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    ‘My Beautiful Stutter’ Review: Speaking Truth to Power

    AdvertisementContinue reading the main storySupported byContinue reading the main story‘My Beautiful Stutter’ Review: Speaking Truth to PowerThe film is pitched more as a public-service announcement than as a documentary with cinematic ambitions.A moment at a summer program for children who stutter in the documentary “My Beautiful Stutter.”Credit…DiscoveryMarch 11, 2021, 7:00 a.m. ETMy Beautiful StutterDirected by Ryan GielenDocumentary1h 30mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.The goal of “My Beautiful Stutter” is to raise awareness about people who stutter and to correct misimpressions and attitudes that surround the speech disorder. Directed by Ryan Gielen, the film is pitched more as a public-service announcement than as a documentary with cinematic ambitions. Reviewing it in artistic terms seems beside the point.Primarily, the movie is a showcase for Camp SAY, a summer camp for school-age children who stutter. The acronym stands for The Stuttering Association for the Young. The association’s founder, Taro Alexander, who stutters himself, tells campers he didn’t meet anyone else who stuttered until he was 26. The camp shows children that there are others like them and builds their confidence.[embedded content]Adhering to an overworked format, the movie follows several campers. We meet Julianna, who turned to singing as an outlet, and Emily and Sarah, friends who each in their way once shied away from talking because they found it exhausting. Malcolm, from New Orleans, who witnessed a violent incident as a child, forges a friendship with the older Will, a star English student who writes a college essay about the mismatch between the language in his mind and his ability to vocalize.It may seem odd that there is no mention of Joe Biden, who dealt with a stutter in childhood, but the movie is not current. It was filmed during the camp’s 2015 session, when the summer program was in North Carolina (it is now in Pennsylvania), and the first screenings took place in 2019. The lessons — for stutterers and non-stutterers — still hold.My Beautiful StutterNot rated. Running time: 1 hour 30 minutes. Watch on Discovery+.AdvertisementContinue reading the main story More

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    ‘Kid 90’ Review: Celluloid Dreams

    AdvertisementContinue reading the main storySupported byContinue reading the main story‘Kid 90’ Review: Celluloid DreamsSoleil Moon Frye’s look back at her life as a child star in the 1990s walks the thin line between diary and documentary.Soleil Moon Frye is the subject and director of the documentary “Kid 90.”Credit…Soleil Moon Frye/HuluMarch 11, 2021, 7:00 a.m. ETKid 90Directed by Soleil Moon FryeDocumentary, Biography, Family, HistoryFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.At the heart of Soleil Moon Frye’s new film, “Kid 90” (streaming on Hulu), is a startling drive for self-documentation. Beginning in her early teens, Moon Frye, who starred on the popular children’s show “Punky Brewster,” began recording her life with a video camera. She seems to have taken her camcorder everywhere: film sets, road trips, parties with fellow child stars, even her breast reduction surgery at age 15. When she didn’t film something, she recorded her reflections on audiotape or in her journal with precocious introspectiveness.[embedded content]In “Kid 90,” Moon Frye revisits this material after nearly two decades, walking the thin line between diary and documentary. Her home videos offer a charming portrait of celebrity right before the boom of paparazzi and social media, when being confronted with a camera didn’t yet elicit caution or studied posturing from the young and famous. Moon Frye’s ebullience brought together a vibrant circle of peers: Brian Austin Green, David Arquette, Justin Pierce, Leonardo di Caprio and many others appear in the film. They’re endearingly unselfconscious and, dare I say, normal — just kids exploring friendship, romance and the confusions of coming-of-age.If the unremarkableness of the moments captured in Moon Frye’s footage is refreshing, it also makes for a somewhat insipid film. In interviews, Moon Frye hints at the darker aspects of young womanhood and celebrity that creep at the edges of her frame: sexual abuse, drug addiction, mental illness. But the director is too enamored of the pixelated, lo-fi nostalgia of her celluloid memories — and too intent on crafting a rose-tinted arc of “self-love” — to dig deeper into these themes. The result is a film poised rather uncertainly between the personal and the cultural.Kid 90Not rated. Running time: 1 hour 12 minutes. Watch on Hulu.AdvertisementContinue reading the main story More

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    ‘Markie in Milwaukee’ Review: Acknowledging Painful Transitions

    AdvertisementContinue reading the main storySupported byContinue reading the main story‘Markie in Milwaukee’ Review: Acknowledging Painful TransitionsThis documentary presents a portrait of a transgender woman’s life, her faith as an Evangelical Christian and her strained relationship with her family.Markie, as seen in “Markie in Milwaukee.”Credit…Icarus FilmsMarch 10, 2021, 5:08 p.m. ETMarkie In MilwaukeeDirected by Matt KliegmanDocumentary1h 32mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.When the documentary “Markie in Milwaukee” begins, Markie Wenzel, a middle-aged transgender woman, is in the process of eradicating the records of her own existence. When we meet her, nearly a decade ago, she’s beginning the process of “detransitioning,” which in her case meant legally changing her name, discarding her hormone treatments and wearing men’s clothes in public.Markie came out in 2006 at the age of 46, and her wife, her children and her church painfully rejected her. Shortly thereafter, she met the director Matt Kliegman, who was flying through the Milwaukee airport where Markie works. Kliegman struck up a friendship with her when she was newly open about her gender, and he began to film her. His movie is the result of about 10 years spent documenting Markie’s life, her faith as an Evangelical Christian and her strained relationship with her family.[embedded content]Whether transitioning or detransitioning, Markie invites the filmmakers into her life with tremulous vulnerability. The documentary plainly lays out the impasses she is facing. As a woman, Markie is more fully realized but utterly alone. If she lives as a man, she is self-denying, but her community no longer holds her at a distance.Markie is generous with the camera, and her candor lends the film power. She grants access to her personal archives, sharing tapes from her former life as a pastor and photos of her once-secret makeup tests. The film doesn’t waste her openness or her willingness to use the documentary as a kind of therapeutic space.But if Markie is undeniably compelling as a subject, the film doesn’t quite match her bravery and her willingness to explore uncharted territory. There are plenty of fly-on-the-wall observations, but little play or introspection besides what Markie is able to offer.Markie in MilwaukeeNot rated. Running time: 1 hour 32 minutes. Rent or buy on Apple TV, Google Play and other streaming platforms and pay TV operators.AdvertisementContinue reading the main story More

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    Directors Guild Nominations Make History With Two Female Contenders

    #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 storyDirectors Guild Nominations Make History With Two Female ContendersThe group has never nominated more than one woman in a year. Emerald Fennell and Chloé Zhao made the cut, along with Lee Isaac Chung, Aaron Sorkin and David Fincher. Emerald Fennell, second from right, on the set of “Promising Young Woman,” with her cast and crew, including Carey Mulligan, left, and Laverne Cox.Credit…Merie Weismiller Wallace/Focus Features, via Associated PressMarch 9, 2021, 2:07 p.m. ETThe Directors Guild of America announced its feature-film nominees on Monday that included more than one woman in the top directing category for the first time in the guild’s 72-year history.The selection of Lee Isaac Chung (“Minari”), Emerald Fennell (“Promising Young Woman”), David Fincher (“Mank”), Aaron Sorkin (“The Trial of the Chicago 7”) and Chloé Zhao (“Nomadland”) contained no curveballs: These five films have all had strong awards-season runs and are considered to be best-picture locks when the Oscar nominations are announced on March 15.Still, the inclusion of both Zhao and Fennell in the same race was a first for the guild. Though eight of the previous 10 DGA Award lineups were all-male, the guild has a slim but somewhat better track record than the Oscars when it comes to nominating women: Lina Wertmüller, Randa Haines, Barbra Streisand, Jane Campion, Sofia Coppola, Valerie Faris, Kathryn Bigelow and Greta Gerwig have all made the Directors Guild cut in years past, while only Wertmüller, Campion, Coppola, Bigelow and Gerwig were also nominated for an Oscar.The guild’s selections tend to line up fairly closely with those of the movie academy, give or take one substitution: Last year, Bong Joon Ho (“Parasite”), Sam Mendes (“1917”), Martin Scorsese (“The Irishman”) and Quentin Tarantino (“Once Upon a Time … in Hollywood”) were recognized by both groups, though DGA nominee Taika Waititi (“Jojo Rabbit”) was supplanted by “Joker” director Todd Phillips come Oscar time.That could provide a path forward for the “One Night in Miami” director Regina King, who was nominated for the best-director Golden Globe but missed the cut here. The guild did recognize King in the category reserved for first-time filmmakers, where she was nominated alongside Radha Blank (“The Forty-Year-Old Version”), Fernando Frías de la Parra (“I’m No Longer Here”), Darius Marder (“Sound of Metal”), and Florian Zeller (“The Father”).Here is the DGA Award nomination lineup:Outstanding Directorial Achievement — Feature“Mank,” David Fincher“Minari,” Lee Isaac Chung“Nomadland,” Chloé Zhao“Promising Young Woman,” Emerald Fennell“The Trial of the Chicago 7,” Aaron SorkinOutstanding Directorial Achievement — First-Time Feature“The Forty-Year-Old Version,” Radha Blank“I’m No Longer Here,” Fernando Frías de la Parra“One Night in Miami,” Regina King“Sound of Metal,” Darius Marder“The Father,” Florian ZellerOutstanding Directorial Achievement — Documentary“Boys State,” Amanda McBaine and Jesse Moss“My Octopus Teacher,” Pippa Ehrlich and James Reed“The Painter and the Thief,” Benjamin Ree“The Truffle Hunters,” Michael Dweck and Gregory Kershaw“Welcome to Chechnya,” David FranceAdvertisementContinue reading the main story More

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    ‘Allen v. Farrow’ Episode 3 Recap: Investigations and a Custody Trial

    AdvertisementContinue reading the main storySupported byContinue reading the main story‘Allen v. Farrow’ Episode 3 Recap: Investigations and a Custody TrialFilmmakers delve into dozens of boxes of records that documented the investigations into Dylan Farrow’s accusation of sexual abuse.Mia Farrow with her daughter Dylan in “Allen v. Farrow.” Episode 3 focuses on police and court documents, much of which had never been made public.Credit…HBOMarch 7, 2021In the previous episode of “Allen v. Farrow,” the HBO documentary series that examines Dylan Farrow’s accusation of sexual abuse against her father, Woody Allen, the filmmakers introduced viewers to key video footage of a 7-year-old Dylan explaining events to her mother.Although the footage, shot by Mia Farrow, had not been released publicly before this series, its existence has been the subject of controversy. Allies of Mr. Allen saw it as proof that Mia, Dylan’s mother, had coached Dylan. Others saw it as clear evidence that the accusations were true.Episode 3 revisits this footage and delves into the investigations, court proceedings and familial turmoil that followed.Mr. Allen has long denied the accusations of sexual abuse, and, after the first episode aired, a spokesperson for him said that the docuseries was “riddled with falsehoods.”This episode is built largely off police and court documents, much of which had never been made public, including a trove of more than 60 boxes of documentation that was in a lawyer’s storage room.Frank S. Maco, a state’s attorney in Connecticut, who worked on the case. He asked the child abuse clinic at Yale-New Haven Hospital to evaluate Dylan Farrow.Credit…HBOA high-profile police inquiryIt was Dylan Farrow’s pediatrician who first reported her allegations to the authorities, leading to investigations by the Connecticut State Police and the New York City Child Welfare Administration. (Dylan Farrow said the sexual assault occurred in the attic of the family’s Connecticut summer home.)In an extensive interview, Frank S. Maco, then a state’s attorney in Connecticut, says that he intended to investigate the accusation “quietly,” but that Mr. Allen held a news conference at the Plaza Hotel, where he shared the news of the investigation. Mr. Allen called the allegations a “gruesomely damaging manipulation of innocent children for vindictive and self-serving purposes.” He also declared his love for Soon-Yi Previn, Mia Farrow’s daughter, suggesting that the allegations were a result of Mia lashing out over that relationship.“They were doing a great job painting Mia Farrow as a scorned woman who would say anything,” said Rosanna Scotto, a broadcast reporter who covered the news at the time.Armed with that narrative, Mr. Allen went on a media campaign, while Ms. Farrow stayed relatively quiet. She told filmmakers that she was trying to establish some semblance of normalcy for her children.The Yale-New Haven reportMr. Maco, the prosecutor, said that he asked the child abuse clinic at Yale-New Haven Hospital to evaluate Dylan Farrow, to determine whether she would be traumatized by taking the stand at a trial and whether there were any “impediments” to her ability to testify — including any ability to “perceive, recall and relate.”During a seven-month inquiry, experts interviewed Dylan Farrow nine times, a number that child abuse and legal experts tell the documentary filmmakers was excessive for a child subject.“I would repeat the story over and over and over again,” Dylan Farrow says in the episode. “It was grueling and it was intense.”The final report stated that there were “inconsistencies” in Dylan Farrow’s statements and that she had “difficulties distinguishing fantasy from reality.” It found that her accusations were “likely reinforced and encouraged” by her mother. The clinic shared the results with Mr. Allen and Mia Farrow without telling Mr. Maco they were doing so, he said, and Mr. Allen announced the determinations at a news conference.Later on, during the custody battle between Mr. Allen and Ms. Farrow, the director of the clinic said in a deposition that its practice was to destroy notes; experts interviewed in Episode 3 say that this is antithetical to common practice in their field.The New York investigationThe inquiry by New York City’s Child Welfare Administration was being spearheaded by Paul Williams, a caseworker who interviewed Dylan Farrow and found her to be credible.Within two weeks of the investigation, Mr. Williams determined that there was sufficient information to open a New York-based criminal investigation, but he was told by superiors that in high-profile cases like this one, it was customary for the “big wigs” to take responsibility and for the welfare administration to relinquish control, according to case records reviewed by the filmmakers.A lawyer for Mr. Williams, Bruce Baron, says in the documentary that at the time, his client “wouldn’t shut up” about the case at work, and he was fired for insubordination. Mr. Williams sued the city over the firing, arguing in part that the city had suppressed information about the case; he won in court and got his job back..css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-rqynmc{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:0.9375rem;line-height:1.25rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-rqynmc{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-rqynmc strong{font-weight:600;}.css-rqynmc em{font-style:italic;}.css-yoay6m{margin:0 auto 5px;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}@media (min-width:740px){.css-yoay6m{font-size:1.25rem;line-height:1.4375rem;}}.css-1dg6kl4{margin-top:5px;margin-bottom:15px;}#masthead-bar-one{display:none;}#masthead-bar-one{display:none;}.css-1pd7fgo{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-1pd7fgo{padding:20px;width:100%;}}.css-1pd7fgo:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-1pd7fgo{border:none;padding:20px 0 0;border-top:1px solid #121212;}.css-1pd7fgo[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-1pd7fgo[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-1pd7fgo[data-truncated] .css-5gimkt:after{content:’See more’;}.css-1pd7fgo[data-truncated] .css-6mllg9{opacity:1;}.css-k9atqk{margin:0 auto;overflow:hidden;}.css-k9atqk strong{font-weight:700;}.css-k9atqk em{font-style:italic;}.css-k9atqk a{color:#326891;-webkit-text-decoration:none;text-decoration:none;border-bottom:1px solid #ccd9e3;}.css-k9atqk a:visited{color:#333;-webkit-text-decoration:none;text-decoration:none;border-bottom:1px solid #ddd;}.css-k9atqk a:hover{border-bottom:none;}Understand the Allegations Against Woody AllenNearly 30 years ago, Woody Allen was accused of sexually abusing Dylan Farrow, his adopted daughter. A new docuseries re-examines the case.This timeline reviews the major events in the complicated history of the director, his children and the Farrow family.The documentary filmmakers Kirby Dick and Amy Ziering spoke about delving into this thorny family tale. Read our recaps of episode 1 and episode 2.Dylan Farrow wrote an open letter in 2014, posted by the New York Times opinion columnist Nicholas Kristof, recounting her story in detail.Our book critic reviewed Mr. Allen’s recent memoir, “Apropos of Nothing.”A.O. Scott, co-chief film critic, grappled with the accusations and his complicated feelings on the filmmaker in 2018. In looking through Mr. Williams’s case files, the filmmakers found notes about a conversation he had with Jennifer Sawyer, a social worker who had interviewed Dylan Farrow for the Yale-New Haven report. According to the notes, Ms. Sawyer told Mr. Williams that “she believes Dylan” and believed that the child had “more to disclose.”In a seven-month period, Dylan Farrow was questioned nine times by clinic workers.Credit…HBOThe custody battleOn Aug. 13, 1992, nine days after the alleged sexual assault, Mr. Allen sued Mia Farrow for custody of their three children: Dylan Farrow, Moses Farrow and Ronan Farrow.In a taped phone call between Mia Farrow and Woody Allen, Ms. Farrow brings up his lawsuit against her and accusations that she was an unfit mother, to which he responds, “And I’m going to make them stick.” Ms. Farrow begged him to drop the case.During the trial, which started in the spring of 1993, Mr. Allen testified that he believed Ms. Farrow had “brainwashed” her daughter and that he was not alone with Dylan on the day that she said he assaulted her.The judge ultimately sided with Ms. Farrow, saying that Mr. Allen exhibited grossly inappropriate behavior toward Dylan and that “measures must be taken to protect her.” The judge called the Yale-New Haven report “sanitized,” considering the destruction of the notes and the team’s unwillingness to testify at trial.Expert analysisAt the end of the episode, the filmmakers return to the footage of Dylan Farrow taken by her mother, and show child abuse experts analyzing the video for the documentary. At the custody trial, where the footage was entered as evidence, Mr. Allen said that Ms. Farrow had asked her daughter “in a leading way about molestation.”But after seeing the footage, one of the documentary’s interviewees, Anna Salter, a child abuse expert and psychologist, said that Ms. Farrow did not make any “overt suggestions” in her questioning. One “implicit” suggestion Ms. Farrow makes, Dr. Salter said, is asking her daughter if Mr. Allen took her underpants off. (Dylan responds that he hadn’t done so.)“From my point of view, what’s important is Dylan’s response: Does she go along with the suggestion?” Dr. Salter said. “But she doesn’t.”As Ms. Farrow says in a taped phone call between her and Mr. Allen played at the top of the episode: “Dylan’s a baby; how could you do that to her?”Mr. Allen’s response is inaudible.AdvertisementContinue reading the main story More

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    ‘Lost Course’ Review: When a Village Fights Back

    AdvertisementContinue reading the main storySupported byContinue reading the main storyCritic’s Pick‘Lost Course’ Review: When a Village Fights BackA 2011 revolt in Wukan, China, is the subject of a sobering, sprawling documentary.A protest in the documentary “Lost Course.”Credit… Icarus FilmMarch 4, 2021, 12:39 p.m. ETLost CourseNYT Critic’s PickDirected by Jill LiDocumentary2h 59mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.“Lost Course” uses a local uprising that made international headlines to pose broader questions about the feasibility of democratic and anticorruption reforms in China. This sobering, sprawling documentary — the first feature from Jill Li, who took the time to follow her subjects over several years — splits its three hours into before-and-after categories.Part 1 deals with the revolt that occurred in Wukan, China, in 2011, in response to what residents said was village leaders’ improper sale of communal land. Anger only grows after a prominent member of the movement, called Bo in the subtitles and Xue Jinbo in news accounts, dies in police custody. But this section ends on an optimistic note: Lin Zuluan, a reformer who has recognized the importance of having village representatives elected through a true democratic process, wins the top position on the village committee, with like-minded activists as deputies.[embedded content]But less than a year later, in Part 2, Lin is subject to uproar himself. Although he says it will take at least three to five years to solve the land issue, he and the other committee members stand accused of corruption or cowardice. (“I don’t recognize myself anymore,” Lin admits at one point.) Other key protesters grow disillusioned, and one flees to the United States. At the end, he protests at a location that makes for a mordant punchline.Broadly adhering to a vérité style, Li builds a case that active civic engagement in China inevitably leads to trouble — or else further corruption. Late in the film, a once-admirable figure is asked about a rumor that he was involved with a contractor who offered bribes. “I cannot and should not refute these accusations,” he replies. Rather, it’s up to others to investigate.Lost CourseNot rated. In Mandarin and English, with subtitles. Running time: 2 hours 59 minutes. Watch through virtual cinemas.AdvertisementContinue reading the main story More

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    ‘F.T.A.’: When Jane Fonda Rocked the U.S. Army

    AdvertisementContinue reading the main storySupported byContinue reading the main storyRewind‘F.T.A.’: When Jane Fonda Rocked the U.S. ArmyA newly exhumed documentary delves into the actress’s anti-Vietnam vaudeville tour of American military bases in 1972.Donald Sutherland and Jane Fonda in the 1972 documentary “F.T.A.,” which stood for something ruder than Free the Army.Credit…Kino LorberMarch 4, 2021, 11:52 a.m. ET“F.T.A.,” an agitprop rockumentary that ran for a week in July 1972, reappears as an exhumed relic, recording the joyfully scurrilous anti-Vietnam War vaudeville led by Jane Fonda that toured the towns outside American military bases in Hawaii, the Philippines and Japan.The movie, directed by Francine Parker, who produced it along with Fonda and Donald Sutherland, opened the same day that Fonda’s trip to North Vietnam made news. The film, greeted with outrage and consigned to oblivion, has been restored by IndieCollect, and is enjoying a belated second (virtual) run.The F.T.A. show was conceived as an alternative to Bob Hope’s gung-ho, blithely sexist U.S.O. tours; its initials stood for something ruder than “Free the Army.” The skits, evocative of the guerrilla street theater, ridiculed generals, mocked male chauvinism and celebrated insubordination. The show was hardly subtle, but, as documented in the movie, opinions expressed by various servicemen were no less blunt.In interviews, Black marines characterized Vietnam as “a racist and genocidal war of aggression” and even white soldiers criticized the “imperialistic American government.” Half a century after it appeared, “F.T.A.” is a reminder of how deeply unpopular the Vietnam War was and how important disillusioned GIs were to the antiwar movement. “I was ‘silent majority’ until tonight,” one tells the camera after a performance.Fonda may be the designated spokeswoman, but the show was largely devoid of star-ism. A shaggy-looking Sutherland, who had recently appeared with her in “Klute,” gets at least as much screen time. Two relative unknowns, the singer Rita Martinson and the poet (and proto-rapper) Pamela Donegan, have memorable solos performing their own material.The hardest working individual was the Greenwich Village folk singer and civil rights activist Len Chandler, who assumed the Pete Seeger role of prompting the audience to sing along with compositions like “My Ass is Mine” and “I Will Not Bow Down to Genocide.” A younger folkie, Holly Near, was also on hand, hamming along with Fonda in a parody of “Carolina Morning” that began, “Nothing could be finer than to be in Indochina …”Context is crucial. Vivian Gornick, who covered the tour for the Village Voice, reported that “the F.T.A. was surrounded, wherever it went, by agents of the C.I.D., the O.S.I., the C.I.A., the local police.” After military authorities became frightened, “‘riot conditions’ were declared.” Indeed, “F.T.A.” documents antiwar demonstrations staged by civilians in Okinawa and at Subic Bay in the Philippines. The latter was singled out in the New York Times critic Roger Greenspun’s review as the movie’s high point.Greenspun thought “F.T.A.” failed to capture the spirit of the stage shows. Perhaps, but however chaotic and self-righteous, the movie is a genuine, powerful and even stirring expression of the antipathy engendered by a war that — as the author Thomas Powers recently wrote — “refused to be won, or lost, or understood” and scarred the psyches of those who lived through it.F.T.A.Opens in virtual cinemas through Kino Marquee starting March 5.AdvertisementContinue reading the main story More

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    ‘Truth or Consequences’ Review: Ghost Town at the End of the World

    AdvertisementContinue reading the main storySupported byContinue reading the main story‘Truth or Consequences’ Review: Ghost Town at the End of the WorldHannah Jayanti’s “speculative documentary” about the New Mexico town is both haunted and haunting.A scene from “Truth or Consequences,” directed by Hannah Jayanti.Credit…Sentient.Art.FilmMarch 4, 2021, 7:00 a.m. ETTruth or ConsequencesDirected by Hannah JayantiDocumentary1h 42mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.You don’t need to be told that the town of Truth or Consequences, New Mexico, has an evocative name. And indeed, it’s been used as a title before, albeit for an entirely inconsequential film. This disquieting movie, called a “speculative documentary” by its director, Hannah Jayanti, has more weight.Jayanti’s camera takes in the plain, sun-drenched streets, mountains in the background; the place looks like a ghost town. Prowling through a labyrinth of broken, castaway electronics and other such junk, Jayanti places a virtual-reality filter over the imagery that adds an eerier quality to already unusual sights. Eventually she shows the viewer a sort of retro-futuristic structure called Spaceport America.[embedded content]Here’s where the “speculative” part comes in. While the spaceport site is a real locale, this movie situates it in a time when it’s been acknowledged that Earth is dying, and people are leaving it. Now the spaceport is moving the population out — the population that can afford to depart.For those who can’t, well, Jayanti threads the real-life stories of this town’s inhabitants through the impressionistic narrative. Yvonne, an older woman, tells stories of a childhood and early adulthood full of abuse. A male resident named George discusses his collection of rocks, many of which look like marbles. And Katie, a younger woman, discusses an estrangement from her family. They all allude to how they came to Truth or Consequences, and why they are staying.These tales of real life are sometime terribly sad. And the tales are given further resonance by the strangeness of the place, and by a reflective electric-guitar score by Bill Frisell. The realization that Jayanti is using these things to buttress a fiction — albeit a fiction that could perhaps become true in the blink of an eye — is disquieting in a way the filmmaker might not have intended.Truth or ConsequencesNot Rated. Running time: 1 hour 42 minutes. Watch through virtual cinemas.AdvertisementContinue reading the main story More