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      Watch Adam Driver Keep Time in a Scene From ‘Ferrari’

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      The director Michael Mann narrates a sequence from his biopic about Enzo Ferrari.In “Anatomy of a Scene,” we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series on Fridays. You can also watch our collection of more than 150 videos on YouTube and subscribe to our YouTube channel.The spiritual meets the primal in this scene from the biopic “Ferrari.”As the sequence begins, the automotive mogul Enzo Ferrari (Adam Driver) arrives at a workers mass. The priest gives a speech about the miracle of the internal combustion engine. But attendees are distracted by another event happening simultaneously at the Autodromo, a nearby racetrack. Maserati is challenging Ferrari for the record there. So scenes of worship are intercut with the driver, Jean Behra (Derek Hill, the son of Phil Hill, the first American-born Formula 1 champion), navigating the course. In the church, Ferrari and his workers have their stopwatches out to time the Maserati.Narrating the scene, the director Michael Mann said, “My serious intent was to imbue into audiences minds what’s in our characters’ minds, which is there’s something almost religious and deadly serious about it. The metaphysical, the savage power is really what is wedded together as a value in this scene.”Read the “Ferrari” review.Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More

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      How a Culture Editor Covers the Kids’ Entertainment Beat

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      Laurel Graeber, who has covered kids’ entertainment at The Times for nearly three decades, shared her favorite stories and interviews from the beat.Times Insider explains who we are and what we do and delivers behind-the-scenes insights into how our journalism comes together.Laurel Graeber grew up loving the theater and museums. But she never thought she would write about them for The New York Times — or that she would do so for nearly three decades.“I was an editor, but I always wanted to write,” said Ms. Graeber, who helped lead the Culture desk’s copy department for more than 10 years before she retired from full-time work in 2017. “And when the freelance assignment of writing our weekend kids’ entertainment column became open, I said yes.”She has written regularly about culture for young people for nearly three decades, spotlighting the best activities that parents or caregivers can do with children each weekend in New York City. She also writes features on new television shows, movies, museum exhibitions and podcasts for kids.“What I find most enjoyable is stuff for adults that’s also good for kids, but not necessarily geared toward them,” Ms. Graeber said in a recent interview.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?  More

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      ‘The Kitchen’ Review: No Direction Home

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      Directing their first feature, Kibwe Tavares and Daniel Kaluuya spin a warmly humane story of cross-generational connection.The vitality and bonhomie that characterize many scenes in “The Kitchen,” a dystopian drama set in a near-future London, might seem at odds with the film’s focus on deprivation and persecution. Yet there’s nothing despairing about the close-knit, mostly nonwhite community that swarms and surges inside the titular public housing project, one of the last to be swallowed by private developers.It’s an estate under siege. From the authorities, who block essential services and food deliveries, and from the police, who deploy surveillance drones and armed raids. Inside this vibrant warren of market stalls and cell-like living spaces, though, the air hums with the punchy energy of people pulling together against a common enemy. Standing alone is Izi (a fabulous Kane Robinson), a selfish striver saving for a deposit on an upscale apartment. Izi sells burial packages at a futuristic funeral home, spinning fabricated tales of personal loss to juice his commission. His plans are soon compromised when he encounters Benji (Jedaiah Bannerman), a recently orphaned mourner who proves difficult to dislodge.In part an outcry against gentrification and the privatization of England’s once-thriving social housing, “The Kitchen” dilutes its abjection with unlikely humor and a vividly eclectic soundtrack (mostly dispensed by the community’s resident D.J., played by the former soccer star Ian Wright). The direction, by Kibwe Tavares and Daniel Kaluuya, is sure and unfussy, spinning a warmly humane story of cross-generational connection. Whenever the film threatens to slide into sentiment, the actors yank it back, with Hope Ikpoku Jr. especially effective in a too-brief turn as a wily competitor for Benji’s allegiance.Against expectation, “The Kitchen” ends with a question mark rather than an exclamation point, having said all that it wants and not a word more than it needs.The KitchenRated R for smashed windows and broken promises. Running time: 1 hour 47 minutes. Watch on Netflix. More

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      ‘Oppenheimer’ Leads BAFTA Nominees

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      Christopher Nolan’s movie received 13 nods, and will compete for best picture against the likes of “Killers of The Flower Moon” and “Poor Things,” but not “Barbie.”“Oppenheimer,” Christopher Nolan’s movie about the development of the atomic bomb, on Thursday received the highest number of nominations for this year’s EE British Academy Film Awards, known as the BAFTAs.The film secured 13 nods for Britain’s equivalent of the Oscars, including for best film, where it is up against four other titles including “Killers of The Flower Moon,” Martin Scorsese’s epic about the Osage murders of the 1920s, and “Poor Things,” Yorgos Lanthimos’s sexually-charged take on a Frankenstein story starring Emma Stone. “Poor Things” followed “Oppenheimer” with 11 nominations overall.The other titles nominated for best film are “Anatomy of a Fall,” Justine Triet’s Palme d’Or winner about a woman accused of murdering her husband, and “The Holdovers,” Alexander Payne’s tale of a boarding school teacher who has to look after students during the holidays.The nominations for “Oppenheimer” come just days after the movie won three of the major awards at this year’s Golden Globes, and will be seen by many as further boosting its chances at this year’s Oscars; the BAFTA and Oscar voting bodies overlap. This year’s Oscar nominations are scheduled to be announced on Tuesday.Although “Oppenheimer” secured the most nominations, the highest profile categories featured a variety of movies. In the best director category, Nolan, Triet and Payne were nominated alongside Bradley Cooper for “Maestro,” his biopic of Leonard Bernstein; Jonathan Glazer for “The Zone of Interest,” a movie about day-to-day life at the Auschwitz concentration camp during the Holocaust; and Andrew Haigh for “All of Us Strangers,” an acclaimed British film about a lonely gay writer.Andrew Scott and Paul Mescal in “All of Us Strangers,” directed by Andrew Haigh.Parisa Taghizadeh/Searchlight Pictures, via Associated Press“Barbie,” Greta Gerwig’s blockbuster about the doll going on a journey of self-discovery, was not nominated in the best movie or best director categories, but Margot Robbie, its star, secured a nomination for best lead actress. Robbie will compete for that prize alongside the stars of other high-profile movies including Emma Stone (“Poor Things”), Carey Mulligan (“Maestro”) and Fantasia Barrino (“The Color Purple”). Sandra Hüller was also nominated for “Anatomy of a Fall,” as was Vivian Oparah for her role in the British rom-com “Rye Lane,” set in a diverse part of south London.Lily Gladstone, who earlier this month became the first Indigenous person to win a Golden Globe for best actress for her performance in “Killers of The Flower Moon,” was not nominated for a BAFTA.Leonardo DiCaprio, Gladstone’s co-star, was also snubbed in the best actor category. That category’s nominees instead included Cillian Murphy for “Oppenheimer,” Cooper for “Maestro” and Barry Keoghan for “Saltburn.” They will compete against Paul Giamatti for his lead role in “The Holdovers,” Colman Domingo for “Rustin” and Teo Yoo for “Past Lives,” Celine Song’s wistful movie about two childhood friends who keep reuniting in later life.In 2020, the BAFTAs’ organizers overhauled the awards’ nomination processes in an attempt to improve the diversity of nominees. The changes included assigning voters 15 movies to watch each before making their selections. Sara Putt, the chair of BAFTA, said in an interview that the inclusion of Oparah among the leading actress nominees showed that the changes were helping to highlight smaller films, but she added that there was “still more to do” to increase diversity in the industry.The winners of this year’s BAFTAs are scheduled to be announced on Feb. 18 in a ceremony at the Royal Festival Hall in London, hosted by David Tennant. The ceremony will be broadcast on BritBox in the United States. More

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      ‘The Breaking Ice’ Review: Desire on the Border of China and North Korea

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      A love triangle takes shape among three 20-somethings in this melancholy film by Anthony Chen.In “The Breaking Ice,” a new film written and directed by Anthony Chen, three lost 20-somethings find one another in a liminal world. The movie takes place in Yanji, a Chinese city bordering North Korea, where two languages and cultures mix in the shadows of snow-blanketed mountains.In this icy town, Nana (Zhou Dongyu), a tour guide, crosses paths with Haofeng (Liu Haoran), a financier from Shanghai who is visiting for a wedding. She recognizes in him a melancholy that rhymes with her own, and invites him along to dinner with Xiao (Qu Chuxiao), a friend who works at a restaurant and pines after Nana.As the three down copious drinks, ride about on Xiao’s motorcycle and engage in youthful adventures, a love triangle takes shape — though it never results in predictable conflicts. It’s as if the cold, otherworldly solitude of Yanji sublimates the characters’ unrequited desires into a deeper yearning for connection. They are grateful to have each other, even if not in the ways they really want.The setting is rife with metaphoric potential, and it is here that Chen falters as a director. Haofeng’s depression is signaled by his habit of chewing on ice cubes and balancing dangerously on snowy cliffs; Nana repeatedly encounters reminders of her thwarted ice-skating career; and news reports of a North Korean defector appear throughout the film, provoking something in the restless Xiao.Deployed without subtlety, these motifs weigh down a film that, in its best moments, feels as light and refreshing as a cool breeze.The Breaking IceNot rated. In Mandarin and Korean, with subtitles. Running time: 1 hour 37 minutes. In theaters. More

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      ‘Which Brings Me to You’ Review: Out With the Old?

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      This rom-com boasts a clever conceit that at times feels a little cluttered.When Will stops midway through a makeout session with Jane in the romantic comedy “Which Brings Me to You,” it signals a kind of maturity on his part. And he’s met with surprise. Jane (Lucy Hale) was cool with a purely carnal interlude. Will (Nat Wolff) wants them to connect on a deeper level.Hale and Wolff make likable their romantically messy characters, a freelance journalist and an art photographer, in this movie directed by Peter Hutchings. After rethinking their coat-closet tryst — at a Jersey Shore wedding — the two reset and begin recounting their romantic histories over the next 24 hours.Her history tilts toward kind, deeply wounded men. His leans toward creative, vibrant women. The memories of these former romances unfold as visual vignettes, with each commenting on the other’s paramours. “Oh come on. … She’s really hot,” Jane says of Eve (Genevieve Angelson), the slightly older woman who spirited Will away from his college campus. “Oooh, Elton,” Wills says, hearing about the live wire (Alexander Hodge) who swept Jane off her feet before their relationship was upended by mental illness.Another Hutchings rom-com, “The Hating Game,” also starred Hale. And like that workplace comedy, this too features locations that may stir some nostalgia: Bahr’s Landing restaurant, Keansburg Amusement Park and the Asbury Park music venue the Saint.Based on the novel of the same name (by Julianna Baggott and Steve Almond, adapted by Keith Bunin), “Which Brings Me to You” is cleverly structured but often feels too crowded with the ghosts of lovers past. Then again, isn’t that the way with some of the most promising love affairs?Which Brings Me to YouNot rated. Running time: 1 hour 38 minutes. In theaters. More

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      ‘The End We Start From’ Review: A Watery Apocalypse and a New Beginning

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      Jodie Comer stars in a lethargic adaptation of Megan Hunter’s best-selling novel.Flooding is among the extreme weather disasters on offer on a planet with a changing climate, and that’s both catastrophic and, in a literary sense, poetic. The first apocalypse recorded in more than one ancient text is, after all, a deluge.But there is such a thing as too much symbolism, and “The End We Start From,” adapted from Megan Hunter’s acclaimed best-selling novel, is drowning. The action starts in a bathtub that’s slowly filling for a woman (played by Jodie Comer and identified in the credits only as “Woman”). She is heavily pregnant, and the bath is soothing, a weightless relief for her strained vessel of a body.As the water fills the bathtub inside, the world is filling up with water outside. Woman and her partner, R (Joel Fry), live in London, which is rapidly coming to resemble Venice without the bridges and islands. Woman goes into labor, and by the time the baby is born, she and R cannot return home. R, looking at the television, jokes about naming the baby Noah. They leave the hospital and head, like everyone else in England, for a village on higher ground. But they’re only permitted to enter because R’s parents live there, and because they have a two-day-old baby in the car.From here it’s a survival movie, a story in which Woman must protect her child through a series of shelters and journeys and fearsome encounters of a sort familiar in postapocalyptic tales. Separated from R, she yearns for him, wondering if the world will ever have a place for their little family again. She meets a friend, O (Katherine Waterston), whose baby is two months older than Woman’s and whose partner is not worth yearning for. They form a kind of connection through the wilderness, a friendship that might keep them both alive.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?  More

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      ‘Inside the Yellow Cocoon Shell’ Review: A Wanderer on a Spiritual Quest

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      An uncommonly strong debut from the Vietnamese director Pham Thien An asks existential questions without answers.The complex dance of doubt and religious faith is frequently cast in terms of a quest. One might be “on a faith journey,” or be “a lost soul,” or be “searching” for meaning and the divine — all images derived from the idea of starting at one place, keeping your eyes open, and ending up, ultimately, in some final destination. Small wonder that many human cultures imagine a wander in the wilderness, literal or metaphorical, as pivotal to one’s initiation into maturity. Some fresh wisdom and revelation comes from walking around in circles for a while.This spiraling, meandering trek is the underlying structure of “Inside the Yellow Cocoon Shell,” an uncommonly strong feature debut from the Vietnamese director Pham Thien An. The protagonist, Thien (Le Phong Vu), is dragged into a voyage of his own. Having grown up in a rural village, he now lives in Saigon, where he works and hangs out with his friends. It seems that any faith or belief in the soul or the transcendent has disappeared completely into his hard, cold urban exterior.But one day, sitting at a roadside cafe discussing faith with two buddies — one of whom is selling his possessions and moving to the countryside to seek a life of communion with the divine — he observes a terrible motorcycle crash.Initially he thinks little of the crash. You get the sense he’s seen a lot of this sort of thing before. But soon after, while he lies on a table in the early stages of an erotic massage, his phone rings. “God is calling,” he tells the masseuse. “God?” she asks. “It’s my client,” he replies.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?  More