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    ‘Love at First Sight’ Review: Sense, Sensibility and Statistics

    Two lovebirds-to-be meet at an airport in this unoriginal but sturdy Y.A. romance, which pivots on the probability of falling in love.It may be a cliché to suggest that a streaming original feels as if it were created to serve an algorithm, but rarely is a movie as openly besotted with patterns of data as “Love at First Sight,” on Netflix. Not only is the movie derivative, but its story actually pivots on the statistics of romance, and by extension the supposed romance of statistics.As in “500 Days of Summer,” the romance story whose fabric was recycled for this fleece pullover of a film, “Love at First Sight” features a narrator hyper-fixated on numerical values. Case in point: when we meet our two protagonists, Hadley (Haley Lu Richardson) and Oliver (Ben Hardy), the film encumbers us with a pedantic voice-over recitation of their heights, ages and average cellphone battery charges.Based on the Y.A. book “The Statistical Probability of Love at First Sight,” the movie traces 24 hours in the lives of these two students, who are both flying to London for significant family ceremonies. The pair meet cute at Kennedy International Airport, nap in conjoining business-class seats and very nearly kiss in line for the lavatory. Jameela Jamil, perhaps embodying the pair’s cosmic good fortune, narrates their budding romance while appearing in a variety of background roles.The movie, directed by Vanessa Caswill, hits its stride once the lovebirds touch down across the pond, where the stats subside and the cast, particularly Richardson and Sally Phillips as Oliver’s ailing mother, come aglow with authentic feeling. What are the odds that a premise as unimaginative as this one should emerge as a sturdy little romantic drama? Jamil would know.Love at First SightRated PG-13 for language and qualitative variables. Running time: 1 hour 30 minutes. Watch on Netflix. More

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    Talking Heads Reunite for Restored ‘Stop Making Sense’

    Appearing together for the first time since 2002, the band celebrated the film in a Q. and A. with Spike Lee at the Toronto International Film Festival.The hottest ticket at this year’s Toronto International Film Festival was not for the new auteur film from Hayao Miyazaki or Ryusuke Hamaguchi, the latest vehicle for Kate Winslet or Sean Penn, or grand prizewinners at Cannes and Venice. No, the most feverishly in-demand screening was for a 39-year-old movie that everyone in its sold-out audience could have watched at home, at the push of a button.But this isn’t just any 39-year-old movie. “Stop Making Sense,” directed by Jonathan Demme, is widely considered to be one of the finest examples of the form, a joyful documentation (and celebration) of Talking Heads’ 1983 tour supporting their album “Speaking in Tongues.” The Toronto festival screening marked the debut of A24’s new restoration of the film ahead of its theatrical and IMAX rerelease later this month.But the real draw in Toronto was the band’s reunion for a Q. and A. conducted by Spike Lee after the screening (and simulcast to IMAX theaters across the globe). “This is the greatest concert film ever!” he enthused with the musicians sitting next to him. “I can say that! You might not want to, but for me, I’m going on record, around the world: this is the greatest concert film ever.”The 25-minute chat was the first time the band members had appeared together since they were inducted into the Rock & Roll Hall of Fame in 2002. That reunion was an event in itself, following what the frontman David Byrne recently described, with characteristic understatement, as an “ugly” breakup in 1991. His former bandmates haven’t been quite so delicate. In 2020, the drummer Chris Frantz published a memoir in which he accused Byrne of frequently diminishing the contributions of his fellow musicians, while the bassist Tina Weymouth referred to him as, among many other slurs, “a vampire.” (Byrne has since granted that he was “more of a little tyrant” in those early years.)But in Toronto, it was all good vibes for Byrne, Frantz and Weymouth (who are married) and the keyboardist and guitarist Jerry Harrison. “I’m very grateful to be here tonight, and to be able to watch this and to enjoy it so much,” Frantz said warmly at the beginning of the conversation. Byrne concurred: “When I was watching this just now, I was thinking, this is why we come to the movie theaters. This is different than watching it on my laptop!”And indeed it was. From the opening image — of Byrne’s scuffed-up white sneakers striding onto the stage, as he sets down a boombox and announces, “Hi, I got a tape I wanna play” — seeing “Stop Making Sense” in IMAX was like seeing it anew. The image, blown up from the original 35-millimeter negatives, was crisp and rich; the sound, an early digital audio recording, felt like it had been laid down last night. The restless, roving, participatory nature of Demme’s cameras make it much more than a standard concert documentary. It’s an exhilarating record of a group of talented people, at the peak of their considerable powers, having a great time making groundbreaking music that you can still dance to.A scene from “Stop Making Sense,” which was restored from the original negatives and shown in IMAX on Monday in Toronto.via A24Demme, who died at 73 in 2017, was attracted to the material, Byrne recalled, because the show they’d assembled told a story, with a beginning, middle and end. The picture starts, quite literally, with the forming of the band, as Byrne is joined by each additional member, one by one, and their show is built out from the bare stage on which it begins. By the midpoint, this odd little man and his friends have become a family, and when Byrne sings the kind and welcoming lyrics of “This Must Be the Place” (“Home/is where I want to be/but I guess I’m already there”), it’s as heartfelt and moving an emotional beat as you’ll find in any narrative film.Byrne recalled realizing that Demme, working with the editor Lisa Day, was actually making an ensemble film. “Like, you would have a bunch of actors in a location and you get to know each character, one by one,” Byrne explained, adding, “You get familiar with them, and then you watch how they all interact with one another. And I thought, I’m in my own world. But he saw that, he saw what was going on there.”The sheer visceral impact of the filmmaking, when shown at IMAX proportions, was staggering as well. Demme’s striking, out-of-the-box lighting choices and close-up compositions are jaw-dropping on the big screen, and Byrne comes across as even more like a (seemingly impossible) movie star, from his first reveal in the iconic Big Suit (“It was really big tonight,” Frantz quipped) to his serpentine slithering during “Life During Wartime.” He’s aware of the camera and plays to it savvily — not just singing the band’s songs, but performing them (and understanding the difference).But he’s far from the only attraction, and the detail of the IMAX restoration (coupled with Demme’s preference for long takes and wide shots) provides the viewer with plenty of opportunities to observe the dynamics, throughout the frame, between the group, additional musicians like the keyboardist Bernie Worrell, and the crew. The cameras capture their nonverbal communication, the little cues and asides and flashes of encouragement they’re throwing at one another through the entire show.“There’s all these moments that he caught, where one of us looks at the other, looks over at Bernie or Bernie looks at us, all those little quick interactions,” Byrne marveled. “And I thought, that stuff is amazing.”From left, Frantz, Weymouth, Harrison and Byrne reunited on the red carpet at the Toronto International Film Festival.Shawn Goldberg/Getty ImagesHarrison said that “one of the reasons for the lasting power of the film is you see that we are having so much fun onstage,” adding that “the audience is brought right into it. We say, you’re part of this too. And I think that every time anybody watches it, it brings back that wonderful emotion.”That was certainly the case in Toronto. The rowdy crowd applauded every number, cheered for the band’s introductions and clapped along with the breakdown in “Take Me to the River.” One guy hollered, “Encore!” when the movie ended.Both “Once in a Lifetime” and “Burning Down the House” brought audience members to their feet, just like their onscreen counterparts, to dance in the aisles. To be fair, they’re very hard songs to not dance to. In the seventh row, at his aisle seat, David Byrne was on his feet with them, bobbing his head and rocking back and forth, once more, for old times’ sake. More

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    Do You Know These Film and Television Versions of Popular Y.A. Novels?

    Welcome to Great Adaptations, the Book Review’s monthly quiz about books that have been made into television shows, movies, theatrical productions and more. This month’s challenge is about Y.A. novels that were adapted into films or streaming television shows within the past 10 years. Tap or click your answers to the five questions below.New literary quizzes appear on the Book Review page every week and you can find previous installments in the Book Review Quiz Bowl archive online. More

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    What’s on TV This Week: ‘Welcome to Wrexham’ and the MTV Video Music Awards

    The documentary series about a soccer club owned by Ryan Reynolds and Rob McElhenney returns for a second season. And the annual award show airs live.Between network, cable and streaming, the modern television landscape is a vast one. Here are some of the shows, specials and movies coming to TV this week, Sept. 11-17. Details and times are subject to change.MondayTHE PARENT TRAP (1998) 5:45 p.m. on Freeform. If you grew up in the ’90s, like I did, there is a good chance that you know by heart the quite intricate handshake made famous by this movie, which stars Lindsay Lohan as identical twin sisters separated at birth who accidentally meet at summer camp. They decide to switch places and hatch a plan to get their parents back together. Obviously, shenanigans ensue.TuesdayOlivia Rodrigo is set to perform at the 2023 MTV Video Music Awards.Chona Kasinger for The New York TimesMTV VIDEO MUSIC AWARDS 8 p.m. on MTV. Starbucks has released their pumpkin-themed menu, influencers and celebrities have flocked to New York for Fashion Week and people are saying it’s fall even though temperatures are dangerously approaching 100 degrees. All of this can only mean one thing: It’s time for the annual MTV VMAs. Airing live from the Prudential Center in New Jersey, Olivia Rodrigo, Demi Lovato, Lil Wayne and many others will perform, and Shakira and Sean “Diddy” Combs will be among the awardees.WednesdayStill from “Donyale Luna: Supermodel.”William Claxton/HBODONYALE LUNA: SUPERMODEL 9 p.m. on HBO. The supermodel Donyale Luna died in 1979 at just 33 years in old. But in those 33 years, she gained the reputation of breaking barriers in the fashion industry, becoming the first Black model to grace the cover of both Harper’s Bazaar and Vogue. Now, this documentary is taking viewers behind the scenes of Luna’s modest upbringing to her life in the spotlight.WELCOME TO WREXHAM 10 p.m. on FX. In 2020 Rob McElhenney (of “It’s Always Sunny in Philadelphia” fame) and Ryan Reynolds (of “Deadpool” fame) bought the third oldest soccer club in the world, which resides in Wrexham in North Wales, with the goal of bringing it back to glory. Now, the second season begins as the team, McElhenney and Reynolds prep for a visit from King Charles III.ThursdayJIMI HENDRIX: ELECTRIC CHURCH 8:30 p.m. on PBS (check local listings). On July 4, 1970, Jimi Hendrix drew a crowd of almost 500,000 people to his performance at the Atlanta International Pop Festival. Because of the 16-mm footage taken at the show, we can relive this concert, featuring performances of “Electric Church,” “Purple Haze,” “Hey Joe,” and others, over and over again.BUDDY GAMES 9 p.m. on CBS. Josh Duhamel directed and starred in a 2020 movie about six best friends who compete in silly physical and mental challenges in an attempt to win $150,000. Now Duhamel is hosting a reality game show with a similar premise: six teams of friends join him at a lake house to compete in challenges to win the championship title and some prize money.FridayStephen Amell and Alison Luff in “Heels.”StarzHEELS 10 p.m. on Starz. Football has “Friday Night Lights,” soccer has “Ted Lasso” and wrestling has “Heels.” This show, about two brothers, Ace and Jack, carrying on their father’s legacy through the Duffy Wrestling League, is wrapping up its second season, which gave us a few deep dives into the characters’ emotional sides.Saturday48 HOURS: THE GILGO BEACH SERIAL KILLINGS and THE NIGHT OF THE IDAHO STUDENT MURDERS starting at 9 p.m. on CBS. If you’re catching up on your true-crime news, “48 Hours” has you covered with these back-to-back episodes. First up is the Gilgo Beach serial killings: Between the years of 1996 and 2011, the remains of 10 bodies were found on a stretch of a Long Island beach; earlier this year, Rex Heuermann was charged with killing three of the people. In November 2022, four college students were found murdered in Moscow, Idaho. Now, Bryan Kohberger, a Ph.D. student in criminology at a nearby university, has been charged with four counts of murder.SundayCHRISTMAS IN JULY (1940) 8 p.m. on TCM. This movie, directed by Preston Sturges, is about a prank that simultaneously goes very right and very wrong. Jimmy is trying to win a slogan competition so he can buy a ring to propose to his girlfriend. When the winner still hasn’t been announced, Jimmy’s co-workers write a fake telegram and leave it on his desk so he thinks he won. Shticks, fake outs and confusion quickly follow.WINNING TIME 9 p.m. on HBO. Based on the book “Showtime: Magic, Kareem, Riley, and the Los Angeles Lakers Dynasty of the 1980s” by Jeff Pearlman, this fictionalized account of the NBA team is wrapping up its second season, which has focused on Magic Johnson (Quincy Isaiah) after his knee injury and tension with the team. It seems important to note that some of the Lakers stars that are fictionalized in this series are not at all happy with their portrayal. More

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    ‘Poor Things’ Takes Top Prize at Venice Film Festival

    The film, directed by Yorgos Lanthimos, stars Emma Stone as a woman who goes on a sexual and philosophical journey. The announcement of its win was met with a roar of applause.“Poor Things,” directed by Yorgos Lanthimos, was awarded the Golden Lion for best film at the 80th Venice International Film Festival on Saturday by a competition jury led by Damien Chazelle. The film stars Emma Stone in a virtuoso performance as a woman with an initially childlike understanding of the world who comes into her own through a sexual and philosophical journey.Bella Baxter, the main character in the film, “wouldn’t exist without Emma Stone,” Lanthimos said. “This film is her, in front of and behind the camera.” Stone previously collaborated with Lanthimos on “The Favourite,” which won the Grand Jury Prize at the festival in 2018.Like many other actors in films screened at the festival, Stone was not in attendance, as the strike by SAG-AFTRA, the union that represents television and movie actors, continued.Set in a partly fantastical 19th-century Europe, “Poor Things” follows Bella (Stone) on her eye-opening adventures in Tony McNamara’s adaptation of the 1992 Alasdair Gray novel. The film also stars Willem Dafoe as Bella’s father who is a doctor, Ramy Youssef as his assistant and her suitor, and Mark Ruffalo as a lascivious lawyer.Lanthimos said that the film took “quite a few years” to bring into being, before “the world, or our industry,” was ready for its story. The award announcement was met with a roar of applause.The 80th edition of the festival opened with “Comandante,” a historical drama about an Italian submarine that rescued Belgian sailors during World War II. Other prominent films included “Maestro,” “Priscilla,” “The Killer,” “Ferrari,” “Hit Man,” “Origin,” “El Conde,” “Aggro Dr1ft,” “Coup de Chance,” “Dogman” and William Friedkin’s final film, “The Caine Mutiny Court-Martial.”The latest edition received wide acclaim despite advance speculation that the SAG-AFTRA and Writers Guild of America strikes in Hollywood might affect the festival’s impact. Stars were largely absent. However, there were exceptions, including Adam Driver and Jessica Chastain, thanks to interim agreements secured with SAG-AFTRA; both actors expressed support for the strikes. But the filmmakers did not disappoint: Before the awards ceremony, crowds chanted “Yorgos! Yorgos!” when the director walked onto the red carpet.The Silver Lion Grand Jury Prize went to “Evil Does Not Exist,” the new film from Ryusuke Hamaguchi, whose film “Drive My Car” won an Academy Award. His latest feature centers on a small town in Japan trying to fend off a planned glamping site.Immigration was a recurring theme among the prizewinners. The Silver Lion for best director went to Matteo Garrone for the immigration drama “Me Captain.” The Special Jury Prize went to Agnieszka Holland for “Green Border,” her multifaceted look at immigration to Poland.The Volpi Cup for best actress was awarded to Cailee Spaeny, who played the titular role in Sofia Coppola’s “Priscilla,” the story of Priscilla Presley’s relationship with Elvis Presley. The best actor award went to Peter Sarsgaard for his role as a man with dementia who is accused of past abuse in Michel Franco’s “Memory.” In his acceptance speech, Sarsgaard spoke movingly against the threat of artificial intelligence. Seydou Sarr won the Marcello Mastroianni Award, given to an outstanding emerging actor, for “Me Captain.”The best screenplay honor was given to “El Conde,” a vampiric reimagining of Gen. Augusto Pinochet, the Chilean dictator, written by Guillermo Calderón and Pablo Larraín, who also directed. “Love Is a Gun,” directed by Lee Hong-Chi, received the Lion of the Future award for best debut feature. “Thank You Very Much,” a playful look at Andy Kaufman, won the Venice Classics award for best documentary on cinema.For the Orizzonti section, another competition slate in the festival, the top prize went to “Explanation for Everything,” an expansive work from the Hungarian director Gabor Reisz. “El Paraiso,” a mother-daughter drama, also won two awards in this section: Margarita Rosa de Francisco won for best actress, and Enrico Maria Artale won for best screenplay. Notably, a Mongolian film, “City of Wind,” was honored for best actor (Tergel Bold-Erdene).This year’s Golden Lions for lifetime achievement went to Tony Leung Chiu-wai, a star of Hong Kong cinema, and to the director Liliana Cavani, whose film “The Order of Time” played out of competition. The Glory to the Filmmaker Award went to Wes Anderson, whose short film “The Wonderful Story of Henry Sugar” played out of competition. More

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    A Look Back at ‘Black Girl’ and Other Ousmane Sembène Films

    At Film Forum, a retrospective of the Senegalese director’s work shows the care he took in telling female stories.A princess ascends from the water like a siren. The stony gaze of an African mask lures a beautiful maid homeward. The Senegalese filmmaker Ousmane Sembène rendered myth a visual map that rescued the African past from the sullying grasp of empire. In place of demigods and antiheroes, women were his preferred orbit.The director revealed his enduring preoccupations in the Sembènian heroine: Broadly speaking, she was principled, defiant, inclined to revolt, however outwardly hopeless her odds appeared. Where colonial literature either struggled to translate the finer contours of traditional African gender arrangements or offered only a cursory sketch of their subjection, Sembène stayed attuned to the shades of women’s displacement. He understood, for instance, in “Xala” (1975) how a woman who was too imperious to enter the house of her husband’s second wife could bear, in somber silence, when he took a third, even younger bride, and fractured further what little love was left to her, his first and eldest wife.Feminine multiplicity animated Sembène’s (literary and cinematic) corpus, and he took the cost of his characters’ bravery seriously. Their triumphs come hard-won or not at all. They frequently become the cherished apotheosis of liberation or, where denied by earthly circumstance, rebellion. The director nursed an abiding suspicion of all religion, but his films betray him: If he surrendered in faith to anything, it was the African woman.Dyella Touré as Ngoné in “Xala” from 1975.Ousmane Sembène, via Film ForumOn the occasion of the director’s centennial, Film Forum is hosting a two-week retrospective commemorating Sembène’s work, including the short film “Borom Sarret” (1963), one of the earliest narrative films made in sub-Saharan Africa, a feat that later crowned him the “father of African cinema.” No reading of Sembène (who died in 2007 at 84) is complete without understanding that he considered himself among the griots, a venerable caste of West African storytellers charged with preserving oral tradition. The formal brushstrokes of his compositions contain traces of his tutelage in Moscow, but the Indigenous orality to which he was heir defined his social-realist fables: peopled with all of folklore’s classical archetypes — the trickster, the headstrong princess, the jealous (possibly vengeful) wife — and designed in the shadow of its didactic architecture, replete with curses, the gluttonous elite and resourceful outcasts.For much of the director’s youth, French law prevented Africans from filming in Africa. If the imperial project is, fundamentally, erasure, to interrupt and rewrite history, we see how authorship emerges paramount. Sembène, therefore, regarded the griot as a historian. His early short “Niaye” (1964), about a young village girl impregnated by her father, a chief, would herald persisting themes: A voice-over declares the griots the “only memory of this country” and laments, “Our country is dying of lies and false morality.”Sembène began as a novelist, after he taught himself to read and write in French (many of his films are adapted from his novels and short stories). But the written word, too, inevitably proved an awkward province for his activism; literacy came enveloped in colonial intrusion. Cinema proposed to reconcile the tension among language, text and orality, a conflict he restages in “Black Girl” (1966), his debut feature and perhaps best known work.Ousmane Sembène at the Cannes Film Festival in 1967.Gilbert Tourte/Gamma-Rapho, via Getty ImagesHe was first compelled to recount the tragedy of Diouana (played by Mbissine Thérèse Diop) after he stumbled across a startling report about a Black maid in a French newspaper. He published “Black Girl” as a short story in 1962, two years after Senegal seized independence. Here, the ingénue becomes a doomed emissary of a long invaded nation, still bound psychically and economically to its interlopers.Diouana abandons her village in Dakar, possessed of quixotic visions of France, where she ventures to work as a nanny for a well-to-do white family. But the fantasy crumbles upon her arrival when the nameless “Madame” thrusts Diouana into the role of housekeeper. Confined to the cramped house, she toils away daily at domestic chores, overworked and mistreated by her employer. In flashbacks, we encounter a different Diouana: spirited, glamorous and, as it happens, perilously myopic.But the most telling sequence occurs when Diouana receives a letter from her mother (perhaps penned by the village schoolmaster, played by Sembène himself). Diouana listens wordlessly as her employers read the letter. They offer to transcribe her response, lies, of course, about her “good health.” But more important, their translation amounts to a symbolic personal (and political) violation; history disrupted, vocal theft. In protest, Diouana reclaims all she has left: her body.If women model the zeniths of revolutionary vitality, it was men, in Sembène’s estimation, who were generally useless. “Xala” dispenses a scalding indictment of Senegal’s government after the nominal expulsion of the white colonists. On his third wedding night, El-Hadji (Thierno Leye), a wealthy member of the country’s ruling class, finds himself afflicted with xala, the curse of impotence. He dismisses the obvious displeasure of his first two wives, both too traditionalist and dependent upon him for any objection to land meaningfully. Only his daughter Rama (Myriam Niang), the same age as his new wife, can truly kindle his rage, for she alone represents the noble independence El-Hadji superficially performs. He dons suits and drinks imported water; she refuses the water and his language. In a testament to their alliances, El-Hadji snaps at Rama, “Why do you always answer in Wolof when I speak to you in French?”In “Emitaï” and other Sembène films, men are considered generally useless.Ousmane Sembène, via Film ForumIn “Emitaï” (1971) — named for the Diola god of thunder — the French army absconds with the village’s young men and demands, too, their rice (a sacred crop) to feed soldiers. While the elders exhort their gods, the women hide the harvest, which they cultivate themselves. Sembène revels in these glimpses of communal ceremony through protracted sequences: a line of women, heads crowned with baskets of rice, maps the winding path from the wetlands home; elsewhere, they bend over, splashing the delicate stalks with fistfuls of river water. For the women’s insolence, the French platoon holds them captive, their silent demonstration dappled in blazing sunlight.But powerful men seem especially susceptible to colonial imposition. In “Ceddo” (1977), amid the triad of Islam, Christianity and the slave trade, the ceddo (nonbelievers) kidnap the princess to ensure the king’s allegiance to their freedom. But the king, flanked by a menacing, ambitious imam and his disciples, realizes too late that any dominion he once held has been usurped, if not foolishly delivered, to these outsiders with their foreign gods. It seems the leadership of men fails to challenge empire efficiently because they pursue some approximation of its power. No wonder that Sembène’s films routinely faced censorship; “Ceddo” and “Emitaï” were both banned in Senegal for years.Sembène was never deterred. His final film, “Moolaadé” (2004), bore him to the outskirts of Burkina Faso for a stringent reproach of female genital mutilation. Four girls flee their impending circumcision and find a noble champion in Collé (Fatoumata Coulibaly), a kindly woman who refused to have her daughter “cut,” much to the disapproval of the community’s elders. Somehow his most harrowing plunge into women’s suffering yielded his most ardent tribute to their courage.The series Sembène runs at Film Forum from Sept. 8-24. More information is at filmforum.org. More

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    Lynn Lynn’s Journey From Rocker to Dissecting Myanmar’s Coup in Film

    Lynn Lynn was a musical idol when he volunteered in 2015 to protect the life of Myanmar’s new civilian leader. Forced to flee after 2021’s coup, he has reinvented himself as a film director.Long before he became an award-winning filmmaker, Lynn Lynn was already a star.His voice was ubiquitous on the radio, belting out rock songs, and he played sold-out shows in stadiums across the country. Everywhere he went, fans hounded him for selfies and autographs.But all that fame was confined to Myanmar, a country he had to flee after a February 2021 military coup.It wasn’t only his lyrics about the suffering of people under military rule that had made him a target of the country’s generals. He was also close to the country’s now-imprisoned civilian leader, Daw Aung San Suu Kyi, having once served as her bodyguard.Now living in the Thai city of Mae Sot, bordering Myanmar, the 39-year-old rocker has taken on a new identity: refugee.Despite the drastic changes in his circumstances, he has not given up on art, but he has changed his focus: to film.His first short movie, “The Beginning,” whose main characters are a fictional group of people from Myanmar, focuses on the importance of good will in building a democratic nation. Five months later, he followed with “The Way,” which captures the trauma and despair of a family suffering from a nation’s conflict; despite the dark themes, the movie is a musical — the first by a director from Myanmar.Both films have won multiple honors at international film festivals, with “The Way” also earning multiple accolades for its soundtrack.“I want to give the message that the military junta can oppress an artist physically, but the spirit and art cannot be oppressed,” Mr. Lynn Lynn said, speaking from his spartan music studio, a bedroom in a rented house in Mae Sot.Mr. Lynn Lynn walking behind Daw Aung San Suu Kyi when he was one of the bodyguards of Myanmar’s civilian leader.Lauren DeCicca/Getty ImagesMr. Lynn Lynn’s life story has been shaped by his country’s convulsive recent history, shifting from dictatorship to democracy to the present-day resistance.The youngest of four boys, he was born in the city of Mandalay to a railway worker father and a mother who stayed at home.When he was 5, he saw close at hand the brutality of the army whose leaders ruled the nation: soldiers pulling passengers from a boat and commanding everyone — regardless of age — to kneel. That scene of dominance and humiliation, he says, has stayed with him throughout his adult life.As a 9-year-old, he taught himself how to play guitar. After high school, he moved to Yangon, the capital at the time, where he cycled through a series of jobs, including bus conductor and security guard, while trying to start a musical career.His big break came in 2001, after he walked into a recording studio to drop off his demo tape and was soon hired to compose songs for some of Myanmar’s most famous singers. He established a reputation for composing original songs, a rarity in a country where nearly all the songs were copied from abroad.In 2007, he marched daily with the country’s monks during the Saffron Revolution protests. He read over and over again “Freedom From Fear,” a book of essays by Ms. Aung San Suu Kyi, at the time the leader of the country’s opposition, who was under house arrest.He learned how to navigate the country’s censors. Out of every five songs submitted, he was instructed to change the lyrics of three. Sometimes, he submitted different lyrics and then later swapped back in the original words, without anyone seeming to notice.“He is a rebel,” said his wife, Chit Thu Wai, a well-known actress and singer.Mr. Lynn Lynn with his wife, Chit Thu Wai, a well-known actress, in his music studio in Mae Sot.Lauren DeCicca for The New York TimesIn 2008, Mr. Lynn Lynn released “Think,” an album with love songs that he had written initially for other singers. It was an instant hit and catapulted him to stardom.In 2011, the military initiated a range of sweeping political changes, including releasing Ms. Aung San Suu Kyi, who convened a gathering of the country’s artists at her house.There, Mr. Lynn Lynn told the Nobel Peace Prize winner he would be willing to do anything for her. He became one of her bodyguards during the 2012 by-election and the 2015 general election.After she won in 2015, becoming the country’s civilian leader, Mr. Lynn Lynn returned to music. Able to sing openly about the generals, he released an album called “The Fourth Revolution.”Then, in February 2021, two months after Ms. Aung San Suu Kyi won the 2020 election in a landslide, the military detained her and announced it had taken power in a coup.The junta charged dozens of actors and musicians, including Mr. Lynn Lynn and his wife, with “incitement.” After months in hiding, the family decided reluctantly to leave Myanmar.Mr. Lynn Lynn went first in August 2021, trekking across a jungle and then swimming to Mae Sot. Ms. Chit Thu Wai and their twin daughters, now 6, followed a week later.Mae Sot, the Thai border city where Mr. Lynn Lynn fled with his family.Lauren DeCicca for The New York TimesMr. Lynn Lynn had never wanted to make movies in Myanmar. While he dabbled in script writing and supported independent filmmakers through a production company he owned with his wife, he considered most of the movies made in Myanmar to be too lowbrow to much interest him.He says he turned to film in part to “challenge” his artistic peers back home, many of whom allow the generals to use them for propaganda.Myanmar’s Directorate of Public Relations and Psychological Warfare has always exploited actors and actresses, using them in films to portray soldiers as honorable heroes. In return for staying silent, these celebrities enjoy perks, like being paid to attend galas such as the Myanmar Academy Awards.Mr. Lynn Lynn says he has noticed that the timing of these celebrity events often coincides with reports about more military atrocities. Nearly every week brings horrific news: 100 dead in an airstrike. Bombs dropped at an outdoor concert. Eleven children killed at a school.Midway through an interview in Mae Sot, Mr. Lynn Lynn lifted up his T-shirt to reveal his back. In neat, cursive script, there were 700 tattooed names and ages of some of those killed in the coup’s aftermath.Aung Myint, 32. Tun Win Han, 25. Khin Myo Chit, 7.“There are so many more to come,” Ms. Chit Thu Wai said.Mr. Lynn Lynn’s back is tattooed with the names and ages of 700 of those killed after the coup.Lauren DeCicca for The New York TimesMr. Lynn Lynn says he looks at the names in the mirror to “compel a sense of urgency upon my consciousness.” The Assistance Association for Political Prisoners, a rights group, said more than 4,000 people had been killed in Myanmar since the coup.Mr. Lynn Lynn knew that shooting movies in Mae Sot, so close to Myanmar, was dangerous. Seventeen of 20 cast members of “The Way” stood accused of “incitement,” and they feared Myanmar military’s spies were everywhere, raising concerns they could be abducted or killed. In the movie, members of the central family sing about their suffering from conflict and their quest for peace and justice. Myanmar is never explicitly mentioned because, Mr. Lynn Lynn says, he wants the story to be universal.Two weeks before the shoot, he was still not sure how he would pull it off without the sophisticated equipment typically needed to make a film. He decided to borrow a friend’s iPhone 13 Pro to use as the camera. For the music, he gave himself a crash course in sound mixing.Mr. Lynn Lynn with a wooden ship that was used as a prop in his film “The Way.”Lauren DeCicca for The New York TimesMr. Lynn Lynn’s cast members had never acted before, but some had backgrounds similar to the stories that he wanted to depict. His directorial advice was to read the script and “feel it in your heart,” recalled Aung Lun, one of the actors, who had left his 5-year-old son and wife behind in Myanmar when he fled in 2021.Mr. Aung Lun’s character in “The Way” leaves his baby daughter at a school as soldiers set fire to their village. Years later, his character confesses that secret to his family.During that scene, Mr. Aung Lun cried so hard the crew had to pause the shoot for an hour.As Mr. Lynn Lynn waits to hear whether he and his family can be resettled in the United States, he has more film projects in the works, including a satire set in Myanmar before the coup.Wherever he finds himself, he intends to keep making films.“I want to use a language understood by the entire universe,” he said. ”I want to show that even while we are on the run, our art will continue to live powerfully.” More

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    ‘My Big Fat Greek Wedding 3’ Review: A Noisy Sequel

    Nia Vardalos is back in a noisy sequel that cedes the punchlines, and the plotlines, to the more cacophonous members of the Portokalos clan.Nia Vardalos seized the movie industry’s attention two decades ago when she wrote and starred in the loosely autobiographical “My Big Fat Greek Wedding,” an indie charmer that remains the highest-grossing romantic comedy of all time.Audiences rallied behind her relatable Toula Portokalos, a wallflower Chicago waitress who straightened both her hair and her spine despite the protests of her domineering family. As Toula fought to leave her father’s restaurant, forge her own career and marry her non-Greek boyfriend (John Corbett), many moviegoers saw themselves in her hard-won successes.But so much for empowerment this time around. “It’s a badge of honor to take care of people,” Toula narrates humbly at the top of “My Big Fat Greek Wedding 3.” This is the first film in the franchise that Vardalos not only performs in and writes, but also directs — although, in truth, she’s barely the star.This noisy sequel cedes the punchlines and the plotlines to the more cacophonous members of the Portokalos clan, particularly Andrea Martin’s returning scene-stealer, the busybody Aunt Voula. (“I’m not a gossip, I’m a tattletale,” Voula huffs.) While the ensemble bickers and schemes, or, in the case of Toula’s preening brother Nick (Louis Mandylor), publicly shaves himself at inappropriate times, Toula’s laughs come only at her expense. (Hitting her head, falling off a donkey and so forth.) The script functions like a recipe for its own opening shot of baklava; flattened and bland, Toula exists only to constrain the nuts.The story starts after the passing of Toula’s father, Gus, the patriarch played with grumbling affection by Michael Constantine, who died in 2021. To honor Gus, a grab-bag of family members takes their first-ever trip to Greece to visit his mountainous childhood home, a near-abandoned hamlet near(ish) the beach. Only six people remain in the village, and two of them are secretly dating — the series’s core trope remains a hushed romance.This and dozens of other tiny conflicts ripple through the movie, resolving themselves with a hug or an absent-minded cutaway before any one problem swells into something worth our concern. The oddest disposable gag comes when Toula blurts her sexual attraction to a mustachioed stranger (Alexis Georgoulis). The man immediately reveals himself to be a relative.The ancient Greeks wrote tragedy after tragedy warning against hubris. Yet, Vardalos’s flailing crowd-pleaser needs a shot of self-confidence and logic. Why has Toula, a micromanaging former travel guide, flown her relatives overseas without thinking to book a hotel? Why would we believe that her square daughter (Elena Kampouris) is, with zero evidence, a wild child on the edge of sabotaging her life? And why do some of the rural Greeks speak English with a better accent than Aunt Voula? Nothing adds up.Not that I begrudge Martin a single one of her quips. If Vardalos is no longer comfortable at the center of the franchise, hand the whole thing over to her.My Big Fat Greek Wedding 3Rated PG-13 for a suggestive scene on a nude beach with strategically placed slices of watermelon. Running time: 1 hour 31 minutes. In theaters. More