![]() A trailblazing model in the 1970s, she became one of the most important agents of the ’90s, discovering the first male supermodel Tyson Beckford and mentoring Naomi Campbell and Iman. In the case of the fashion industry’s racism, that person is Bethann Hardison. Progress in the face of systemic injustice does not occur naturally, it is urged along by sheer force of will - often by one radical visionary. ![]() Where to Find It: NYC theaters, with expansion to follow on September 22 “Invisible Beauty” (directed by Bethann Hardison and Frédéric Tcheng) “A Haunting in Venice” Courtesy of 20th Century So Branagh got creative for his third film, taking Christie’s Gothic-tinged mystery “Hallowe’en Party” and moving the setting from England to Italy to make “A Haunting in Venice.” Read IndieWire’s full review. But while Christie’s massive bibliography contains enough quality mysteries to fill several lifetimes of filmmaking, there wasn’t a third novel with comparable obvious name recognition. Having both franchises running at the same time has benefitted both old and new mystery fans - the world gets to observe Christie’s ongoing influence on pop culture while revisiting her best works. While Rain Johnson keeps reminding us that murder mysteries are living, breathing entities that can push narrative boundaries and make us laugh and think (while occasionally being too online for their own good), Branagh’s faithful adaptations of Agatha Christie classics function as a control group making the case that the genre was doing just fine for the past century. Kenneth Branagh’s Hercule Poirot series - which began with 2017’s “Murder on the Orient Express” and continued with last year’s superior “Death on the Nile” - has emerged as a straightforward alternative for mystery purists turned off by the flashiness of the “Knives Out” films. “A Haunting in Venice” (directed by Kenneth Branagh) Plus: Read IndieWire’s interview with director Craig Gillespie and writers Rebecca Angelo and Lauren Schuker Blum. But unlike many ripped-from-the-headlines movies, “Dumb Money,” which plays like “The Big Short” for underdogs, has no trouble justifying its existence, even if stylistic choices sometimes short-change the complexity of its source material. It’s difficult to imagine a viewer going into this story entirely blind. The hero was a cat person live-streaming out of his basement. It feels almost silly to recount the broad strokes of the narrative, given how recently we all lived through it. The movie, directed by Craig Gillespie in full-on comedy mode, takes us all the way back to the early days of the COVID-19 pandemic, when a cast of individual investors took on Wall Street with nothing but a few dollars and an unwavering sense of team spirit. Where to Find It: Limited theaters, followed by expansion on September 22 and September 29Īt once a rowdy comedy and a weirdly affecting tale of working class solidarity, “Dumb Money” is perhaps the best period piece ever made about a period that just happened. “Dumb Money” (directed by Craig Gillespie) Plus: Read IndieWire’s interviews with star Gael García Bernal. Skepticism about documentary filmmakers crossing over to fiction, especially in a project largely in a language not their own with a myriad of culturally specific traits, is justified but “Cassandro” results in an impressive transition for Ross Williams, as well as co-writer with David Teague, whose previous credits were predominantly as an editor. This year’s fabulous retelling, “Cassandro,” Ross Williams’ first narrative outing, stars an irresistible Gael García Bernal as the real-life amateur luchador from in El Paso, Texas turned unexpected beacon of change. In this larger-than-life performance of testosterone-fueled fracas, of bodies flying through the air, choreographed uppercuts, and arranged victories the emergence of gay wrestler Saúl Armendáriz (stage name: Cassandro) in the 1980s, came as a shockwave against homophobia.Īrbendáriz’s inspirational life story had previously been told by director Roger Ross Williams in his 2016 documentary short “The Man Without a Mask.” Later, the 2018 non-fiction feature “Cassandro, The Exotico!” tackled not only his rise to fame but the bodily injuries he sustained over nearly three decades of fights. Where to Find It: Select theaters, plus streaming on Prime Video on September 22Īt once hypermasculine and flamboyant, Mexican lucha libre has for long been a popular form of entertainment for the masses. “Cassandro” (directed by Roger Ross Williams) Week of September 11 – September 17 New Films in Theaters Each film is now available in a theater near you or in the comfort of your own home (or, in some cases, both, the convenience of it all).
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