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At Contact in the Desert, 'Coachella for UFOs,' a once-fringe topic takes the main stage

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At Contact in the Desert, 'Coachella for UFOs,' a once-fringe topic takes the main stage

Timothy Humphrey isn’t sure what exactly happened the night the visitor arrived.

“I saw something in the sky, and then an individual on the ground who spoke to me,” Humphrey, a Temecula resident, recalled as he walked through the Saturday afternoon crowds at the Contact in the Desert UFO convention in Indian Wells. He described the entity — a possible extraterrestrial? — as a “blonde-haired, blue eyed dude” dressed in all white. “I wasn’t on psychedelics or anything,” Humphrey laughed, but the encounter left him shaken.

“I had trouble sleeping after, but I wasn’t harmed,” Humphrey said. “I took it as an experience where the line blurred between reality and spiritual woo-woo stuff.”

Humphrey’s mind-bending night was the kind of thing many would keep private, or to the deepest trenches of UFO Reddit. But last weekend, two thousand fellow seekers gathered at the Renaissance Esmeralda resort to try to make sense of their similar encounters and beliefs.

They had much to discuss. The topic of UFOs has gone from fringe to urgently mainstream in just a few years. The highest reaches of the government, military, media and entertainment have taken serious interest in the phenomenon.

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Hardcore Ufologists rightly feel vindicated, but that’s old news at Contact the Desert, which celebrated its tenth anniversary this year. There, a fascination with Ufology melded with esoteric spirituality, government conspiracy, alt-celebrity culture and a bit of self-awareness about how loopy this can all get.

Believers at the five-day convention between May 30 to June 3 nurtured a subculture that’s now passing laws and opening minds. But such belief can also self-reinforce to strange places. The worldviews on display at Contact the Desert are ascendant. They show where Americans are looking for meaning — or solace — in terrestrially fraught times.

“It was a wonderful experience being here,” Humphrey said. “It was fellowship with a lot of like minds. It makes you wonder what else is out there I don’t know about?”

“They tried so hard to wipe us out, but here we are,” said professed UFO experiencer Whitley Strieber, left, with Travis Walton, Linda Moulton Howe, and Paul Hynek at Contact in the Desert convention in Indian Wells.

(David Vassalli / For The Times)

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From at least the early 20th century era of rocket scientist Jack Parsons, and the shared roots of Pasadena’s Jet Propulsion Laboratory, Scientology and the occult group Ordo Templi Orientis, the hard science of space exploration has mingled with more esoteric ideas in Southern California.

Now, UFOs are a common topic in government. The most recent national defense authorization act compelled the National Archives to gather documents about “unidentified anomalous phenomena, technologies of unknown origin and nonhuman intelligence,” and this year yielded the first All-domain Anomaly Resolution Office report. U.S. Senate Majority leader Chuck Schumer and others drafted legislation to declassify information about Unidentified Aerial Phenomena (UAP, the current term for UFOs). Rep. Tim Burchett formed a bipartisan UAP caucus. There’s been sworn testimony from a U.S. intelligence officer alleging the government may have alien craft and bodies. Harvard astrophysicist Avi Loeb wrote bestsellers arguing we may have found evidence pointing to extraterrestrial life.

A decade ago, after the pop-culture success of “The X-Files” but before the latest wave of mainstream and government attention, Ron Janix helped found Contact in the Desert as a home for all of it.

The audience was there — according to a 2021 Pew Research Center poll, two-thirds of Americans believe that extraterrestrial life exists, and more than half believe that military-reported sightings are evidence of alien life.

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Entranced by the James Webb space telescope photographs? Think the CIA is lying about the power of psychic remote viewing? See something weird out in Joshua Tree? You’d find fellow travelers at Contact.

“The audience definitely runs the full gamut, from people with a general curiosity to diehards who claim experiences with aliens,” Janix said. “But there’s no question that since the New York Times story in 2017 and the release of UAP videos from the Pentagon, there’s been a lot more exposure of our community in the mainstream. We try to have fun with it — there’s lots of new people at the event and we want them to know it’s just something to ponder.”

“It is kind of like a Coachella for UFO’s,” laughed Dan Harary, the co-founder of the Hollywood Disclosure Alliance, a group that connects experts and “experiencers” at Contact with the film industry. A boom in documentaries such as J.J. Abrams’ sober Showtime series “UFO” and James Fox’s cult hit “The Phenomenon” proved the topic is compelling beyond red-eyed History Channel marathons.

“There are thousands of fascinating stories for producers here. It’s not just like that Twilight Zone episode ‘To Serve Man’,” Harary said. “We’ve got a guy who is a multimillionaire businessman who said he’s met with the Pleiadians ever since he was 5, and hey, I believe him.”

A woman with a cowboy hat and sunglasses poses

Felicia LuQue is ready to encounter the unknown at the Contact in the Desert convention in Indian Wells, California.

(David Vassalli / For The Times)

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Ufology, like Protestantism, is a big-tent religion, and “A lot of this overlaps,” Janix said. “The ways things blend here is through the idea of nonhuman intelligence, whether it’s a nuts-and-bolts spacecraft to someone talking to ghost to a DMT or ayahuasca experience to talking to artificial intelligence.”

As the topic of UAP and extraterrestrial life became a live-wire issue in Congress and the Department of Defense, with figures including the late Sen. Harry Reid acknowledging programs such as the Advanced Aerospace Threat Identification Program, the question of UAP took on new seriousness in the halls of power.

“I think the audience feels a degree of vindication,” said Nick Pope, a UAP researcher and former civil servant in the U.K.’s Ministry of Defense, who presented at Contact. “People that went to these events used to get ribbed by their families, now those families say ‘I saw the congressional hearing on that, I heard about UFO provisions in the defense bill.’ These people were ridiculed and now they can hold their heads up high. ”

This being SoCal, that included Thomas Jane, the actor and star of “Hung” and “The Punisher,” who said he was “coming out of the UFO closet” with a lecture at Contact.

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“Actors do lots of crazy stuff, but I hope I can help destigmatize the phenomenon,” he said. “I had an experience I couldn’t explain, and there are a lot of people in my position where you wouldn’t feel okay to talk about it before those congressional hearings blew the door wide open. We have to be culturally ready to absorb that we’re not alone. What will this tell us about the nature of reality, physics, evolution?”

On Saturday, crowds wandered through two floors of the Esmeralda, a swanky resort between Palm Springs and the Coachella festival grounds. The audience ranged from witchy Highland Park Gen Z’ers to Nevada desert libertarian Boomers. From morning to night, they strolled between talks that ranged from the grounded (an interview with Harvard’s Loeb touching on his recent book “Interstellar”) to the starstruck (a “Legends: The Pioneers Who Paved The Way” panel with George Noory, of the long running news-of-the-weird conspiracy show “Coast To Coast AM,” and physicist and former CIA parapsychologist Russell Targ). The hosts of the popular true-crime and occult comedy show “Last Podcast on the Left” drew howls and groans when they smashed deep-cut UFO-sighting videos into (pixelated) clips of hardcore alien-themed porn.

Dave Magown, from Las Vegas, was at his first Contact, and felt heartened by everyone’s curiosity. His partner was an experiencer, he said, and he wanted to learn more to support her. “The people here are so open minded, it’s what’s missing in the world today,” he said. “They have the ability to see more than the average Joe. I plan to come every year, I’m gonna be more educated next time.”

A stack of literature about UFOs.

“The people here are so open-minded, it’s what’s missing in the world today,” said Dave Magown about Contact In The Desert. “They have the ability to see more than the average Joe.”

(David Vassalli / For The Times)

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Regulars walked through the halls of crystal skulls and clairvoyant booths with the renewed vigor of being proved right, at least on some of it.

“I usually speak or sell these energy devices at these, it’s my favorite event of the year,” said Apolla Asteria, an esoteric YouTuber. “We’ve witnessed changes in the field of disclosure in the few years, with the UAP task force and the Pentagon reports. We’re getting the vibe that this is being taken seriously.”

Other Contact in the Desert veterans, such as L.A. musician Helena Reznor, are eager to move past staid government reports. “I think people are getting bored of the whole alien thing, we pretty much know there’s something else coming into our reality,” Reznor said. “It’s time to start looking more into portal activity and all of the different, strange intelligences that seem to be interacting with us.”

Shannon McNamara and Xander Gilbert traveled in from Denver for the convention. Gilbert had just left “a talk about Egypt where they said they were beaming people into space when they die and that’s why the Pharaohs are in pyramids,” he laughed. “Everything’s a fun story, even when its wacky.”

McNamara, a podcaster who covers celebrities and conspiracy theory culture, said she knew when to draw the line between silly and dangerous beliefs. “I go as deep as I can before they mention Jewish people and then I’m out,” she said. “Ever since 2020, conspiracy topics have popped off because people don’t trust the media, they don’t trust politicians, they don’t trust schools. All these systems have broken down, so people are like ‘Maybe I trust this author on Amazon with an e-book that resonates.’”

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“And they want a community where like-minded weirdness resonates,” Gilbert added.

That was the conflict at this year’s Contact in the Desert. It is no longer just a fringe event where someone like Travis Walton, the mustachioed professed abductee portrayed in “Fire In the Sky,” is mobbed like Harry Styles. Its topics are no longer taboo in the mainstream.

Should its culture shift to more scientific inquiry, or towards fan service for its most devoted? Does an event like this have an obligation to police its far edges, or to cultivate them?

A man's face is projected onto a screen.

“If the government has classified information, they won’t release it. Why wait for the government to tell us what lies outside the solar system?” asked Harvard astrophysicist Avi Loeb before the Contact in the Desert convention in Indian Wells.

(David Vassalli / For The Times)

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For Loeb, the director of Harvard’s Institute for Theory and Computation at the Harvard-Smithsonian Center for Astrophysics, who delivered a Zoom talk at Contact on Saturday, serious researchers into this field should expect healthy criticism.

“People invent virtual realities. AI has hallucinations. We live in a world where you don’t get feedback if you don’t speak with other people,” said Loeb in a phone call before the festival. “That’s become part of politics and polarization now, and it’s also part of science. That’s unfortunate, because science gives you the privilege of taking risks, making mistakes and learning.”

Loeb’s scientific credibility and Harvard perch made him a potent — if controversial — figure. His captivating 2021 book “Extraterrestrial” posited that Oumuamua, the first known interstellar object to enter our solar system, had evidence of being extraterrestrial technology. The book galvanized the field, became a bestseller and made him UFO-scene famous.

“The beauty of science is that there is one reality we share and can measure it with instruments,” Loeb said. “If the government has classified information, they won’t release it. Why wait for the government to tell us what lies outside the solar system?”

There are risks navigating a scene like Contact. Recently, Loeb caught blowback for appearing via Zoom before a Mexican congressional hearing about UAP where, later, a Ufologist presented “alien mummies” that were likely made of human and animal bones (“It was embarrassing,” Loeb said). Benjamin Fernando, a Johns Hopkins seismologist, recently said that seismic signals from a meteor crash Loeb was investigating were more likely due to a car backfiring.

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“What a ridiculous statement,” Loeb laughed when asked about Fernando’s critique. “An eagle has crows on its back pecking at its neck. My goal is to rise to the level where the crows fall off.

“Copernicus’ book was banned for hundreds of years, but his ideas prevailed because people realized they were true,” he continued. “It’s a subject of great interest. Put some limits on this, but let’s explore it!”

A crowd of people at the Contact in the Desert convention.

“We’re so close to the finish line of disclosure,” UFO lobbyist Stephen Bassett said. “That’s what makes this the most extraordinary activist movement.”

(David Vassalli / For The Times)

For all the avant-garde amateur physics and brain-smoothing New Age thought at Contact, there was also real feeling that the world was being proven more complex and fantastical by the week.

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If you couldn’t quite follow esoteric journalist Linda Moulton Howe’s thoughts about how pure bismuth could help negate gravity, you could appreciate the vim of Stephen Bassett, a UAP disclosure lobbyist with the Paradigm Research Group, racking up legislative wins.

“We’re so close to the finish line of disclosure,” Bassett said. “Until now it was as if you were arguing to end the embargo on Cuba, and the government’s position was ‘There’s no such thing as Cuba. Those photos are fake.’ That’s what makes this the most extraordinary activist movement.”

“The US government officially acknowledged that UFOs were real. Up until that point, everyone was struggling constantly to get their friends and neighbors to believe they weren’t crazy,” said Daniel Sheehan, an attorney who founded New Paradigm Institute, a UAP-focused policy group, after a colorful career of other activist litigation. After the dissolution of last year’s UAP Disclosure Act, he’s now lobbying Congress to establish an independent board that would gather and declassify information and protect whistleblowers.

“There’s a shift in consciousness here when people get together. Now they can talk to friends and neighbors about news reports,” Sheehan said. “There was this underworld club where they were oppressed in common. Now that’s been lifted, and they realize they’re going to have to do more work.”

The final goals of the movement — definitive proof and acknowledgment from government of the existence of extraterrestrial life — remain tantalizingly beyond the veil.

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One hot topic at Contact was the whistleblower David Grusch, a former intelligence official and U.S. Air Force officer who set the UFO podcast world aflame with Congressional testimony that the government could be hiding recovered alien craft and bodies. (NASA administrator Bill Nelson, when asked about Grusch in a 2023 press conference, said “NASA is open and transparent in our data. He said he had a friend that knew where a warehouse was that had a UFO locked up. He also said he had another friend that said he had parts of an alien. Whatever he said, where’s the evidence?”)

There was no faster way to get sour looks at Contact than citing March’s AARO report, a paper from the Defense Department’s newly established All-domain Anomaly Resolution Office. The department said “AARO has found no verifiable evidence that any UAP sighting has represented extraterrestrial activity. AARO has found no verifiable evidence that the U.S. government or private industry has ever had access to extraterrestrial technology. AARO has found no indications that any information was illegally or inappropriately withheld from Congress.”

A man in silver facepaint.

Rocky Angel looks to the skies at the Contact in the Desert convention in Indian Wells.

(David Vassalli / For The Times)

“I was so optimistic about AARO, but it was so dismissive,” Janix said. “It just felt like what the government did with Project Blue Book and the Condon Report. If this is all that AARO is, we need to go somewhere else.”

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The government’s openness to the topic has Ufologists worried that a fragile consensus might end up in the culture-war morass — or pernicious conspiracies.

“The cynic in me says everything is political,” Pope said. “If Joe Biden said ‘We have proof of alien life,’ his opponents would say ‘Here comes the next COVID.’ We have rare bipartisanship around this issue, and we risk unraveling into conspiracy and deep hatreds. There is a conspiratorial wing that can breed extremism.”

As the lectures at Contact wound down into a boozy dance party with a live rock band, the crowd of Ufologists had wine-fueled disagreements: Did David Grusch have the evidence to back up his claims? Can the government be trusted to disclose what it knows?

One thing they were certain of, however, is that they were winning.

Late in the day, Whitley Strieber, the “Communion” author and legendary professed experiencer, opened the Legends of Ufology panel to thunderous applause.

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“They tried so hard to wipe us out,” Strieber said, voice shaking with conviction. “And here we are.”

Movie Reviews

Review | Paper Tiger: Adam Driver and Scarlett Johansson lead dark gangster movie

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Review | Paper Tiger: Adam Driver and Scarlett Johansson lead dark gangster movie

3.5/5 stars

Back in official competition at the Cannes Film Festival for the sixth time, writer-director James Gray returns to his roots with Paper Tiger.

The American filmmaker started his career with 1994’s Little Odessa, starring Tim Roth as a Russian-Jewish hitman operating in the Brighton Beach area of New York. His next two films, The Yards (2000) and We Own the Night (2007), kept him ensconced in the world of low-life criminals.

Paper Tiger also casts the Russian mob as the antagonists. Set in 1986 in Queens, New York, it stars Miles Teller and Adam Driver as the Pearl brothers, Irwin and Gary.

Irwin (Teller), an engineer, is married to Hester (Scarlett Johansson) and has two teenage sons: Scott (Gavin Goudey), who is about to turn 18, and the younger Ben (Roman Engel), who is diligently studying for his exams.

Adam Driver (left) and Miles Teller attend the 79th Cannes Film Festival for the screening of Paper Tiger on May 17, 2026. Photo: AP

Gary (Driver), a former policeman who still has connections on the force, encourages Irwin to team up and create an environmental clean-up business involving the filthy Gowanus Canal.

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Pedro Pascal goes undercover for ‘Star Wars’ surprise at Disneyland

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Pedro Pascal goes undercover for ‘Star Wars’ surprise at Disneyland

Pedro Pascal took his “Star Wars” character to the streets on Saturday, going undercover as the Mandalorian to surprise Disneyland guests aboard the Millennium Falcon: Smuggler’s Run attraction.

A video posted on Disney’s social media showed the actor in full costume, then lifting his helmet to reveal himself.

“Now you all have to die because you’ve seen my face,” he joked to the stunned parkgoers.

After the surprise, Pascal posed for pictures with the dozen or so fans.

Pascal was later joined by co-star Sigourney Weaver, director Jon Favreau and LucasFilm President Dave Filoni at Galaxy’s Edge, the 14-acre “Star Wars”-themed section of the park modeled after an outpost on the fictional planet of Batuu.

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The appearance was part of the press tour for “The Mandalorian and Grogu,” a spinoff of the Disney+ series “The Mandalorian.” The film, which releases on May 22, is the first “Star Wars” movie to hit theaters since 2019.

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‘Avedon’ Review: Ron Howard’s Admiring Profile of Groundbreaking Photographer Richard Avedon Embraces His Genius, Flair and Mystery

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‘Avedon’ Review: Ron Howard’s Admiring Profile of Groundbreaking Photographer Richard Avedon Embraces His Genius, Flair and Mystery

For Richard Avedon, as with most significant artists, work and life were inseparable. When the photographer died in 2004, at 81, he was on the road, mid-project — “with his boots on,” in the words of Lauren Hutton, one of the many beautiful people he helped to immortalize over a 60-year career. Hutton and the two dozen or so other interviewees in Ron Howard’s admiring documentary make it clear how much affection the New York native inspired while reinventing fashion photography and putting his iconoclastic stamp on fine-art portraiture.

The profile Avedon paints is that of a relentless seeker and high-flying achiever, and a deliciously unapologetic contrarian. How can you not adore an image-maker who says, “Beautiful lighting I always find offensive,” and, regarding little kids as potential photographic subjects: “I find them intensely boring.” Avedon’s interest in the grown-up human face, in what it conceals and reveals, was his lifelong project, one that he pursued within circles of rarefied fame, on the backroads of the American West, and in a poignant late-in-life connection with his father.

Avedon

The Bottom Line

A solid mix of glitz and angst.

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Venue: Cannes Film Festival (Special Screenings)
Director: Ron Howard

1 hour 44 minutes

As confrontational as his images could be, the camera was Avedon’s way of experiencing the world, a way of seeking truth through invention. Howard, whose previous doc subjects include Jim Henson and Luciano Pavarotti, and whose fiction movies are designed more to engage rather than to confront, seems particularly inspired here by Avedon’s auteur approach to still photography — it was a narrative impulse, not a documentary one, that shaped his vision, a drive to create moments and mise-en-scènes for the camera.

Avedon built his career at magazines in an era when magazines mattered. He was only 21 when he joined Harper’s Bazaar, where he stayed for 20 years, leaving to follow fashion editor Diana Vreeland to Vogue, where he stayed even longer. And when Tina Brown took the helm at The New Yorker and overturned its age-old no-photos policy, she hired Avedon as its first staff photographer.

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When Harper’s sent him to Paris in 1947 with an edict to summon some of the battered capital’s prewar glamour, he turned to movies for inspiration and conjured visions of romantic fantasy amid the ruins. It was his first significant assignment, and a turning point for fashion photography. The doc emphasizes how, at a Dior show, the images he captured of the designer’s voluminous skirts mid-twirl expressed an ecstatic moment after years of wartime rationing. “People were weeping,” recalls Avedon, a vivid presence in the doc thanks to a strong selection of archival material.

The kinetic energy of those shots would become a defining element of his approach. Injecting movement and a theatrical edge into fashion photography, he lifted it out of the era of posed mannequins. To get models into the spirit of his concepts, he often leapt and danced alongside them. It’s no wonder that in Funny Face, the romantic musical loosely inspired by his career and first marriage, Fred Astaire played the photographer. Eventually Avedon shifted to a large-format camera, an 8×10, that allowed him to interact with his subjects directly, rather than through a viewfinder. There would be more scripted and carefully choreographed moments in his TV spots for Calvin Klein jeans and Obsession, collaborations with the writer Doon Arbus (daughter of Diane and Allan Arbus) that took chances (and which, for some viewers, are inseparable from memorable spoofs on SNL).

Fashion and advertising were mainstays, but he also became a notable portraitist. Positioning his subjects against a plain white background, he removed flattery from the equation. It was an artist-subject relationship in which he held all the power, and he didn’t pretend otherwise; on that point, Brown offers a trenchant anecdote. Remarkably, even though his refusal to sugarcoat was well established — not least by his notorious photo of the Daughters of the American Revolution — an Avedon portrait carried such cachet that establishment figures including the Reagans, Henry Kissinger and George H.W. Bush all submitted themselves to his crosshairs.

The film suggests that a moral imperative was as essential to Avedon’s work as his unconventional aesthetic vocabulary. He threatened to sever his contract with Harper’s when the magazine didn’t want to publish his photos of China Machado, and he prevailed: In 1959, she became the first model of color to appear in the editorial pages of a major American fashion magazine. Howard looks beyond the catwalks and salons to Avedon’s portraits of wartime Saigon, Civil Rights leaders and patients at Bellevue, many of those images collected in Nothing Personal, the book he did with James Baldwin, a friend from high school. A superb clip from a D.A. Pennebaker short of the book launch encapsulates the painfully awkward disconnect between the artist and the corporate media contingent. Most surprising, though, is how hard Avedon took it when the book was lambasted by critics. A later book, In the American West, would also meet harsh criticism; Avedon was, in the eyes of some, a condescending elitist.

Howard’s film is a celebration of a complicated man. It acknowledges Avedon’s naysayers, as well as his struggles and doubts, but this is very much an official story, made in association with the Richard Avedon Foundation, and steering clear of the disputed 2017 biography by Avedon’s business partner. The commentary, whether from models (Hutton, Isabella Rossellini, Twiggy Lawson, Penelope Tree, Beverly Johnson) or writers (Adam Gopnik, John Lahr, Hilton Als) or Avedon’s son, John, can be gushing, but it’s always perceptive.

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The connection he sought with his subjects wasn’t about star worship but the instant when the ego lets down its guard, yet at the same time he was more interested in what he called “the marriage of the imagination and the reality” than straight documentation. Without putting too fine a point on it, Avedon links those twinned yet seemingly contradictory impulses to certain formative experiences. There was the devastation of extreme mental illness for Avedon’s sister and his second wife. There was the pretense of happiness in his childhood home in Depression-era New York (the city is captured in terrifically evocative clips). He recalls, discerning and exasperated, the staged domestic harmony — “the borrowed dogs!” — in family photos.

Avedon doesn’t aim to unsettle, like Avedon himself did, but neither does it tie things up neatly. There’s nothing simple or reductive about the emotional throughlines the documentary traces. It embraces the complexities of a man who turned artifice into a kind of superpower, whether he was dreaming up scenarios for fashion spreads or confronting an America as far removed from haute couture Manhattan as you could get.

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