The landscapes are open, the skies are wide and the mood is ominous in this scene from “Nope,” now in theaters.

Here, the lead character, O.J. (Daniel Kaluuya), is arriving at Jupiter’s Claim, an Old West-style theme park near his property, to investigate. He finds the place empty, save a pig on a rooftop and a horse in a cage.

And also, just maybe, something in the sky.

Narrating the sequence, the writer and director Jordan Peele said he wanted to “bring out the surrealistic aspect” of the theme park “and of Hollywood” in this setting.

O.J. continues on to an arena where he looks up and spots a U.F.O. that is moving in an erratic and potentially menacing manner through the clouds.
“The idea was, if people can leave a movie feeling about the sky the way they felt about the water after ‘Jaws,’ then I’d be in a prime position to torment them for at least several years,” Peele said.

Read the New York Times review: https://nyti.ms/3BGFiyz
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In the Opinion video above, Martin Schoeller, a photographer who is best known for his portraits of famous and powerful people, aims his lens at a different population: ordinary Americans who have been crushed by exorbitant hospital bills they didn’t see coming.

A federal rule that went into effect last year requires hospitals to post prices for their services, with the aim of removing the element of surprise for patients and perhaps even spurring price competition among health care providers.

But a recent study by PatientRightsAdvocate.org, a nonprofit group that works for price transparency, revealed that only about 14 percent of the 1,000 hospitals it surveyed were complying with the new rule.

In Mr. Schoeller’s short film, patients describe the painful financial consequences they faced after being blindsided by costly bills.

“We depend on hospitals in our communities to take care of us,” Mr. Schoeller said. “But our hospitals are putting profits before patients.”

The solution, he argues, is in stronger government enforcement of the transparency rule and stiffer penalties for those hospitals that don’t comply.

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A battleground becomes the site of a bittersweet reunion in this scene from “Thor: Love and Thunder.”

Thor (Chris Hemsworth) is facing an attack on New Asgard by Gorr the God Butcher (Christian Bale). He has help from Valkyrie (Tessa Thompson), but also from powerful projectiles scattering through the air and taking out Gorr’s creatures. Those projectiles turn out to be pieces of Thor’s hammer, Mjolnir, which he last saw when it was destroyed by Hela (Cate Blanchett) in “Thor: Ragnarok.” The pieces reassemble into a whole, but now Mjolnir is being wielded by a new figure whose costume looks a lot like Thor’s.

It turns out to be the Mighty Thor, or Jane Foster (Natalie Portman), and the scene becomes a passionate reunion on multiple fronts.

The director Taika Waititi discussed how he sought to play up both the action and the comedy of the moment, while highlighting Thor’s self-doubts.

At the beginning of the film, Thor is “going through a lot of insecurity, trying to find himself,” Waititi said.

So when the Mighty Thor appears, Waititi said, the moment is challenging for Thor because “he doesn’t know who he is and he’s seeing someone else dressed just like him.”

The scene is also a reunion for the stars Hemsworth and Portman, who haven’t been in the franchise together since “Thor: The Dark World” (2013).

The final shot of the sequence shows that they get along, quite literally, like a house on fire.

Read the New York Times review: https://nyti.ms/3RQ3qVp
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As more U.S. states move to criminalize abortion, activists in Mexico have been inundated with calls from women seeking abortion medication. Our cameras went inside their distribution effort.

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Finally, corporations are jumping into action on climate change — or at least that’s what they’d like us to believe. Many of the world’s biggest and most polluting companies have recently promised to curb their carbon output, by reaching net-zero emissions in the next few decades. These sweeping pledges conjure a world where we can have it all: economic growth and global trade — without the global warming that usually comes with that. While saving the planet demands an approach more ambitious than incremental change, these corporate fantasies of the future just don’t stand up to scrutiny. In a new @nytopinon video, we expose three major flaws in net-zero pledges that make them a dangerous distraction from the crisis at hand.

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For his 1985 documentary about the Statue of Liberty, the filmmaker Ken Burns interviewed two Jewish boys sitting on a bench in New York City. They were twin brothers who had fled Ukraine, then part of the Soviet Union, with their father. Like generations of refugees before them and generations since, they had arrived in the United States hoping for a better life.

One of those boys, Alexander Vindman, would grow up to become a lieutenant colonel in the United States Army and director for European and Russian affairs for the National Security Council. He was also a key witness at the first impeachment trial of Donald Trump. His brother, Yevgeny, would become a colonel in the Army and serve as deputy legal adviser for the National Security Council.

In recent months, as the Vindmans' homeland has come under siege by Russian forces, Mr. Burns reunited with the brothers to make the Opinion Video above. In this short film, the Vindmans argue that the refugee crises in Ukrainian and elsewhere demand a much stronger response from the Biden administration, including not just fully restoring a refugee system gutted by the Trump administration but expanding it further.

The nation's policies, they contend, are not living up to its ideals.

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It was the hip swivel that changed a generation. And it is at the heart of this scene in the biopic “Elvis” that introduces the musician to the world.

In the sequence, Elvis (Austin Butler) is giving one of his first performances in front of an audience while Col. Tom Parker (Tom Hanks), the man who would become his manager, watches on.
While historically Elvis’s first big introduction was said to be at Sun Records, performing for its owner, Sam Phillips, the film takes a different route.

The director Baz Luhrmann wanted that moment to take place in front of a crowd, showcasing all of the pieces that came together when the rocker performed.

“Elvis wasn’t just about what he sang,” Luhrmann said, narrating the scene. “It was as much about how he looked and how he moved. But most importantly, it was his effect upon the audience.

And boy, what an effect here. As Elvis sings and moves his hips, he seems to prompt almost uncontrollable screams from the women in the audience. That builds to a kind of infectious hysteria that feels as shocking as it does organic.

Luhrmann worked with Butler (and some very airy trousers) to get the moves right. But the key to the scene was the extras. The moment may seem chaotic, but it was heavily designed. A movement coach and choreographer, Polly Bennett, worked with a team of performers they called the scream queens. These women had training in producing hysterical movements and also in high-pitched keening that solidified the action of the sequence.

Summary
It was the hip swivel that changed a generation. And it is at the heart of this scene in the biopic “Elvis” that introduces the musician to the world.

In the sequence, Elvis (Austin Butler) is giving one of his first performances in front of an audience while Col. Tom Parker (Tom Hanks), the man who would become his manager, watches on.
While historically Elvis’s first big introduction was said to be at Sun Records, performing for its owner, Sam Phillips, the film takes a different route.

The director Baz Luhrmann wanted that moment to take place in front of a crowd, showcasing all of the pieces that came together when the rocker performed.

“Elvis wasn’t just about what he sang,” Luhrmann said, narrating the scene. “It was as much about how he looked and how he moved. But most importantly, it was his effect upon the audience.

And boy, what an effect here. As Elvis sings and moves his hips, he seems to prompt almost uncontrollable screams from the women in the audience. That builds to a kind of infectious hysteria that feels as shocking as it does organic.

Luhrmann worked with Butler (and some very airy trousers) to get the moves right. But the key to the scene was the extras. The moment may seem chaotic, but it was heavily designed. A movement coach and choreographer, Polly Bennett, worked with a team of performers they called the scream queens. These women had training in producing hysterical movements and also in high-pitched keening that solidified the action of the sequence.

Read the New York Times review: https://nyti.ms/3AjI6Ru
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Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch.

This is the true story of a 27-year-old Texas woman and her abortion. She recently overcame a challenge that millions of other girls and women in the United States now face: getting an abortion in a state where lawmakers are closing off access to the procedure. Texas enacted a law outlawing most abortions in September 2021, so women there have navigated obstacles that many more women across the country are now starting to encounter.

In the Opinion video above, the woman describes her struggle this year to figure out how to have an abortion on her own, using medication and without leaving Texas. It’s a lonely, confusing and at times scary journey, which she recounts in her own words.

She feels compelled to tell her story, knowing it will be relevant to many Americans now that the Supreme Court has overturned Roe v. Wade. She hopes others will learn from it.

She did so at great risk. By taking abortion into their own hands, women face very real legal and personal jeopardy — prosecutors are already finding creative ways to punish people who terminate their own pregnancies. She requested anonymity to protect herself, and those who helped her, from the possibility of criminal prosecution. With the woman’s consent, a model was filmed to visualize key moments of the story while maintaining the woman’s anonymity.

Her message is one of defiance, determination and even hope.

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Fifty years ago, on June 23, President Richard Nixon signed Title IX, the 37-word snippet within the Educational Amendments of 1972 that prohibits discrimination on the basis of sex “under any education program or activity receiving federal financial assistance.”

I became curious about the origins of Title IX while doing background research for my Op-Doc “The Queen of Basketball,” about Lucy Harris, one of the earliest beneficiaries of Title IX. My research led me to Representative Patsy Mink of Hawaii, who was a pivotal figure in writing and defending the law.

As the first woman of color elected to Congress, Ms. Mink — and her path to office — was influenced by the discrimination she experienced in her personal and professional lives. Many doors were closed to her as a Japanese American woman, and she became an activist and later a politician to change the status quo.

As I learned more about the early history of Title IX in the 1970s, I found that lobbyists and legislators mounted a formidable campaign to dilute and erode the law. This effort would culminate in a dramatic moment on the House floor, where Ms. Mink was pulled away during a crucial vote on the future of the law.

In "MINK!," Wendy Mink narrates her mother’s groundbreaking rise to power and the startling collision between the personal and political that momentarily derailed the cause of gender equity in America. After Ms. Mink’s death in 2002, Title IX was officially renamed the Patsy Takemoto Mink Equal Opportunity in Education Act.

- by Ben Proudfoot

Credits
Director: Ben Proudfoot
Editors: David Faddis, Stephanie Owens, Ben Proudfoot
Featuring: Wendy Mink
Executive Producers: Naomi Osaka, Stuart Duguid, Adam Ellick, Kathleen Kingsbury, Ben Proudfoot
Producers: Rachel Greenwald, Ben Proudfoot
Co-Executive Producers: Philip Byron, Chavonne LeNoir
Original Score: Katya Richardson
Cinematographer: David Bolen
Supervising Sound Editor and Re-Recording Mixer: Sean Higgins
Colorist: Stephen Derluguian
Senior Post Production Supervisor: Dillon Brown
Post Production Supervisor: Laura Carlson
Co-Producer: Beatriz Browne
Archival Producers: Kimberlee Bassford, Wesley Jones
Online Editor: Tyler Ten Haken
Lead Assistant Editor: Cody Wilson
Assistant Editors: Foustene Fortenbach, Blaine Morris
Sound Effects Editor: Tom Boykin
Visual Effects: David Nieman
Digital Image Restoration: Cody Wilson
Additional Cinematography: Jordan Scott
First Assistant Camera: Jordan Scott
Production Sound Mixer: Christopher Broholm
Researcher: Brianna Pressey
Recording Engineer: Thor Fienberg
Scoring Mixer: Saun Santipreecha
Orchestration: Katya Richardson
Musicians: Leonard Chong, Ian Gottlieb, Lieza Hansen Kallin, Daniel Lim, Isaac Lopez, Gina Luciani, Katya Richardson, Kevin Richardson, Alex Tu, Sarah Wilkinson

Read more: https://nyti.ms/3zXXRxh

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Op-Docs is a forum for short, opinionated documentaries by independent filmmakers. Learn more about Op-Docs and how to submit to the series. Follow The New York Times Opinion section on Facebook, Twitter and Instagram (@NYTopinion).

How often do politicians change their minds on gun reform?

In the Opinion video above, we tell the improbable story of two men — a Centers for Disease Control and Prevention researcher eager to harness the power of science to reduce gun deaths in the United States and an Arkansas congressman who was known as the National Rifle Association’s point man in Washington.

They were political rivals, but rather than wallow in resentment and rage, the two men began talking to each other, and something unusual happened: listening and then friendship.

The United States is the only country in the world with more guns than people. In 1996, Congress passed the Dickey Amendment, which blocked the C.D.C. from continuing its nascent research into how gun ownership affects public safety. The legislation was named after Representative Jay Dickey of Arkansas, a fervent ally of the N.R.A. who had skewered the C.D.C.’s research into gun deaths, seeing it as pure partisan advocacy meant to subvert the constitutional right to bear arms. After a blistering congressional hearing, Dr. Mark Rosenberg, who was leading the C.D.C.’s research, concluded that he and Mr. Dickey were mortal enemies. But over the course of two decades, they developed a loving and trusting friendship.

Their story offers a lesson in curiosity, vulnerability and openness to questioning one’s convictions.

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