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    Girls to the Front: Punk Pioneers Are Coming to Lincoln Center

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    The institution’s annual American Songbook series honors “singer outsiders” including Fanny and Poly Styrene in events curated by Kathleen Hanna and Tamar-kali.For more than 65 years, Lincoln Center has hosted virtuoso concert musicians, opera singers and ballet stars.But a noise queen with ripped tights and a screeching guitar?Enter Kathleen Hanna and Tamar-kali, musicians with big bootprints in the punk scene, and curators of the latest iteration of Lincoln Center’s venerable American Songbook series. Their version honors “singer outsiders,” which includes a series of concerts and tributes to acts like the Slits, Poly Styrene of X-Ray Spex and more, this month and next. It’s the first time Lincoln Center has celebrated the raw, propulsive D.I.Y. genre of punk, let alone the women who kicked their way through.The idea was to introduce an uptown audience to “our canon,” as Hanna, the Bikini Kill and Le Tigre frontwoman, and riot grrrl originator, put it. They booked contemporary artists to showcase punk’s elasticity, and to highlight styles that have historically been overlooked.“As a songwriter, there’s a lot of delegitimizing of aggressive music,” Tamar-kali said. But curating for Lincoln Center offered validation: “It just feels like I’m real musician now,” Hanna said, and they both laughed.Tamar-kali, a Brooklyn singer and composer (born Tamar-kali Brown), helped found the New York collective Sista Grrrl Riot, an outlet for feminist Afropunk, in the late ’90s; she and Hanna met in the early aughts and have been seeking ways to work together since.“As a songwriter, there’s a lot of delegitimizing of aggressive music,” said Tamar-kali, one of the series’ curators.Jack Vartoogian/Getty ImagesWe 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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      Florida Mayor Threatens Cinema Over Israeli-Palestinian Film

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      The mayor of Miami Beach wants to end the lease of a group renting a city-owned property because it is screening the Academy Award-winning “No Other Land” there.The mayor of Miami Beach is seeking to oust a nonprofit art house cinema from a city-owned property for showing “No Other Land,” the Oscar-winning documentary that chronicles the Israeli demolition of Palestinian homes in Masafer Yatta in the southern West Bank.The mayor, Steven Meiner, introduced a resolution to revoke the lease under which O Cinema rents the space, he announced in a newsletter this week. He described the film as “a false, one-sided propaganda attack on the Jewish people that is not consistent with the values of our city and residents.”Kareem Tabsch, the co-founder of O Cinema, said that the threat of losing its physical location in Miami Beach was “very grave and we take it very seriously.”“At the time, we take very seriously our responsibility as a cultural organization that presents works that are engaging and thought provoking and that foster dialogue,” he said. “And we take very seriously our responsibility to do that without interference of government.”The American Civil Liberties Union of Florida, which is now co-counsel for the theater, criticized the mayor’s move, as did the makers of the film, which won the Academy Award for best documentary earlier this month but has not been acquired in the United States by a traditional distributor for either a theatrical or streaming release. Distributors in two dozen other countries had picked up the film even before it won the award.Daniel Tilley, the legal director of the Florida branch of the ACLU, said in an interview that “what’s at stake is the government’s ability to use unchecked power to punish those who dare to express views that the government disagrees with.”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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      ‘Chaos: The Manson Murders’ Review: All You Ever Knew is Suspect

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      Errol Morris returns to his main obsessions — evil and delusion — in a new Netflix documentary about the famous murders.Two recurring inquiries — scary ones, entwined — characterize Errol Morris’s decades-long directing career, which includes landmark documentaries like “The Thin Blue Line,” “Mr. Death,” “The Fog of War” and “Standard Operating Procedure.” The first question regards the nature of evil: what it is, where it comes from, whether it’s invited into a man’s heart or chooses to takes up residence there. The other is the fine membrane between truth and fiction, which dictates how we become deluded, by others and by self, and how those delusions come to rule the world.In Morris’s more recent work, those themes are brought together most sharply in “American Dharma,” a 2019 chiller in which Morris feeds ample rope to the Trump adviser Steve Bannon to explain his vision of the world and, in so doing, expose a kind of cruelly pompous vapidity. But other contemporary works by Morris — “Separated,” about policies that tear migrant children from their parents; “The Pigeon Tunnel,” about what the spy novelist John le Carré never really revealed about himself — are also held together mostly by these questions. At their heart is some primal fear: that evil, or evil people, can control us without our even realizing it. And for Morris, this is not a religious question so much as an existential and political one.Little surprise that his latest project, the Netflix documentary “Chaos: The Manson Murders,” returns to the same arena. Based, sort of, on the hair-raising book by the journalist Tom O’Neill, the film winnows its central question to one recurring baffler: Why are we, as a culture drenched in true crime narratives, so obsessed with this particular set of murders, which occurred over 55 years ago?Most likely you know the outline of the case: Charles Manson, the failed musician and wild-eyed hippie, ordered his “family” — drug-addled runaways, mostly, who had been living with him at a ranch full of old movie sets — to carry out a series of gruesome murders on the evenings of Aug. 8 and 9, 1969. Among the victims was the actress Sharon Tate, then eight and a half months pregnant with her first child. Her husband, the director Roman Polanski, was out of town at the time.The story includes all kinds of weird spiky bits, well-documented, from accidents and coincidences (who was there that night, who wasn’t) to Manson’s connections to Dennis Wilson of the Beach Boys and his worship of the Beatles to the bizarre behavior he and his acolytes exhibited during the sensationalized trial. O’Neill, in his book, goes deeper, raising the specter of various conspiracy theories about potential covert government operations that seem, with the space of time and some well-placed Freedom of Information Act requests, to at least have the potential of maybe being linked to the case.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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      ‘Notes on Displacement’ Review: Seeking a Fresh Start in Europe

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      The artist and director Khaled Jarrar accompanies a group of people from Syria on their way to Germany in this documentary.As its title implies, “Notes on Displacement” is more of a scattered assemblage of scenes than a polished documentary. It follows the director, the Palestinian artist Khaled Jarrar, over travels from Greece to Germany — by boat, bus, train and frequently by foot — as he accompanies a group of refugees from Syria seeking a fresh start in Europe.Nadira, the matriarch of the main family in the film, was born in Nazareth in 1936, and Mona, her now-adult daughter, was born in a refugee camp for displaced Palestinians in Damascus. Part of what Jarrar aims to show is the psychology — and absurdity — of being uprooted in two ways. (“When you get a German passport,” Jarrar tells Nadira near the end, “you can visit Palestine.”)Jarrar, credited with the cinematography and sound, trails his subjects from camp to camp. (“Our dream,” one person says of the twists and turns, “has become to know where we are.”) Although the director occasionally identifies himself as an artist or insists to an authority figure that he has a right to continue filming, there are some points when he needed or chose to keep his camera hidden from view.It is clear that this rudimentary setup means that a lot of the trek was lost. Many night scenes are barely legible, and there are still other moments when Jarrar, on the fly, appears to have been more concerned with recording sound than image. But this hectic, disorienting style is surely part of the message, given that the filmmaker pointedly saves basic biographical information for the closing titles. In its form, “Notes on Displacement” mirrors the terrifying, dangerous journey it chronicles.Notes on DisplacementIn Arabic, with subtitles. Not rated. Running time: 1 hour 20 minutes. In theaters. More

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      ‘Paint Me a Road Out of Here’: Faith Ringgold’s Gift to Prisoners

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      In this documentary, the artist depicts what a more just and beautiful world might look like.In 1971, the artist Faith Ringgold received a grant to make a painting for a public institution in New York City. She decided to ask the prisoners in the Women’s House of Detention on Rikers Island what they wanted to see in a painting. “I want to see a road leading out of here,” one incarcerated woman told her.Ringgold took that idea and ran with it. She didn’t paint a literal road. Instead, her canvas — entitled “For the Women’s House” and installed at the prison in January 1972 — is divided into eight sections. In each, women are depicted performing jobs traditionally held by men at the time: bus driver, construction worker, basketball player, president. The road is implied: Seeing women in positions and roles they don’t always occupy can open up the viewer’s world. She might be in a prison for now, but there’s a place for her worth aspiring to beyond these walls.This was Ringgold’s imagination at work, always depicting what a more just and beautiful world might look like, particularly for the people whom the powerful prefer to ignore. Ringgold and “For the Women’s House” both appear in the documentary “Paint Me a Road Out of Here” (in theaters), directed by Catherine Gund, and hearing and seeing her talk is reason enough to see the film. Ringgold died in 2024 at 93, and is widely considered one of the most important American artists of the 20th century, a native New Yorker who was unflagging in her activism and commitments to dismantle racism wherever it surfaced. As a Black woman and an artist, she insisted on coupling political meaning with her work, which is suffused with curiosity and joy.“Paint Me a Road Out Of Here” is not a biographical film about Ringgold, even though you’ll learn a lot about her biography from it. The film has bigger aspirations, connecting art, prisons, activism and an expansive life. One major subject in the film is the artist Mary Enoch Elizabeth Baxter, an executive producer of the film whose prison reform work often draws on her own experiences while incarcerated. Shortly after her own arrest, for example, Baxter went into labor — 43 hours while shackled to a bed.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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      The Menendez Brothers Are a Test for Society and the Courts

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      Recently, a Los Angeles judge delayed a hearing for Erik and Lyle Menendez in their bid to be resentenced for the murder of their parents 35 years ago. Renewed interest in the brothers’ case, fueled by Netflix’s recent docudrama series and documentary on the brothers, has drawn celebrity advocates to call for their release, alongside an army of TikTok accounts. Unfortunately for the brothers, social advocacy rarely corresponds to judicial change.The Menendez brothers shot and killed their parents in August of 1989, when Erik was 18 and Lyle was 21. For months, the murders went unsolved, and the police believed that perhaps the parents had been victims of a mafia hit. During that time, the brothers went on a spending spree, buying cars, private tennis lessons, even a restaurant. When the truth finally emerged, the world was shocked. How could two young men born into privilege squander not only their futures but also quite possibly their lives?There was a televised trial, the men sobbing on the stand, detailing years of abuse at the hands of their father. Sexual abuse, emotional abuse, coercion, violence. And their mother — where was she in all of this? Drinking away the woes of her family, failing in her sacred duty to protect her children.The trial ended in hung juries, and Judge Stanley Weisberg declared a mistrial. So the men were tried again in 1995, and this time it was not televised. Judge Weisberg seemed to say enough with the shenanigans and less of this messy talk of abuse. He barred much of the evidence of the sexual perversions of Lyle and Erik’s father, Jose Menendez. The trial ended in convictions for each brother, and sentences of life without parole.I was in college and then graduate school as the fate of the Menendez brothers played out. Their lurid travails were a sort of background static for the orderly world in which I lived, attending classes, struggling with rent and groceries. What did rich kids have to be so upset over?Like so many people, I now understand more of how abuse and trauma play out in a person’s life. I understand that a male victim of abuse feels the pain no less than a woman, a child even more so. What I question is whether judges have absorbed this new understanding of abuse, and whether a court today would reach a different verdict.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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      For Iranian Women, Can a Revolution Take Place at Home?

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      The New York Times Presents: ‘Weight of the World’ on Ozempic’s Rise

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      ‘Weight of the World’Producer/Director Esther Dere and Nicole RittenmeyerCo-Producer Leah VarjacquesProducer/Reporter Dani BlumProducer Rachel AbramsWatch our new documentary on FX and Hulu starting Friday, Nov. 22, at 10 p.m. Eastern.The ascent of GLP-1 medications, such as Ozempic, has brought about a transformation within the weight-loss industry and beyond, reshaping societal views on health and body image. Originally developed to manage diabetes, these drugs have become associated with rapid weight reduction, capturing public interest thanks to rumored endorsements from high-profile figures like Oprah Winfrey and Elon Musk.“Weight of the World” dives into this pivotal moment, following the journeys of three individuals as they navigate the complexities of using GLP-1 medications. The film examines their experiences against the backdrop of over 40 years of diet culture in America, prompting an inquiry into whether these medications represent a groundbreaking shift or merely another chapter in the long and complicated narrative of weight loss.Through expert commentary from medical professionals, dietitians and cultural critics, the film looks at this evolving landscape, and it investigates the societal obsession with thinness and the implications of these new pharmaceutical interventions, raising questions about body image, health and the ongoing struggle against obesity.Left Right Productions/The New York Times/Hulu Originals/FX Networks”GLP-1s are a blockbuster because they promise to solve a social problem without changing anything else.”Tressie McMillan Cottom, Times Opinion columnistLeft Right Productions/The New York Times/Hulu Originals/FX Networks“Thinking about weight is probably the No. 1 item that’s on my mind most of the time. Like, I’m always comparing myself to everyone around me.”Jeffrey Luxmore, a subject featured in the filmSupervising Producer Liz HodesDirector Of Photography Victor Tadashi SuarezVideo Editor Geoff O’Brien“The New York Times Presents” is a series of documentaries representing the unparalleled journalism and insight of The New York Times, bringing viewers close to the essential stories of our time. More

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      ‘Witches’ Review: Redeeming the Wicked Witch

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      The director Elizabeth Sankey’s experience with postpartum depression anchors this documentary about the pop-cultural representation of witches.The arrival of “Witches,” a documentary streaming on Mubi, seems strategically timed. The director Elizabeth Sankey’s contribution is part essay film, part personal testimony, though like Jon M. Chu’s musical blockbuster “Wicked” she, too, starts in the land of Oz.As a child, Sankey explains in a voice-over, she wanted to be Glinda the good witch. But her experiences dealing with mental illness made her see an unsettling correlation between the wicked witches of the world and the women who, like her, have had trouble performing traditional domestic roles.The first part of Sankey’s documentary plays like a cultural history of the witch onscreen, weaving together clips from TV shows and movies across the decades to illustrate a somewhat stale point: that stigmas around women’s health have informed the characterization of witches. When Sankey shares her personal story — weaving in interviews with other women and experts who also have firsthand experience of postpartum psychosis — the details of her illness take on an eerie new light next to pop-cultural images of madwomen, like Mia Farrow in “Rosemary’s Baby” and Isabelle Adjani in “Possession.” Based on the real women’s accounts, the fictional renderings don’t seem outlandish — the satanic underpinnings of witchcraft, clearly a superstitious, and deeply misogynistic, justification.“Witches” eventually explores other parallels — for instance, the demonization of midwives and natural healers with the advent of modern medicine — but the maternal madness framework dominates the bulk of the run time to diminishing effect. The clips also veer from the occult and take on a more generalized creepiness that feels bleary and arbitrary. If all women behaving badly can be summed up as witchy, then Sankey’s documentary too often works like a game of associations.WitchesNot rated. Running time: 1 hour 30 minutes. Watch on Mubi. More