Hard Truths (Movie)

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    New York Film Festival Pitches Its Ever-Expanding, Global Tent

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    Standout selections include “Nickel Boys,” the Mumbai-set “All We Imagine as Light” and the documentary “Dahomey,” about African repatriation.Every year, the New York Film Festival sets up a big tent at Lincoln Center and invites its hometown to the greatest show on earth, or at least to watch some of the finest movies from across the globe. This year is no different, with standout selections that include the opening-night attraction, “Nickel Boys,” RaMell Ross’s tender, beautifully expressionistic adaptation of the Colson Whitehead novel; “All We Imagine as Light,” Payal Kapadia’s delicately observed, stirring drama about three women living in Mumbai; and “Dahomey,” Mati Diop’s intellectually electrifying documentary about the fraught complexities of repatriation.Over the decades, the festival’s tent has grown larger and its attractions more expansive. The main lineup and the Spotlight section feature a mix of established and lesser-known auteurs, as well as a smattering of stars. This is where you can find the recommended latest from Mike Leigh (“Hard Truths”) and Pedro Almodóvar (“The Room Next Door”), as well as the second and third parts of Wang Bing’s absorbing documentary trilogy about young people in China — “Youth (Hard Times)” and “Youth (Homecoming)” — which together run a whopping 378 minutes, about an hour longer than Julia Loktev’s 324-minute “My Undesirable Friends: Part I — Last Air in Moscow,” about journalists in today’s Russia.Marianne Jean-Baptiste in Mike Leigh’s “Hard Truths.”Creativity MediaIn 1963, its inaugural year, the festival presented 21 new feature films, and created a major stir. Not everyone on Lincoln Center’s board had been happy about the prospect of movies sharing space with the performing arts, with one member carping, “What’s next, baseball?” The festival programmers pushed on, and the film lovers came running. A critical and financial success, the ’63 iteration even made the cover of Time magazine, which trumpeted that the event “may well mark for Americans a redefinition of what movies are and who it is that sees them.” Six years later, the cultural legitimation of movies hit another milestone with the formation of what’s now known as Film at Lincoln Center, which runs the festival.Given that such snobbism about movies now seems quaintly absurd, and given too the ubiquity of festivals, it can be difficult to convey what the New York Film Festival meant when it was founded. Although Cannes and Venice had been around for decades, festivals hadn’t yet emerged as the crucial international distribution network that they are now for smaller, less mainstream work. In 1963, the big Hollywood studios were releasing bloated epics like “Cleopatra,” and art houses and audiences were both quickly growing. Yet the movies still had a maddening reputation problem. In an editorial titled “The Film as Art” published the day the first festival opened, The New York Times made a sweetly sincere case for the event.“Moviegoers and moviemakers are divided into two unequal parts in this country,” the editorial began. “The vast majority of the moviegoers go to see what the moviemakers call ‘product.’” The selections in the festival, by contrast, the editorial continued, “dignify movies in this country; tell the world that we too are interested in cultural efforts.” I’ve quoted these words before, and I’m sure that I laughed the first time I read them. Even so, they bear repeating given the state of the art and industry, especially in the United States, where movies are still referred to as product (and content) and the Oscar race tends to generate more attention than the movies do. These days, any defense of art bears repeating.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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      Oscar Contenders Emerge After Film Festival Season

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      After film festivals in Venice, Telluride and Toronto, a slate of contenders has emerged. Still, there are few front-runners.Fall foliage may still be weeks away, but the tea leaves of Oscar season are ready to be read.Now that festivals in Venice, Telluride and Toronto have concluded and all but a handful of this year’s contenders have had their first public peek-out, the story is beginning to come into focus. And unlike the last two years, which were dominated by the season-long sweepers “Oppenheimer” and “Everything Everywhere All at Once,” this race seems much more wide open.Still, two movies already look like significant contenders across the board. One is “Conclave,” a handsomely mounted thriller about sneaky cardinals plotting to pick a new pope. It premiered at Telluride and stars Ralph Fiennes and Stanley Tucci. Some of my fellow journalists sniffed that “Conclave” was just a potboiler with prestige trappings, but I think that’s exactly what will appeal to Oscar voters, who love to reward a rip-roaring yarn as long as it’s well-made with a soupçon of social-issue relevance. Directed by Edward Berger, whose “All Quiet on the Western Front” won four Academy Awards, “Conclave” could be a big hit with audiences, too.If Brady Corbet’s “The Brutalist” felt like the biggest movie of Venice, that’s in part because of its mammoth 215-minute run time, which comes complete with a 15-minute intermission. There’s no denying the outsize ambition of this film, which was shot on the old-fashioned VistaVision format and chronicles the epic tribulations of a Jewish architect (Adrien Brody) as he emigrates to America after World War II. Expect plenty of awards recognition for Corbet and supporting performers Guy Pearce and Felicity Jones, as well as a surefire Oscar nomination for Brody, who somehow still holds the record for the youngest best-actor winner after taking that Oscar at 29 for “The Pianist.”Two buzzy performances from big stars also debuted in Venice. Daniel Craig looks likely to earn his first Oscar nomination, for Luca Guadagnino’s “Queer,” in which he plays an American expat besotted with a young man in midcentury Mexico City. And Nicole Kidman won the best actress award at Venice for the erotic “Babygirl,” which also finds her falling for a younger man. (Perhaps age-gap romances are the new Oscar bait.)The Venice trophy will help Kidman build a case for her sixth Oscar nomination (she won for “The Hours”), though she’ll face a surplus of strong lead-actress contenders who also emerged from the fall fests: Angelina Jolie as the opera diva Maria Callas in “Maria”; the Brazilian star Fernanda Torres in “I’m Still Here”; Marianne Jean-Baptiste as a mouthy malcontent in Mike Leigh’s “Hard Truths”; and the double act of Tilda Swinton and Julianne Moore in Pedro Almodóvar’s empathetic “The Room Next Door,” which won the top prize in Venice, the Golden Lion.The director Jason Reitman has crafted a crowd-pleaser in “Saturday Night,” a comedy about the chaotic backstage negotiations that preceded the debut episode of “Saturday Night Live,” though its wide Oct. 11 release will have to go well if the movie hopes to sustain the momentum it earned from Telluride and Toronto. “Joker: Folie à Deux” has the opposite problem: Though this sequel to the billion-dollar hit is certain to make money when it’s released next month, it was coolly received by Venice critics and will face a much more uncertain awards future than its predecessor.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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      At Toronto, ‘Dahomey,’ ‘Nightbitch’ and ‘Hard Truths’ Prove Highlights

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      Films by Mati Diop, Raoul Peck and Mike Leigh, among others, mesh the personal and political in engrossing, insistent ways.Each year at the Toronto International Film Festival, I travel the world virtually, moving through space and time in vivid color and in black and white. On the first day alone of this year’s event, which wraps Sunday, movies took me from Mexico to France, Benin, South Africa, the United States, England and Japan. One gift of an expansive, border-crossing festival like Toronto is that it reminds you there is far more to films than those that come out of that provincial town called Hollywood.It’s been a few rough years in the festival world, which continues to struggle with the aftershocks of the pandemic as well as the back-to-back 2023 actors and writers strikes, which left Toronto and other events with near-empty red carpets. Toronto endured another sizable hit when it lost a longtime major backer (Bell Canada). Since then, the festival has added a fleet of new sponsors and a market for buying and selling movies, a venture backed by major money from the Canadian government. That’s great news for this festival and for the enduring health of the film world, which is sustained and rejuvenated by the kinds of aesthetically adventurous, independently minded movies showcased at Toronto and other festivals.The other welcome news involves the good and the great, the provocative and the divisive movies headed your way in the coming months. Despite the usual grumblings about the program’s offerings (I’ve heard from other programmers that 2024 is a fairly weak year) and a sense that Toronto seems less vital than in the past, this year’s lineup did what it reliably does each fall. It helped restore my faith that however catastrophic the state of the movie industry seems to be, there are always filmmakers making worthy and even transcendent documentaries and narrative fiction. The forecast is often gloomy in movieland, but visionaries like Mati Diop and art-house stalwarts like Mike Leigh and Pedro Almodóvar are keeping the sky from falling.The photographer Ernest Cole in Raoul Peck’s documentary about him. Magnolia PicturesIn 2019, Diop, a Senegalese-French director born in Paris, made history at Cannes with her debut feature, “Atlantics,” when she became the first Black woman in the event’s main competition. (It won the Grand Prix, or second prize.) A dreamily haunting, haunted tale of love and loss, leaving and staying, “Atlantics” centered on a woman whose male true love leaves Senegal for Europe, a project that Diop likened to “the Odyssey of Penelope” when we spoke at Cannes. In her latest, “Dahomey” — which won top honors at the Berlin festival — Diop charts another fraught course, this time by exploring the political and philosophical questions raised when France returned 26 stolen treasures to Benin in 2019.“Dahomey” is a stunning exploration of cultural and artistic patrimony in the wake of colonialism; it’s one of the great movies of the year. (It will be at the New York Film Festival soon.) Running a richly complex, perfect 68 minutes, “Dahomey” opens in Paris and wryly announces its themes with a shot of gaudily colored Eiffel Tower souvenirs of the kind sometimes sold by African street vendors. From there, Diop skips over to the Quai Branly Museum where the treasures — which were looted in 1892 by French troops when Benin was known as Dahomey — are being packed up for their momentous trip home. By the time one of the statues began speaking in bassy, hypnotic voice-over, I was thoroughly hooked.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