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    ‘Billie Eilish: The World’s a Little Blurry’ Review: Fame and Family

    AdvertisementContinue reading the main storySupported byContinue reading the main story‘Billie Eilish: The World’s a Little Blurry’ Review: Fame and FamilyA documentary captures the creation of Eilish’s multiple-Grammy-winning debut album, recorded at home but poised to go global.Billie Eilish granted access to filmmakers at a fragile time when her album’s success wasn’t guaranteed.Credit…Apple TV+Feb. 25, 2021Billie Eilish, the ultramodern pop star who’s both colorfully gothic and establishment-friendly, is a fascinating subject: vividly creative, offhandedly vulnerable, barely visibly self-conscious. And also, a teenager. “Billie Eilish: The World’s a Little Blurry,” the new documentary about her rise, finds her shaping global aesthetics while cocooned in a close-knit family, and treats both circumstances with equal casualness. In this film, all of Eilish’s interactions are human-scale, or smaller.“Blurry” — directed, with determined informality, by R.J. Cutler (“The War Room,” “The September Issue”) — doesn’t tell a story about Eilish so much as sit back and presume that one will unfold. Which, of course, it does. Her 2019 debut album, “When We All Fall Asleep, Where Do We Go?,” is the product of countless home bedroom recording sessions with her brother, Finneas, who produces all of her music. That album goes on to earn her five Grammys. Cameras were there throughout.And yet “Blurry” isn’t triumphant, strictly speaking. Instead, it relies on the accretive power of the mundane. It moves forward without narration, and sometimes without narrative rhythm — often it feels almost observational, like a nature film. The abundance of footage, and the space it’s given to breathe — the movie is almost two and a half hours long — captures the restless loneliness of superstardom.[embedded content]Eilish’s approach to that fame is both game and shrugging. Her songwriting is visceral and often dark: she shows the journal in which she draws ghoulish scenes and writes poems that may become lyrics, including, in all caps, “I WANA END ME.” Even when the film shows fans clamoring for Eilish, it remains resolute in centering her. In footage drawn from various concerts around the world, the sound focuses tightly on her vocals, turning even arena shows into sites of outrageous intimacy.At times, “Blurry” suggests greater friction happening just out of sight, gently spotlighting the tug of war between Eilish and the expectations placed upon her. Closing in on completing the album, Finneas grumbles, “I feel like I’ve been, like, told to write a hit, but I’ve been told to not tell Billie that we have to write a hit.” Later, when Eilish and Finneas are recording her song for the James Bond film “No Time to Die,” she mopes over the theatrical belting it requires: “I’m gonna get made fun of by the internet when I do it.”Toward the end of the film, as she’s touring her album around the world, fissures appear. Her ankle finally gives out at a show in Milan, and in New York, she bristles at the after-show circus of photo ops with hangers-on, and then again when someone posts online that she had been rude. At Coachella, a frisky, eyes-bugged Orlando Bloom (paramour of Katy Perry) offers hugs backstage, and Eilish also awkwardly meets Justin Bieber, her childhood idol. Bieber is a recurring character here, as an abstract deity, then a generous collaborator, and also as a symbolic foil, a reminder of what happens when teen stardom goes awry.Eilish appears unlikely to unravel before the cameras. Stars are being filmed constantly now anyhow — the gap between social media videos and actual film is shrinking with each passing iPhone camera improvement. That advertorial content has extended into the domain of documentary film isn’t novel anymore.So on the one hand, it’s noteworthy that a rising star like Eilish granted heavy access to a filmmaker long before her debut album was even completed. That is a fragile time, with no guarantee of success, to permit to be captured for posterity.And yet even when Eilish is besieged or bedraggled, there is never anything other than a sense of safety in this footage. The boilerplate language that appears at the end of the film’s credits reminds why: “Interscope Records is the author of this cinematographic or audiovisual work.”Billie Eilish: The World’s a Little BlurryRated R. Running time: Running time: 2 hours 20 minutes. In theaters and on Apple TV+. Please consult the guidelines outlined by the Centers for Disease Control and Prevention before watching movies inside theaters.AdvertisementContinue reading the main story More

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    ‘’Til Kingdom Come’ Review: An Unusual Religious Bond

    AdvertisementContinue reading the main storySupported byContinue reading the main story‘’Til Kingdom Come’ Review: An Unusual Religious BondMaya Zinshtein’s revelatory documentary explores the political and philanthropic alliance of American evangelical Christians and Israeli Jews.A scene from the documentary “’Til Kingdom Come,” directed by Maya Zinshtein.Credit…Abraham (Abie) Troen/AbramoramaFeb. 25, 2021Updated 1:23 p.m. ET’Til Kingdom ComeDirected by Maya ZinshteinDocumentary1h 16mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.“’Til Kingdom Come,” the new documentary by Maya Zinshtein, probes the entanglements of politics and prophecy that bind two strange bedfellows: American evangelical Christians and Israeli Jews.The film follows Yael Eckstein, the president of the International Fellowship of Christians and Jews, and the Kentucky pastors William Bingham III and his son Boyd Bingham IV. The hefty donations that the Binghams’ church makes to Eckstein’s organization — which is advertised through sentimental videos of older Israelis receiving care packages — belies a curious logic: Many Evangelicals believe that the return of Jews to Israel portends Armageddon, leading Christians to the rapture and Jews to hell.[embedded content]Why would Israelis want to court such views? Talking-head interviews with politicians and commentators point to geopolitical opportunism. In recent years, as evangelicals gained a powerful platform under President Trump, Israel’s settler community — which seeks to normalize the occupation of Palestine — sought their support, successfully campaigning for the U.S. embassy to be moved from Tel Aviv to Jerusalem.Zinshtein’s patient, observant approach catches her subjects in moments of damning irony: Eckstein smiles awkwardly whenever the End Times are mentioned by her evangelical allies; the Binghams encourage their poverty-stricken congregation to send their spare change to the Holy Land. When a pastor in Bethlehem explains to Bingham IV that his donations support a theocracy that makes Palestinian Christians second-class citizens, Bingham simply insists that it’s all part of God’s plan.Zinshtein’s own Jewish identity brings this doublespeak to a head. In the film’s striking ending, Bingham IV tries to proselytize to the director and her crew during a sermon. He “wants to get them saved right now,” he says. His seeming good will cannot disguise his troubling convictions.’Til Kingdom ComeNot Rated. In Hebrew, Arabic and English, with subtitles. Running time: Running time: 1 hour 16 minutes. Watch through virtual cinemas.AdvertisementContinue reading the main story More

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    ‘My Darling Supermarket’ Review: Cosmic Tales From the Checkout Lane

    AdvertisementContinue reading the main storySupported byContinue reading the main story‘My Darling Supermarket’ Review: Cosmic Tales From the Checkout LaneThe director Tali Yankelevich applies an experimental flair to her documentary about supermarket workers in Brazil.A scene from the documentary “My Darling Supermarket.”Credit…Cinema TropicalFeb. 25, 2021, 7:00 a.m. ETSomewhere in São Paulo, Brazil, there’s a supermarket that looks awfully familiar. It has white fluorescent lights and endless shopping lanes. Every day, there’s bread to bake and meat to grind. It’s the kind of store you might find anywhere in the world. Yet, by the end of the slight but intriguingly strange documentary “My Darling Supermarket,” it might as well be on Mars.“Just ordinary people doing their jobs — would anyone want to watch that?” chuckles a manager.The director Tali Yankelevich tackles this challenge to mixed results, moving spryly between interviews with employees and observational footage, captured with experimental flair, of the store’s many rote operations.[embedded content]There’s a forklift operator who spends his free time building cities on a cellphone game; a custodian with some decent pipes; a flirty bread maker interested in quantum physics. A standout character is an ebullient baker with dreams of Tokyo, who sometimes wanders the aisles in full anime cosplay.Yankelevich occasionally glimpses deeper truths from her subjects, but it’s easy to wonder what such unfocused portraits communicate beyond the obvious fact that grocery-store workers are humans with personalities, too! Meanwhile, potentially interesting, distinguishing details about Brazilian culture are muted by the director’s commitment to abstraction.Better late than never, the film’s spiritual thrust becomes clear by the third act. The stark symmetry of the shelved merchandise and the eerily dissonant score assumes an otherworldly, ritualistic power when our subjects begin musing on faith and the nature of existence. The cinematographer Gustavo Almeida’s camera glides around the store like a satellite drifting through the interdimensional cosmos. For a spell, I was reminded of what supermarkets felt like as a child: vast alien playgrounds.My Darling SupermarketNot Rated. In Portuguese, with subtitles Running time: 1 hour 20 minutes. Watch on Film Forum’s virtual cinema.AdvertisementContinue reading the main story More

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    ‘Un Film Dramatique’ Review: Students Record the Paris Suburbs

    AdvertisementContinue reading the main storySupported byContinue reading the main storyCritic’s Pick‘Un Film Dramatique’ Review: Students Record the Paris SuburbsThis documentary gives middle school children a chance to show their experiences.Mohammed Samassa, left, and Fatimata Sarr in the documentary “Un Film Dramatique.”Credit…Cinema GuildFeb. 25, 2021, 7:00 a.m. ETA Dramatic FilmDirected by Eric BaudelaireDocumentary1h 54mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.In the documentary “Un Film Dramatique,” the artist Éric Baudelaire fulfills a commission to make a dedicated artwork for Dora Maar, a newly constructed middle school in the Saint-Denis suburb of Paris. For the project, Baudelaire filmed 21 students across four years, and he encouraged them to take up the camera themselves. The finished film demonstrates the liveliness and generosity that can come from civic-minded art.The movie passes by in informal episodes. The filmmakers set up games and debates, encouraging classmates to discuss what they think the movie will be about. The students consider what it means to be the subjects and creators of a documentary, and in turn, they reckon with how their school fits into the world around them.[embedded content]These adolescents are working class, often the children of immigrants, and they scoff at the rough reputation that Saint-Denis carries in Paris. With cameras in their hands, they build their own records about what life is like in the suburbs. They dance, they sing, they offer house tours. Each child is confident, curious and collaborative.The movie has a patchwork quality that comes from jumping in and out of different people’s vantage points. Some scenes are riveting, as when the French-Romanian student Gabriel-David debates his French-Ivorian classmate, Guy-Yanis, over what it means to have a country of origin if you’ve never lived there. But just as many sequences are banal — kids filming themselves watching TV as if they were streaming on Instagram Live.It’s the cumulative effect of seeing the world through the eyes of these children that makes this movie so deeply joyful. This is a heartening project, a philosophical excavation of a school that abounds with playful optimism.Un Film DramatiqueNot rated. In French, with subtitles. Running time: Running time: 1 hour 54 minutes. Watch through virtual cinemas.AdvertisementContinue reading the main story More

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    ‘This Is the Life’ Review: A Valuable Part of Hip-Hop History

    AdvertisementContinue reading the main storySupported byContinue reading the main storyCritic’s Pick‘This Is the Life’ Review: A Valuable Part of Hip-Hop HistoryAva DuVernay’s 2008 documentary, now streaming on Netflix, is a personal love letter to a slice of Los Angeles’s 1990s hip-hop scene.Medusa is one of the hip-hop artists featured in Ava DuVernay’s 2008 documentary “This Is the Life.”Credit…ArrayFeb. 23, 2021This Is the LifeNYT Critic’s PickDirected by Ava DuVernayDocumentary1h 37mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.Ava DuVernay’s 2008 debut feature, the documentary “This Is the Life,” is a refreshing portrait of a 1990s California hip-hop subculture that thrived separately from gangsta rap. DuVernay’s documentary, now available to stream on Netflix, is a personal project. She performed as part of the rap duo Figures of Speech at the Good Life Cafe — a South Central Los Angeles health food cafe that became a mecca for the underground rap community.Throughout the ’90s, the modest space’s open-mic nights fostered a bevy of young, raw, untainted lyrical voices telling stories of everyday life in L.A. DuVernay combines performer interviews with VHS footage and audio clips of their shows to retell a magical period in the hip-hop scene.In its intertitle graphics and visual typography, “This Is the Life” often mirrors VH1’s “Behind the Music” documentaries. When staging her interviews, however, DuVernay imprints unique compositions onto the familiar music-doc style by using the respondents’ spacious surroundings to frame them. To paint the cafe’s milieu, she identifies the institute’s stalwarts, such as supportive fans lovingly referred to as “Jean in the front row” and “Big Al.” Not only does DuVernay feature the cafe’s Black male M.C.’s like Abstract Rude and Chillin Villain Empire, she underscores the white, Latino and female artists who also appeared on the Good Life stage.[embedded content]The venue’s traditions are also outlined: No leaving gum on the floor; no leaning on the paintings; avoid the phrase “wiggidy wiggidy” in freestyles; and no profanity — meant to ensure a clean space and substantive rhymes. Audiences at the Good Life wanted to hear idiosyncratic freestylers using distinct techniques to tell unique stories. Rappers who failed to meet crowd expectations, in scenes akin to an amateur nightat the Apollo, were booed off the stage. In recalling the night the rapper Fat Joe bombed at the cafe, DuVernay creatively soundtracks the audio from the event over a time lapse of a chalk artist sketching the scene.Word of mouth inspired record deals for some Good Life performers. Jurassic 5, for instance, became gold record-certified in Britain. By 1994, the cafe had built such a reputation that artists like Ice Cube and Bone Thugs-n-Harmony came to listen. And it is claimed (by the rapper Abstract Rude) that those artists incorporated the underground style into their work. When DuVernay plays the Good Life M.C. Myka Nyne’s verse on Freestyle Fellowship’s “Mary” (1993) next to Bone Thugs-n-Harmony’s “Tha Crossroads” (1996), it’s a difficult assertion to dispute.Outside of the film’s director, however, few from the Good Life became household names. But in the illuminating “This Is the Life,” DuVernay not only fills in an important formative gap in California’s hip-hop history, she displays the inventive eye that would later lead to her future cinematic successes.This Is the LifeNot rated. Running time: 1 hour 37 minutes. Watch on Netflix.AdvertisementContinue reading the main story More

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    Billie Eilish Is in the Mood for Love (and a Weighted Blanket)

    #masthead-section-label, #masthead-bar-one { display: none }At HomeWatch: ‘WandaVision’Travel: More SustainablyFreeze: Homemade TreatsCheck Out: Podcasters’ Favorite PodcastsAdvertisementContinue reading the main storySupported byContinue reading the main storyMy TenBillie Eilish Is in the Mood for Love (and a Weighted Blanket)The singer-songwriter gets candid about her new documentary, her dream first date and her perfume obsession.Credit…Magdalena Wosinska for The New York TimesFeb. 23, 2021Billie Eilish can’t stop making lists.“I’m just finding ways of enjoying life,” the 19-year-old singer-songwriter said late last month. “I really like cleaning my room and rearranging things.”She’s also been working on the follow-up to her debut album, “When We All Fall Asleep, Where Do We Go?” from 2019, which helped her win all four top Grammys — best new artist, record of the year, song of the year and album of the year — and made her the youngest person ever, and the first woman, to pull off the sweep.It was the latest milestone in a meteoric rise chronicled in a new documentary, “Billie Eilish: The World’s a Little Blurry,” out on Apple TV+ Friday. But that doesn’t mean Eilish’s rapid ascent is easy for her to watch. “I’m watching it like, ‘Shut the [expletive] up,” she said. “It’s brutal. I’m like, ‘Don’t talk about that!’” (“It’s really nice to get to watch myself go through all these amazing things from another point of view,” she added of the “painfully honest” movie.)The film, directed by R.J. Cutler, traces a fairy tale career that has seen Eilish’s homemade songs streamed more than a billion times on digital platforms while she’s collected over 75 million followers on Instagram. It chronicles the creation of that award-winning LP, and was filmed from 2018 through early 2020.Eilish has spent the past year enjoying recent milestones like voting, driving and accidentally ordering 70 boxes of Froot Loops online. She also wrote a song with Rosalía, “Lo Vas a Olvidar” (“You Will Forget It”), which premiered during a special episode of the HBO series “Euphoria.”In an interview from Los Angeles in late January — punctuated by occasional barks from her rambunctious pit bull, Pepper — Eilish shared her cultural essentials, including her lockdown listens and her dream first date. These are edited excerpts from the conversation.1. The Strokes’ “The New Abnormal”When I first found the album, I was going on a lot of bike rides. I would play the whole album on my speaker backpack and ride around random neighborhoods, and it was always sunny and breezy and pretty and green. Julian Casablancas is just a genius — every time I hear his lyrics I think, “I would never think to say that.” That’s what I love about them — they’re so unexpected, but also relatable. Every single song is good.2. Anything ScentedWhen I was growing up, everybody said I had a “Super Sniffer,” which is a phrase from the show “Psych” and basically means you can smell really well. I don’t know how, though, because my nose is very small! Mine is kind of extreme because I also have synesthesia, which is when your brain pairs two things automatically — every smell has a certain color, number and day of the week. I have probably 100 perfumes, and I label the bottles with little pieces of paper so I can remember what they smell like to me. Some are very specific, like, “This one smells like a ballet class I used to be in,” or “This one smells like that one day we went to this person’s house and this person said this,” and some are more vague, like, “This Hawaiian Punch perfume I got at CVS for $1 smells like 2015,” the whole year. Some are so strong that I can’t smell them at all anymore because I get overwhelmed with the memory.3. Crossroads KitchenI’ve never been on a date — no one has ever taken me on a [expletive] date before! — but if I were to go on one, Crossroads would be the dream. It’s a vegan restaurant in Los Angeles, and it’s bomb. It’s the most delicious food ever. The meatball sub and chicken waffles are my go-tos. They’re both entrees, so every time I go they’re like, “What do you want?” and I’m like “The meatball sub,” and then they want to move on to the next person, but I’m like, “Also, the chicken waffles.” And I eat them both right up. I don’t have any leftovers afterward.4. “I’m in the Mood for Love”The first time I heard this song was on “The Little Rascals,” which was my favorite show when I was kid. All I wanted was to be a Little Rascal; I wanted to kiss Alfalfa so bad! There’s a scene where Darla sings “I’m in the Mood for Love,” and I remember thinking it was such a pretty song. Then years and years went by, until one day, I was like, “What was that song that I thought was so pretty when I was little?” And I found a really beautiful, but low-quality, Frank Sinatra version on SoundCloud, which I listened to when I was traveling through Europe on tour. And then recently, I found this Julie London version, and she just murders it. She has one of the most beautiful voices I’ve ever heard. It’s just such a perfect love song. Every time I hear it, no matter what I’m feeling, it makes me want love.5. CardsOn tour we have a lot of waiting time — yes, tour, a thing from the past! — and I can’t really go outside because the fans are lined up around the block. But we come up with things to do. Our go-to game is Speed, which is a card game my assistant tour manager, Lauren Millar, taught me how to play on this really long bus ride in Russia — we played it for like two hours straight that day. And from then on we just played it nonstop. It started as kind of a time-taker-upper and ended as a thing we’d do when we were supposed to be doing other things.6. “We Need to Talk About Kevin”This movie has the most beautiful cinematography I’ve ever seen — everything about it is perfectly done, from the framing to the colors. It’s been one of my biggest inspirations for my own music videos. Every time I watch it I see something new that’s genius about the way it was shot.7. DrivingOnce I learned how to drive, it was all I wanted to do. It’s a place where I feel very free and anonymous and in control. I drive a black Dodge Challenger, which was my dream car growing up. I saved my money for years and years, and I used to be like, “I don’t want anyone to buy it for me because I want to buy it myself with my own money.” But then Justin [Lubliner], my label guy, a couple months before my birthday was like, “What do you want for your birthday, Billie?” and I, just jokingly, was like, “A Dodge Challenger, in matte black.” And I was like, “Just kidding, don’t get me that, obviously.” Then the night before my birthday, we did a photo shoot for the cover of my album, and at the end of the day Justin drove up in my dream car — I cried for probably three hours straight.8. Weighted BlanketMy mom got one when I was 9 or 10 because she can’t fall asleep without a lot of weight on her — one time when she was younger, she woke up between her mattress and her bed frame! I had just been using hers, and then eventually I got my own. I get so much better sleep under it, and it’s a good physical affection tool when you don’t have any.9. “New Girl”I’ve seen this show like six times, and I just started rewatching it again. It’s just very entertaining and stupid and I love it. I watched it like 10 minutes ago right before I got on this call. I don’t ever get tired of it because the actors are so hilarious. Max Greenfield is just one of my favorite people — he’s so funny and so specifically himself. But Nick Miller is really just top-notch and is the best character. He’s trending on Twitter right now for some reason; I don’t know why. But I don’t blame Twitter. Nick Miller’s the GOAT.10. Frank Ocean“Blonde” is my go-to album to play any time at all, but especially when I need to relax. When I had a plaster mold made of my head for a photo shoot for the cover of Garage magazine a few years ago, I played Frank Ocean the entire hour so I wouldn’t have a panic attack. I haven’t gotten to meet him, but I don’t expect him to ever even come near me. He can stay being God up in the clouds.AdvertisementContinue reading the main story More

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    ‘Pelé’ Review: A National Treasure

    AdvertisementContinue reading the main storySupported byContinue reading the main story‘Pelé’ Review: A National TreasureThis Netflix documentary surveys the Brazilian soccer player’s pioneering career.Pelé, the famed Brazilian soccer player, is the subject of a documentary.Credit…NetflixFeb. 23, 2021, 7:00 a.m. ETPeléDirected by Ben Nicholas, David TryhornDocumentary, Biography, Sport1h 48mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.There are two documentaries contained within “Pelé,” David Tryhorn and Ben Nicholas’s film about the Brazilian soccer phenom. The main one is the starry survey of Pelé’s record-setting achievements and national adulation. But a second, more sobering story steadily drops the temperature in the room, once Brazil’s military violently takes power in 1964 and shows a strategic interest in “the beautiful sport.”The filmmakers run through a storied history, from Brazil’s 1950 loss to Uruguay in the World Cup (when Pelé, as a boy, told his sobbing father that he’ll win it back) to its triumph at the 1970 final. In a recurring sit-down interview, the now 80-year-old legend is both genuine and diplomatic after decades of worship as “the King.” Teammates remain fond, journalists kibitz, and the singer-songwriter Gilberto Gil and Brazil’s former president, Fernando Henrique Cardoso, proffer pop analysis.[embedded content]But as we hear soccer repeatedly invoked as the life-force to Brazil’s sense of self, one interviewee sticks out: a matter-of-fact former cabinet minister, Antônio Delfim Netto, who signed the dictatorship’s infamous “AI-5” act institutionalizing torture and censorship. The filmmakers go on to suggest that the national team’s success became part of military propaganda, and Pelé shares his own guarded thoughts on the era.The dictatorship’s involvement takes the pressures of championship play to another level; Pelé later calls the 1970 World Cup victory simply a “relief.” I did yearn to see more of his talents in action; his header goal in that year’s Italy final feels cosmically liberating. But however conventional as a whole, the movie feels troubled by the traumas of Pelé’s heyday.PeléNot Rated. In Portuguese, with subtitles Running time: Running time: 1 hour 35 minutes. Watch on Netflix.AdvertisementContinue reading the main story More

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    ‘Allen v. Farrow’ Episode 1 Recap: ‘Inappropriately Intense’ Behavior

    #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 story‘Allen v. Farrow’ Episode 1 Recap: ‘Inappropriately Intense’ BehaviorThe new HBO documentary series takes another look at Dylan Farrow’s sexual abuse allegations against her adoptive father, Woody Allen.Woody Allen, center, with Dylan Farrow, left, and Ronan Farrow, in a scene from the docuseries.Credit…HBOFeb. 21, 2021The first episode of the four-part HBO docuseries “Allen v. Farrow” debuted on Sunday night, providing a fresh examination of Dylan Farrow’s decades-old sexual abuse allegations against the filmmaker Woody Allen, her adoptive father.When Ms. Farrow was 7 years old, she accused Mr. Allen of sexually assaulting her at the family’s Connecticut country house on Aug. 4, 1992. Mr. Allen has long denied the allegations, which were front and center in a bitter custody battle between Mr. Allen and Mia Farrow, the Hollywood power couple who made 13 films together.Mr. Allen’s relationship with Mia Farrow’s adopted daughter, Soon-Yi Previn, is also central to the series. About seven months before the day that Dylan Farrow says her father assaulted her, Mia Farrow discovered nude photographs of Ms. Previn, then a first-year college student, in Mr. Allen’s apartment.Starting in 1992, there were several years of concentrated media attention on the family amid the custody battle and investigations by the authorities in response to Dylan Farrow’s account. Mr. Allen has long argued that Mia Farrow had coached Dylan to make the allegations after learning about his relationship with Ms. Previn, whom he married in 1997. Although a state’s attorney in Connecticut declined to prosecute Mr. Allen, saying that he wanted to spare Dylan the trauma of a trial, he said he believed she had been molested.Nearly three decades have passed since the accusations surfaced, but the complicated saga has returned repeatedly and become the subject of debate — most recently during the #MeToo movement.This series, created by the documentary filmmakers Kirby Dick, Amy Ziering and Amy Herdy, includes extensive interviews with Dylan and Mia Farrow, as well as Dylan’s siblings and family friends. It includes footage of Dylan Farrow at age 7 recounting to her mother, who is behind the camera, what she says her father did to her in August 1992 — videotape that has never before been released publicly. Letty Aronson, Mr. Allen’s sister, who is currently handling publicity requests for him, declined to comment on the documentary.That footage does not appear in the first episode, which explores the beginnings of Ms. Farrow’s relationship with Mr. Allen and observations about how Dylan became the subject of her father’s “intense affection.” Here is a recap of what we saw on Sunday night.Mia Farrow, center, with, from left, her children Daisy, Fletcher, Soon-Yi and Lark.Credit…HBO‘Idyllic, most of the time’The series opens at a 1992 news conference at the Plaza Hotel in New York, during which Mr. Allen defends himself against the abuse allegations and accuses Mia Farrow of instigating them.But the episode quickly veers away from the account of Mr. Allen, who did not participate in the series but whose perspective is often captured through audio snippets of his recent memoir “Apropos of Nothing.” It turns to an adult Dylan Farrow, now 35, who is seen flipping through a family photo album.Dylan Farrow, who was born in Texas and adopted as a baby, recounts a childhood that was “idyllic, most of the time,” describing what it was like to be the child of a famous Hollywood actress and director: memories of stumbling around film sets as a child, being on private planes for family vacations, swimming at “posh” hotel pools — all of it illustrated by home-video footage shot by Ms. Farrow as her children were growing up.But below the surface of this bustling, unconventional family — nine children, taken care of by unmarried movie-star parents — things were complicated.The Hollywood power coupleThe episode rewinds to the early romance between Mia Farrow and Woody Allen, starting when they first met at Elaine’s, the Manhattan restaurant, in 1979. Ms. Farrow recalls how the couple would flash their lights at each other from their apartment windows, which were visible to each other from across Central Park. The signal was a way of saying “I love you,” she said. Hanging a red towel out the window meant, “Love you huge.”Despite the fact that Ms. Farrow already had seven children — three biologically with her husband at the time, André Previn, and four of them adopted — she said she accepted that Mr. Allen told her that he had “zero interest in kids.”But gradually, Mr. Allen began to spend more time with the children at the home in Connecticut and at his apartment in the city, establishing a particularly strong bond with Moses Farrow, whom Ms. Farrow adopted after her divorce from Mr. Previn.Mr. Allen (holding Dylan) and Ms. Farrow and the rest of the family. In the documentary, Dylan Farrow says her childhood was “idyllic, most of the time.” Credit…HBOGrowing the familyWhen Ms. Farrow wanted to expand the family even further, she said, Mr. Allen told her that he still didn’t want any responsibility for a child of his own but that he “might be more kindly disposed if it was a little blond girl.” Ms. Farrow ended up adopting Dylan, who quickly became the subject of Mr. Allen’s affections. Two years later, Ms. Farrow had a son, Ronan Farrow, who was initially called Satchel. (Ms. Farrow later suggested in a 2013 interview with Vanity Fair that Ronan may have been the child of Frank Sinatra, not Mr. Allen.)In 1991, Ms. Farrow agreed to a family dynamic that would shape the legal conflict in the years to come: Mr. Allen adopted Dylan Farrow and Moses Farrow.An ‘inappropriately intense’ relationshipThe heart of the first episode is a series of interviews with members of the Farrow family and friends, some of whom have never spoken publicly, who say that they witnessed behavior by Mr. Allen toward Dylan Farrow that seemed inappropriate or made them uncomfortable.Dylan Farrow said that she has memories of getting into bed with her father — both of them in their underwear — and he would wrap his body around her “very intimately.” A friend of the family, Priscilla Gilman, who became close with the family while dating Matthew Previn, one of Mia Farrow’s eldest sons, recalled that she witnessed Mr. Allen in that situation, getting out of the bed in his underwear. Ms. Gilman, who often spent time with the children, said that she also saw Dylan Farrow sucking Mr. Allen’s thumb. (Ms. Gilman said Mr. Allen told her that sucking his thumb calmed his daughter, but an adult Dylan Farrow now sees it as a violation, recalling that her father had directed her specifically on how to do so.)Mia Farrow’s sister Tisa Farrow said in an interview that she once saw Mr. Allen’s hand linger “suggestively” between Dylan Farrow’s buttocks when applying sunscreen.Mia Farrow, who recalled seeing Mr. Allen kneeling in front of their daughter or sitting next to her with his face in her lap, said that she had at one point confronted him about what she had been witnessing, saying that she was not “comfortable with the way that you’re handling her and looking at her.” She said that Mr. Allen became angry and that she ended up apologizing profusely. But then a respected psychiatrist in Ms. Farrow’s apartment building, Ethel Person, called to tell her that there was something “off” about the way Mr. Allen greeted Dylan Farrow. Mr. Allen then agreed to see a psychologist.The psychologist said she saw Mr. Allen being “inappropriately intense” with Dylan Farrow. But, Ms. Farrow tells the filmmakers, the therapist did not believe the behavior was sexual — even if onlookers or the child herself might perceive it as sexual.A young Dylan Farrow. Mr. Allen wrote in his memoir released last year, “I adored Dylan and spent as much time with her as possible from her infancy on.”Credit…HBODylan’s changing behaviorIn an interview with the filmmakers, Dylan Farrow says that she had loved her father but that she received “intense affection all the time”; the people around her, including Ms. Gilman and her brother Ronan, noticed that she would often scramble away or try to hide when Mr. Allen called her over or entered the room.“Over time, Dylan went from being outgoing and effervescent and talkative to her having this sadness and this withdrawn quality,” Mr. Farrow said in an interview with the filmmakers.Mr. Allen has denied having ever been sexually inappropriate or abusive toward Dylan Farrow, instead portraying himself in his own writing as an initially reluctant father who surprisingly became enamored with his daughter and enjoyed showering her with affection. In part of his memoir that was included in the episode, Mr. Allen wrote: “I adored Dylan and spent as much time with her as possible from her infancy on. I played with her, bought her endless toys, dolls, stuffed animals, My Little Ponies.”The turning pointThen, in January 1992, came the discovery that changed everything. Ms. Farrow said that she visited Mr. Allen’s apartment to retrieve a coat and discovered, next to the phone, racy Polaroid photos of her college-age daughter, Ms. Previn.Ms. Farrow said she remembered putting the photos in her pocket and leaving, in shock. When she returned home, she said that she confronted Ms. Previn. (Ms. Previn did not participate in this documentary.)Dylan Farrow’s therapist advised her mother to tell the children about the photos, Mia Farrow said. She was reluctant, but she did, and Dylan Farrow said it was the first time she realized that she was perhaps not the only one at the receiving end of her father’s behavior, saying that she thought to herself, “Oh, it’s not just me.”AdvertisementContinue reading the main story More