not rated. Running time: 1 hour 30 minutes. Watch on YouTube.AdvertisementContinue reading the main story More

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    Production on Dakota Johnson's New Movie Shut Down Following Positive Covid-19 Test

    WENN

    The new movie ‘Am I Ok?’ directed by Tig Notaro and Stephanie Allynne has been forced to halt the filming after a crew member contracted the coronavirus.

    Feb 6, 2021
    AceShowbiz – Production on Dakota Johnson’s new movie “Am I Ok?” is not OK after a crew member tested positive for Covid.
    The Tig Notaro and Stephanie Allynne-directed film has stopped production in Los Angeles following the health scare, according to Deadline.
    A production spokesperson tells the outlet, “Earlier this week a supporting member from production on our film Am I OK? tested positive for COVID-19. The diagnosis was confirmed as a result of required and ongoing testing that all members of production receive.”
    “We are currently following all required safety protocols and have paused production until next week to allow for shooting to continue while maintaining strict safety standards pursuant to government and guild policies.”

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    “Am I Ok?” is inspired by the real-life story of Lauren Pomerantz, the head writer of “The Ellen DeGeneres Show”. She also penned the script.
    It revolves around longtime best friends Lucy and Jane, who thought they knew everything about each other until one of them decided to move from Los Angeles to London for a job.
    The story caught Tig Notaro and Stephanie Allynne’s attention due to Pomerantz’s fresh take on the coming-of-age lesbian story. “Nothing interests me more than a character whose self-determination, curiosity, and bravery is directed inward, igniting the possibility to awaken one’s true authentic self,” said Allynne.
    Meanwhile, Pomerantz joked, “If I had known that coming out would lead to getting to work with Tig, Stephanie, and this producing team, I would’ve come out so much sooner. But then I wouldn’t have had this story to tell, and I am so excited that they are helping me tell it.”

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    'Nomadland' Director Chloe Zhao to Take Triple Duties on Sci-Fi Western Version of 'Dracula'

    WENN/Derrick Salters

    Speaking about this unique take on Bram Stoker’s classic vampire movie, the first Asian female helmer to be nominated for Golden Globes expresses her fascination with vampires.

    Feb 6, 2021
    AceShowbiz – Awards season favourite Chloe Zhao has signed on to write, direct, and produce a futuristic take on “Dracula”.
    Studio bosses at Universal Pictures have recruited the “Nomadland” filmmaker to give Bram Stoker’s classic vampire movie a complete makeover, with a sci-fi Western spin, according to The Hollywood Reporter.
    “I’ve always been fascinated by vampires and the concept of the Other they embody,” Zhao shared in a statement. “I’m very excited to work with… the team at Universal to reimagine such a beloved character.”

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    Peter Cramer, Universal president, added, “Chloe’s singular lens shines a light on stories of the overlooked and misunderstood. We are thrilled to be working with her as she reimagines one of the most iconic outsider characters ever created.”
    The news emerges just one day after Zhao made history as the first Asian woman to receive a Golden Globe directing nomination. Her Frances McDormand-starring drama movie itself, which has won the Golden Lion at the Venice Film Festival, collected a total of four nominations, including Best Motion Picture (Drama) and Best Screenplay, for the 78th annual Globes.
    It’s not the only upcoming “Dracula” project – there’s a separate film revamp in the works from director Karyn Kusama and horror producers at Blumhouse. That project was given the green light last year (2020), six years after Luke Evans tackled the blood-sucking character in 2014’s “Dracula Untold”.
    This “Dracula” movie will also not be Zhao’s first big project after the success of “Nomadland”. She is currently in the post-production stage of Marvel Studios’ “The Eternals”. The blockbuster movie, which features Angelina Jolie, Kumail Nanjiani and Salma Hayek in the cast ensemble, is planned to be released on November 5.

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    After the First Virtual Sundance, Four Writers Compare Notes

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyAfter the First Virtual Sundance, Four Writers Compare NotesWhat worked online? What didn’t? And which films stood out? When you’re watching from home, feel-good movies don’t always have the same effect.Oscar the Grouch and his pal Caroll Spinney in the Sundance documentary, “Street Gang: How We Got to Sesame Street.”Credit…Luke GeissbühlerFeb. 5, 2021At this year’s Sundance Film Festival, there were the usual premieres and Q. and A. sessions, breakouts and crowd-pleasers — but no actual crowd. Because of the pandemic, the Park City, Utah, event was pared back and conducted largely online. None of the attendees could, say, meet by chance and talk movies, and it was hard to get a sense of the festival overall. To rectify that, we asked the co-chief film critic A.O. Scott, the critic Devika Girish, and the reporters Kyle Buchanan and Nicole Sperling to compare notes. Here are excerpts from their conversation:NICOLE SPERLING I’m usually whiny and cranky about Sundance. Why are we in the snow? Why January? I could see all you people in Los Angeles. But this year, I was so nostalgic for every bit of the experience. I wanted nothing more than to be packed into a crowded shuttle bus, talking to strangers about tiny movies. I was so craving everything Sundance stands for that I even tuned in to festival director Tabitha Jackson’s morning broadcasts, something I would never do if I was actually in Utah, just to get an inkling of that geeky film love I was missing.DEVIKA GIRISH It was fun to be able to browse the program so conveniently (and to “walk out” of a lost cause without stepping on people’s toes), but it made my festival FOMO much worse! In Park City, there are geographical and material limits on what you can see and when. And if you’re famished, you choose dinner over a movie. But at home, on my couch, armed with takeout, I had at least 25 films to choose from at any given moment during the weekend. I spent a lot of time dipping in and out, and worrying that I was making all the wrong choices.SPERLING The feel-good movies really felt good this year, like “Coda,” the opening-night narrative film centered on a hearing teenage girl raised by her deaf parents. People glommed onto what was really a traditional story of struggle and triumph told about a demographic we don’t know enough about, a reminder that a movie well made yet sentimental can really work at this moment. I think it’s also why the documentaries on Rita Moreno and “Sesame Street” played so well in my house. Both were filled with joy and hope, things that make a big difference during this endless lockdown.Emilia Jones in Sian Heder’s competition winner, “Coda.”Credit…Sundance InstituteA.O. SCOTT On its own terms, “Coda” feels like a Sundance movie with all the rough edges sanded off. It has a specific, American location, a coming-of-age narrative, a class angle and an important representational agenda, and it handles all of these elements with the utmost caution. Every beat of the plot was signaled far in advance, and arrived with the assurance that nothing too terrible would happen. The performances of the deaf and hearing actors together were wonderful, but the conventional story sold out the reality of the characters’ lives. This will make for perfectly unobjectionable family television viewing, but that’s not necessarily what I look for at Sundance.KYLE BUCHANAN I agree with Tony. “Coda” is effective the same way a sitcom is effective, but the swerves and texture of real life are sadly lacking. It plays well because the actors are committed, but I was embarrassed at some of the hacky, seen-it-a-million-times scenarios they were called upon to animate.SPERLING: “Coda” won one of the grand-jury prizes and sold for $25 million. It will be interesting to see if the feel-good sentiment will remain when Apple decides to release the film.SCOTT I understand the appeal of “Coda,” but I’m still a bit startled at the scale of its triumph and the $25 million that Apple+ paid, partly because we will never know if it was a good investment. In previous years, the big-money Sundance sales were tested at the box office, where ordinary ticket-buyers validated or (more often) undermined the judgment of eager distributors.BUCHANAN To me, there was a letdown I felt watching many of these movies: The settings were gratifyingly specific, but the structure was straight out of Syd Field. I’m thinking of “Jockey,” a well-made horse-racing drama that nevertheless feels like the studio-notes version of Chloé Zhao’s “The Rider,” or even “Pleasure,” a clever and explicit treatise on pornography from the director Ninja Thyberg.“Pleasure” is at its best when it follows its lead character — an aspiring adult-film actress named Bella Cherry — through a series of naturalistic encounters that explore consent and coercion on triple-X sets. So why, in a film this daring, is Bella’s character arc so devoid of surprises? “Pleasure” continually telegraphs who Bella will betray and how in order to get ahead, and I kept waiting for a swerve that never came. (A movie this nervy should not be stealing its plot beats from “Showgirls.”)GIRISH One of my few surprise discoveries in the fiction slate was “We’re All Going to the World’s Fair,” a disquieting little film about a lonely, internet-obsessed teenager that hit me hard in my own solitude. But my highlights were the Opening Night documentaries. Questlove’s “Summer of Soul” brought the Harlem Cultural Festival of 1969 into my living room, with rousing performances by Nina Simone, Stevie Wonder, Mahalia Jackson and more. I was most captivated by the shots of the concert’s massive audience: A wistful spectacle of collective joy, grief and resistance.Nanfu Wang’s “In the Same Breath,” an incredibly thoughtful, personal and well-reported look at the propaganda-fueled narratives surrounding Covid-19 in China and the United States, offered a sobering full-circle moment. Starting the festival with these documentaries was a solemn reminder of why we were attending Sundance 2021 from home, and what (despite some of the perks of a virtual festival) we lose when we can no longer gather together in space and time.BUCHANAN Only the documentaries managed to truly keep me on my toes. There’s a moment in “Flee,” about an Afghan refugee smuggled to Europe, when the protagonist admits to family members for the first time that he is gay. I immediately braced myself for how this would go in any other Sundance movie, but what actually happened next — a reveal I will not spoil — caught me off guard and moved me to tears. Minor miracles can happen when independent films shake off the yoke of plot and let themselves be guided by the breath of real life.SPERLING “In the Same Breath” really stuck with me. So did Peter Nicks’s “Homeroom,” which tracked a group of activist high school seniors in Oakland last spring, as they watched their final year from their bedrooms and grappled with the killing of George Floyd. Sundance’s curation this year felt spot-on to me: fitting the festival squarely into the moment we are living through, not shying away from the momentous problems we are facing, while also offering some hope.AdvertisementContinue reading the main story More

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    ‘Promising Young Woman’ | Anatomy of a Scene

    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

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    ‘Strip Down, Rise Up’ Review: An Emotional Spin

    AdvertisementContinue reading the main storySupported byContinue reading the main story‘Strip Down, Rise Up’ Review: An Emotional SpinThis Netflix documentary looks at a pole dancing class led by the celebrity instructor Sheila Kelley.A scene from the documentary, “Strip Down, Rise Up,” directed by Michèle Ohayon.Credit…NetflixFeb. 5, 2021, 7:00 a.m. ETStrip Down, Rise UpDirected by Michèle OhayonDocumentaryR1h 52mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.Meet two dozen women who brave full exposure. The pole dancing students in the awkward, but intimate Netflix documentary “Strip Down, Rise Up” have allowed Michèle Ohayon, an Oscar-nominated filmmaker (“Colors Straight Up”), and her crew of mostly women, to observe their six-month introductory class guided by the celebrity instructor Sheila Kelley, who once prodded Conan O’Brien to twirl on late night TV.The opening montage announces that erotic dance heals the female psyche from wounds inflicted by shame and trauma, and then sets out to prove it, thrust by thrust. Platform spike heels become an obvious metaphor for relearning how to strut. Ohayon is a disciple herself, hence the infomercial vibe.[embedded content]Kelley’s lessons morph into group therapy sessions, where her pupils shed more tears than clothing. (The one girl who’d simply joined for kicks quits.) But those with enough trust to bare their histories — betrayals, sexual abuse, mastectomies, weight gain, insecurities, repressive religious households — seize ownership over their bodies. These scenes are genuinely moving: a 50-year-old widow purges the pain of her late husband’s affair, a survivor of abuse by Larry Nassar, the disgraced Olympic doctor, reconnects with her limbs. It’s a pity, then, that Ohayon’s choppy structure rotates through her subjects like amateur night. Each has a few minutes to reveal their scars before the jukebox replays the same inspirational maxims.Elsewhere, “Strip Down” interviews women with a different approach, including a Cirque du Soleil performer focused on gravity-defying artistry and an athlete who knee-spins on street signs to rebrand pole dancing as public sport. The athlete, an ex-Mormon with her own hurtful past, hopes her competition piece, set to a poem by Rupi Kaur, will bring the judges to tears. But it’s a testament to Ohayon’s empathy that she measures winning a silver medal at the Golden Gate Pole Championships as equal to that of a class participant struggling to climb the pole at all until she gets a boost from five of her new friends.Strip Down, Rise UpRated R. Running time: 1 hour 52 minutes. Watch on Netflix.AdvertisementContinue reading the main story More