end

Beethoven’s “Missa Solemnis” is a grand mass for large orchestra, chorus and four vocal soloists that lasts around 80 minutes. It was written near the end of Beethoven’s life and is his most ambitious work musically and spiritually. “Coming from the heart, may it go to the heart,” he wrote on the first page of the score.

The Beethoven biographer Jan Swafford put it this way: “ ‘Missa Solemnis’ is Beethoven talking to God, man to man. And what they talked about is peace. Creation was for Beethoven’s the magnificence in the world which we inhabit; ‘Missa Solemnis’ is meant to keep it thus.”

Yet among Beethoven’s major works, “Missa Solemnis” is, by far, the least performed, and not merely because of the need for large forces. Conductors struggle to get a handle on its mysteries and intricacies. Upon turning 70 last year, Simon Rattle contended “Missa Solemnis” remains beyond him. Upon his reaching 70, Michael Tilson Thomas made a momentous meal of “Missa Solemnis” 11 years ago with a staged performance with the Los Angeles Philharmonic at Walt Disney Concert Hall.

Gustavo Dudamel, who has been conducting Beethoven since he was a teen, waited until he passed his 45th birthday last month. His first “Missa Solemnis” performances over the weekend at Disney were the centerpiece of his month-long L.A. Phil focus on Beethoven.

That venture began a week earlier with a political statement. Beethoven’s incidental music to Goethe’s drama of liberation, “Egmont,” was updated with a new text that served as an urgent call for protest in our own era of authoritarianism and militarism. Here, Beethoven exerts a compulsion for triumphant glory.

The glory in “Missa Solemnis” is that of stupefaction. By this point in his life, Beethoven has had it with weapons, the drumbeat of soldiers, the addictive emotion of trumpet calls to action. His man-to-man with God is celestial diplomacy. There is no compromise. We either care, at all costs, for our magnificent world or nothing matters.

Dudamel clearly cares. He conducted the massive mass from memory. And costs be damned. He imported from Spain two spectacular choruses — Orfeó Català and Cor de Cambra del Palau de la Música Catalana — a total of some 130 singers who sounded like they had rehearsed for months under their impressive director, Xavier Puig. The four soloists — soprano Pretty Yende, mezzo-soprano Sarah Saturnino, tenor SeokJong Baek and bass Nicholas Brownlee — were needfully robust and powerful. They were placed mid-orchestra, behind the violas and bravely in front of the timpani.

“Missa Solemnis” follows the standard mass text but doesn’t necessarily follow the liturgical narrative. It is a work of theater, dramatizing feelings, as the earlier Disney staging attempted. Director Peter Sellars and conductor Teodor Currentzis have also been promising a major staged “Missa Solemnis” for many years.

The Kyrie opens with a strong D-major chord in the large orchestra that seems an obvious downbeat but turns out to be an upbeat. Down is up. Eighty or more minutes later at the end of the Agnus Dei, when the great plea for peace reaches its ultimate transcendence, up becomes, in one of the most profoundly unsettling moments in all music, down again. We never fully know where we stand in “Missa Solemnis.” Every expectation is thwarted. Beethovenian peace is a nearly superhuman endeavor.

Gustavo Dudamel conducts L.A. Phil, vocal soloists and Catalan choruses in Beethoven’s ‘Missa Solemnis’ at Walt Disney Concert Hall.

(David Butow / For The Times)

Dudamel‘s approach is to attempt the all-encompassing. He conducted without a baton but with his body. His arms were often open and wide as if embracing the musician masses on the stage, holding the whole world in his hands. Tidiness wasn’t necessarily the issue. Grandeur was. Molding sound was. And, of course, awe.

Throughout his career, Beethoven was the overwhelming master of awe. In “Missa Solemnis,” he out-glories the Gloria. His fugues are a draftsman’s rendering of heavenly splendor. Such awe asks for the superhuman from singers, especially in this ensemble from their ravishing high notes.

But Beethoven also questions every sentiment in the Mass. Grandeur can so suddenly turn solemn that it feels almost a ceremonial sleight of hand. In the Sanctus, a solo violin sails in from nowhere (“descending like a dove from heaven,” Hugh MacDonald nicely puts it in the program note), and suddenly we’re in a violin concerto with vocal soloists of transcendent allure.

The Agnus Dei begins in glum realization that there may be no compensation for humanity’s great sins when, again astonishingly without expectation, one of Beethoven’s uniquely wondrous melodies takes over. Saber-rattling trumpet and timpani intrude and are shushed away as worthless. Peace returns but just as it is about to climax it weakens. There is no grand Beethoven ending. “Missa Solemnis” just stops.

Dudamel’s approach was not, as his Beethoven has generally become, filled with fervent intensity in the moment. That may happen as he gains more experience with Beethoven’s most exigent score. The big moments were still huge, especially with the help of his fabulous chorus. The somber moments were well of the heart. There was eloquent solo playing in the orchestra, and extravagance from the solo singers.

Most unusual was the violin solo. The L.A. Phil is in a concertmaster search, and Alan Snow, the associate concertmaster of the Minnesota Symphony, sat in. He brought silken “descending dove” tone to his solo playing, but at low tone becoming more a voice from afar than soloist. Whether that is simply his sound or what Dudamel was after is, like so much in the “Missa Solemnis,” up to question. Still, its quiet exemplified the elusive essence of peace.

When Dudamel first walked on stage, he got, as he always does and especially in his last season as music director, a strong ovation. At the end of “Missa Solemnis,” the reaction was a respectful standing ovation, unlike the de rigueur rapturous reception he always earns with Beethoven.

Dudamel earned something far more rewarding. It wasn’t a moment for cheering but reflection. True peace in “Missa Solemnis” comes not from winning but from ending conflict, be it between nations, nature or among ourselves. We have as yet too little to celebrate.

For casting director Gabriel Domingues, putting together the ensemble of “The Secret Agent” meant materializing characters inspired by director Kleber Mendonça Filho’s recollections.

“It’s not that he was showing us a picture and saying, ‘They must look like this.’ They were ideas of memories that could change,” Domingues says of the Brazilian period thriller about a father on the run during an interview at The Times newsroom. One of the nominees for this year’s inaugural Academy Award for casting, Domingues appreciates how politically charged Mendonça Filho’s films are. His narratives are often fertile ground for an eclectic mix of performers.

And there are no throwaway roles in “The Secret Agent”: “Even the small characters represent ideas about Brazilian life and its contradictions,” Domingues adds.

To honor his large cast, a “panorama” of his country’s people, Mendonça Filho includes a montage at the end of the film in which each actor is acknowledged individually. The director thinks of this as the cinematic equivalent of a curtain call or final bow at the end of a stage production.

“Gabriel tries to find an interesting mix of experienced actors and people that we can discover,” says producer Emilie Lesclaux about Domingues, with whom she’s worked on multiple projects. He first collaborated with Mendonça Filho and Lesclaux on “Aquarius” as a casting assistant.

Domingues believes working on “Aquarius” was instrumental in developing his casting method, which involves searching for the least obvious option to cast the character. He prides himself on doing the shoe-leather work of looking for fresh, compelling faces in cities where others might not think to look — those without a prominent arts scene, for instance.

Gabriel Leone as Bobbi/Abdias  (Victor Juca)

Hermila Guedes as Claudia  (Victor Juca)

Luciano Chirolli as Henrique Ghirotti  (Victor Juca)

Roberio Diogenes as Euclides Cavalcanti  (Victor Juca)

Tânia Maria as Dona Sebastiana  (Victor Juca)

Joalisson Cunha as Frentista  (Victor Juca)

Isabel Zuaa as Tereza Victoria  (Victor Juca)

Kaiony Venancio as Vilmar  (Victor Juca)

That’s not to say the entire cast was discovered. Mendonça Filho had lead Wagner Moura in mind from the outset, while others sprung to mind as he wrote the screenplay: Maria Fernanda Cândido, a famous soap opera actor, as a crucial ally to Moura’s character; and the late Udo Kier, who had previously appeared in the director’s blood-soaked film “Bacurau,” as a German Jewish immigrant who lived through World War II.

The filmmaker admits that envisioning parts with a specific person in mind is “dangerous.” “I can write a character thinking of you, but I never know if you will want to make the film,” says Mendonça Filho. “And I grow attached to the image.”

Among the other supporting roles, the most challenging to cast, the team agrees, was that of Euclides, the sleazy police chief. Though the character is “repulsive,” it also required an edge of charisma to make him more emotionally layered. Eventually, they came across actor Robério Diógenes. “Robério has studied the clown art in the theater, and he’s a very funny guy, so he adds a component of ridiculousness to this character,” Domingues says.

For Vilmar, an impoverished man hired as a subcontractor for a murder, Mendonça Filho had in mind a real-life contract killer he’d seen in a 1970s TV program. The actor had to convey a certain ambiguity not often afforded to people of a lower social class. There’s no doubt Vilmar is acting out of necessity, but he is not entirely without agency since he negotiates his payment. Domingues found the ideal embodiment of this complex character in Kaiony Venâncio, an actor from the city of Natal who had mostly worked in short films.

Then there’s the scene-stealing Tânia Maria, who plays the endearing, chain-smoking Dona Sebastiana. The 79-year-old talent first appeared in “Bacurau” as an extra. “I just could not help thinking of her,” says Mendonça Filho about casting her in his latest film. “I even pre-ad-libbed many of her lines knowing what she might say.”

Before finding her way onto the screen, Tânia Maria has long made a living as an artisan handcrafting rugs. “I never thought about being an actress. I only thought about sewing,” she says with an endearing smile. “All of this came as a surprise.”

Igor de Araujo as Sergio  (Victor Juca)

Joao Vitor Silva as Haroldo  (Victor Juca)

Robson Andrade as Clovis  (Victor Juca)

Maria Fernanda Candido as Elza/Sara Gerber  (Victor Juca)

Alice Carvalho as Fatima  (Victor Juca)

Thomas Aquino as Valdemar  (Victor Juca)

Licinio Januario as Antonio  (Victor Juca)

Udo Kier as Hans  (Victor Juca)

And though she’s still sewing, her acting prospects look bright. She’s already appeared in another film, “Yellow Cake,” premiering at the Berlin International Film Festival this month. That Tânia Maria also recently starred in humorous local commercials for Burger King and Heineken is proof of her current status in Brazilian pop culture — as are the Dona Sebastiana costumes that have become popular during this year’s Carnival.

“I can’t go out on the street without people stopping me. They ask me for autographs, for photos, they want to talk to me, they ask me questions,” she says in Portuguese via an interpreter while on a video call from her home. “I make time for everyone, and I’m enjoying all of it.”

Undaunted by what she calls the most challenging aspect of acting — memorizing the lines — Tânia Maria is eager to continue exploring this unexpected new facet. “I don’t want to stop because I’m not old! I’m waiting for more invitations to move forward in acting,” she says.

The success many of the actors have found thanks to “The Secret Agent” very much pleases the filmmakers, but it also has a major downside.

“That’s all that we want for the people that we work with, that the film is good for them and their career,” says Lesclaux. “But for us, it also makes things more complicated for the next film because we will want to work with them, and they might not be available.”

PHOENIX — Dodgers closer Edwin Díaz has been settling in with his new team at Camelback Ranch, but in his first comments to the media since camp opened, he faced questions about his old team.

In an interview with Mets broadcaster Howie Rose on Friday, team owner Steve Cohen called Díaz’s decision to a sign a three-year, $69-million contract with the Dodgers “perplexing.” Though Díaz was caught off guard by Cohen’s comments, he said Saturday he had no bad feelings towards the Mets or their fans.

“It’s a market and I was a free agent, so I got the chance to talk with everyone,” Díaz said. “I think the Dodgers did a great job of recruiting me, so at the end of the day, I chose to be here. I have a lot of respect for the Mets organization — players, staff, ownership — they treated me pretty good. I don’t have anything bad to say about them. But at the end of the day, I’m here, so this is a new journey for me. I’m happy to be with the Dodgers, so let’s see how it goes.”

Díaz participated in the Dodgers’ first day of official workouts Friday, throwing a clean bullpen session without any hiccups. Dodgers manager Dave Roberts has liked what he has seen thus far from the three-time MLB reliever of the year.

“I’m very excited to get to know him more,” Roberts said. “[He’s] just a great teammate, really good person, loves baseball, a good heartbeat. You can tell he knows what he needs to do to get ready. [He’s] likable, and at the end of the day, he chose to be here, so that’s something that is of a lot of value for us. High character. I’m really looking forward to getting to know him.”

One thing that attracted Díaz to the Dodgers was the team’s culture.

“That’s how they’ve been so good,” Díaz said. “They have a really good clubhouse… They’ve got different personalities in the clubhouse. They’ve got different players from different countries, and they all get together and have fun, so that’s something good.”

Part of having a melting pot of a clubhouse means missing some key ingredients for an extended period of spring training. The Dodgers will have several players participating in the World Baseball Classic, including Shohei Ohtani, Yoshinobu Yamamoto, Will Smith and Díaz.

Each Major League player competing in the event runs the risk of injury, something Díaz knows all too well. Moments after striking out the side to send Puerto Rico to the WBC quarterfinals in 2023, Díaz sustained a season-ending knee injury.

Despite suffering the trauma of the last WBC, Díaz told reporters it was a no-brainer, when he was asked to compete for his country again in 2026.

“It wasn’t in my mind,” Díaz said. “I have the chance to play in front of my family in Puerto Rico. It was an easy decision.”

Díaz’s fearlessness is one trait that Roberts admires about his new closer. Díaz met Roberts’ squad in the 2024 National League Championship Series, where the Dodgers managed only two hits off him across 5.1 IP, scoring no runs.

“He’s not scared,” Roberts said. “When he’s in the game, it’s an uncomfortable at bat for lefties and righties, and when we did see him in the postseason, [we were] really trying to keep him out of the game, knowing that he can go one, two [or] even three innings. That, he’s done against us in the postseason; [he’s] just a great competitor.”

The addition of Díaz should stabilize the back end of the Dodgers rotation. Since bidding farewell to Kenley Jansen after the 2021 season, the Dodgers haven’t had a closer tally more than 25 saves in a season. Over his nine-year career, Díaz has 253 saves.

With Díaz expected to be the regular ninth-inning guy, Roberts looks forward to having more flexibility when managing his bullpen.

“It’s huge,” Roberts said. “I don’t think that there’s one way to manage a pen, but when you have a guy like Edwin Díaz as your closer, I do think it frees up other guys, myself included. Not having to worry about matchups for the ninth, I think that’s freeing for me and allows for getting the matchups we need in the prior innings.”

Dodgers staying cautious with Graterol

One key relief weapon Roberts hopes to have in his armory is Brusdar Graterol.

The hard-throwing right-hander underwent labrum surgery shortly after the 2024 World Series, and hasn’t pitched in a game since.

Roberts provided an update on Graterol’s recovery Saturday.

“He’s in the picture, but I do think that coming back from the shoulder, it’s going to take some time,” Roberts said. “He’s in the bucket of, ‘We’re going to slow-play him’. I think yesterday he threw off the mound, and the velocity is not near where it’s going to be, so I think that it’s a slow progression. I just don’t know where that puts us, but it’s a slow process for Brusdar.”

Staff writer Anthony Solorzano contributed to this report.

MINNEAPOLIS — The immigration crackdown in Minnesota that led to mass detentions, protests and two deaths is coming to an end, border policy advisor Tom Homan said Thursday.

Democratic Gov. Tim Walz said Tuesday that he expected Operation Metro Surge, which started in December, to end in “days, not weeks and months,” based on his conversations with senior Trump administration officials.

“As a result of our efforts here, Minnesota is now less of a sanctuary state for criminals,” Homan said at a news conference.

“I have proposed and President Trump has concurred, that this surge operation conclude,” he continued.

Federal authorities say the U.S. Immigration and Customs Enforcement sweeps focused on the Minneapolis-St. Paul metro area have led to the arrest of more than 4,000 people. While the Trump administration has called those arrested “dangerous criminal illegal aliens,” many people with no criminal records, including children and U.S. citizens, have also been detained.

“The surge is leaving Minneapolis safer,” Homan said. “I’ll say it again, it’s less of a sanctuary state for criminals.”

Homan announced last week that 700 federal officers would leave Minnesota immediately, but that still left more than 2,000 on Minnesota’s streets. Homan said Thursday that the drawdown began this week and will continue next week. He said he plans to stay in Minnesota to oversee the drawdown.

Minneapolis Mayor Jacob Frey said he had a “positive meeting” with Homan on Monday and discussed the potential for a further drawdown of federal officers.

Homan took over the Minnesota operation in late January after the second fatal shooting by federal immigration agents and amid growing political backlash and questions about how the operation was being run.

“We’re very much in a trust but verify mode,” Walz said, adding that he expected to hear more from the administration “in the next day or so” about the future of what he said has been an “occupation” and a “retribution campaign” against the state.

Walz said he had no reason not to believe Homan’s statement last week that 700 federal officers would leave Minnesota immediately, but the governor added that that still left 2,300 on Minnesota’s streets. Homan at the time cited an “increase in unprecedented collaboration” resulting in the need for fewer federal officers in Minnesota, including help from jails that hold deportable inmates.

Karnowski writes for the Associated Press.

MILAN — There’s a lot of love in those gloves.

Before her fateful downhill run Sunday — one that ended with a violent crash after 13 seconds — Lindsey Vonn pulled on a pair of out-of-production gloves from her childhood skiing idol, Picabo Street.

The gloves are weathered and white, their brightness dulled by the decades, with the brand name “reusch” across the knuckles and a big, plum-colored sun on top. On the wrist straps are Street’s initials, scrawled in marker.

Vonn didn’t announce the gesture, nor did NBC, which employs Street as a color commentator. Street was at the starting gate of the Olimpia delle Tofane course for Sunday’s coverage.

Street confirmed to the Los Angeles Times that the two longtime friends made the glove exchange before the Olympics.

“When she saw a picture of me in those gloves, she was like, ‘Oh, those would be cool,’” Street told the Times. “And I caught wind of it, and was like, ‘Well, I just happen to have them.’”

Those gloves are especially meaningful to Street because they are immortalized on the bronze statue of her in Sun Valley, Idaho. The sun across the top is visible in the sculpted detail.

“It was just my way of being able to show her that, you know, I love you and I believe in you,” Street said. “And wear these, they’ll be fun.”

The two were on the U.S. Ski Team together — Street at the end of her career, Vonn at the beginning — and have been close friends for years. Vonn co-produced the documentary “Picabo,” and in it tells Street, “You are my hero.”

The gloves Picabo Street gave to Lindsey Vonn before Vonn’s race in the Olympic downhill on Feb. 8.

(Courtesy of Picabo Street)

Street, whose skiing and who’s first name helped make her a pop-culture sensation during her Olympic career is a huge fan of Vonn. In speaking to the Times, she said on multiple occasions, “I’m not the story here, so this isn’t about me.”

Still, there are some uncanny coincidences. For instance, Vonn was the 13th skier in Sunday’s lineup and her run lasted 13 seconds before her fall, in which she broke her left leg. Late in her career, Street suffered a broken left leg in a race that took place on Friday the 13th in Crans Montana, Switzerland, where Vonn sustained a ruptured anterior cruciate ligament in a fall at the end of January.

Street had an emotional reaction when she learned what bib number Vonn would be wearing.

“I about puked when I saw number 13,” Street said. “I got very little sleep. I cried all night long, and I cried in the morning. I couldn’t shake it.”

She said her main concern now is her friend’s return to health, not for competitive skiing but for life.

“I want her leg to work for her,” Street said. “I want her nerves to work for her. I want her to have function of her whole body again, and in case she wants to have a family, she can play with her kids.”

The gloves weren’t the first piece of equipment Street loaned to Vonn.

Lindsey Vonn prepares to leave the downhill starting gate while wearing Picabo Street’s gloves on Feb. 8.

(Screenshot courtesy of NBC)

“I remember when I raced in Salt Lake, and I retired, and I was packed up and leaving the house we were staying in,” Street said, referring to the 2002 Winter Olympics. “She came into the house, and I remember giving her a huge hug and giving her a couple of items — one of which she wore in those Games — which was a sleeve around her braid, because we both have really long hair.

“I wore a red, white and blue American-flag neoprene sleeve around my hair, and she wore one as well. I handed her that there and was like, ‘Here you go. Go get ‘em.’”

After Vonn’s crash Sunday, Street told her own mother about loaning the gloves.

“I said, ‘Oh God, mom, she was wearing my gloves,’” she said, her voice catching with emotion.

“At first my mom said, ‘Oh, honey,’ and then she goes, ‘OK, let’s flip this. Maybe the gloves kept her from getting injured worse.’”

In the eyes of Lakers coach JJ Redick, every team his group faces is a test. Still, many wondered if the Lakers’ litmus test would come from facing the defending champion Oklahoma City Thunder on Monday night.

Even with All-Star and league most valuable player Shai Gilgeous-Alexander out with a strained abdominal, the Thunder are still a problem for most of the league. And the Lakers had to play OKC with their own MVP candidate, Luka Doncic, sitting out for the second straight game with a left hamstring strain.

In the end, the Thunder had seven players score in double figures and pulled out a 119-110 win over the Lakers at Crypto.com Arena.

The Lakers (32-19) had six players score in double figures, but it wasn’t enough.

LeBron James had 22 points, 10 assists and six rebounds, Marcus Smart had 19 points, Austin Reaves 16 off the bench, Jake LaRavia 14 and Rui Hachimura and Jaxon Hayes both had 12 points.

Reaves gave the Lakers a 99-98 lead on a drive to the basket in the fourth quarter.

But the Thunder just kept coming back, taking a 109-101 lead by outscoring the Lakers 11-2.

The Lakers, too, kept fighting back, getting to within 113-110 on a Hachimura basket.

But Jalen Williams, who had 23 points in his return to the lineup, kept scoring for the Thunder, making a field goal, two free throws with 35.9 seconds left and two more with 20.9 seconds left that sealed the game.

Thunder guard Kenrich Williams is double teamed by Luke Kennard and Jarred Vanderbilt in the first half.

(Gina Ferazzi / Los Angeles Times)

Reaves provided the fans with a big-time highlight, driving down the lane and throwing down a two-handed dunk on Jaylin Williams and Aaron Wiggins to end the first quarter.

The Lakers had 20 turnovers the last time they played at Oklahoma City in a game L.A. got down by as much as 37 points before losing by 29.

So, one point of emphasis for the Lakers was taking care of the basketball and then playing a high level of basketball despite the opponent.

“For our group, it felt like it’s good to see where we’re at every single night,” Redick said.

His team spent the entire first half climbing out of a hole.

The Lakers were down by just one at the end of the first quarter, but quickly got down 52-38 early in the second quarter.

But behind a James dunk over Chet Holmgren, the Lakers got to within two points in the second, drawing cheers from the fans.

But the Lakers couldn’t keep up that momentum, going down 67-58 at the half.

Then in the third quarter, the Lakers got rolling and opened an eight-point lead behind a strong defense and good offense.

But again, the Thunder didn’t stop playing hard, coming back to open a 93-91 lead at the end of the third quarter on an Alex Caruso three-pointer.

This season’s Oscar nominees for film editing have one thing in common: coping with trauma. The Envelope invited editors from each film to break down a pivotal scene that showcased their craft.

‘F1’

“F1” builds momentum for its underdog tale with an intricately constructed racing montage.

(Warner Bros. Pictures)

Editor: Stephen Mirrione
Scene: The montage in which Brad Pitt’s washed-up racer Sonny Hayes begins his winning streak through a momentum-building Grand Prix swing.

“There were more than a dozen structural versions of how we were getting through this story,” said Oscar winner Mirrione (“Traffic”). The three-minute, high-octane montage benefited from 5,000 hours of footage, captured with 20 cameras around the tracks. It was treated like a massive puzzle, with the racing order moved around for maximum impact. The key was seamlessly integrating in-camera footage with broadcast footage from actual races that offered happy accidents such as rain and a crash. “At one point, it was more focused on rookie driver Joshua [Damson Idris],” added Mirrione. “But then we realized that Sonny was more interesting, visually, in terms of his arc about dealing with the trauma of his near-fatal crash. And then once we saw it in context, it was not just about the two of them and their rivalry but also the team coalescing around Sonny.”

‘Marty Supreme’

A dinner in “Marty Supreme,” starring Timothée Chalamet as Marty Mauser, leads to a startling flashback.

(A24)

Editors: Ronald Bronstein, Josh Safdie
Scene: The jarring dinner scene/Holocaust flashback introducing nasty businessman Milton Rockwell (Kevin O’Leary)

In this scene from the 1950s-set psychological drama, we get a glimpse of Marty’s (Timothée Chalamet) motivation for his obsessive pursuit of table tennis: Jewish pride and survival instinct. “The adversarial impulse of the Rockwell dinner scene involves several characters, each with a distinct subjective agenda,” said Bronstein. “The act of cutting the scene [with close-ups and extreme close-ups] became inseparable from its sensations and emotions.” Yet Bronstein pushed it to extremes with the bizarre Auschwitz flashback involving Marty’s dinner guest, Béla (Géza Röhrig). Thanks to his table tennis prowess, Béla disarms bombs for the Nazis in the woods. But when he discovers a beehive, he shares the honey with his fellow prisoners by smearing it over his body. “That’s like a carrot on a rope that’s hanging in front of me at all times, and when I get to the end of that exchange, I’m allowed to break free and go into an entirely new set of tools, which are much more expressive,” added Bronstein.

‘One Battle After Another’

Leonardo DiCaprio as Bob Ferguson, nearing the conclusion of “One Battle After Another’s” climactic car chase.

(Warner Bros. Pictures)

Editor: Andy Jurgensen
Scene: The climactic roller-coaster car chase

Jurgensen assembled the best VistaVision car chase in history for Paul Thomas Anderson‘s turbulent father-daughter actioner. That’s where teenage Willa (Chase Infiniti) becomes the hero by outsmarting and killing the hired muscle (John Hoogenakker), who chases her up and down the rolling hills followed closely by Willa’s flummoxed ex-revolutionary dad, Bob (Leonardo DiCaprio). Shot at shaky high speeds, the scene actually took shape as a result of the unique San Diego location called the Texas Dip, which looks epic in the 8 perf/35mm horizontal format. The Hitchcockian cross-cutting among the three cars, favoring Willa’s POV, was achieved with close-ups from rearview and side mirrors. The layering of the propulsive soundscape and Jonny Greenwood’s percussive score completed the adrenaline rush. But the tender father-daughter reunion at the end required reshooting. “The moment Bob pulled up to the crash site, when we first did the scene, he ran over to her right away, and they embraced,” Jurgensen recalled. “When we watched the dailies, it just didn’t feel authentic. So we reshot it with more meat: Willa second-guessing everybody and Bob having to earn her trust by proving his identity with the secret code.”

‘Sentimental Value’

Renate Reinsve’s Nora plays a part in her father’s new film in “Sentimental Value.”

(Kaspar Tuxen Andersen)

Editor: Olivier Bugge Coutté
Scene: Actor Nora Borg’s (Renate Reinsve) early stage fright breakdown

Joachim Trier’s family drama finds Nora confronting the Borgs’ generational trauma when she reunites with her estranged director father, Gustav (Stellan Skarsgård). After an opening montage on the layered history of their Oslo home, which Nora once wrote about in a school essay, our introduction to the adult Nora is conveyed by the chaos and humor of her panic attack before a performance. But finding this arresting sequence first required trimming a very long setup of patrons entering the theater and sitting down, and the camera discovering Nora, frozen in fear, in the back of the dark stage. “It was so boring,” Coutté insisted. “But here we’re starting right on Nora’s face. Where are we? Has she become an actress? And then you slowly understand. There are no rules; just rhythm.”

‘Sinners’

Jayme Lawson performs “Pale, Pale Moon” in a pivotal scene from “Sinners.”

(Warner Bros. Pictures)

Editor: Michael P. Shawver
Scene: Pearline’s (Jayme Lawson) violence-inducing “Pale, Pale Moon” performance

In Ryan Coogler’s Imax spectacle, where the blues collides with vampires, the monstrous transformation commences with Pearline’s siren call: “Pale, Pale Moon.” This was Shawver’s boldest sequence, cross-cutting her mesmerizing performance with the rhythmic crowd stomping, the brutal beating of a card cheater and newbie vampire Mary (Hailee Steinfeld) seducing and murdering Stack (Michael B. Jordan). “When this was first cut together, it was about three or four times as long as the actual song that had been recorded and performed,” explained Shawver. “And so Ryan watched it and he liked what he saw, but he wanted to cut it to the length of the song. That first moment I wondered if I was the right editor, but that fear and anxiety gives you a bit of freedom to find those spiritual connections that built to this climax at the end. It was really just about Ryan’s ability to engage audiences on a personal level and unlock those things and find the ways that they can go together.”

WASHINGTON — Democrats are threatening to block funding for the Homeland Security Department when it expires in two weeks unless there are “dramatic changes” and “real accountability” for U.S. Immigration and Customs Enforcement and other law enforcement agencies carrying out President Trump’s campaign of federal immigration enforcement in Minnesota and across the country.

Congress is discussing potential new rules for ICE and U.S. Customs and Border Protection after officers shot and killed two people in Minneapolis in January. Senate Democratic leader Chuck Schumer and House Democratic leader Hakeem Jeffries reiterated their party’s demands on Wednesday, with Schumer telling reporters that Congress must “rein in ICE in very serious ways, and end the violence.”

Democrats are “drawing a line in the sand” as Republicans need their votes to continue the funding, Jeffries said.

The negotiations come amid some bipartisan sentiment that Congress should step in to de-escalate tensions over the enforcement operations that have rocked Minnesota and other states. But finding real agreement in such a short time will be difficult, if not “an impossibility,” Senate Majority Leader John Thune (R-S.D.) said Tuesday.

Trump last week agreed to a Democratic request that funding for Homeland Security be separated from a larger spending bill and extended at current levels for two weeks while the two parties discuss possible requirements for the federal agents. House Speaker Mike Johnson (R-La.) said this weekend that he was at the White House when Trump spoke with Schumer and that they were “on the path to get agreement.”

But it’s unclear whether the president or enough congressional Republicans will agree to any of the Democrats’ larger demands that the officers unmask and identify themselves, obtain judicial warrants in certain cases and work with local authorities, among other asks. Republicans have already pushed back.

And House GOP lawmakers are demanding that some of their own priorities be added to the Homeland Security spending bill, including legislation that would require proof of citizenship before Americans register to vote. Sen. Lindsey Graham of South Carolina and other Republican senators are pushing for restrictions on sanctuary cities that they say don’t do enough to crack down on illegal immigration. There’s no clear definition of sanctuary jurisdictions, but the term is generally applied to state and local governments that limit cooperation with federal immigration authorities.

It’s also uncertain whether Democrats who are furious over the Trump administration’s increasingly aggressive immigration enforcement operations would be willing to compromise.

“Republicans need to get serious,” Schumer, a New York Democrat, said, adding that they will propose “tough, strong legislation” in the next day.

A look at Democrats’ demands and what Republicans are saying about them:

Agreement on body cameras

Republicans say they are open to officer-worn body cameras, a change that was already in the underlying Homeland Security spending bill. Homeland Security Secretary Kristi Noem backed that up on Monday when she ordered body-worn cameras to be issued to every DHS officer on the ground in Minneapolis, including those from ICE. She said the policy would expand nationwide as funding becomes available.

The bill already directed $20 million to outfit immigration enforcement agents with body-worn cameras.

Gil Kerlikowske, who served as commissioner of U.S. Customs and Border Protection from 2014 to 2017, said that most agents are “very supportive” of cameras because they could help exonerate officers. But he added that complex questions remain, including when footage should be released and when cameras must be activated.

“When do you turn it on? And if you got into a problem and didn’t have it on, are you going to be disciplined? It’s really pretty complex,” he said.

Schumer said Tuesday that the body cameras “need to stay on.”

Disagreement on masking

As videos and photos of aggressive immigration tactics and high-profile shootings circulate nationwide, agents covering their faces with masks has become a flash point. Democrats argue that removing the masks would increase accountability. Republicans warn it could expose agents to harassment and threats.

“State law enforcement, local folks don’t do it,” said Rep. Bennie Thompson, the top Democrat on the Committee for Homeland Security. “I mean, what’s so special about an ICE law enforcement agency that they have to wear a mask?”

But Republicans appear unlikely to agree.

“Unlike your local law enforcement in your hometown, ICE agents are being doxed and targeted. We have evidence of that,” Johnson said on Tuesday. He added that if you “unmask them and you put all their identifying information on their uniform, they will obviously be targeted.”

Immigration officers are already required to identify themselves “as soon as it is practical and safe to do so,” according to federal regulations. ICE officials insist those rules are being followed.

Critics, however, question how closely officers adhere to the regulations.

“We just see routinely that that’s not happening,” said Nithya Nathan Pineau, a policy attorney with the Immigrant Legal Resource Center.

Judicial vs. administrative warrants

Democrats have also demanded stricter use of judicial warrants and an end to roving patrols of agents who are targeting people in the streets and in their homes. Schumer said Tuesday that they want “arrest warrants and an end to racial profiling.”

Most immigration arrests are carried out under administrative warrants, internal documents issued by immigration authorities that authorize the arrest of a specific person but do not permit officers to forcibly enter private homes or other nonpublic spaces without consent. Traditionally, only warrants signed by judges carry that authority.

But an internal ICE memo obtained by the Associated Press last month authorizes ICE officers to use force to enter a residence based solely on a more narrow administrative warrant to arrest someone with a final order of removal, a move that advocates say collides with 4th Amendment protections.

Democrats have not made clear how broadly they want judicial warrants used. Jeffries of New York said that Democrats want to see “an end to the targeting of sensitive locations like houses of worship, schools and hospitals.”

Johnson said Tuesday that Democrats are trying to “add an entirely new layer” by seeking warrants signed by a judge rather than the administrative warrants that are signed by the department. “We can’t do that,” he said.

The speaker has said that an end to roving patrols is a potential area of agreement, but he did not give details.

Code of conduct and more accountability

Democrats have also called for a uniform code of conduct for all ICE and federal agents similar to that for state and local law enforcement officers.

Federal officials blocked state investigators from accessing evidence after Renee Good was shot and killed by an ICE agent on Jan. 7. Gov. Tim Walz, a Democrat, demanded that the state be allowed to take part, saying that it would be “very difficult for Minnesotans” to accept that an investigation excluding the state could be fair.

Hoping for a miracle

Any deal Democrats strike on the Department of Homeland Security is unlikely to satisfy everyone in the party. Rep. Ayanna Pressley of Massachusetts said she would never support an agreement that didn’t require unmasking.

“I ran for Congress in 2018 on abolish ICE,” Pressley said. “My position has not changed.”

Thune, of South Dakota, has repeatedly said it’s an “impossibility” to negotiate and pass something so complicated in two weeks. He said any talks should be between Democrats and Trump.

“I don’t think it’s very realistic,” Thune said Tuesday about finding quick agreement. “But there’s always miracles, right?”

Jalonick and Cappelletti write for the Associated Press. AP writer Rebecca Santana contributed to this report.

As the Sundance Film Festival winds down its final edition in Park City, Utah, this week, ahead of its move to Boulder, Colo., next year, its sway over the nonfiction field at the Oscars remains as steady as ever. All five current Academy Award nominees for documentary feature premiered at last year’s festival, with Sundance films winning the category six times over the last decade.

“Sundance has been a kick-starter for my entire career,” says Ryan White, director of “Come See Me in the Good Light,” his fourth film to premiere at the festival. The intimate portrait of Colorado poet laureate Andrea Gibson, who faces a terminal diagnosis with a spirit of resilience, needed the boost. “The lead words are poetry and cancer, and it’s a character-driven film about a non-binary person,” White says. “It wasn’t the easiest film to get off the ground.” A similar challenge could apply to other nominees, including “Mr. Nobody vs. Putin” and “Cutting Through Rocks,” which focus on everyday individuals taking on oppressive systems in Russia and Iran, respectively. “There are the types of films that can get lost because they’re not about a celebrity, and they don’t have these marquee descriptors. Sundance does such an amazing job of discovering these diamonds.”

Andrea Gibson, left, and Megan Falley in “Come See Me in the Good Light.”

The exposure at the start of the film festival season “gives you that one-year runway that allows you to play festivals all year long,” says White, who was back at Sundance to celebrate the end of an era. He also knows the pain of not making the cut. “My first two films didn’t get into Sundance, and then my third one did. I’m always telling young filmmakers to use the Sundance rejection as fuel.”

A festival berth was strong motivation for “Mr. Nobody” filmmaker David Borenstein, who collaborated with his subject, a schoolteacher near the Ural Mountains named Pavel (“Pasha”) Talankin, as he quietly documented Russian propaganda efforts to rally his young students around the war in Ukraine. “That was the goal the entire time making this film,” says the director, an American based in Copenhagen. “I never thought once about anything after Sundance.” When the Danish Film Institute submitted his film as the country’s entry for the international feature Oscar, he had a new goal. “We were the last to start campaigning because we didn’t have a streamer behind us.”

Borenstein interrupted a family vacation in the Dominican Republic to return to Sundance for meetings and figure out next steps. “Forget winning or losing,” he says. “You have six weeks where you have a voice, where Pasha has a voice. How do you use it?” Talankin, who fled his home — first for Turkey, then the Czech Republic — is, for the moment, no longer “Mr. Nobody,” but as Borenstein notes, “He sacrificed his whole life to do this.”

Iranian American filmmakers Mohammadreza Eyni and Sara Khaki were well into the eight-year production of “Cutting Through Rocks” when they became recipients of a 2020 Sundance Documentary Fund grant. “The timing was perfect and we really, really, really needed that support,” says Khaki, joining Eyni on a video conversation from Park City, where their film won the Grand Jury Prize in the world cinema category last year. “Sundance is something beyond only the festival for us,” Eyni says. “It’s more about persistence as a filmmaker and the cinematic approach to the stories and sense of community.”

“Cutting Through Rocks” follows Sara Shahverdi, the first woman elected to the council of her northwestern Iranian village, as she challenges the practice of child marriage and other patriarchal norms and empowers young women by showing them how to ride motorbikes, as she does herself. The message of resistance feels relevant worldwide, but most urgently in Iran, where estimates of deaths during recent protests top 30,000 people. “We want small stories and anecdotes to remind us that we can bring change,” Eyni says, “even when it’s tough, even when it seems impossible.” Although the film is the first documentary from Iran to be nominated for an Oscar, the news has been hard to share there because of the government’s weeks-long internet blackout.

“We are experiencing a lot of complex emotions,” Eyni says.

Sara Shahverdi, the subject of Oscar-nominated documentary feature “Cutting Through Rocks.”

(Gandom Films)

Sundance thrives on exactly those kinds of feelings. The dramatic premiere of “Come See Me in the Good Light” was, for its filmmaker, “The best night of my entire career.” What began as a film about the end of Gibson’s life quickly became a story about the joy of a life well-lived, experienced alongside the charismatic subject’s wife, poet Megan Falley. When White broke the news about the film’s acceptance, “Andrea was so emotional saying, ‘You’re telling me if I survive for six more weeks, I might see this movie?’” he recalls. And they did.

“I think people fell in love with Andrea during the course of that film, but they probably assumed that Andrea had passed away, and they were about to see a card at the end of the film,” White continues. Then Gibson walked up. “It was like a rock star rising from the ashes. You could literally feel the theater vibrating.”

Brentwood’s Ethan Hill was so sick before Monday night’s basketball game against Crossroads that he searched for an open urgent care to give him an IV.

By the game’s end, when Brentwood came back from an 11-point deficit to defeat rival Crossroads 70-60, the 6-foot-7 Hill was using all of his final energy to dance with the delirious student section that got loud and boisterous and helped inspire the Eagles’ rally.

“I feel horrible,” Hill said as he rested on the floor of the team room afterward blowing his noise. “I’m so fatigued.”

Somehow, he played the entire fourth quarter and made five consecutive free throws to help hand Crossroads its first Gold Coast League loss.

One hero for Brentwood was junior guard AJ Okoh. He finished with 24 points. Crossroads (14-11, 5-1) could not stop him from driving in the second half.

“One of the best point guards in the country,” Brentwood coach Ryan Bailey said. “He doesn’t back down from anyone.”

Brentwood (22-3, 4-1) lost to Crossroads 72-56 on Jan. 9 in one of its worst performances of the season. This time, the Eagles, in front of their home crowd, were determined not to let their former player, Shalen Sheppard, get out of the gym with a win.

The emotions twice resulted in technical fouls against Brentwood players for taunting. At the end of the game when the buzzer sounded, officials ejected Sheppard and Brentwood’s Ryan Howard when they got into a little wrestling match. Crossroads, which starts four sophomores, received 16 points from Evan Willis and 14 from Sheppard.

Brentwood fell behind 32-23 at halftime. That caused Bailey to give a fiery halftime talk.

“I was proud how they fought,” Bailey said. “We had a little halftime speech and they responded and the home crowd was phenomenal.”

Augustus Sugarman aided the comeback with two three-pointers and two free throws in the fourth quarter. There were seven lead changes to start the fourth quarter until Brentwood pulled away.