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Born on December 29, 1979 in Mexico City, Diego Luna Alexander lost his mother in a car accident when he was only two. So Luna became immersed in his father's passion for entertainment as Mexico’s most acclaimed living theatre, cinema and opera set designer. From an early age Luna began acting in television, movies and theater. Once he achieved international recognition, he expanded his resume to include writing, producing and directing as well.
This producer-actor-director’s full bio includes such highlights as big budget sci-fi thriller Elysium (2013), the Oscar-nominated Milk (2008), Tom Hanks starrer The Terminal (2004), and provocative Y Tu Mamá También (2001). But his most recent directorial effort Cesar Chavez not outlines a slice of the famed civil rights leader and labor organizer’s life (powerfully played by Michael Pena) but also chronicles the birth of a modern American labor movement. The film also tells the story of a man torn between family duties as a husband and father and his commitment to the fight for a living wage for farm workers.
Passionate but soft-spoken, Chavez embraced non-violence as he battled greed and prejudice in this struggle to bring dignity to his community and disenfranchised people in general. Chavez inspired millions of Americans who hadn’t worked on a farm or been to California to fight for social justice. His journey is a remarkable testament to the power of one person’s ability to change the world.
Buttressed by two incredibly strong women — wife Helen (America Ferrara) and Dolores Huerta (Rosario Dawson) — Chavez presciently foresaw the impact the Latino American community would have on this country as he drew attention to this long disenfranchised sector.
Q: Once you got this idea, how long did it take you to do this film?
DL: At the beginning I didn’t know I had to do it; I would’ve quit had I been told this was going take four years and a half of my life. When I started I thought, “Wow, it’s amazing that there’s no film about Cesar Chavez. But this is so powerful and comes in time for many reasons, and since this community’s growing, everyone’s going to want to do this film.”
I went out and started shopping as is done with films. You go to studios and sit down with executives and everyone gave us a chance to sit down which sounded like, “Okay it’s happening,” then they said, “Wow, this is great, we love that you’re doing this, we’re not going to join but once you have a film, come and show it to us and probably we’ll be part of it,” and we’re like, “No! We need the money to do it!”
It’s not like I’m just going out and doing it. I heard things like, “Can you make it more sexy?” and I was like, “How can I make it more sexy? If it was sexier, farm workers would probably be living a different reality today.”
They said, “What about A-List actors? Can you have Antonio Banderas and Javier Bardem in it?” And I’m thinking, the man existed, there are pictures, there’s murals! You cannot just say, “Well now it’s just going to look like something else…” This is about a Mexican-American, a guy who was born in Arizona. Anyway, we found no support in this country. But by that point, I promised the family that I was going to deliver a film.
I promised that it was happening and then invested a year of my life into it at that point. We were working on the script with Keir Pearson, so I said to my partner Pablo Cruz, “Let’s go to Mexico and finance it the way we do in film.”
We went to Mexico and in a week and a half we found the money. At least 70% that allows the comeback for the other 30%. Then we came back and found the perfect partners, Participant Media and Pantelion Films, two different kind of film [studios], but they’re both doing films that would be perfect for this market — one that we’re trying to prove exists. That’s how everything started in terms of putting it together.
We wanted to come to the States and open a company and office here, so we said that we have to do a film that mattered on both sides of the border. It would allow us to work here but still do stories that connect us with where we come from and the community we belong to, to the point that my son who was born here, in the States, so he’s knows he’s a Mexican-American. In fact, he had an American passport before the Mexican one.
In a way, this was an attempt to tell a story that he would be able to use to find out where he comes from and what needed to happen for him to be where he is at the moment. That’s how everything started.
Q: Do you hope this film will change society’s perception of Latinos and the issues that concerns this community?
DL: There’s something that’s happened here before which is that all us Latinos, we have to learn from these guys that if we organize, if we’re united, we have the strength to change the world. That’s definitely a reality, because I don’t think we’ve been so well organized since then. Yes, there’s a lot of complaints that we have to this country, as a community, but I would start looking at ourselves in the mirror and [ask] why we haven’t done [anything]?
We have a chance to send that message on the opening week, March 28th, which is, “We want these films to be out. We want our stories to be represented. We want our heroes to celebrated in film.”
There’s two things that matter here. As Cesar said and showed us, one is that our strength is in our numbers, and they’re growing. So I don’t know why we, as a community, haven’t experienced that feeling of power [that] we actually have in hand. The other is that the film confronts you, not just us Latinos, but everyone in this country, with a reality that’s very uncomfortable, that today in the fields, the conditions still aren’t great.
The struggle continues and consumers have also not been aware of what they’re part of when they buy a product since then. The amazing thing they did as a community, is that they connected with consumers, the rest of America, a community they didn’t think they had a connection with. They found a way to say, “Our story matters to you.”
When you buy a grape, you’re supporting child labor. Moms listened to that, when a mother was in a store in Chicago, she found a farm worker saying, “When you’re buying that product, you have to remember that behind that product is the work of my six year-old. ”
Mothers stopped buying grapes. So it’s about connecting, finding out what connects us, not what separates us. I think that’s a beautiful message about the film, and that applies not just for America, but for the world. It’s a nonviolent movement that said it’s about the responsibility of knowing we’re not here alone. The work of many has to happen so we can experience the life we have. It’s just being aware of that — that’s what matters.
Q: Was it tough for actor Michael Peña to have this on his shoulders?
DL: I was walking coming with Rosario from having lunch, and she told me, ”It’s unbelievable how much Michael changed for this role. He’s just nothing close to what he portrayed here.”
I always told him, “Michael, we have to be aware. We cannot do the Hollywood way, you know? We cannot say suddenly that Cesar was a great speaker, and the Martin Luther King kind of leader.”
But he wasn’t. He was very humble and timid. As a result of the amount of urge he had for change to happen, he had to become the leader. If he would’ve had a chance to stand back and stay behind, he would have done it. He was a great listener.
That’s why he could organize these people, because he came and took the time to listen to everyone’s story. This is a community that has been ignored for so long, that suddenly someone arrived that cared about their story and said, “Your story matters.”
In fact, Mark Grossman, who traveled a lot through rallies and was Cesar’s PR person — he wrote the speeches for him — was very close to him and we worked a lot with him. He told me [that] the rallies were painful because he would stay until nine, 10 pm, and people left, and he was still talking to a woman in the back. He had time, he nothing else to do but this, and everyone realized he was giving his life. We have to remember, this is a man that got out of living in the city. He changed his life, he was wearing a suit, he had a job. But he said, “No, we have to go back to the fields, we have to change things from the inside. It’s not going to come from the outside.”
He went back and sacrificed not just his reality but the reality of his family. I love when Fernando asks, “Who plays in Delano? You’re not taking me to a place that doesn’t have a major league baseball team, right?” And [Cesar] goes, “Yeah, we’re all going to sacrifice here, and we’re all going to go back to where we come from.”
Q: You showed how he sacrificed his relationship with his older son. You spent more than four years working on this movie. How much did it affect your relationship with your own children?
DL: It does, it does. I’ve never had to go so far as he did. I was in Chicago on Friday, took the red eye, spent Saturday and Sunday with my kids, and I’m here on Monday. I would never give away the weekend, and stay for another interview. I think that’s what makes him heroic. I don’t know if I would be able to go that far.
Q: How old are your kids now?
DL: Five and three. I don’t know if I would be able to go that far. These guys left for months. Besides everything we’ve talked about, the film is about a father and a son. To me, the reflection I’m making here is [that] there’s a sacrifice we fathers do. I did not understand until I had a baby. It changed the way I looked to my father. When I had a baby, I went back and said, “Damn, dad. You’ve done all of this?”
My mother died when I was two, so my father had to play both roles and work and it’s that very unfair part of life where you know you have to do it. I do film because of my kids, I think about them every moment of my life. Every decision I make, they’re involved. Probably, they won’t know this until they have their own.
That’s the gap that sometimes... Hopefully in life you have the time to bring it back together, but not many times it happens. For these characters, it took a long a long time. They had eight kids. Dolores Huerta had 11 kids. Imagine that and they managed to do all this as well.
Q: Was it a conscious choice that you avoided his childhood?
DL: The first script I got, [went] from the day he was born until the day he died. You can do that in a fictional film, it doesn’t matter, but with the life of someone I think that’s very unfair. It’s impossible in an hour and 45 minutes to tell of someone’s 64-year journey. I thought, “I’m going to concentrate in one achievement.”
That’s the boycott was to me. I said, “If I can explain how the boycott happened, and why the boycott happened, and what [it brought] to the community, I’ll be sending the right message.”
I didn’t want to do a film just about this community. I wanted to do a film about how this community managed to connect with the rest of the country. Because to me, the powerful message here is that if change ever comes, it’s because we get involved and we people connect with others.
We find those who are out there and what connects us with them. So to me, that was the thing I wanted to focus on -- the personal struggle of a father. It’s the first film done about Cesar and the movement, so it’s unfair to ask one film to fill the gap of so many years where there was no film talking about it. Because if I was here, and there were another three films, I could focus in on a specific thing that none of the other films [did], but you cannot ask a film to tell everything that hasn’t been told. Hopefully this will [stimulate] curiosity and awareness so that people will go and investigate a little more about who they are and what’s behind them.
Q: Why was the movie shot in Mexico instead of where the events happened? Did that have to do with where you found the money? Being a movie about a syndicated movement, with the actors’ unions very strong here, don’t know how it is in Mexico, but how much of the actors and the crew were unionized?
DL: We shot in Mexico because of two reasons. One, the film was financed in Mexico, so a lot of the financing came as support. We first went to California, but even if we would have shot in the States, we would not have shot in California, because the actual places have changed dramatically since the ’60s. So you cannot shoot there, you’d have to recreate the [conditions].
We found in Sonora that the fields there have that immensity. Sonora is the state that produces 80% of the table grape of Mexico. Mexico is a huge country, so the feeling when you’re there, it’s the same feeling you have in the valley in California. You really are a dot in the middle of nowhere. There’s this immensity, the feeling that those fields are feeding a world,
In terms of the union, there’s no way to do a film this big non-union in Mexico. Every actor was paid through SAG; we also have a union in Mexico of actors and technicians. It would be very stupid to do a film about a union without the support of unions [laughs]. But you know what happened…? There was a whole debate on the extras.
The extras are farm workers. That doesn’t mean they didn’t get paid. The point is, I wanted to work with real farm workers. You know those faces? There’s no way to put makeup on a face and make it look like they’ve been under the sun for so many years, under that condition of dust and wind. Those faces tell you the story. Just by looking at the face, you get many things that can’t be said in dialogue.
Q: Were these farm workers from the area where you shot?
DL: Many farm workers joined. By the third day they realized that film isn’t glamorous and that the experience was as miserable as working in the fields [laughs]. Because we were in the fields, we put every penny we had in front of the camera, so the conditions we were shooting under were rough compared to the cliché of how Hollywood filmmaking is.
Q: Did the workers themselves teach you anything, something that you never knew?
DL: The only thing is that they reminded me every day of why the film needed to be done. It just still makes no sense to me that those who are feeding this country can barely feed their families. And by listening to their stories, I got the necessary energy to keep going. No matter what our issues were, they don’t matter. I am lucky to be able to choose where I work, who I’m around, what I do, what stories I tell, I can’t complain. It was a great reminder on why this needs to be out.
Q: The film deals with social issues. Is that also part of the marketing?
DL: Definitely, and we’re focusing a lot in kids. Before the proper promotion started, we did two weeks of going to high schools and universities. We went to Harvard, Berkeley, Irvine, UCLA, then we did a screening in the RFK High School. It was like a system. We did a screening where they taped it and then that’s going to be shown to kids around California.
We’re pushing to do tons of little videos in social media and everything to raise awareness about Cesar Chavez and what the movement [stood] for. That’s where Participant comes in. They have an amazing reach in terms of a call-to-action.
As part of our film, we are also making a petition to President Obama about making a Cesar Chavez National Day of Service. As the campaign goes, if you guys participate, it’d be great. There’s a page called takepart.com/cesarchavez and you can sign. If you sign the petition, we need a hundred thousand signatures to go to Obama.
Film should be the beginning of something bigger. This film should trigger, hopefully, the curiosity of people to find out exactly what this movement was about. It’s difficult to inform in an hour and 45 minutes about everything they did and still entertain but it is pertinent to talk about this because the issues today in the field are even more complicated [than ever].
We thought also about a day of celebration... A few states today celebrate Cesar Chavez day, but we thought that a national day of service would be the way he would like to be remembered, a day where you work and give something back to your community, which is what they did from beginning to end.
There [are] so many things happening at the same time, and there are so many things happening in Latin America. Because if few people know here the story of Cesar Chavez, you’ll go to Latin America and everyone thinks he’s a boxer. No one knows, and it’s something that hopefully the film, and everything happening around the film, might be able to change. Also, the foundation is working really close.
Dolores Huerta has been promoting the film with us, and every time she grabs the microphone, she talks about it and the 10 other things that matter to her. If film can work for that to happen, if film can bring attention to the work of those that are still in the struggle, still out there, I’ll be very proud. But it’s definitely about kids.
You know an amazing thing that has been happening is that today there’s many Latinos in key positions and many have the chance to actually choose what they want to do in life. They have businesses and so many of these people are buying out theaters and giving them away to schools.
For the first weekend, someone said, “I would like to share this film with every high school kid of the community I come from” which is an amazing thing. The distribution company Pantelion is getting these calls and managing to actually make it happen, where you basically buy out a theater and fill it with kids that normally wouldn’t go watch it, or will probably watch it two years later on their phone while doing another 20 things, which is how kids now watch films... so that’s also happening. People like Henry Moreno — he was the first one.
Q: Is he one of the producers?
DL: No, no, no! He’s just a guy that cares about this. I was at an event in Washington, and Moreno talked about this, he was doing a show and he told me, “I’m buying out theaters to share with the kids, and this is happening, people are starting to react.”
That’s fantastic. I did this film because I think I have some distance to the story. Generationally, I wasn’t around when this happened, so also that gives me some objectivity, I guess. But the angle which I’m telling this, it’s the perfect angle for people who don’t know the story, to listen [to] it for the first time.
Q: What did it teach you about yourself as a father, as a director, as an actor?
DL: You know, I found a connection. It was through telling personal stories that they managed to bring the attention to something bigger. It was about a mother going out, as I said, a mother going out of a grocery store and telling another mother, “Behind that grape, there’s the work of my kid. Are you sure you want to be part of that?”
Then that mother got hit so badly and so profoundly, that she’s gonna turn into an advocate for the movement. But it’s by telling personal stories that you can trigger that, and I think film has that power. Today, if I was sitting in a board meeting of this movement, I would say, “Let’s do short documentaries about each other’s experiences and get them out, because that’s the way to get people’s attention.”
We do the same thing, in a way. At least film is capable of doing what these guys did. That was a connection that I found on the way. When I was out and everyone was like, “Oh, you’re doing the film about Cesar Chavez! I gotta tell you something. My grandfather, one day, he grew up and blah blah blah…”
If I do a documentary where I tell you, “More than a 100,000 have been killed in the last eight years in my country because of the war on drugs that our president started, our former president started…” You’re going to go, “Oh, that’s a big number.”
But if I tell you the story of a kid who lost his father and now has to work and had to get out of school to support his mother, and how the life these four people changed dramatically, not just his but his brother and his sister... The next day you’re going to care about the war we’re living there. So by telling personal stories you can trigger that attention and that’s something they were doing that was way ahead of us.
How many female jazz musicians can you name? Judy Chaikin's new documentary The Girls in the Band can help. By the time the credits roll, you will have met three generations of distaff players, composers, arrangers and conductors reaching back to the 1920s. Names like saxophonists Roz Cron and Peggy Gilbert, trumpeters Clora Bryant and Billie Rogers and drummer Viola Smith will roll off the tongue as readily as those of Thelonious Monk and Dizzy Gillespie.
Read more: "The Girls in the Band" Honors...
American Symphony Orchestra: The Key of Dreams
Leon Botstein, music director
March 22, 2019
Czech composer Bohuslav Martinů
For decades, Leon Botstein and the American Symphony Orchestra have consistently put on the most innovative and exciting classical-music programming in New York. Usually thematic in nature—the ASO’s first concert this season in October, A Walt Whitman Sampler, featured a rare live performance of Vaughan Williams’ expansive A Sea Symphony—the annual slate also features an annual performance of an obscure opera, usually from the 20th century and often overdue to be heard by audiences.
Last season was Luigi Nono’s Intolleranza 1960, an unabashedly modernist and explicitly socialist work rarely presented in New York (or anywhere else, for that matter). On March 22 at Carnegie Hall, Botstein and the ASO present Czech composer Bohuslav Martinů’s Julietta, which many consider his operatic masterpiece. Botstein recently discussed Martinů, choosing operas to resurrect and what’s coming in a few months at his other job, running the annual Bard Music Festival, which looks at the musical world of a single composer each summer.
Kevin Filipski: With so many worthy but underheard 20th century composers from which to choose, how did you pick Martinů?
Leon Botstein: First of all, it’s the quality of the composer, the significance of the composer and the consistency of his music. Over the years, interest in Martinů has grown. There are the orchestral works, of course, and he was an avid opera composer. Two of his operas stand out: his last, The Greek Passion, and Julietta, which is considered his finest opera, a real masterpiece. The more you look into it, the more you see how unusual it is. I like to think of Julietta as a psychoanalytic opera, with extremely innovative use of speech and music, and melodrama and dialogue. It’s really a fantastic piece. I didn’t really know much of its performance history, and it’s never been done in the U.S.
Sara Jakubiak sings the title role of Julietta (photo: Ashley Plante)
KF: Julietta was originally done in French. Why perform it in Martinů’s original language, Czech?
LB: This is a long back-and-forth. If I remember correctly, I retranslated it from French into Czech. The original story and novel are French. A Martinů scholar has done a new critical edition for the Czech version. Given its performance history and Martinů’s own relationship to the Czech language, he was quite like Janáček, who believed that the actual sound of the language was a crucial element. In Martinů’s case, it’s his own revision of the original version: if you will, an analogy might be made between Beethoven’s Fidelio and Leonore. Fidelio is what we play on the stage, but it’s Beethoven’s distillation of his complete work on this project. The Czech Julietta appears to have the same status. There’s a feeling that Czech is sonically more effective and that this version is the final statement by the composer.
KF: I know you have a list of many worthy operas you’d like to perform. Can you explain your process of choosing them?
LB: This opera was definitely on my list. There’s a whole fantastic repertoire of Czech opera, and two Smetana operas have always been on my list: Dalibor and Two Widows. In Martinů’s case, Julietta and The Greek Passion, as I said earlier, have been on the list of operas that need a fresh look and a fresh hearing. Julietta has been on my mind for awhile: in the 90s, I had the honor of working with Czech pianist Rudolf Firkusny, for whom Martinů wrote his piano concertos. He was a good friend of Martinů and lent me his own score of Martinů’s piano concertos and encouraged me to look into more of his music. For many of us, Martinů was a name but just in a general sense, not for any specific work. There was a tremendous output—he was tremendously prolific—but not anything that was so far in view that you could follow the trail, like Dukas’ The Sorcerer’s Apprentice, for example. When I was preparing for the Dvořák Bard Music Festival (1993), I stumbled on a whole bunch of names that I didn’t know anything about, including Suk and Martinů. Suddenly a whole Czech tradition opened up in the 19th and 20th century. My first encounter with Martinů was with the symphonic music: a few seasons ago I conducted his sixth symphony.
Leon Botstein (photo: Ric Kallaher)
KF: Speaking of the Bard Music Festival, what’s on tap for this summer?
LB: This summer is Korngold, which will be fascinating, because he’s somebody who had 2-1/2 careers. He was an opera and chamber music composer before the mid-1930s, and he was also a phenomenal prodigy. Die Tote Stadt, which we’re doing a concert performance of, was one of the most highly performed operas in the early 1920s. He was a sensation, and his serious opera is Das Wunder der Heliane, which we will perform in a staged version. So we’ll look at Korngold’s career, and in the process, we’ll also hear how he was engaged in operetta along with his contemporaries. We’ll show how he took music he wrote for movies and turned it into concert music, because he really didn’t make a big distinction between them. And we’ll do a serious sampling of his orchestral and instrumental output.
KF: In this fragmented culture, how does serious music stay relevant for audiences?
LB: There are essentially two pillars of our art forum that seem to do well. First, it’s the new: new work, new names on the scene and premieres; in that category I would put new artists like pianists, violinists and conductors. So in that sense it’s a new performer and new composer-based structure. Then there’s the standard repertory, what I would call a Ferris wheel, which goes around and around. We’ll see a lot of it in the Beethoven year (2020 is the 250th anniversary of his birth) and it changes almost not at all. What’s vanished completely is the third absolutely essential pillar, maintaining the vitality of the rich history of this art form, which is what we do with Bard and the ASO It’s the hardest thing to bring across. We’re in the business of engendering curiosity, not having an aesthetic war of, say, tonal vs. atonal. That kind of nonsense is no longer relevant. What is relevant is to get listeners to hear music with a sense of curiosity and not nervousness if they don’t recognize something. You have to build trust with the audience, which is what we are doing with Bard and the ASO.
Blu-rays of the Week
Spider-Man—Into the Spider-Verse
Winner of the Oscar for Best Animated Film, this enjoyable “alternative” Spider-Man origin story follows a teenager who, after a bite by a radioactive spider, becomes another Spider-Man—just as the original superhero supposedly dies. Crammed with inventive visuals, a creatively offbeat script and enough humorous asides to keep parents interested while their kids are enthralled, this may be the beginning of a new wave of cartoon superhero flicks.
The film looks sparkling on Blu; extras include an audio commentary, alternate universal mode, several featurettes and a new animated Spider-Man short.
The Kid Brother
The latest Criterion release of a 1927 feature by Harold Lloyd—who was, after Chaplin and Keaton, the greatest silent film comedian—might not equal earlier Lloyd releases like The Freshman and Safety Last!, but it has the writer-director-actor-stunt man’s best qualities in abundance, from spectacular sight gags and physical humor to unexpected poignancy.
Criterion’s release includes a wonderfully detailed restored hi-def transfer, two musical scores to choose from and the usual plethora of extras: audio commentary, new and archival interviews, video essays and the newly restored Lloyd shorts Over the Fence (1917) and That’s Him (1918).
Man from Atlantis
This 1977 TV movie—starring Patrick Duffy as an amnesiac man with gills and webbed feet washed ashore and taken in by U.S. officials, who need his help neutralizing a mad eco-terrorist—is typically silly stuff saved only by ahead-of-its-time environmental awareness.
It’s surprising that all four of these Atlantis movies were not released together on Blu-ray, as they were earlier on DVD; their initial popularity helped green-light the short-lived (13 episodes) series. Luckily for Duffy, another series, Dallas, soon came along. There’s a vivid hi-def transfer.
(Film Movement Classics)
French director Vera Belmont’s lusty 1997 costume drama is a terrific showcase for Sophie Marceau, who has never been more charming than as the title character, a dancing girl from the sticks who works her way up the social ladder to become a member of Moliere’s acting troupe and performer for the royal court.
Belmont’s sharp eye for political satire is more muted than in her wonderfully evocative 1985 film, Red Kiss—which also needs to be restored and reevaluated—but this is still a delicious glimpse at a bygone (17th century) era. The movie looks great on Blu-ray; the lone extra is a new interview with Belmont.
Mary Poppins Returns
In this long-gestating sequel to 1964’s Mary Poppins, Emily Blunt takes on the role that Julie Andrews is beloved for: the irrepressible supernanny, who comes back to the same family she was with before. Blunt is fine, as is the rest of the cast—Lin-Manual Miranda, Colin Firth, Ben Whishaw, Emily Mortimer, and especially the welcome return of vets Dick van Dyke and Angela Lansbury—and Marc Shaiman’s songs are tuneful echoes of the Sherman brothers’ originals.
Director Rob Marshall loses control over the final 30 minutes, but as family entertainments go nowadays, one could do a lot worse. The hi-def transfer is excellent; extras include a sing-along edition, deleted scenes, deleted song, featurettes, interviews and a gag reel.
Director John Andreas Andersen has made what could be called a thinking-mans’ disaster movie—at least up to a point. His hero is a Finnish geologist trying to sound the alarm about an 8.5 earthquake about to devastate Oslo and its citizens, including his family.
For its first two-thirds, The Quake is fun, even brainy stuff, but when the quake arrives—and there’s tremendous, and sparing, use of special effects that show Oslo’s destruction—character development unfortunately takes a back seat to disaster movie clichés. There’s a first-rate hi-def transfer; extras are several making-of featurettes.
DVDs of the Week
Divide and Conquer—The Story of Roger Ailes
In her incisive documentary about the man who created Fox News and today’s negative political campaigns, Alexis Bloom charts the rise and fall of Roger Ailes alongside oft-incriminating interviews with those who knew and worked with him—including, unsurprisingly, women who describe his sexual indiscretions and harassment.
There’s nothing too surprising, but it’s put together so meticulously that it becomes a compelling if grotesque portrait of our benighted era.
Over the Limit
Marta Prus’ gripping fly-on-the-wall documentary follows Margarita Marun, a world-class Russian rhythmic gymnast, practicing and participating in tournaments with an eye toward the 2016 Olympics. She seems a focused young woman, but her coach has decided that psychological bullying will ensure that she keeps that focus.
Marun appears to accept such behavior as part of her reaching for greatness—up to a point. Immediately after the Olympics, she retires at age 20, shows the ambivalence. A bonus short film is Johnson Cheng’s Olympics-set Iron Hands.
CD of the Week
Stéphanie D'Oustrac: Sirènes
For this intelligently programmed recital, Stéphanie D'Oustrac is joined by pianist Pascal Jourdan for a journey through lynchpins of Romantic-era music by Liszt, Berlioz and Wagner. Although her renditions of six Liszt lieder are precisely phrased and she treats Wagner’s Wesendonck-Lieder with the reverence they deserve, it’s in the Berlioz, not surprisingly, that finds the French mezzo most in her element.
Both Les Nuits d’ete and Le mort de Cleopatra, usually heard in their orchestrated versions, have never sounded so elegant and intimate as they do here, only hearing D’Oustrac’s lustrous voice and Jourdan’s refined accompaniment.
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