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Everyone was feeling 'A Real Pain' at Sundance this year

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Everyone was feeling 'A Real Pain' at Sundance this year

The title of Jesse Eisenberg’s “A Real Pain,” a sharp, funny and moving highlight of this year’s Sundance Film Festival, is an inspired bit of wordplay. At first it would appear to refer, unambiguously, to Benji (Kieran Culkin), a gregarious, tortured, filter-free loudmouth who often annoys his milder-mannered cousin, David (Eisenberg), as they travel around Poland with a tour group. As these two men retrace their Jewish ancestral footsteps, visiting cemeteries, war memorials and, eventually, Majdanek concentration camp, the title’s second meaning emerges: Faced with these horrors, can either of them — even Benji with his nettlesome demons — really claim to have experienced real pain? After their taste of world-historical tragedy, do they have a right to complain about anything?

The question may be beside the point, since Benji and David scarcely need permission to complain to (and often about) each other. Theirs is a familiar, bickersome buddy-comedy dynamic, with Eisenberg playing the exasperated straight man to Culkin’s volatile post-“Succession” comic fireworks. But Eisenberg, in a major leap forward from his 2022 writing-directing debut, “When You Finish Saving the World,” doesn’t hurl contrived obstacles into his characters’ path or force them into a tearjerking reconciliation. Over a fleet, deceptively light 90 minutes, he grounds the comedy in an exquisite understanding of character, an ear for Chopin and an eye for the loveliness of Polish towns, cities and landscapes. (The cinematographer is Michał Dymek, who filmed last year’s staggeringly beautiful donkey drama, “EO.”)

The story in “A Real Pain,” which was acquired by Searchlight Pictures during the festival, isn’t strictly autobiographical; if it were, it might well lend the title a third meaning. But it has a potent personal dimension nonetheless. One key location that the characters visit, late in the movie, is a house that belonged to members of Eisenberg’s family before World War II. It’s not the kind of detail you’d know to look for beforehand, but think about it afterward and it starts to feel revelatory, giving rise to a sense of loss and longing that reverberates, almost retroactively, across every frame.

Sundance has long been a haven for semiautobiographical stories from up-and-coming filmmakers, particularly those with less firmly established Hollywood roots than Eisenberg. The old adage to “write what you know” can, at worst, give young auteurs license to indulge their most solipsistic instincts; it has also happily yielded some of the festival’s standout entries in recent years, including Lulu Wang’s “The Farewell,” Lee Isaac Chung’s “Minari,” Radha Blank’s “The 40-Year-Old Version” and Celine Song’s “Past Lives.” The tradition, of course, goes back further still; watching the now 40-year-old Eisenberg in “A Real Pain,” I couldn’t help but flash back on the fresher-faced version of him who appeared onscreen in 2005’s “The Squid and the Whale,” Noah Baumbach’s wonderful Sundance-premiered dramedy about his own parents’ divorce.

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André Holland and Andra Day in the movie “Exhibiting Forgiveness,” which premiered at Sundance.

(Sundance Institute)

This year’s U.S. dramatic competition offers its own semiautobiographical bounty, including two I’m looking forward to catching up with: Sean Wang’s “Dìdi (弟弟),” which won an audience award and an ensemble acting prize, and Laura Chinn’s “Suncoast,” which drew an acting award for its young star, Nico Parker. (“A Real Pain,” meanwhile, won the competition’s Waldo Salt Screenwriting award.) They were joined in that section by “Exhibiting Forgiveness,” an often heavy-handed but forcefully acted drama of intergenerational anguish drawn from the personal experience of its first-time filmmaker, the painter Titus Kaphar.

His alter ego here is a successful artist, Tarrell (André Holland), whose happy home life with his singer-songwriter wife (Andra Day) and their young son stands in stark contrast to the pain of his own upbringing. That trauma, always present, comes flooding to the surface when La’Ron (John Earl Jelks), the father Tarrell hasn’t seen in years, suddenly walks back into his life, reopening a Pandora’s box of memories involving neglect, abuse and alcoholism.

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The one who unexpectedly nudges Tarrell toward forgiveness is his mother, Joyce (Aunjanue Ellis-Taylor), whose Christian faith has enabled her to release her own anger toward La’Ron. Watching “Exhibiting Forgiveness” often reminded me of the lessons of my own distant evangelical upbringing: namely, that forgiveness is primarily a release of anger and ill will toward an offender, rather than a commitment to trust or reconcile. Kaphar has a tendency to overstate these and other ideas, including the therapeutic value of art, but his work with his actors is consistently superb: To watch Joyce and Tarrell struggle with their convictions and emotions in one furious argument is to witness Ellis-Taylor and Holland at the peak of their powers. Here, too, a real pain seems to break through the surface of the filmmaking.

Sebastian Stan in the movie “A Different Man.”

(A24)

But what if that pain isn’t recognized as real by those around us? What if a spectacle of authentic human suffering is obscured by disfiguring layers of flesh — or, in a bitterly ironic twist, concealed by a physical beauty that people assume to be superficial and depthless? These and many other questions arise over the course of Aaron Schimberg’s “A Different Man,” a self-deconstructing meta-pretzel of a dark comedy that premiered in the festival’s high-profile Premieres section. By turns a Woody Allen-style riff on life-art mimicry and a Cronenbergian study in flesh, blood and identity transference, it was by far the most daring and continually surprising movie I saw in Park City, and one I’ll avoid spoiling before you have a chance to see it. (Set to premiere in competition at next month’s Berlin International Film Festival, it will be released by A24 later this year.)

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Sebastian Stan plays Edward, an actor with the genetic condition known as neurofibromatosis, visualized here by large, fleshy facial prosthetics. The movie’s inciting twist is the discovery of an experimental procedure that might heal Edward of his disfigurement — a scientific miracle that Schimberg wisely leaves unexplained. What follows is a roundelay of mistaken identities and bewildering coincidences involving Edward 2.0 (now played by Stan in the unobscured flesh), his playwright neighbor (Renate Reinsve of “The Worst Person in the World”) and an insistent third party, Oswald, played by the English actor Adam Pearson, who has neurofibromatosis himself.

Pearson previously worked with Schimberg on 2018’s “Chained for Life,” five years after his memorable screen debut in Jonathan Glazer’s “Under the Skin,” a title that might have worked just as well for “A Different Man.” His arrival in this movie sends it careening wildly (but with just enough control) in multiple provocative directions, nearly all of which end in a question mark. By introducing an actor with a disorder in a movie starring an actor feigning that disorder, is Schimberg’s movie trying to court or preempt its own representational criticism? Does Edward’s transformation reassert — or make a mockery of — the increasingly held notion that only authentically lived experience can entitle an artist to tell a particular story? It’s neither the first nor the last time that question will surface at Sundance, though at present, it’s hard to imagine it being raised in a more deliriously out-there fashion.

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Soho House sued after bartender alleges she was ‘drugged and raped’ by her supervisor

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Soho House sued after bartender alleges she was ‘drugged and raped’ by her supervisor

A bartender who worked at Soho House’s exclusive Soho Warehouse in downtown Los Angeles is alleging a supervisor at the posh membership club and hotel drugged and raped her, according to a lawsuit filed in Los Angeles Superior Court on Wednesday.

The woman, who filed as Jane Doe, said in her complaint that she was “subjected to repeated sexual advances and unwelcomed physical touching” by one of her supervisors, Leonard Marcelo Vichique Maya, immediately after she began working as a bartender at Berenjak, the club’s restaurant, in September 2025.

Doe is suing Vichique Maya, Soho House, Soho House Los Angeles and Soho Warehouse for sexual harassment, retaliation and other claims..

“This is as egregious an instance of callous corporate indifference to workplace sexual violence that anyone can experience,” said her attorney Nick Yasman of Los Angeles-based West Coast Trial Lawyers in a statement.

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Representatives for Soho House and Vichique Maya were not immediately available for comment.

Doe has further alleged that Vichique Maya made “numerous comments” about her appearance, propositioned her to be his “hook-up buddy” and told her that she “would be pregnant by now” had they met earlier, all within earshot of her supervisors and colleagues.

After two weeks on the job, Doe said that she reported Vichique Maya’s conduct to two male supervisors, including Soho House’s floor manager and food and beverage director, states the complaint, but “neither took any semblance of corrective or investigatory action.”

According to the suit, Doe claims that despite “his pattern of harassing behavior and complaints,” the company, did not address his alleged misconduct. ”

She claims his behavior escalated after a “team-bonding” work event on Sept. 13, where Doe said she became disoriented after drinking with supervisors and co-workers, eventually losing consciousness, and woke up naked in Vichique Maya’s apartment.

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“Paralyzed and speechless despite her consciousness slowly returning, Plaintiff was condemned to simply watch in horror as [sic] MARCELO repeatedly raped her inanimate body,” states the suit.

The next day, Doe said that she reported to her floor manager that Vichique Maya had “sexually assaulted her.”

She said her general manager “confirmed” that he “appeared to be preying” on her during the work event, telling her that “These things happen between coworkers.”

When she proclaimed that she could no longer work with Vichique Maya,” she said the general manager dismissed her concerns telling her: “I have a restaurant to run; I can’t have it blow up on me.”

Despite informing three managers that she was “raped,” Doe said she was continuously scheduled to work shifts with Vichique Maya during which he repeatedly sexually harassed her.

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In December, Doe filed a complaint with Soho House human resources, and she was assured that an investigation would be opened and “immediate corrective action” taken.

However, during the investigation, Doe said that she was placed on indefinite leave while Vichique Maya continued working. A month later, she was informed the company had completed its investigation and found her report of rape “was uncorroborated” and he “would not be disciplined.”

In February, the plaintiff said that she was forced to quit her job.

One of the first, exclusive members-only social clubs, Soho House debuted in London in 1995 and quickly became the bolt-hole of choice for celebrities and the deep-pocketed. It expanded globally with 48 houses in 19 countries.

It drew high-profile investors, including Ron Burkle through his investment fund Yucaipa.

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In 2021, the company filed for an initial public offering on the New York Stock Exchange, but it has faced financial challenges. .

Last year, Soho House went private, selling itself to a group of investors including Apollo Global Management and actor Ashton Kutcher, who also joined its board of directors, at a $2.7-billion valuation.

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MOVIE REVIEWS: “Mercy,” “Return to Silent Hill,” “Sentimental Value” & “In Cold Light” – Valdosta Daily Times

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MOVIE REVIEWS: “Mercy,” “Return to Silent Hill,” “Sentimental Value” & “In Cold Light” – Valdosta Daily Times

“Mercy”

(Thriller/Crime: 1 hour, 39 minutes)

Starring: Chris Pratt, Rebecca Ferguson, Kali Reis

Director: Timur Bekmambetov

Rated: PG-13 (Violence, bloody images, strong language, drug content and teen smoking)

Movie Review:

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“Mercy” is a science fiction movie based on one of the more common themes of moviedom lately, artificial intelligence (AI). This crime thriller cleverly creates an intriguing story using technology and the justice system, yet it fails to be consistently interesting and intelligent throughout. The conclusion is less significant than the initial setup, as the concluding scenes become typical action sequences.

Detective Chris Raven (Pratt) of the LA Police Department is a huge supporter of the city’s new judicial courtroom. Crimes are now judged by an AI program (Ferguson) in the Mercy Court. The court is run by an artificial program that makes decisions based on all of the evidence before it without any prejudice. Detective Raven is all for this system until he is convicted of killing his wife. Now he must use all of the data, including the AI‘s ability to tap into everyone’s electronic devices, security cameras, and even into government files, within reason, to prove he did not murder his wife.

Mercy is an interesting movie. It entertains throughout, even when the story gets sloppy and characters’ actions are irrational. This mainly occurs during the final scenes. The movie tries too hard to insert unneeded narrative twists. This is disappointing because the story is interesting. What makes it fascinating is that it happens in real time. This is the most brilliant facet.

All the other theatrics are unnecessary. Director Timur Bekmambetov (“Profile,” 2018; “Wanted,” 2008) and “Mercy’s” producers should have just kept the ending simple, no plot twists or superfluous action sequences.
Grade: C (This flick needs some mercy. Let the trial begin.)

“Return to Silent Hill”

(Horror: 1 hour, 46 minutes)

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Starring: Jeremy Irvine, Hannah Emily Anderson and Robert Strange

Director: Christophe Gans

Rated: R (Bloody violent content, strong language and brief drug use.)

Movie Review:

“Return to Silent Hill” is about one man’s quest to return to the love of his life. The problem is she has moved on to the afterlife. Meanwhile, audiences lose part of their life watching this movie, which is unlike any of the two prequels in this series. This one is a psychological horror that bores.

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Artist James Sunderland (Irvine) decides to return to Silent Hill, a place where many people died during a devastating illness that nearly enveloped the entirety of the city’s population. What is left there is a horror show of freakish creatures, all with violent intent. Still, Sunderland searches for the love of his life, Mary Crane (Anderson).

Think of this movie as a slow suicide, where a guy goes back to retrieve his dead girlfriend. To do so, he must travel to the modern land of the dead that Silent Hill has become. This one is a type of swan song by the main character, and the movie becomes less scary while lackluster romantic notions wander aimlessly.

Grade: D (Do not return to see this.)

“Sentimental Value”

(Drama: 2 hours, 13 minutes)

Starring: Renate Reinsve, Stellan Skarsgård, Inga Ibsdotter Lilleaas and Elle Fanning

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Director: Joachim Trier

Rated: R (Language, sexual reference, nudity and thematic elements)

Movie Review:

“Sentimental Value” is a Norwegian film that won the Grand Prix in France’s Cannes Film Festival and was nominated for nine Academy Awards, including Best Motion Picture. It is a solid drama filled with symbolism and family connections. It is brilliant performances by a talented cast under the direction of Joachim Trier (“The Worst Person in the World,” 2021).

This screenplay is about Gustav Borg (Skarsgård). He is a father, grandfather and a famed film director. He stayed away from his two daughters, actress Nora Borgwhile (Reinsve) and historian Agnes Borg Pettersen (Lilleaas), while he was creating works as a filmmaker. The director comes back into the lives of his daughters after the death of their mother. Their reunion leads to a rediscovery of their bond at their family home in Oslo.

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Stellan Skarsgård is always a solid actor. He takes his roles and makes them tangible characters that seem like you know them, even when they’re speaking a foreign language. That is the quality of his act and why he gets nominated for multiple awards each season.

“Sentimental Value” is a valuable movie filled with enriching sentiment. It is an enjoyable film for those who value a good drama. The acting and original writing alone make the movie worth it. “Sentimental Value” starts in a very simple way, but everything in between, even when low-key, remains potent. Joachim Trier and writer Eskil Vogt have worked together on multiple projects such as “The Worst Person in the World” (2021). Their pairing is once again worthy.

Grade: A- (Any motive valuable movie.)

“In Cold Light ”

(Crime: 1 hour , 36 minutes)

Starring: Maika Monroe, Allan Hawco and Troy Kotsur

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Director: Maxime Giroux

Rated: R (Violence, bloody images, strong language and drug material)

Movie Review:

“In Cold Light” sticks to a very straightforward story, primarily taking place over a short period. The problem is the story leaves one in the cold. Audiences have to guess what is being communicated because this movie uses American Sign Language (ASL) without subtitles. For those moviegoers who do not know ASL, they are left deciphering characters’ actions and facial expressions during some pivotal scenes.

Ava Bly (Monroe) attempts to start a legit life after prison. Her life changes when Ava’s twin, Tom Bly (Jesse Irving) is murdered while seated next to her. As her brother’s killers pursue her, Ava must evade law enforcement, which contains some crooked cops led by Bob Whyte (Hawco).

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For a brief moment, this movie hits its exceptional moment when Oscar-recipient Helen Hunt enters the picture as a motherly Claire, a crime boss who seems more like a social worker/psychologist. Her long scene is wasted as it arrives too late.

French Canadian director Maxime Giroux’s style has potential in his first English-language film, but it does not fit a wayward narrative. A rarity, this crime drama has characters commit many dumb actions at once.

Moreover, Giroux (“Félix et Meira,” 2014) and writer Patrick Whistler forget to let their audiences in on their story. They allow much to get lost in translation, especially during heated conversations between Monroe’s Ava and her father, Will Bly, played by Academy Award-winning actor Troy Kotsur (“CODA,” 2021).

Grade: C- (Just cold and dark.)

More movie reviews online at www.valdostadailytimes.com.

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Paramount-Warner Bros. deal stirs fears about what it means for CNN

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Paramount-Warner Bros. deal stirs fears about what it means for CNN

As the media industry took stock of Paramount Skydance’s startling acquisition of Warner Bros. Discovery, one question lingered on the minds of many in the news business and beyond: What will this mean for CNN?

The iconic 24-hour cable news network is among the various Warner Bros. assets that would be scooped up by Paramount in a deal announced Thursday that could transform the media landscape.

Paramount has undergone a swift transformation under Chief Executive David Ellison following his family’s acquisition of the company last summer. These changes reached CBS News almost immediately with the appointment of Bari Weiss, the controversial Free Press co-founder, as its new editor in chief.

Bari Weiss moderated a town hall with Erika Kirk, widow of slain conservative activist Charlie Kirk.

(CBS via Getty Images)

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Weiss’ tenure so far has been rocky.

Her decision to pull a “60 Minutes” story about conditions inside an El Salvador prison that housed undocumented Venezuelan migrants from the U.S. received widespread criticism and accusations of political motivation. The network said the story was held for more reporting, and the segment eventually aired.

There was more upheaval last week at the news magazine, when “60 Minutes” correspondent and CNN news anchor Anderson Cooper announced that he’d be leaving to spend more time with his family.

And earlier this year, a veteran producer at “CBS Evening News With Tony Dokoupil” was fired after he expressed disagreement about the editorial direction of the newscast.

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Now, the concern is that similar changes could be in store for CNN, which has long been a target of President Trump’s ire. He has personally called for the ouster of hosts at the network who have questioned his policies.

CNN Worldwide Chief Executive Mark Thompson tried to quell some of those fears, particularly inside his own newsroom.

In an internal memo dated Thursday and obtained by The Times, Thompson urged employees not to “jump to conclusions about the future” and try to concentrate on their work.

“We’re still near the start of what is already an incredibly newsy year at home and abroad,” he wrote in the note. “Let’s continue to focus on delivering the best possible journalism to the millions of people who rely on us all around the world.”

Chairman and CEO of CNN Worldwide Mark Thompson and media editor for Semafor, Maxwell Tani, speak onstage.

Chairman and CEO of CNN Worldwide Mark Thompson and media editor for Semafor, Maxwell Tani, speak onstage.

(Shannon Finney / Getty Images for Semafor)

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CNN declined to comment beyond Thompson’s memo.

Ellison has said his vision for a news business is one that is ideologically down the middle.

“We want to build a scaled news service that is basically, fundamentally in the trust business, that is in the truth business, and that speaks to the 70% of Americans that are in the middle,” he said during a Dec. 8 interview on CNBC, shortly after Warner said it had chosen Netflix as the winning bidder for its studios, HBO and HBO Max. “And we believe that by doing so that is for us, kind of doing well, while doing good.”

Ellison demurred when asked whether Trump would embrace him as CNN’s owner, given the president’s past criticisms of the network.

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“We’ve had great conversations with the president about this, but … I don’t want to speak for him in any way, shape or form,” he said.

First Amendment scholars have raised concerns about press freedom and free speech rights under the Trump administration, particularly after last month’s arrest of former CNN journalist Don Lemon and the Federal Communications Commission’s pressure on late-night hosts like Jimmy Kimmel and Stephen Colbert.

Press freedom groups have long asked questions in other countries about how authoritarian regimes use their power and “oligarchical alliances to belittle, silence, and punish independent journalistic voices, or to steer media ownership toward … a preferred version of the truth,” said RonNell Andersen Jones, a 1st Amendment scholar and distinguished professor in the college of law at the University of Utah, in an email.

“We see them asking at least some of these questions about the U.S. today,” she wrote.

Apprehension about the merger also extends beyond its implications for CNN and the media business.

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Lawmakers such as Rep. Laura Friedman (D-Glendale), Sen. Adam Schiff (D-Calif.) and Sen. Cory Booker (D-N.J.) have raised concerns about how the consolidation of two major Hollywood studios could affect industry jobs and film and television production — which has significantly slowed since the pandemic, the dual writers’ and actors’ strikes in 2023 and corporate cutbacks in spending.

Sen. Elizabeth Warren (D-Mass.) called the deal an “antitrust disaster” that she feared could raise prices and limit choices for consumers.

“With the cloud of corruption looming over Trump’s Department of Justice, it’ll be up to the American people to speak up and state attorneys general to enforce the law,” she said in a statement.

Already, California Atty. Gen. Rob Bonta has said the merger isn’t a “done deal,” adding that he is in communication with other states attorneys general about the issue.

“As the epicenter of the entertainment industry, California has a special interest in protecting competition,” he posted Friday on X.

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The deal is subject to approval by the U.S. Justice Department. Bonta and other state attorneys general are expected to file a legal challenge to the mega-merger on antitrust grounds.

Ellison addressed some of these concerns in a statement Friday.

“By bringing together these world-class studios, our complementary streaming platforms, and the extraordinary talent behind them, we will create even greater value for audiences, partners and shareholders,” he said. “We couldn’t be more excited for what’s ahead.”

Times staff writer Meg James contributed to this report.

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