Directors

The Director’s Guild of America has struck a tentative deal with the Alliance of Motion Picture and Television Producers, completing the negotiation cycle for Hollywood’s major unions.

SAG-AFTRA ratified its contract last week, the Writers Guild approved its deal back in April, and the DGA has similarly landed on a new contract, after nearly a month of negotiations. The latest deal with major film and TV studios was announced on Tuesday, but its terms have not yet been disclosed.

The Directors Guild, led by its president Christopher Nolan, reportedly entered negotiations in hopes of improving conditions to create new jobs, bulk up its health fund, and increase protections against generative AI.

“The tentative agreement will be presented to the DGA National Board for approval,” the DGA said in a statement. “Consistent with the Guild’s longstanding practice, terms of the agreement will not be released publicly until the National Board has completed its review.”

Negotiations started on May 11, and the current contract is set to expire on June 30. Once the DGA National Board approves the new contract, it will be sent to its members for a ratification vote. The union represents nearly 20,000 helmers, assistant directors, associate directors, unit production managers and stage managers.

The studios said they were pleased to have reached this latest tentative agreement with DGA.

“We appreciate the hard work and commitment of our guild partners in achieving a fair deal that helps advance a stable and successful entertainment industry,” AMPTP said in a statement.

The DGA’s tentative contract marks the last few steps of the current Hollywood union negotiation cycle. The previous one in 2023 was marked by the industry-stopping strikes from SAG-AFTRA and WGA, and the industry is still feeling the impact from them. But this year’s bargaining season was much quieter and uncontroversial. SAG-AFTRA and WGA will reconvene with the studios for bargaining in 2030, as they all signed four-year contracts.

Hollywood has been waiting for Kane Parsons since the year he was born. The 20-year-old director is the same age as YouTube’s first videos and grew up with no barriers between his creativity and an audience. “Backrooms,” his debut feature, marks the start of a new new wave of filmmakers raised by internet feedback who are ready to reinvigorate the industry.

Young Steven Spielberg screened his 8mm reels for his neighborhood. Parsons uploaded his early shorts online where he could analyze the mass response. When one, an unsettling nine-minute experiment about a warren of dingy carpets, taffy-yellow walls and gridded drop ceilings clicked with 78 million viewers, he made sequels. A24 offered Parsons a deal before he finished high school. He’s graduating into multiplexes having spent his adolescence writing, directing, editing, composing and market-testing what people want to watch. I’d toast to that, but Parsons isn’t old enough for Champagne.

Given that backdrop, “Backrooms” would be one of the year’s most significant releases even if the movie itself was merely fine. But it’s better than fine — it’s a work of honest-to-goodness art. Working with screenwriter Will Soodik, Parsons has gone back into that banal maze to find an uncannily mature story about loss and stagnation, about how our self-serving narratives barricade us from emotional growth.

Set in 1990, “Backrooms” has the fritz of an old VHS tape. (Like so many other Gen Z kids, Parsons is nostalgic for a pre-smartphone era he never knew.) A failed architect-turned-furniture salesman named Clark (Chiwetel Ejiofor, superbly expressive) tumbles through a portal in his store’s basement to the backrooms of the title — less Alice in Wonderland, more Alice in Wonderbland.

“It’s like it was made by a bunch of construction workers on acid,” he muses. The hallways lead to more hallways, the overhead fluorescents whine like hornets. Someone — or something — has piled lamps and stools into the center of one room, scattered chairs in another and embedded shoes into the floor as though the ground were made of sand. The disorder looks like the wreckage of an unknown chaos. Aboveground, Clark is trapped in his own resentments, throwing temper tantrums like a toddler. Down here, frustration feels natural.

Should he be afraid? And if so, then what of?

Distant thuds warn that Clark isn’t alone. Soon after, three other characters follow Clark into this liminal space: his loud employees Bobby and Kat (Finn Bennett and Lukita Maxwell) and his exasperated therapist, Dr. Mary Kline (Renate Reinsve), who is haunted by flashbacks of her agoraphobic mother. There’s also a mysterious man in a lab coat (Mark Duplass) who works for a company that factors into the backrooms’ preexisting internet lore, but doesn’t have much purpose in this script. It’s fine just to see Duplass as a gesture toward corporate apathy. More beings will appear too and cinematographer Jeremy Cox’s deliberately low-fi look forces you to do triple and quadruple takes to comprehend what you’re even seeing.

How does a 20-year-old fathom adult-sized discontent? Lord knows, but Parsons does. One theory is that today’s 20-year-olds were just launching into teenhood when the pandemic teleported them from their classrooms to isolated computer screens. Meanwhile, they overheard their parents fret that society might be forever hollowed out. When a young person looks toward the future, what do they see? Probably not an office building bustling with entry-level jobs.

Think about how the act of buying a couch no longer involves interacting with a salesman like Clark, but peering at a pixelated living room that doesn’t actually exist with a couch that changes colors at a tap. Think about how lately the internet at large feels human-less. Then layer that emptiness over the images here.

Sparse yet gripping, “Backrooms” and its minimalist story accommodate the audience’s own free-ranging imagination. The infinite size of these drab catacombs triggers sense-memories of feeling small and confused in an ordinary place that feels all wrong. It’s a time travel trip back to childhood — mass entertainment made intimate — with Parsons tossing us scraps of Clark and Mary’s personal histories like a breadcrumb trail. I remembered what it felt like to get lost in a motel on a road trip with my grandparents. More recently, I tidied the home of a friend who was in the hospital, the pill bottles and crumpled blankets left in situ as evidence of someone else’s pain. “Backrooms” felt like that, too.

There’s an incredible special effects shot where the camera sinks through the floor of Mary’s living room to find a mutation of the same room — and then another and another — each replica deteriorating further from reality until it becomes a new room altogether that would fit right into the backrooms. This, we wordlessly understand, represents how memories of the past can be at once factually inaccurate and emotionally true. We’ve all been bewildered kids, Parsons more recently than most. Some of the most powerful people on Earth still behave like they’re stuck in that headspace.

Describing “Backrooms” as a horror film doesn’t feel exactly right. It’s a surrealist painting in motion, the equivalent of staring at Salvador Dali’s wasteland of melting clocks until it makes gut-sense. Dali made that famous masterpiece, “The Persistence of Memory,” in 1931, a breath-holding moment between wars when daily life looked normal enough but vibrated with the dread that no, things were definitely not OK. Kids don’t know that, but they vibe with Dali anyway because he keys into their suspicion that the world doesn’t really obey the rules.

That anxiety hums through “Backrooms.” It’s why millions of people watched and shared the original short. Yet as fraught as it sounds — and as abruptly as it ends — I left elated. A major new moviemaking talent has arrived and he’s the beginning of a movement. Other internet-honed young filmmakers will follow with their own fresh insights into genres like action, comedy and romance. Kane Parsons is just the first one through Hollywood’s labyrinth.

May 15 (UPI) — CIA Director John Ratcliffe’s visit to Havana this week opened a new political chapter inside and outside Cuba, with analysts and opposition figures interpreting the meeting as a sign of direct pressure from Washington on a regime battered by massive blackouts, fuel shortages and an increasingly deep economic crisis.

The trip marked an unusual development in bilateral relations. The Cuban government confirmed that a U.S. delegation led by Ratcliffe met with his counterpart Thursday at Cuba’s Interior Ministry.

Washington had requested the meeting, which was approved by “the leadership of the Revolution,” according to the state-run newspaper Granma.

The CIA released photos of the meeting — “the most significant milestone so far in the two months of opaque negotiations taking place between Washington and Havana,” Spanish newspaper El País reported.

In another twist, according to reports by CBS News, USA Today and NBC News, a U.S. Justice Department official said the United States is considering formally charging former Cuban President Raul Castro over a 30-year-old incident in which the Cuban government shot down two aircraft operated by Cuban exile group Brothers to the Rescue.

The Ratcliffe visit, which lasted a brief time, was not announced in advance. He him Air Force plane flew from Joint Base Andrews in Maryland and returned hours later.

For decades, the Cuban government systematically accused opposition figures, independent journalists and dissidents of acting as agents or collaborators of the CIA. However, it was the regime itself that officially announced the meeting with agency director.

“The Cuban government announced the CIA visit first. For Cubans, that means important things are happening or about to happen,” Sebastián Arcos, acting director of the Institute for Cuban Studies, told UPI.

“This increases expectations and anxiety inside and outside the island.”

Energy has become the central focus of Cuba’s crisis. Ratcliffe arrived on the island precisely as Cuba declared a total energy collapse, formally running out of diesel fuel because of the U.S. naval blockade, while multiple technical failures at thermoelectric plants have left millions of people without electricity for up to 22 hours a day.

According to posts shared by activists and users on Facebook, protests have spread across the Cuban capital for four consecutive nights, while reports of internet outages in areas where gatherings have taken place have increased, Diario de Cuba reported.

Professor Jorge Piñón, director of the Latin America and Caribbean Energy Program at the University of Texas’ Energy Institute, said the visit by the CIA chief to Cuban territory “puts on the table what the rules of the game are from the point of view of the United States,” amid a crisis he described as “hour zero” for Cuba’s energy system.

Piñón told UPI that Cuba has practically exhausted its fuel reserves at storage facilities, ports and refineries, while thermoelectric plants operate on the verge of technical collapse.

The consequences extend far beyond the lack of electricity.

Piñón warned that the crisis affects ground transportation, water and food distribution, agriculture and even humanitarian operations by religious organizations that lack diesel to transport aid.

The deterioration of the electrical system also stems from structural problems accumulated over decades. Cuba depends on thermoelectric plants more than 40 years old, many adapted to burn extra-heavy domestically produced oil with high levels of sulfur and contaminating metals.

According to Piñón, that fuel accelerates the deterioration of already obsolete equipment, generating a “vicious cycle” of temporary repairs and new breakdowns.

He said the island produces about 40,000 barrels a day of heavy crude, but needs about 100,000 barrels a day to cover its energy demand, leaving a critical deficit of refined fuels mainly intended for transportation.

At the same time, Professor Raúl Rodríguez, director of the Center for Hemispheric and United States Studies at the University of Havana, described a society marked by daily exhaustion, uncertainty and the progressive deterioration of living conditions.

He told UPI that prolonged blackouts affect food preservation, access to drinking water and hospital operations.

The crisis also has deep economic consequences. Tourism, one of Cuba’s main sources of foreign currency, operates at less than 50% of capacity, affecting employment and the flow of resources into the country.

Rodríguez estimated that about 300,000 workers linked to the tourism sector face direct impacts from the economic slowdown.

Additional problems include health and environmental issues stemming from the lack of fuel for fumigation, garbage collection and basic urban services. The academic warned of growing risks of mosquito-borne diseases such as dengue and chikungunya.

Despite intensifying social unrest, the experts agreed that the crisis will not necessarily lead to an immediate political change.

Rodríguez argued that protests over blackouts and shortages “do not constitute, by themselves, a trigger capable of provoking regime change,” due to the absence of an organized political alternative with social legitimacy.

Piñón, meanwhile, said that although signs of social exhaustion exist, the country currently lacks leadership capable of channeling a political transition or with enough authority to organize a possible post-crisis scenario.

According to press reports, the U.S. demands delivered directly by the CIA director focus on an ultimatum conditioned on deep and immediate structural changes.

Washington is demanding that the Cuban government carry out political reforms toward democratization, release all political prisoners and fully open the economy to the private sector.

“From the information that has emerged, the CIA director traveled to Cuba to deliver an ultimatum: either you move, or the United States will,” the Institute for Cuban Studies’ Arcos said.

The reaction of Miguel Díaz-Canel’s government has reflected pragmatism forced by extreme economic suffocation and the collapse of basic services on the island.

Although Havana agreed to receive the CIA delegation to avoid a violent social outcome, it formally maintains its rhetoric defending national sovereignty, rejecting political conditions that threaten the socialist system.

Cuban officials used the meeting to present evidence that the island does not represent a threat to U.S. security, demanding in return its removal from the list of state sponsors of terrorism and an end to the naval blockade preventing fuel shipments from reaching the island.

Describing the country’s daily deterioration, Cuban writer Leonardo Padura recently portrayed Cuba as a nation where old social protections have collapsed, while the political structure remains intact.

In an essay published on the website La Carta de las Ideas, Padura recalled that July 2021 protests represented an unprecedented social explosion on an island historically marked by strong surveillance and state control mechanisms.

The government response, he wrote, was a severe “order to fight” accompanied by exemplary judicial proceedings aimed not only at punishing, but also at discouraging future public expressions of dissent.

Padura said that precedent helps explain why, despite economic and social conditions now being even worse than in 2021, street demonstrations have been more limited than many outside Cuba expected.

Another expert thinks the United States will dominate as Cuba sinks into crisis.

“The CIA currently has the upper hand. Without the CIA, [President Donald] Trump can do nothing, and [Secretary of State Marco] Rubio knows nothing because he has never even been to Cuba,” Lillian Guerra, professor of Cuban and Caribbean history and director of the Cuba Program at the University of Florida, told UPI.

Guerra argued that the agency holds a dominant position over the Cuban state because of its understanding of the regime’s “theater and discourse of lies and subterfuge” amid the crisis.

Guerra said “nobody is buying” the government’s official explanations anymore and warned that Cuban authorities “are running out of time” as public frustration grows across the island.

She added that the meeting shows Washington is negotiating with Cuba’s “real leaders” linked to the Ministry of the Interior, a structure she described as more powerful than the Revolutionary Armed Forces and primarily focused on preserving political control.

“Mr. Nobody Against Putin” filmmaker Pavel “Pasha” Talankin will soon be reunited with his Oscar statuette after it went missing amid his recent travels.

A spokesperson for European airline Lufthansa confirmed Friday in a statement shared with outlets that the coveted golden statuette has been located and is “safely in our care.” Lufthansa spoke on the missing Oscar after Talankin’s co-director Dave Borenstein raised the flag Thursday on social media. “Mr. Nobody Against Putin” won the documentary feature film category at the 98th Academy Awards in March.

According to Borenstein, Talankin arrived at the John F. Kennedy International Airport in New York “to fly home to Europe” and had the Oscar in tow as a carry-on. Airport security allegedly stopped Talankin from bringing the Oscar on board, citing concerns it could be used as a weapon. Borenstein said the film’s executive producer tried to smooth things but ultimately, “TSA put the Oscar in a box and sent it to the bottom of the plane” because Pavel did not have a check-in bag to place it in. He shared a photo of the cardboard box and Deadline published video of airport workers wrapping the statuette in bubble wrap and yellow tape.

Borenstein concluded his post noting the Oscar “never arrived” in Frankfurt, Germany, and speculated whether his co-director was on the receiving end of unfair treatment. “Would Pavel have been treated the same way if he were a famous actor? Or a fluent English speaker?” he wrote, tagging the Instagram account for the Transportation Security Administration. He also tagged Lufthansa and urged them to assist.

In response, Lufthansa commented on Borenstein’s post that it was on the missing Oscar case, and they are taking it “super serious.” Less than a day after their comment, the airline’s spokesperson said in their statement that it is “in direct contact with the guest to arrange its personal return as quickly as possible.”

“We sincerely regret the inconvenience caused and have apologized to the owner,” the spokesperson added.

Borenstein celebrated the development on Instagram, posting a clip of his interview with the BBC about the update and thanking a Lufthansa rep for their help and followers for spreading the word.

“Mr. Nobody Against Putin” features Talankin, a schoolteacher near the Ural Mountains, as he documents Russian propaganda efforts — from chants and songs — to energize young students around the war in Ukraine. During the Oscars in March, Talankin delivered a poignant message in Russian.

“In the name of our future, in the name of all of our children, stop all of these wars now,” he said through a translator.