Jehane Noujaim: Last News

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‘In Our Day,’ ‘Hollywoodgate’ Claim Top Prizes at El Gouna Film Festival

John Bleasdale Guest Contributor South Korean director Hong Sang-soo was awarded the El Gouna Gold Star for best narrative film for his meditation on art and relationships, “In Our Day,” as the delayed edition of the El Gouna Film Festival held its closing ceremony on Thursday. The Italian animated film “A Greyhound of a Girl,” directed by Enzo D’Alò, and the Brazilian director Guto Parente’s “A Strange Path” picked up the Silver and Bronze Stars respectively.
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‘The Vow, Part Two’ Is a Riveting NXIVM Legal Saga, and an Improvement on Season 1: TV Review
Daniel D'Addario Chief TV Critic In late summer 2020, “The Vow” emerged as a creepily potent hit docuseries, which grew virally as it rolled out. Plunging deep within little-understood “self-help group”-turned-cult NXIVM to examine the hold leader Keith Raniere had over his acolytes, the documentary series excelled when depicted sympathetic people in situations the average viewer likely could not imagine. How had these women allowed things to get so out of control that they’d agreed to be branded, or to starve themselves, or to voluntarily hand over compromising materials for potential blackmail? “The Vow” had no hard answers, but it was exacting and thorough in posing the questions. Almost too thorough, perhaps: Its new follow-up, “The Vow, Part Two,” is three episodes shorter, and has a tighter focus that benefits its storytelling. Having established NXIVM’s methods of exerting control over women in the first go-round, director Jehane Noujaim (without Karin Amer this time) examines the legal repercussions for Raniere, who was charged with crimes including sex trafficking and conspiracy in a 2019 trial. The process of trying Raniere brings new revelations about NXIVM methods to light, and spurs testimony to Noujaim’s camera from sources including co-founder Nancy Salzman and various ardent Raniere defenders. As storytelling, this is crisper and cleaner than “The Vow’s” first iteration; as psychological portrait, little in the nonfiction space of late matches its acuity.
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