Documentary Films and Programs

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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

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      Why the N.Y. Fire Dept. Canceled Its Black History Month Celebration

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      A documentary screening about the city’s first Black fire commissioner was scrapped after his family objected to the film’s exclusion of a Black firefighter group.When the Fire Department sought to commemorate Black History Month this year, a worthy honoree seemed obvious: Robert O. Lowery, New York City’s first Black fire commissioner, who was appointed nearly six decades ago by Mayor John V. Lindsay.A documentary on Mr. Lowery’s life was to premiere Tuesday as the focal point of the department’s celebration of Black History Month, which ends this week. But the event was abruptly canceled after Mr. Lowery’s family protested the film’s failure to more fully include the Vulcan Society, the influential Black firefighters’ association.“My father would not have been fire commissioner without the Vulcan Society,” said Gertrude Erwin, Mr. Lowery’s daughter.The cancellation of the screening of “The First: Fire Commissioner Robert O. Lowery’s Story,” represents an awkward turn of events for an agency that is still struggling to overcome decades of racism and homogeneity in its ranks. All but one of its 23 staff chiefs are white men, while about 10 percent of firefighters are Black in a city whose population is about 23 percent Black.The department first approached Mr. Lowery’s daughters about making the documentary roughly two decades after his death, at a ceremony last year renaming its auditorium in his memory. The family was receptive, provided the department met certain conditions.“We made very clear from the outset that the Vulcan Society was a core element in telling my uncle’s story and that it was an expectation that the Vulcan Society would have some role in the film,” said Chris Lowery, the fire commissioner’s nephew. 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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      8 Documentaries About True Love and Relationships

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      These movies go beyond examining a relationship to reveal the glories, discontents and more about romance.Romance and love are oddly tricky to capture authentically in a documentary. So much of what fosters real connection — as opposed to, say, “Bachelor”-style performative love — happens away from cameras. Plus, every love story is a bit of an experiment, and the observer effect applies: being filmed tends to change the results.But you can capture something about romance in a documentary. I don’t mean the kind that ends in disaster and a true crime documentary. I mean the movies that reveal something to us about the highs and lows, the glories and discontents, and above all something ineffable about love itself, transcending just romance.You probably have your own favorites, and your list might include one of mine: “Fire of Love” (2022, Disney+), Sara Dosa’s swooner about the volcanologists Katia and Maurice Krafft. United in love of one another and, perhaps just as much, love of volcanoes, they perished together in a volcanic explosion in 1991. Their shared interest was a fundamental part of their lives, which made me think of several documentaries about artistic couples, like Daniel Hymanson’s heartbreaking “So Late So Soon” (2021, rent on major platforms) and Zachary Heinzerling’s acclaimed “Cutie and the Boxer” (2013, Vudu), both of which delve into complex relationships that weave together creativity and partnership.Other documentaries tap into the power of love to sustain us across tragedy and hardship. I think of this year’s Oscar-nominated “The Eternal Memory” (Paramount+), directed by Maite Alberdi, about a couple navigating one partner’s deteriorating memory. Or Jonas Poher Rasmussen’s “Flee” (2021, Hulu), in which, on the verge of marriage, an Afghan refugee tells his story of traumatic displacement; his soon-to-be husband has become the only place of safety he can find, but he’s still reticent to trust any home at all. Or there’s “Time” (2020, Prime Video), Garrett Bradley’s gutting film about Fox Rich’s fight to free her husband, Rob, from a 60-year prison sentence. (This was a co-production of The New York Times.)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