Lifestyle
Hyperpop, poetry, BDSM or a Moroccan rave allegory? Choose your own cinematic adventure
Charli xcx in The Moment.
A24
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A24
Charli xcx’s The Moment expands wide this weekend. Alexander Skarsgård plays a very un-brat director in the faux documentary starring the pop star as a version of herself — and he stars in BDSM rom-com Pillion.
Those and more are in theaters this week.
The Moment
Expanding widely on Friday
This trailer includes instances of vulgar language.
YouTube
Remember brat summer? That was, of course, in 2024, the year when Charli xcx’s Brat album catapulted her into the mainstream. Now she’s turned that moment into the movie The Moment, directed by Aidan Zamiri, who directed the music videos for Charli’s songs “360” and “Guess.” It’s a hyperpop supermeta faux documentary starring Charli as a version of herself in the album’s aftermath. She’s feeling intense pressure to capitalize upon her newfound mainstream success, and reluctantly goes along with her record label’s shrewd business plans. Along for the ride is none other than Alexander Skarsgård, in a great comedic turn as a concert filmmaker named Johannes who’s totally not brat.
The movie’s central question: Can Charli keep the brat momentum going? And, more crucially: Does she even want to? Your mileage may vary, but I’d argue The Moment works on multiple levels: As a self-referential, semiserious commentary on Charli xcx’s fraught (and well-documented) relationship to fame; as a damning critique of the polished artist-approved concert documentary industrial complex; and as a messy, yet interesting observation of the pitfalls of capitalism. — Aisha Harris
Pillion
In limited theaters Friday
YouTube
“What am I going to do with you,” asks Ray (Alexander Skarsgård), a handsome, leather-clad, undeniably dominant biker in Harry Lighton’s debut feature. “Whatever you want,” replies Colin (Harry Melling), the dweeby, shyly submissive parking enforcement officer who can’t believe he’s attracted the attention of this Tom-of-Finland-caliber stud. In his mid-30s, Colin still lives with his gay-affirming parents (Douglas Hodge and Lesley Sharp) in one of London’s outer boroughs. He’s mild in every sense, performs in pubs in a barbershop quartet, and knows absolutely nothing of BDSM. Ray, who needn’t utter a word to get Colin to buy chips for him and his dart-playing buddies at a pub, is about to introduce him to gay biker kink — fetish-wear, a shaved head, dog collars and all — in a dom-com that features a good bit of pretty graphic sex.
But Lighton mixes the raunch with a sweet positivity by focusing on Colin’s growth and Ray’s vulnerability. Skarsgård lets us see Ray as a man who comes to realize he’s painted himself into a corner by closing himself off from emotional connections. Melling is endearing in his snaggle-toothed innocence, and braver than he first seems, both with Ray and with a domineering mom who badgers him in softer, but no less effective ways. (A “pillion,” in case you’re wondering, is the back end of the driver’s seat on a motorbike, where the passenger sits; it can also be used as slang for a submissive partner.) — Bob Mondello
A Poet
In limited theaters Friday
YouTube
Pity the poor artist who knows he’s failing. Simón Mesa Soto’s Colombian dramedy follows Oscar (Ubeimar Rios), a poet who published two books early in an artistic career that’s since gone south. Now in midlife, he’s unemployed, divorced and living with his mother. His daughter is embarrassed when he visits her, his poetry readings tend to start as lectures and devolve into tirades. He drinks too much and is seriously unlucky. His luck seems to change when he gets a gig teaching poetry in a high school and meets Yurlady (Rebeca Andrade), a teenager who seems indifferent to poetry, but writes like a dream.
Oscar becomes her mentee, shepherding her to competitions (she’s interested in prizes if they can help her family out of poverty), and introducing her to a prestigious poetry school that immediately sees publicity and fundraising advantages in adopting this Black child of humble origins as their mascot. Filmmaker Soto casts a skeptical eye on all of this, shooting in grainy 16-millimeter, and using musical scoring to underline the absurdity and pretension. Both Rios and Andrade are non-professionals making their acting debuts. And the film, which is only the sophomore effort of writer and director Sosa, took the Un Certain Regard Jury Prize at Cannes. — Bob Mondello
Sirāt
In limited theaters Friday
YouTube
A wall of speakers is being assembled in the Moroccan desert at the beginning of Óliver Laxe’s nerve-wracking portrait of sensation seekers on what appears to be the brink of World War III. The speakers soon growl, pulse, and thunder as gyrating, sunburned bodies writhe to a techno beat, and with the help of his young son, a father hands out pictures of a daughter he hasn’t heard from for months. Convinced she might be part of this bacchanalian scene, they’re intrigued when Jade (Jade Oukid) says there’s another rave scheduled soon at an unspecified faraway spot. When the military arrive, ordering an immediate evacuation, Jade and four buddies (who, between them, are missing an arm, a leg, and quite a few teeth) strike out across the desert, and the father and son follow them in a minivan that’s not suited to the rough terrain.
Some LSD-inflected comedy ensues, but if you know that the title refers to the vanishingly-slender bridge Muslim faithful must traverse past Hell on the day of judgment if they want to reach Paradise, you’ll sense that trouble lies ahead. With an engaging cast of mostly first-time actors, Laxe takes the story into allegorical — Mad Max meets The Wages of Fear — territory, through a shocking mid-film tragedy, to a downright existential conclusion. — Bob Mondello
Kokuho
In limited theaters Friday
YouTube
The opening moments of Sang-il Lee’s nearly three-hour epic are breathtaking — a yakuza boss’ son, Kikuo (Ryo Yoshizawa), is orphaned in a New Year’s gang massacre that’s choreographed to a fare-thee-well. But the film isn’t a mob saga. Kikuo performs the onnagata (female) role in an amateur kabuki performance at his father’s New Year’s celebration just before the slaughter. A famed Kabuki actor is in attendance, and adopts the boy, raising him alongside his own kabuki-trained son Shunsuke (Ryusei Yokohama). The great man’s wife worries that Kikuo is so adept at the danced, ritualized theatrical form, that he could end up usurping the dynastic succession by which Shunsuke is expected to take over from his father.
That’s the start of a story that rivals, in its melodramatic twists and fable-like symbolism, the arch, stylized form this family practices. The filming is gorgeous, though the story becomes attenuated in its third hour. Still, it’s easy to see how this film, nominated for best makeup and hairstyling at this year’s Oscars, became Japan’s highest-grossing live-action film. — Bob Mondello
Lifestyle
‘Stay Alive,’ about daily life in Nazi Berlin, shows how easy it is to just go along
It’s been 80 years since Adolf Hitler shot himself in his bunker, yet our fascination with the Nazi era seems eternal. By now I’ve read and seen so many different things that I’m always surprised when somebody offers a new angle on what the Nazis wrought.
Ian Buruma does this in Stay Alive: Berlin, 1939-1945, a new book about living in a country where you have no control over what happens. Inspired by the experience of his Dutch father, Leo, who was forced to do factory work in Berlin, Buruma uses diaries, memoirs and some personal interviews — most of the witnesses are dead, of course — to explore how it felt to be in Berlin during World War II. He weaves together a chronicle that carries Berliners from the triumphant days when Germany steamrolled Poland and daily life felt almost “normal” (unless you were Jewish, of course) through the end of the war when bombs pulverized the city, and Soviet soldiers arrived to rape and pillage.
As he writes of air raid drills, food shortages and the incessant deluge of rumors, Buruma has to deal with the difficulty that most ordinary Germans left behind very little record. They kept their heads down and tried to stay alive. And so the book moves among more interesting characters whose multiplicity gives dimension to our usual flattened sense of Nazi Germany.

We meet Coco Schumann, a young Jewish guitarist who risks his life to play the jazz music that Nazis considered degenerate. We meet 15-year-old Lilo, who starts off thinking that Nazi ideals make life beautiful, but comes to admire the greater nobility of those who tried to assassinate Hitler. There’s the dissident intelligence officer Helmuth von Moltke, a conservative who seeks to work from inside against the Nazis (he gets hanged for his trouble). And there’s Erich Alenfeld, a Jew who converted to Christianity and remained a German patriot: He sent a letter to Reichsminister Hermann Göring asking if he could serve.
We also encounter several of the usual suspects, most notably propaganda minister Joseph Goebbels who, when not coercing young actresses into sex, is busy generating false headlines, ordering movie spectacles to distract the masses (he loved Disney films), and monitoring the city’s morale. Always laying down edicts — like ordering Jews to wear the yellow star — he’s the Nazi who may have done most to affect Berlin’s daily life: He even keeps banning and reinstating dancing.

Along the way, Stay Alive is laced with nifty details. How one family trained its parrot to say “Heil, Hitler” to fool the Nazis if they came to arrest someone. How, a crew of filmmakers kept shooting a movie with no film in the camera so they wouldn’t be drafted to fight doomed last ditch battles. How Jewish villas in the posh Grunewald area were bought up or seized by Nazi bigshots, but now belong to Russian oligarchs. And how some of those trying to elude the Nazis became known as U-boats, because they dived into the city’s murky underworld, even hiding out in brothels.
As one who’s written well for decades about historical guilt and denial, Buruma is too savvy to belabor familiar Nazi horrors. That said, he offers two dark truths that strike me as being especially apt in these days when authoritarianism is making a worldwide comeback.

The first is that you can’t live in a dirty system without somehow being corrupted. Whether you were a famous symphony conductor or a cop on the beat, Nazism tainted virtually everyone, forcing people to do and say abhorrent things they often didn’t believe in, and weakening their moral compass. As von Moltke wrote his wife: “Today, I can endure the sufferings of others with an equanimity I would have found execrable a year ago.”
He wasn’t alone. The second dark truth is how easy it is to simply go along. Most Berliners — and even Buruma’s own father — did their jobs, took their pleasures and preferred not to think about the evils under their noses. This, Buruma says, “is disturbing but should not surprise anyone. Human beings adapt, carry on, turn away from things they don’t wish to see or hear.”
If the book has a hero, it’s probably Ruth Andreas-Friedrich, a journalist who didn’t turn away. Along with her partner, the conductor Leo Borchard, she ran a resistance group named Uncle Emil, risking her life to protect Jews, help them escape, and support other groups battling the Nazis. All this makes her much braver than I’ve ever been. But I equally admire her refusal to be sanctimonious about those who, fearing prison or worse, didn’t rise up against the dictatorship. She had the rare virtue of being righteous without being self-righteous.


Lifestyle
Stop and smell the native plants at the L.A. Times Plants booth at Festival of Books
Are you interested in creating a native habitat or have questions about your plants? Come meet experts from the Theodore Payne Foundation and the California Native Plant Society, along with Times staffers, at the L.A. Times Plants booth during The Times’ Festival of Books at USC on April 18 and 19.
In a new location this year — booth 554 in the Red Zone — the L.A. Times Plants booth will be a tribute to L.A. Times plants writer Jeanette Marantos, a passionate supporter of native plants, who died in February.
There will be giveaways of hundreds of 4-inch plants from Theodore Payne and The Times throughout the weekend. Also, anyone who signs up for our free monthly L.A. Times Plants newsletter will receive Jeanette’s Mix, a special packet of sunflower seeds and California poppy seeds that Marantos hoped to offer this year.
Jeanette Marantos at the L.A. Times Plants booth at Festival of Books on April 21, 2024.
(Maryanne Pittman)
We’ll also have colorful plant-inspired stickers and copies of the Weekend print section with Times garden coverage to give away.
Booth visitors will be able to smell and look at plants from the Theodore Payne Foundation and learn how native plants can not only save water but also support local wildlife such as bees, birds and monarch butterflies. Theodore Payne will also have merchandise available for purchase and other seed packets to hand out.
As part of the booth, representatives from the California Native Plant Society will show visitors how to use Calscape, an online database of native plants that allows you to customize your landscape needs based on your ZIP Code.
Stop by the L.A. Times Plants booth (booth 554 in the Red Zone) between 10 a.m. and 6 p.m. on April 18 or from 10 a.m. to 5 p.m. on April 19. The Festival of Books is held on the USC campus. For more information, check the festival’s FAQ page.
Lifestyle
Ziggy Stardust and Hacky Sack: What life was like the last time we went to the moon
David Bowie debuted his Ziggy Stardust persona and released The Rise and Fall of Ziggy Stardust and the Spiders from Mars in 1972 — the last year humans went to the moon.
Evening Standard/Getty Images/Hulton Archive
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Evening Standard/Getty Images/Hulton Archive
The Artemis II rocket launched on Wednesday, carrying astronauts to the moon for the first time in over half a century.
The four-person crew is headed on a 10-day, 230,000-mile journey around the moon and back — a pivotal test of the Orion spacecraft that NASA hopes will bring future astronauts to the lunar surface as soon as 2028 and Mars after that.
The last time humans went to the moon was the Apollo 17 mission in December 1972.

The final Apollo mission involved three astronauts: Command module pilot Ronald Evans orbited above as Eugene Cernan and Harrison “Jack” Schmitt — a professional geologist, in a notable first — touched down on the moon’s Taurus-Littrow valley.
The pair spent just over three days on the lunar surface, collecting some 250 pounds of moon rock and soil samples. They set multiple records, including the longest stay on the moon (75 hours), the most lunar samples collected and the longest mission duration at 12 days, 14 hours.
NASA astronaut Eugene Cernan, commander of the Apollo 17 lunar mission, is welcomed back to Earth after splashing down in the Pacific Ocean on Dec. 19, 1972.
NASA/Getty Images/Hulton Archive
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NASA/Getty Images/Hulton Archive
The crew knew they would be the last to visit the moon at least for the foreseeable future, as NASA had decided two years earlier to cancel the remaining Apollo missions, primarily due to budget cuts.
Cernan became the last human to walk on the moon on Dec. 14, 1972. He acknowledged the significance of the moment out loud as he stepped off the lunar surface, seemingly nodding to Neil Armstrong’s infamous words from the 1969 moon landing.
“As we leave the moon and Taurus-Littrow, we leave as we came — and God willing as we shall return: with peace, and in hope, for all mankind,” said Cernan, who died in 2023.
A lot has changed in the 53 years since. Here’s what life was like the last time astronauts launched to the moon.
A banner year for geopolitics, pop culture and technology
Richard Nixon became the first U.S. president to visit China in February 1972.
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The year 1972 is in many ways synonymous with upheaval: the uncovering of the Watergate scandal, “Bloody Sunday” in Northern Ireland, the “Munich massacre” at the 1972 Olympics, North Vietnam’s “Easter Offensive” in the final years of the Vietnam War — and antiwar protests at college campuses and political conventions.
That was the year President Nixon announced that no more draftees would be sent to Vietnam, and the year he visited China in a presidential first.
The Volkswagen Beetle officially surpassed the Ford Model T as the most popular — and most-produced — car in the world. And a gallon of regular gasoline cost 36 cents, or the equivalent of $2.53 a gallon today, according to the AARP.
Herbie, the anthropomorphic Volkswagen Beetle featured in the 1969 Disney film The Love Bug, terrorizes a young woman at a car show in Berlin in June 1972.
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Keystone/Getty Images/Hulton Archive
1972 was also a major year for still-beloved cultural creations. It marked the debut of David Bowie’s alter ego Ziggy Stardust, the formation of ABBA, the opening of Grease on Broadway. The top-selling album of the year was Neil Young’s Harvest, and the biggest box office hit was The Godfather, which came out in March.
Fashion was dominated by bold colors and patterns, bell-bottoms, shawls, platform shoes and synthetic fabrics, as part of “the Polyester Decade.” Style icons included Bianca Jagger, Jane Birkin and Diana Ross.
Mick Jagger and Bianca Jagger, pictured in 1972, were among the style icons of the era.
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Central Press/Getty Images/Hulton Archive
There was a lot of news, but fewer ways to consume it. Some 95 percent of U.S. households owned televisions, according to Census data, and just three commercial broadcast networks dominated the airwaves: ABC, CBS and NBC. Total print newspaper circulation reached a record 62.5 million, before it began to drop.
And of course, it was a time of innovation — and not just in space. The digital watch made its debut. Atari published “Pong,” the first commercially successful arcade video game. Other key inventions from that year include the floppy disk, the first handheld scientific calculator (the HP-35) and the Hacky Sack. McDonald’s Egg McMuffin entered test markets, and Shrinky Dinks were on the brink of creation.
According to Merriam Webster, some of the words recorded in print for the first time in 1972 include: animatronic, beer pong, bird flu, habanero, garage band, glam rock, lowrider, page-turner, sound bite, spaghetti strap, veggie burger, women’s studies and yard sale. Far out!
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