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    From Majesty to Frailty: Why Are So Many Horses Breaking Down?

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    ‘Broken Horses’Producers/Reporters Joe Drape and Melissa HoppertSupervising Producer Liz HodesWatch our new documentary on FX and Hulu starting Friday, April 26, at 10 p.m. Eastern.When horse racing fans arrive at Churchill Downs in Louisville, Ky., next week for the 150th running of the Kentucky Derby, some might be watching with unease. On the same track last year, seven horses died before the showpiece event even started. In the days after, five more died.Two other events in the sport’s Triple Crown series — the Preakness Stakes in May and the Belmont Stakes in June — and the signature meet at the historic Saratoga Race Course were also marred by deaths, horrifying spectators and intensifying pressure on racing officials to, finally, reckon with the problem.“Horses dying in clusters is not a new phenomenon,” Joe Drape, a New York Times reporter, says in the new documentary “Broken Horses.” “It’s just now people are paying attention and want to know why.”Drape and Melissa Hoppert, who have covered the horse racing industry for decades, were part of a team that investigated the fateful period last year that threw the sport into crisis and left fans wondering why so many horses, supposedly in peak physical condition, were breaking down so frequently. Horses racing at Churchill Downs in 2023.Left Right Productions/The New York Times/Hulu Originals/FX NetworksWith confidential documents, recordings and exclusive interviews, “Broken Horses” provides a vivid tour of the business and political forces that control the Sport of Kings and resist measures to implement changes that could decrease horse deaths. It is a story of reckless breeding and doping, of compromised veterinarians and trainers, and of fans who are drawn to the sport’s beauty and pageantry but increasingly wonder how long one of America’s oldest sports can continue to have its social license renewed.“A racehorse is the only animal that can take a thousand people for a ride at once,” Hoppert says in the film, quoting a saying among the sport’s devotees. In 2023, a troubling number of those rides ended calamitously. “Broken Horses” attempts to show viewers the underbelly of the sport, so they can begin to understand why.Producer Luke KoremCo-Producer Leah VarjacquesProducers/Reporters Liz Day and Rachel AbramsStory Producer Alexander BaertlDirector of Photography Jarred AltermanVideo Editors Patrick Berry and Charlotte Stobbs“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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      Lourdes Portillo, Oscar-Nominated Documentary Filmmaker, Dies at 80

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      Her films centered on Latin American experiences and received wide acclaim.Lourdes Portillo, the Oscar-nominated Mexican-born documentary filmmaker whose work explored Latin American social issues through spellbinding narratives, has died. She was 80.Ms. Portillo died Saturday at her home in San Francisco. Her death was confirmed by her friend Soco Aguilar. No cause was given.One of Ms. Portillo’s best-known works is her 1994 documentary “The Devil Never Sleeps,” a murder-mystery in which Ms. Portillo investigates the strange death of her multimillionaire uncle, whose widow claimed he had died of a self-inflicted gunshot wound. In 2020, the Library of Congress selected the film for preservation at the National Film Registry.“Using vintage snapshots, old home movies and interviews, the film builds a biographical portrait of Oscar Ruiz Almeida, a Mexican rancher who amassed a fortune exporting vegetables to the United States and went on to become a powerful politician and businessman,” Stephen Holden, a Times movie critic, wrote in a 1995 review of the film.The documentary had the tenor of a telenovela and presented open questions about Mr. Ruiz Almeida’s mysterious life and death and the people who could have had a motive for the murder.“The more Oscar is discussed, the more enigmatic he seems,” Mr. Holden wrote.Ms. Portillo crafted the film’s story line from the information her mother relayed over the phone while Ms. Portillo was living in New York, she said in a talk at the Academy Museum of Motion Pictures in Los Angeles last year.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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      2024 Tribeca Festival Event Lineup Released

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      Organizers released the event lineup for the annual New York event, set for June. It includes films that trace the lives of Linda Perry and Avicii.The 2024 Tribeca Festival will offer the world premieres of a Brat Pack documentary, a movie starring Lily Gladstone and films that trace the lives of the music world figures Linda Perry and Avicii, organizers said Wednesday as they announced the event lineup.Also on the schedule will be a feature starring Jenna Ortega, a buddy comedy with Michael Cera, Maya Erskine and Kristen Stewart and a documentary that looks at the world of queer stand-up comedy.This year’s festival, which will run in Lower Manhattan from June 5-16, will open with the documentary “Diane von Furstenberg: Woman in Charge” and will include 103 features from 114 filmmakers in 48 countries. The festival will offer 86 world premieres and 30 movies directed by first-time filmmakers.Officials said their final selections were chosen from more than 13,000 submissions — a record high.“We feel really lucky that there was such enthusiasm, particularly with all of the challenges that the industry had this year,” Cara Cusumano, the Tribeca Festival’s director, said in a phone interview. “It made me feel really optimistic about the future of independent film and about the resiliency of the creative community,”The documentary “Brats” will follow Andrew McCarthy as he crisscrosses the country reconnecting with fellow actors Rob Lowe, Demi Moore, Ally Sheedy, Emilio Estevez and others who in the 1980s and ’90s became collectively known as the Brat Pack. A panel featuring McCarthy, who directed the documentary, and other members of the cast will follow the premiere.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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      Eleanor Coppola, Who Chronicled Her Family’s Filmmaking, Dies at 87

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      She made documentaries of her husband Francis Ford Coppola’s “Apocalypse Now” and her daughter Sofia Coppola’s “The Virgin Suicides” and recalled their lives in books.Eleanor Coppola, a documentary filmmaker and artist who called herself “an observer at heart,” a description borne out through works chronicling the cinematic triumphs and ordeals of her husband, Francis Ford Coppola, and their daughter, Sofia Coppola, died on Friday at her home in Rutherford, Calif. She was 87.Her family announced her death in a statement, which did not state a cause.Ms. Coppola’s career as a documentarian began when her husband asked her to record the production of “Apocalypse Now,” his 1979 exegesis of the Vietnam War that took so long to make, some began calling it “Apocalypse Never.” By then Mr. Coppola was Hollywood royalty on the strength of his first two “Godfather” movies. But with “Apocalypse Now,” he stumbled.He came close to going broke as the movie, its roots in Joseph Conrad’s “Heart of Darkness,” ran way over budget and over schedule. Filming was slowed by steady rains on location in the Philippines, which served as a stand-in for Vietnam. A typhoon destroyed movie sets. Major parts of the script were written on the fly. Marlon Brando was overweight and underprepared for his role as a deranged Green Berets colonel. To top it all off, the film’s principal actor, Martin Sheen, had a heart attack during the shooting.As for the Coppolas, they careened toward divorce, a marital collapse set in motion largely by his sexual infidelities and frequent tantrums on and off the movie set. “My greatest fear,” his wife captured him on tape as saying, “is to make a really pompous film on an important subject, and I am making it.”Ms. Coppola had her own lapses. “If I tell the truth, we both strayed from our marriage, probably equally, each in our way,” she wrote in “Notes on the Making of Apocalypse Now,” a 1979 account of that period. “Francis has gone to the extremes in the physical world, women, food, possessions, in an effort to feel complete. I have looked for that feeling of completeness in the non‐physical world. Zen, est, Esalen, meditation.”Ms. Coppola with her husband, Francis Ford Coppola, in 2022. They had a trying marriage but remained together. Hunter Abrams for The New York TimesWe 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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      ‘Brandy Hellville & the Cult of Fast Fashion’: 5 Takeaways

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      Former employees of the brand, a Gen Z fashion favorite, recount race and size discrimination in a new documentary on HBO.The clothing store Brandy Melville is known for selling diminutive, single-size pieces popular among Gen Z: linen short shorts, heart-print camisoles and sweatshirts printed with the word “Malibu.”Behind its Cali-girl aesthetic is a business that mistreats teenage employees and cashes in on young women’s insecurities, according to “Brandy Hellville & the Cult of Fast Fashion,” a documentary released on Tuesday on HBO.The documentary intersperses former employees’ accounts of racism and size discrimination while working in its stores with a broader look at the labor and environmental costs of the fast-fashion industry. The filmmakers said Stephan Marsan, the company’s mysterious chief executive, did not respond to several requests for comment.Eva Orner, the documentary’s director, said in an interview last week that it was a challenge to get former employees on camera because so many were fearful of the company. Those who were included were identified by only their first names. “I’ve done a lot of stuff in war zones, and with refugees and really life-or-death situations, and people have been more comfortable being on camera,” she said.Eva Orner, the director of “Brandy Hellville & the Cult of Fast Fashion,” said many former employees feared retaliation from the company if they participated in the documentary.Lucas Allen/HBOMs. Orner, an Australian who won an Academy Award for the documentary “Taxi to the Dark Side,” had not heard of Brandy Melville before producers mentioned the company to her in 2022 as a potential subject of investigation. The more she learned, the more she was disturbed by the brand’s cultlike following among teenage girls, who see it flaunted by celebrities like Kaia Gerber and Kendall Jenner.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 Truth vs. Alex Jones’ Review: How Conspiracy Theories Work

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      Directed by Dan Reed (“Leaving Neverland”), the documentary offers a lesson in how conspiracy theories work and shows how parents confronted Jones in court.Even though the legal battle between Sandy Hook families and the conspiracy theorist Alex Jones has been thoroughly covered, it is still hard to watch him in the documentary “The Truth vs. Alex Jones” without experiencing a wave of nausea.Directed by Dan Reed (“Leaving Neverland”), the film methodically lays out the horrors that families in Newton, Conn., faced on Dec. 14, 2012, when a gunman killed 20 first graders and six adults at Sandy Hook Elementary. Parents of the victims share memories from that morning before their children left for school. Daniel Jewiss, the lead investigator, walks viewers through how the slaughter unfolded.Then the documentary shows how, just as the parents were dealing with unfathomable grief, Jones, through his Infowars broadcasts, began promoting the idea that the shooting was a hoax. As he continued to spread falsehoods, people who latched on to such claims harassed the families. Robbie Parker, whose daughter Emilie was killed at Sandy Hook, describes the harassment as coming in waves. “It was almost like I knew when Alex Jones said something,” he says in testimony excerpted in the film.If there is value in seeing these events recapped, it is in the power of seeing the parents confront Jones in court. (Over two trials, in Texas and Connecticut, they won more than $1 billion in damages.) It is also in the horror of seeing just how confidently Jones deflects questions and tries to steer proceedings to his advantage — denying the families what Alissa Parker, Emilie’s mother, calls “a moment of reflection” from him.“The Truth vs. Alex Jones” offers a lesson in just how vicious and pervasive conspiracy theories can become and a chilling portrait of how little they may trouble their purveyors.The Truth vs. Alex JonesNot rated. Running time: 2 hours 1 minute. Watch on Max. More

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      Director of ’20 Days in Mariupol’ Says He’d Rather Have No Oscar and No War

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      The Ukrainian director Mstyslav Chernov used his acceptance speech for “20 Days in Mariupol,” which won the Oscar for best documentary feature on Sunday, to give an emotional denunciation of the continued invasion of his country by Russian forces.“I’ll be the first director on this stage who will say, ‘I wish I never made this film,’” Chernov said.The harrowing first-person account from Chernov, a video journalist for The Associated Press, captures the first days of the Russian invasion and the devastation and destruction the port city of Mariupol faced. “20 Days in Mariupol” is the first Ukrainian film to win an Oscar.“I wish to be able to exchange this to Russia never attacking Ukraine, never occupying our cities,” Chernov continued. “I wish to give it all the recognition to Russia not killing tens of thousands of my fellow Ukrainians. I wish for them to release all the hostages, all the soldiers who are protecting their lands, all the civilians who are now in their jails.”Chernov and his crew raced to make it out of Mariupol alive. He said in his speech that he could not change history but wanted it to be remembered.“We can make sure that the history record is set straight and that the truth will prevail and that the people of Mariupol and those who have given their lives will never be forgotten,” he said. More

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      ‘Space: The Longest Goodbye’ Review

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      This documentary by Ido Mizrahy examines the psychological challenges of space exploration for astronauts and their loved ones as scientists consider whether humans could reach Mars.In “Space: The Longest Goodbye,” scientists researching the problems of long-term space exploration go where movies have gone before. Sending astronauts into hibernation to conserve scarce resources? Pairing them with an artificially intelligent entity that can act as a pal and sounding board? Screenwriters have tried these things already, with results probably best kept in fiction.But such gambits may offer real solutions for getting humans to Mars. And they are gambits that this fitfully intriguing, sometimes wide-eyed documentary, directed by Ido Mizrahy, takes seriously.“Soft, squishy humans are completely unfathomable to engineers,” says Jack Stuster, an anthropologist who asked residents of the International Space Station to keep journals. One of the principal interviewees is Al Holland, a psychologist who assembled a unit at the National Aeronautics and Space Administration to provide support for astronauts. He discusses his experience in 2010 consulting on the Chilean mine disaster, which had striking parallels with the isolation of space life.We also hear from Kayla Barron, a submarine warfare officer who decided to go to space, and her husband, who stayed behind; as a military couple, they were used to living separately, but this posed a different challenge. And we see clips of personal video chats that the astronaut Cady Coleman held with her husband and son back on Earth, through a system that sometimes didn’t work. “It’s hard for me to really realize how hard it was for a little kid to just have to be so very patient,” she recalls in the documentary.On Mars missions, distance will make similar real-time communication impossible, which means that astronauts won’t even have that kind of intermittent contact. “Space: The Longest Goodbye” leaves open the question of whether anyone could get to the red planet with his or her sanity intact.Space: The Longest GoodbyeNot rated. Running time: 1 hour 27 minutes. In theaters and available to rent or buy on most major platforms. More

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      ‘As We Speak’: Rap Music on Trial’ Review: Weaponizing Lyrics in Court

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      Lyrics that contain references to violence have been used as legal evidence, a practice this documentary by J.M. Harper condemns as unfair and prejudicial.Imagine music that you wrote being held against you in a criminal proceeding. In the documentary “As We Speak: Rap Music on Trial,” the Bronx-born rapper Kemba travels around the country and to Britain, interviewing artists and legal experts about how that has been more than a theoretical possibility for rappers.Mac Phipps, for instance, was convicted of manslaughter and spent more than two decades in prison, even though another man had confessed to the crime. (He was released in 2021.) In an interview with Kemba, he describes how references to violence in his lyrics were used at his trial, despite what he suggests was inadequate context. (One line cited concerned his father, a Vietnam veteran.)Elsewhere in this documentary, directed by J.M. Harper, the academic Adam Dunbar explains a set of studies he conducted. Participants were asked to judge lyrics from the same song: Some were told they were rap lyrics, others were told they were country and still others were told they were heavy metal. The group that believed the words were rap lyrics labeled the songwriter as having a greater criminal propensity. When the artist manager Chace Infinite argues that rap is taken more literally than other music, the movie cuts to clips of Johnny Cash and Freddie Mercury. Would a jury have accorded legal weight to Cash’s claim, in song, to have “shot a man in Reno just to watch him die”?Kemba situates the association of rap with crime in a historical context of censorship of Black music. In another thread, “As We Speak” imagines Kemba himself on trial, with his writing being used against him in a criminal court. The staged material is a bit heavy-handed, but “As We Speak” makes a powerful case for the necessity of being free to make art, and for public awareness that art rarely qualifies as legal evidence.As We Speak: Rap Music on TrialNot rated. Running time: 1 hour 36 minutes. Watch on Paramount+. More