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2024 New York Film Festival opens with star-filled lineup

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The 62nd New York Film Festival opened at Lincoln Center on Friday, the return of what may be the best curated international film festival, featuring new works by such esteemed directors as Pedro Almodóvar, Mike Leigh, David Cronenberg, Paul Schrader, Steve McQueen, and Luca Guadagnino.

The festival, which runs through Oct. 14 at venues across New York City, showcases more than 100 films from 41 countries, including prize winners from the Cannes, Venice, Berlin, Sundance, Toronto and Locarno film festivals. Among the stars featured are Adrien Brody and Felicity Jones (“The Brutalist”), Daniel Craig (“Queer”), Richard Gere and Uma Thurman (“Oh, Canada”),  Tilda Swinton and Julianne Moore (“The Room Next Door”), Saoirse Ronan (“Blitz”), Cate Blanchett (“Rumours”), and Naomi Watts and Bill Murray (“The Friend”).

Angelina Jolie stars as opera diva Maria Callas in the biopic “Maria,” directed by Pablo Larrain (“Jackie,” “Spencer”). “Emilia Perez,” a crime thriller/musical, won the best actress award at Cannes for its four lead performers: Zoe Saldaña, Selena Gomez, Karla Sofía Gascón and Adriana Paz. “A Traveller’s Needs” stars the great Isabelle Huppert as a French teacher in South Korea whose unconventional teaching methods involve speaking hardly any French words. 

Gala screenings

Friday’s opening night presentation, “Nickel Boys,” is an adaptation of Colson Whitehead’s Pulitzer Prize-winning novel about a young Black student unjustly sent to a reform school in Florida, where he witnesses the cruel hypocrisies of the Jim Crow era. Directed by RaMell Ross (the Oscar-nominated documentary “Hale County This Morning, This Evening”), the film takes a subjective view of the characters’ journey into adulthood. It stars Ethan Herisse, Brandon Wilson, and Deveed Diggs.

To watch a trailer for “Nickel Boys” click on the video player below:


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Other gala screenings include the festival’s centerpiece, “The Room Next Door.” Pedro Almodóvar’s first English-language feature, which won best film at the Venice Film Festival, stars Tilda Swinton and Julienne Moore as two old friends who reconnect over one’s desire to end her own life.


THE ROOM NEXT DOOR | Teaser Trailer (2024) by
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The festival’s closing night screening is Steve McQueen’s “Blitz,” starring Saoirse Ronan as a single mother separated from her child during the Germans’ bombing of London in World War II.


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Other notable entries in the festival lineup include “Queer,” based on William S. Burroughs’ book and directed by Luca Guadagnino (“Call Me By Your Name”). It stars Daniel Craig as a gay American expatriate in 1940s Mexico City who begins a love affair with a preppy newcomer (Drew Starkey). 

“All We Imagine As Light” (a grand prize-winner at Cannes) tells the story of the emotional bonds of a trio of nurses in Mumbai. Iranian emigree filmmaker Mohammad Rasoulof’s “The Seed of the Sacred Fig” explores the political divisions within the family of an Iranian judge. “Transamazonia” is centered on a woman who survived a plane crash in the Amazon jungle as a child and grows into a faith healer.

Jesse Eisenberg’s “A Real Pain” (which won a screenwriting award at Sundance) stars Eisenberg and Kieran Culkin as cousins reconnecting during a trip to the Polish hometown of their grandmother, a Holocaust survivor. In “The Friend,” Naomi Watts gains an unexpected inheritance from her deceased neighbor Bill Murray: a giant Great Dane.

Mike Leigh’s “Hard Truths” stars Marianne Jean-Baptiste (an Oscar nominee for “Secrets & Lies”) as a working-class woman struggling with physical and mental health problems. Guy Maddin, whose past films have been phantasmagorical flights of fantasy, returns to the festival with “Rumours,” in which world leaders at the G-7 Summit face an unusual brand of apocalypse. 

Also playing: “The Damned,” a Civil War drama of Union soldiers in the Northwest frontier; “Jimmy,” which reimagines the life of writer-activist James Baldwin when he moves from the United States to Paris in 1948; from Japan, the dystopian drama “Happyend,” which examines the surveillance of citizens in a Tokyo high school; and Miguel Gomes, behind the 2015 triptych “Arabian Nights,” directs “Grand Tour,” an immersive, time-shifting trip across Southeast Asia. 

Documentaries

Among the non-fiction films on tap are “Dahomey,” which traces the repatriation to Africa of cultural treasures that had been plundered by French colonial troops; “Suburban Fury,” which looks at the radicalization of Sara Jane Moore, a 45-year-old California woman and former FBI informant who attempted to assassinate President Gerald Ford; and the U.S. premiere of “Elton John: Never Too Late,” which explores the life and career of the pop-rock icon.

In “My Undesirable Friends,” Soviet Union-born filmmaker Julia Loktev returned to Moscow to make a documentary on independent journalism under Putin, just in time for the launch of Putin’s invasion of Ukraine. Brett Story and Stephen Maing’s “Union” documents the formation of the Amazon Labor Union, following an historic vote at the company’s Staten Island warehouse.

Revivals and restorations

The festival will screen 4K restorations of the Clive Barker horror film “Hellraiser,” featuring Pinhead; Robert Bresson’s “Four Nights of a Dreamer”; Marguerite Duras’ film debut, the 1966 “La Musica”; John Hanson and Rob Nilsson’s 1978 indie film “Northern Lights,” about the rise of a populist movement in North Dakota in the early 20th century; and Frederick Wiseman’s 1981 documentary “Model,” which, at two hours, is short compared to Wiseman’s recent films.

Also being screened, from 1977, is Marva Nabili’s “The Sealed Soil,” the earliest surviving film directed by an Iranian woman.

Free talks

The festival will host free discussions with filmmakers. Among those scheduled are “Nickel Boys” director RaMell Ross and Barry Jenkins (Sept. 29); Alex Ross Perry and Andrei Ujică, director of the documentary “TWST/Things We Said Today” (Oct. 3); Sigrid Nunez, author of the source novels “The Friend” and “The Room Next Door” (Oct. 5); director Zeinabu Irene Davis and Madeleine Hunt-Ehrlich, of “The Ballad of Suzanne Césaire” (Oct. 6); “Grand Tour” director Miguel Gomes and Payal Kapadia (Oct. 9); and Julia Loktev and Roberto Minervini (Oct. 9).

The festival runs through Oct. 16 at Lincoln Center, with additional screenings at the Alamo Drafthouse Cinema on Staten Island, the Brooklyn Academy of Music, the Bronx Museum, and the Museum of the Moving Image in Queens.

Early highlights

Of festival entries screened at press time, a few highlights are reviewed below. [More reviews will be published as the festival continues.]

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Adrien Brody and Felicity Jones in “The Brutalist.”

A24


“The Brutalist” (U.S. premiere)

Director and co-writer Brady Corbet’s taut post-war drama of a Hungarian architect trying to reinvent himself in America is a tale of refugees adrift in a so-called land of opportunity, where antisemitism lurks behind every welcome. Adrien Brody (“The Pianist”) plays László Tóth, whose arrival in Pennsylvania, and a chance commission through his assimilated cousin’s furniture business, sets him on a new path, one that plays like a dark, psychological character study from the 1970s. Tóth’s modern, brutalist style (which meets with much criticism), and his dogmatic beliefs in his own independence, both inflate and undermine his abilities to see the gargantuan project through to completion. 

The 3.5-hour film (with intermission) is epic in its emotional weight, as Tóth sacrifices his family and personal ties in the service of his static, monumental vision. Matching Brody in the strength of performance is Felicity Jones (“The Theory of Everything”), excellent as Tóth’s wife, Erzsébet, whose physical infirmity only reinforces her steely temperament; and Guy Pearce (“Memento,” “The Hurt Locker”), magnetic as Harrison Lee Van Buren, a wealthy businessman and patron who views a Tóth commission as a worthy monument to his ideals and, ultimately, his corruption. It’s a film of big ideas and oversized egos, and of a society ready to crush both. 

Shot in VistaVision, the picture screens Oct. 12 in 70mm, and Sept. 28 and Oct. 11 in 35mm. 215 mins., including 15-minute intermission. In English, Hungarian, Hebrew, Yiddish and Italian and English subtitles. An A24 release. Opens in theaters Dec. 20.  

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Mikey Madison in “Anora.”

Neon


“Anora”

At first, Sean Baker’s sly and at times uproarious comic-drama of a Brooklyn sex worker who enters into a Cinderella romance and marriage with the flighty son of Russian oligarchs seems a slight choice for top prize at this year’s Cannes Film Festival. (Recent Palme d’Or winners have included the comparatively heavy “Anatomy of a Fall,” “Triangle of Sadness” and “Parasite.”) But Baker, whose previous films include “The Florida Project” and “Tangerine,” consistently upends our expectations. In part this is due to the performance of Mikey Madison, who plays Anora (preferred name Ani) as a woman older than her 25 years, but still young enough to believe in the sanctity of elopement. Baker also twists what we’d expect of movie Russian oligarchs; here, the brute Brighton Beach muscle they bring are little match against a street-smart girl who has a romantic core but isn’t averse to using hardball tactics. With Mark Eydelshteyn as Ani’s love, Ivan; Karren Karagulian as Ivan’s intemperate godfather; and Vache Tovmasyan as an Armenian enforcer who is not terribly effective at his job, aided by the standoffish and brooding Igor (Yura Borisov). 

Screens Sept. 28, 29, Oct. 8.  138 mins. In English and Russian with English subtitles. A Neon release. Opens in theaters Oct. 18.

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Videographer and activist Basel Adra in “No Other Land.” 

Rachel Szor


“No Other Land”

For years, Basel Adra, a videographer and son of Palestinian activists, has documented the ongoing efforts of Israeli military and settlers to drive Palestinian residents out of the West Bank villages of Masafer Yatta. His camera records bulldozers brought in to knock down houses and schools, forcing those who refuse to leave to erect homes in caves. Meanwhile, visiting journalist Yuval Abraham writes articles on the displacement at Masafer Yatta that, he hopes, people will actually read. But witnessing the destruction prompts depression, and a reassessment of the patience needed to overcome systemic injustice, and the limits of journalism. “No Other Land” was shot before Hamas’ Oct. 7 terrorist attack on Israel, so it plays like a prelude to further horror. But just before a recent screening, Basel posted on social media that his father had been kidnapped and detained by the Israeli military. The distressing story never really ends. Directed by Adra, Abraham, Hamdan Ballal and Rachel Szor, the film won the Documentary Award at the Berlin Film Festival. 

Screens Sept. 29, Oct. 1, 5, 6.  95 mins. Arabic, English, and Hebrew with English subtitles. No distributor or release date has been announced.

“Apocalypse in the Tropics”

Directed by Petra Costa (“The Edge of Democracy,” “Elena”), this engrossing documentary traces the growing influence of the Dominionist evangelical movement in Brazil, which in recent years has grown to 30% of the population — a voting block that has proved impossible for Brazilian politicians to ignore. Front-and-center of the film is televangelist Silas Malafaia, a charismatic pastor (with a thriving publishing business on the side) who has the ear of Jair Bolsonaro, a hard-right politician riding his faithful fans to the presidency. But the Brazilian government’s failures during the COVID pandemic — characterized by Bolsonaro dismissing his country’s high mortality rate by saying, “We will all die one day” — weakens the evangelicals’ hold on the nation’s top office. Costa dissects how the theology of apocalypse aimed at bringing forth the end times suits the agenda of some — hence the disturbingly familiar scenes of insurrection as rioters overtake Brazil’s Congress and Supreme Court after Bolsanaro loses his 2022 reelection bid. 

Screens Sept. 29, 30. 110 mins. In Portuguese with English subtitles. Distributor and release date to be announced. 

Watch a trailer for the 62nd New York Film Festival: 


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Saturday Sessions: The Wild Feathers perform “Sanctuary”

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Saturday Sessions: The Wild Feathers perform “Sanctuary” – CBS News


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The Wild Feathers were formed in 2010, and since then, they’ve been touring non-stop. The Nashville-based quintet has recorded four studio albums, sold-out headlining tours, and shared dates with icons like Willie Nelson and Bob Dylan. This week, the band will release “Sirens,” their first new album in three years. Here are The Wild Feathers with “Sanctuary.”

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Book excerpt: “Revenge of the Tipping Point” by Malcolm Gladwell

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In 2000, Malcolm Gladwell published the first of several bestselling books, “The Tipping Point,” in which he applied the laws of epidemics to promote positive social change. Now, he’s returned to that optimistic book’s lessons in “Revenge of the Tipping Point” (to be published October 1 by Little, Brown & Co.), to examine the flip side of those theories.

The new book’s topics range from cheetah reproduction and the Harvard women’s rugby team to the Holocaust.

Read the excerpt below, and don’t miss David Pogue’s interview with Malcolm Gladwell on “CBS Sunday Morning” September 29!


“Revenge of the Tipping Point” by Malcolm Gladwell

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In the 1970s, zookeepers around the world began to invest more and more resources in breeding their animal populations in captivity. The logic was clear. Why go to all the trouble of capturing animals in the wild? The growing conservation movement also favored breeding programs. The new strategy was a big success — with one big outlier: the cheetah.

“They seldom had offspring that survived, and many of them when put together couldn’t breed,” remembers the geneticist Stephen O’Brien, who was then working at the National Cancer Institute.

It didn’t make sense. The cheetah seemed a perfect example of evolutionary fitness: a massive nuclear reactor for a heart, the legs of a greyhound, a skull shaped like a professional cyclist’s aerodynamic helmet, and semi-retractable claws that, as O’Brien puts it, “grip the earth like football cleats as they race after their prey at sixty miles per hour.”

“It’s the fastest animal on earth,” O’Brien said. “The second fastest animal on earth is the American pronghorn. And the reason that it’s the second-fastest is that it was running from the cheetahs.”

The zookeepers wondered if they were doing something wrong, or whether there was something about the make-up of the cheetah that they didn’t understand. They came up with theories and tried experiments — all to no avail. In the end, they shrugged and said that the animals must be “skittish.”

Things came to a head at a meeting in 1980 in Front Royal, Virginia. Zoo directors from around the world were there, among them the head of a big wildlife-conservation program in South Africa.

“And he says, ‘Do you have anybody that knows what they’re doing scientifically?’ ” O’Brien remembers. ” ‘[To] basically explain to us why our breeding program of cheetahs in South Africa has something like 15 percent success while the rest of these animals — elephants and horses and giraffes — they breed like rats?’ “

Two scientists raised their hands — both colleagues of O’Brien’s. They flew to South Africa, to a big wildlife sanctuary near Pretoria. They took blood and sperm samples from dozens of cheetahs. What they found astonished them. The sperm counts of the cheetahs were low. And the spermatozoa themselves were badly malformed. That was clearly why the animals had such trouble breeding. It wasn’t that they were “skittish.”

But why? O’Brien’s laboratory then began testing the blood samples that had been sent to them. They had done similar studies in the past on birds, humans, horses, and domestic cats, and in all those cases the animals showed a healthy degree of genetic diversity: In most species, around 30 percent of sampled genes will show some degree of variation. The cheetah’s genes looked nothing like that. They were all the same. “I never saw a species that was so genetically uniform,” O’Brien said.

O’Brien’s findings were greeted with skepticism by his colleagues. So he and his team kept going.

“I went down to Children’s Hospital in Washington and I learned how to do skin grafts at a burn unit,” he said. “They taught me how to keep it sterile and how to take the . . . slices and how to suture it up and everything. And then we did [skin grafts on] about eight cheetahs in South Africa, and then we did another six or eight in Oregon.”

Winston, Oregon, was home to the Wildlife Safari, the largest collection of cheetahs in the United States at the time.

The idea was simple. If you graft a piece of skin from one animal onto another, the recipient’s body will reject it. It will recognize the genes of the donor as foreign. “It would blacken and slough off in two weeks,” O’Brien said. But if you take a patch of skin from, say, one identical twin and graft it onto another, it will work. The donor’s immune system thinks the skin is its own. This was the ultimate test of his hypothesis.

The grafts were small — one inch by one inch, sewn onto the side of the animal’s chest, protected by an elastic bandage wrapped around the cat’s body. First, the team gave some of the cheetahs a skin graft from a domestic cat, just to make sure the animals had an immune system. Sure enough, the cheetahs rejected the cat graft: It got inflamed, then necrotic. Their bodies knew what different was — and a domestic cat was different. Then the team grafted skin from other cheetahs. What happened? Nothing! They were accepted, O’Brien said, “as if they were identical twins. The only place you see that is in inbred mice that have been brother-sister mated for twenty generations. And that convinced me.”

O’Brien realized that the world’s cheetah population must have at some point been devastated. His best guess was that it happened during the great mammal die-off 12,000 years ago — when saber-toothed cats, mastodons, mammoths, giant ground sloths, and over thirty other species were wiped out by an ice age. Somehow the cheetah survived. But just barely.

“The numbers that fit all the data are less than one hundred, maybe less than fifty,” O’Brien said. It’s possible, in fact, that the cheetah population was reduced to a single pregnant female. And the only way for those lonely few cheetahs to survive was to overcome the inhibition that most mammals have against incest: Sisters had to mate with brothers, first cousins with first cousins. The species eventually rebounded, but only through the endless replication of the same narrow set of genes. The cheetah was still magnificent. But now every cheetah represented the exact same kind of magnificence.

     
From “Revenge of the Tipping Point: Overstories, Superspreaders, and the Rise of Social Engineering” by Malcolm Gladwell. Copyright © 2024 by Malcolm Gladwell. Reprinted by permission of Little, Brown and Company, a division of Hachette Book Group. All rights reserved.


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Pope Francis promises to help abuse victims after hearing of their trauma and needs

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Pope Francis promised Saturday to “offer all the help we can” to aid clergy sexual abuse victims, after a group of Belgian survivors told him first-hand of the trauma that had shattered their lives and left many in poverty and mental misery.

Francis’ visit to Belgium has been dominated by the abuse scandal, with King Philippe and Prime Minister Alexander De Croo both blasting the Catholic Church’s dreadful legacy of priests raping and molesting children and its decades-long cover-up of the crimes.

Francis met for more than two hours late Friday with 17 survivors who are seeking reparations from the church for the trauma they suffered and to pay for the therapy many need. They said they gave Francis a month to consider their requests, which the Vatican said Francis was studying.

“There are so many victims. There are also so many victims who are still completely broke,” survivor Koen Van Sumere told The Associated Press. “I have also been lucky enough to get a diploma and build a life for myself. But there are so many people who are completely broke and who need help and who cannot afford it and who really need urgent help now.”

BELGIUM-VATICAN-RELIGION-POPE-DIPLOMACY
Pope Francis speaks as he meets with bishops, priests, deacons, consecrated persons, seminarians and pastoral workers at The Koekelberg Basilica of the Sacred Heart in Brussels on September 28, 2024. The pope is on a four-day apostolic journey to Luxembourg and Belgium.

NICOLAS MAETERLINCK/POOL/BELGA/AFP via Getty Images


Van Sumere said he was encouraged by the “positive” meeting with the pope, but was waiting to see what comes of it. The meeting itself was intense, victims said, “It was at certain moments very emotional and at certain moments it was very rough. When the pope was told things he did not agree with, he also let it be known so there was real interaction,” Van Sumere said.

He said he hoped as a first step that the pope would receive the victims at the Vatican in the spring during Holy Week. “And then we can not only celebrate the resurrection of Christ but perhaps also the resurrection of all victims in Belgium,” he said.

On Saturday, during a meeting with Belgian clergy and nuns at the Koekelberg Basilica, Francis acknowledged that the abuse scandal had created “atrocious suffering and wounds,” and undermined the faith.

“There is a need for a great deal of mercy to keep us from hardening our hearts before the suffering of victims so that we can help them feel our closeness and offer all the help we can,” he said.

He said the Belgian church must learn from victims and serve them. “Indeed, one of the roots of violence stems from the abuse of power when we use the positions we have to crush or manipulate others,” he said.

Francis has met with victims in the United States, Ireland and Canada, as well as in multiple occasions at the Vatican. He has cracked down on some bishops who failed to protect their flocks by passing new church rules on investigations and punishments. But the scandal has continued to fester, and Francis’ record is uneven, with several high-profile cases still pending or seemingly ignored.

Most galling to Belgians was that it took the Vatican 14 years to laicize Bruges Bishop Roger Vangheluwe, who admitted in 2010 to having abused his nephew for 13 years. Francis defrocked him in March in a move widely seen as attempting to remove a problem before his visit.

After the encounter, Francis went to the royal crypt in the Church of Our Lady to pray at the tomb of King Baudouin, best known for having refused to give a parliament-approved bill legalizing abortion his royal assent, one of his constitutional duties.

Baudouin stepped down for one day in 1990 to allow the government to pass the law, which he was required to sign, before he was reinstated as king.

Francis praised Baudouin’s courage when he decided to “leave his position as king to not sign a homicidal law,” according to the Vatican summary of the private encounter, which was attended by Baudouin’s nephew, King Philippe, and Queen Mathilde.

The pope then referred to a new legislative proposal to extend the legal limit for an abortion in Belgium, from 12 weeks to 18 weeks after conception. The bill failed at the last minute because parties in government negotiations considered the timing inopportune.

BELGIUM-VATICAN-RELIGION-POPE-DIPLOMACY
Pope Francis (L) is welcomed by the KU Leuven rector Luc Sels at the Katholieke Universiteit Leuven for a meeting with professors in Leuven, on September 27, 2024, during his visit to Belgium.

ALBERTO PIZZOLI/AFP via Getty Images


Francis urged Belgians to look to Baudouin’s example in preventing such a law, and added that he hoped Baudouin’s beatification cause would move ahead, the Vatican said.

With the visit, Francis waded straight into Belgian politics and dragged the royal family along with him.

The royals are bound by strict neutrality and the palace immediately issued a statement distancing itself from the visit. The statement said the “spontaneous visit, on the pope’s request, was not part of the official program” and added the king and queen were there only “out of hospitality toward the pope.”

Francis started the day by having breakfast — coffee and croissants — with a group of 10 homeless people and migrants who are looked after by the St. Gilles parish of Brussels.

They sat around a table at the entrance of the parish church and told him their stories, and gave him bottles of beer that the parish makes, “La Biche de Saint-Gilles.” The proceeds of the beer sales help fund the parish’s charity works.

Francis thanked them for the beer and breakfast and told them that the church’s true wealth was in caring for the weakest.

“If we want to truly know and show the church’s beauty, we should give to one another like this, in our smallness, in our poverty, without pretexts and with much love.”

The breakfast encounter was presided over by Marie-Françoise Boveroulle, an adjunct episcopal vicar for the diocese. The position is usually filled by a priest, but Boveroulle’s appointment has been highlighted as evidence of the roles that women can and should play in the church.



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