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      Why Japanese Oscar Contender ‘Black Box Diaries’ Isn’t Being Shown in Japan

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      Shiori Ito’s searing indictment of Japan’s justice system in handling sexual assault cases is nominated for best documentary feature at Sunday’s Academy Awards.A film by a Japanese woman about her search for justice from uncooperative authorities after she reported being raped is a contender at Sunday’s Academy Awards. Yet, despite being the first full-length documentary made by a Japanese director ever nominated for an Oscar, the movie cannot be seen in her home country.In the film, “Black Box Diaries,” the journalist Shiori Ito tells the story of what happened to her after she reported being raped at a hotel by a prominent television journalist and the ordeal she says she experienced with Japan’s justice system.The film, which is up for best documentary feature, premiered in January 2024 at the Sundance Film Festival. It was released in U.S. theaters in October and can currently be seen or is slated to be shown in over 30 countries. However, those do not include Japan.The Japanese subsidiary of a major streaming service declined to distribute the film in early 2024, the filmmakers said, and theaters have so far displayed little interest in showing it. The prospects for the film’s release grew even murkier in October when Ms. Ito’s former lawyers and other previous supporters, including fellow journalists, spoke up against her, saying she had used footage without the consent of people in it.Ms. Ito with the producers of “Black Box Diaries,” Hannah Aqvilin and Eric Nyari, at the Oscars nominees dinner in Los Angeles on Tuesday.Frazer Harrison/Getty ImagesThis is not the first time that Japan has balked at showing unflattering films that were well received in Hollywood. “The Cove,” a documentary about a dolphin hunt in the town of Taiji, and “Unbroken,” a feature film about cruel treatment of Allied prisoners during World War II, both opened at least a year after their U.S. premieres. “The Cove,” which was made by an American director, won the Oscar for best documentary feature in 2010.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A Guide to the Documentary Oscar Nominees

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      A quick guide to the nominated films and why you should watch them.Since the best documentary feature category was first established at the Oscars in 1942, the nominees have been like a snapshot of the year: wars and social concerns, heroes and headlines. This year is no exception. On paper, each of the five nominees look as if they’re ripped from the headlines, chosen for some metric like “urgency” or “timeliness.”But these are no ordinary documentaries. In the past decade, the Academy has gotten much better about nominating nonfiction films that stretch and push at their boundaries, challenging audiences in how they convey their subject matter. Most opt to confront world events through intensely personal stories, and all of them carefully show why their individual stories have far-reaching implications.So, as the 2025 Oscars are upon us, here’s a quick guide to the nominated films and why you should watch them.With “Black Box Diaries” (streaming on Paramount+ with Showtime), the director Shitori Ito takes a courageously personal approach to her biting critique of the handling of sexual assault cases in Japan. In 2017, Ito held a news conference to announce allegations that a prominent Japanese journalist had raped her. In the documentary, she chronicles the fallout of that accusation. The film is both intimate and enraging. As Manohla Dargis wrote in her review, it’s “a tense and tangled crime story, one in which Ito is at once the victim, lead investigator, dogged prosecutor and crusading reporter.”My colleagues and I have written about “No Other Land” (in select theaters) a lot during the past year. It’s probably the most acclaimed documentary of the year, centering on the lives of families who have witnessed their homes, in the occupied West Bank region of Masafer Yatta, be demolished over and over again. Despite its obviously timely story and a directorial team of two Palestinian and two Israeli filmmakers, it hasn’t been able to secure a distribution deal in the United States, which is why it isn’t available to stream here. If you can see it in a theater, don’t overlook how well it’s made, mixing home video archives, journalistic footage and conversations between the filmmakers to powerful effect.“Porcelain War” (in select theaters) has picked up a raft of awards from guilds and critics this season. It, too, looks through the lens of the personal to tell an urgent story — this one about the war in Ukraine. The film centers on Slava Leontyev, who directed the film with Brendan Bellomo, and who is a ceramist as well as a member of a Ukrainian special forces unit. Art and warfare blend in the film, which melds GoPro footage from the battlefield with looks at Leontyev’s work, finally landing on a hopeful note about the value of beauty in darkness.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Becoming Katharine Graham’ Review: A Newspaper Leader, in Her Voice

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      The sibling filmmakers George and Teddy Kunhardt use a straightforward approach in this documentary about the Washington Post publisher, letting a pioneer shine.To tell the story of Katharine Graham, who led The Washington Post during a pivotal period for the paper and the nation, the sibling filmmakers George and Teddy Kunhardt use a standard approach, interweaving archival material with talking-head interviews. The result is a conventional documentary, and by all means an admiring one. But her story is so compelling — wrenching, inspiring, precedent-setting — that the straightforward account, with its fluidly constructed chronology and Graham’s voice front and center, hits the mark.Graham took the helm of the Post in 1963, after the suicide of her husband, Phil Graham, the dynamic publisher who had been tapped for the role by her father. At the time, Katharine Graham was stepping out of the shadows and confronting the cultural taboo against female bosses. Still, it took her a year to summon the courage to ask a question at an editorial meeting.Soon she’d be presiding over the newspaper’s transition from a local publication to one of national impact as it went head-to-head with the Nixon administration — first when it joined The New York Times in publishing the Pentagon Papers, and then when it led the pack in reporting on the Watergate scandal. Excerpts from Richard Nixon’s secret White House tapes — the gift to historians that keeps on giving — reveal, in conversations spewing misogynistic venom, how intent the president was on destroying Graham and her company.The directors also highlight The Washington Post’s 1975 labor dispute with its printing press operators, hewing closely to the management perspective; a more robust and balanced look would have deepened the documentary, or at least injected a welcome bit of friction into its celebratory mood.This is a strong portrait despite such lapses, in large part because it’s fueled by Graham’s voice, via the audiobook of her autobiography and an ample selection of interviews. (She died in 2001, at 84.) With her distinctive upper-crust inflection and striking candor, she quietly explores her unlikely reinvention from self-doubting wife and daughter to groundbreaking businesswoman. Through her eyes, “Becoming Katharine Graham” illuminates a charged moment in American history.Becoming Katharine GrahamNot rated. Running time: 1 hour 32 minutes. Watch on Prime Video. More

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      2025 New York International Children’s Film Festival

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      Girls prevailing against the odds is one theme that has surfaced among the 13 features and 79 short films in this year’s festival in New York.A teenager rescues and defends an infant creature whose species the surrounding adults have condemned as vicious and predatory. Another adolescent battles injury and other hurdles in a quest for basketball stardom. A small child in Mexico contracts polio but finds solace in the world of art. And an 11-year-old Kurdish immigrant arrives in Berlin, ultimately relying on soccer talent to feel at home again.These young people, protagonists in works that will be shown in the 2025 New York International Children’s Film Festival, are all fierce, fearless and — perhaps most striking — female. This year’s festival, which begins a three-weekend run in Manhattan on Friday, includes 13 features and 79 short films, many of them proudly celebrating girls and women.Although the slate doesn’t neglect films about boys, among them tales of time-traveling brothers and a boatbuilding father-son team, the choices exalt girl power more than any of the festival’s selections in recent memory.“A lot of these stories of strong girls and women are true-to-life stories,” Maria-Christina Villaseñor, the festival’s programming director, said in an interview. She referred to two films that have their initial festival showings this weekend (every feature has two screening dates): Erica Tanamachi’s live-action documentary “Home Court” follows the Cambodian American basketball player Ashley Chea from her California preparatory school to her freshman year at Princeton, while the animated “Hola, Frida,” by André Kadi and Karine Vézina, draws on the early years of the artist Frida Kahlo.“Obviously, the story of Frida Kahlo is a story that a lot of people feel like they’re familiar with, but telling it from the perspective of her child self is really interesting,” Villaseñor said.Delivering unusual fare that young viewers might otherwise miss — short films, offbeat independent cinema, subtitled foreign movies — is a hallmark of the festival, now in its 29th year and one of the largest and broadest of its kind. (It also operates classroom programs and a national touring film slate.) And unlike many film fairs for children, the New York festival, which offers program tickets starting at $17 (a full-festival pass is $135), includes multiple screenings for teenagers and even college students, who can see some of their peers’ work in a showcase on March 15.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘We Beat the Dream Team’ Puts a Twist on the Sports Movie Formula

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      This film tells the story of the college players who defeated the 1992 U.S. men’s basketball team, filled with N.B.A. All-Stars, during a scrimmage before the Olympics.Whether documentary or fiction, the sports movie template is so well-worn — we were underdogs, then we won, and it was amazing — that it’s rare to execute a new twist on the formula. And in some ways, “We Beat the Dream Team” (streaming on Max), directed by Michael Tolajian, follows that recipe. Its title suggests the ultimate underdog story: In June 1992, a group of elite college basketball players was recruited to scrimmage the United States men’s basketball team before the Barcelona Olympics. But on the first day, kind of by accident, the underdogs beat the so-called Dream Team.It was the first year that pro basketball players were permitted to compete at the Olympics, and so that team consisted of a murderer’s row of N.B.A. players: Larry Bird, Magic Johnson, Charles Barkley, Scottie Pippen, John Stockton, David Robinson, Patrick Ewing, Karl Malone, Chris Mullin, Clyde Drexler and, of course, Michael Jordan. One solitary college player, Christian Laettner, joined them.“We Beat the Dream Team” focuses on the story told by the other guys. They’re the college students who — as several of them point out repeatedly during the film — would have been the Olympic team, if the eligibility rules hadn’t changed. Instead, as then-college player Grant Hill says, “We were the crash test dummies.” Arriving at the training facility feeling both salty and star-struck, they were ready to hit the court and aware they were specifically there to lose.To tell the story, Tolajian assembled those players, many of whom (including Hill, Chris Webber, Allan Houston and Penny Hardaway) had their own starry N.B.A. careers since that summer over 30 years ago. They are visibly full of fire as they recall the moment. Interviews with the players and coaches are mixed with archival footage from the games to give you the sense of the proceedings, focusing on the day that the younger guys beat their heroes on the court — and what happened next.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Art Spiegelman: Disaster Is My Muse’ Review: Graphic Doom

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      In this straightforward documentary, the acclaimed cartoonist reflects on his Holocaust memoir, “Maus,” and other masterworks of subversion.A conventional documentary about a distinctly unorthodox figure, “Art Spiegelman: Disaster Is My Muse” has a lot going for it, mostly its title subject and his circle of cool pals and champions. Intimate if oddly unrevealing, it offers an overview of Spiegelman’s life, times and inspirations, charting how a Queens kid created “Maus: A Survivor’s Tale,” his 1986 graphic novel about the Holocaust. “Maus” and its equally lauded second installment are such an important cultural touchstone that the Pulitzer Prize board awarded it a special citation in 1992. It’s so powerful that it has been banned in some American school districts.Those schools, Spiegelman suggested in a 2023 interview, apparently wanted “a kinder, gentler, fuzzier Holocaust” to teach children. The interviewer, from PEN America, assured readers that Spiegelman was “darkly” joking, and maybe he was. Then again, perhaps it is the Holocaust that some want to jettison from minds and curriculums: Anne Frank’s “The Diary of a Young Girl” has also been banned in American schools. Whatever the case, the framing of Spiegelman’s comments brings to mind some of the telling anxiety — about taste, history, propriety, ostensibly highbrow art and low — that at times runs through commentary on “Maus” and “Maus II: A Survivor’s Tale: And Here My Troubles Began” (1991).“Making a Holocaust comic book with Jews as mice and Germans as cats would probably strike most people as flippant, if not appalling,” a reviewer for The New York Times wrote of the first book on its release, quickly and instructively adding that it’s “the opposite of flippant and appalling.” Writing about “Maus II,” another Times reviewer began his appraisal by reassuring readers of this installment’s cultural legitimacy and seriousness. “Art Spiegelman doesn’t draw comics,” the reviewer began, asserting that the book resists labels.Well, yes but no: “Maus” is, among other things, an illustrated masterpiece. (It’s since been published as a single edition, “The Complete Maus.”) It’s a history, a biography and an autobiographical howl as well as a milestone in the history of comics and a foundational American work about the Holocaust. It traces alternating story lines. One involves Spiegelman’s life, including his difficult relationship with his father, Vladek, and the painful death of his mother, Anja. The other story line tracks the family’s life in Europe before World War II, continues through the horrors his parents endured, the liberation of the death camps, an interlude in Sweden (where Artie was born) and a new, at times excruciating life in America.Directed by Molly Bernstein and Philip Dolin, “Disaster Is My Muse” covers some of that same material, if more prosaically. Using a mix of archival and originally shot material, it wends between the past and the present to chart Spiegelman’s life, giving you a sense of both the man and the artist though without satisfying depth. His story begins in 1948, the year he was born, but more truly seems to have started when he was a boy in New York and accompanying his mother on errands. In a drugstore, he spied a copy of “Inside Mad,” a collection of Mad magazine work that featured a grotesque cartoon of a hyena-like woman by Basil Wolverton in the style of a Life magazine glamour girl. It was, Spiegelman says, “the cover that launched a thousand misbegotten thoughts and brains,” his obviously included.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      “No Other Land” Is the Oscar-Nominated Film That No Studio Will Touch

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      “No Other Land,” about the destruction of a village in the occupied West Bank, is one of the year’s most acclaimed films. Still, U.S. studios are unwilling to distribute it.No documentary this season has been more talked about or acclaimed than “No Other Land,” which chronicles the besieged community of Masafer Yatta in the occupied West Bank as Israeli forces demolish residents’ homes and expel families from the land they have lived in for generations, claiming the area is needed for a military training ground.Directed by the Palestinian filmmakers Basel Adra and Hamdan Ballal alongside the Israeli filmmakers Yuval Abraham and Rachel Szor, “No Other Land” has received critical acclaim and collected many honors on the festival circuit. After winning the best documentary award at its Berlin International Film Festival premiere last February, the film also earned the same prize at the Gotham Awards and from major critics’ groups in New York and Los Angeles. Just weeks ago, it received an Oscar nomination.Still, no American studio has been willing to pick up this hot-button film, even though distributors typically spend this time of year eagerly boasting about their Oscar-nomination tallies.“I still think it’s possible, but we’ll have to see,” Abraham told me last week. “It’s clear that there are political reasons at play here that are affecting it. I’m hoping that at a certain point the demand for the film will become so clear and indisputable that there will be a distributor with the kind of courage to take it on and show it to the audience.”In the meantime, the directors have embarked on a self-distribution plan that has put “No Other Land” into 23 U.S. theaters; on the back of strong box office, it will continue to roll out into additional cities over the coming weeks.Adra and Abraham are not just part of the film’s directing team, but its two primary subjects. The 28-year-old Adra was raised in Masafer Yatta and has been documenting the forced expulsion since he was a teenager. Over the course of the film, he builds a strong but tense bond with Abraham, who lives in Jerusalem but travels frequently to Masafer Yatta to write about the situation there for an Israeli audience.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A New Documentary Uncovers One of Pop’s Tragic Mysteries: Q Lazzarus

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      Her haunting song “Goodbye Horses” had a star turn in “The Silence of the Lambs,” but the enigmatic artist behind it seemingly vanished for decades after.For years, it was one of pop music’s most persistent mysteries: Whatever happened to Q Lazzarus? And furthermore: Who was she in the first place?Most listeners who had heard of the genre-bending artist — if they’d heard of her at all — encountered her song “Goodbye Horses” in Jonathan Demme’s 1991 blockbuster “The Silence of the Lambs” as the backdrop to the scene where the serial killer Buffalo Bill applies makeup and poses strikingly nude. The creepy new wave track, with its minor-key, sci-fi synths and androgynous vocals, harmonized impeccably with the scene’s ominous visuals.“Goodbye Horses” was the only single Q Lazzarus officially released on a physical format while she was alive, but it came with an incredible story: Demme had encountered the musician at her day job — as a taxi driver — and fell in love with the music she played during the ride. But after her song’s star turn in his film, Q Lazzarus’s career stalled, and by the mid-90s, she had seemingly vanished entirely.Some fans and journalists made efforts to track down this enigmatic voice over the years, but the filmmaker who ended up telling her story in the new documentary “Goodbye Horses: The Many Lives of Q Lazzarus” met the artist born Diane Luckey the same way Demme did: in her cab.“Getting into her car was a completely coincidental or fated, as Q and I both felt, meeting,” Eva Aridjis Fuentes, the movie’s director, said in an interview. The two sang along to Neil Young’s “Heart of Gold”; Aridjis Fuentes thought the woman behind the wheel looked familiar, and asked if she’d ever seen Q Lazzarus. They formed a friendship that resulted in Aridjis Fuentes’s film, which opens in a handful of cities including London, Los Angeles and New York next month, with a streaming release expected to follow. On Friday, the Brooklyn record label Sacred Bones will release its soundtrack — effectively the first full-length Q Lazzarus release.“We’re doing this documentary to let you know what went wrong and what happened,” Luckey says in the film. “The truth” about why she disappeared: “Because I had to.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More