killing

President Zelenskyy says rescue operations continue after Russia used ‘more than 1,560 drones’ during its overnight attacks.

Russia launched a barrage of missiles and drones targeting Ukraine’s capital Kyiv, killing at least three people and wounding 40 others, Ukrainian authorities have said.

The Ukrainian military said on Thursday that the overnight strikes hit six districts of Kyiv and another six in the surrounding areas. Deputy Prime Minister Oleksii Kuleba said attacks had targeted ports in the southern Odesa region and railways.

In a post on X, President Volodymyr Zelenskyy said rescue operations were continuing following an attack on a nine-storey building in Kyiv after Russia launched “more than 670 attack drones and 56 missiles against Ukraine”.

“In total, since midnight yesterday, Russia has used more than 1,560 drones against our cities and communities. These are definitely not the actions of those who believe the war is coming to an end,” he wrote on Thursday.

“It is important that partners do not remain silent about this strike. And it is equally important to continue supporting the protection of our skies,” Zelenskyy added.

The mayor of Kyiv, Vitali Klitschko, said 40 people were wounded in the attacks, including two children, while Ukrainian emergency services said three people had been killed.

Reporting from Kyiv, Al Jazeera’s Audrey Macalpine said people are still feared trapped under the rubble of the building.

Macalpine said it was one of Russia’s largest attacks of the war, “in a single 36-hour period just by sheer number of drones”.

The attack comes as a setback for efforts to end the war after United States President Donald Trump raised faint hopes for peace by brokering a three-day ceasefire between Kyiv and Moscow last week, and Russian leader Vladimir Putin suggested the war could be winding down.

The truce – put in place as Putin presided over a scaled-down military parade in Red Square to mark the anniversary of World War II victory – was marred by allegations of violations by both sides.

Ukraine and Russia launched long-range drone attacks immediately after it ended on Tuesday.

The Kremlin has poured cold water on the idea that Putin’s vague comments, issued Saturday, about the war “heading to an end” could mean a softening in Moscow’s position.

On Wednesday, it repeated its demand that Ukraine fully withdraw from the eastern Donbas region before a ceasefire and full-scale peace talks can take place.

Kyiv has rejected such a move as tantamount to capitulation.

In the fragmented mysteries of the great Argentine filmmaker Lucretia Martel, her explorations always start with sensory flashes: faces, spaces, objects, sounds in transfixing procession. The language is its own, resulting in disorienting but undiluted depictions of the worlds of modern elites (“La Ciénega,” “The Headless Woman”) and 18th century colonists (“Zama”) alike.

But now, with her first feature documentary, “Our Land (Nuestra Tierra),” Martel unravels a political crime and the larger offenses behind it with a vital clarity. The film is centered on the 2009 murder of Javier Chocobar, an Indigenous Chuchagasta man from Argentina’s northwestern Tucumán province, who was shot while defending his ancestral homeland from a thuggish incursion. The weight of the issue at hand — stolen land, territorial rights and the overdue recognition of a colonized country’s original peoples — brings out a tantalizing lucidity from the typically elusive Martel on a serious subject that requires discipline.

In one sense, she’s dealing with a rights issue too painful to be aggressively aestheticized, but she’s also exploring a blood-soaked injustice that can’t be treated conventionally. She begins, in fact, with rolling satellite images from space — as if to say: This appropriation of nature is the world’s problem, not just Argentina’s.

What follows, toggling between a courtroom and vast, contested land (filmed with dreamlike urgency by cinematographer Ernest de Carvalho), is a righteous, visually arresting swirl of fact and feeling, past and present. It’s also anchored by the stories of a community desperate to claim territory they’ve cultivated for centuries. “Our Land” is as honorable a documentary as you’re likely to encounter this year about what fighting looks like in today’s era of grab-what-you-can thievery.

First, we hear from the defendants, captured by Martel’s cameras at their 2018 trial in Buenos Aires (an unconscionable nine years after the shooting). The three accused men — a businessman and two ex-cops — flounder at positioning themselves as the true victims when their own handheld video of the incident shows otherwise: The confrontation with the Chuchagastas only escalated because they brought a gun. Their lawyers obnoxiously push a narrative of ownership versus trespassers, backed by reams of documents and tossed-around historical dates.

But as Martel patiently unfolds the Chuchagastas’ perspective — personal narratives that come to life in intimate photos, atmospheric sound design and warm home footage — we begin to understand that documents and files are a bogus battleground given their hundreds of years of careful tending. One community member distrusts dialogue to begin with, calling it a means to “give up something.”

“Our Land” is the work of a director whose attention is rigorous, whose care is genuine, but who is also conscious of her outsider’s perspective. It’s an ally’s respect. There’s no better proof of that than in her drone shots of this embattled community’s sun-soaked valley: elegant, purposeful, even awkward (a bird hits one) visitations from the air. They’re a reminder that she’s the filmmaker, surveying a story that belongs to others. Documentaries don’t get much more honest than that.

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

This newsletter is about going to the movies, of course, but it’s about writing and reading about movies, too. And so it was exciting news this week that Film Comment, the venerable but shuttered publication that helped foster cinephilia in America, would return as a quarterly online publication.

A complete archive is now available online, going all the way back to the earliest issues in 1962. Looking for landmark writings by Manny Farber, Paul Schrader, Richard Corliss, Amy Taubin, Jonathan Rosenbaum, Kent Jones or countless others? It’s all there and well worth digging into. I began my career as an intern at Film Comment, publishing some of my own earliest pieces, and still consider it a North Star for writing about movies. Its return is most welcome.

Agnès Varda’s bruising brilliance

Sandrine Bonnaire in the 1985 movie “Vagabond.”

(Criterion Collection)

Though she became better known for her free-spirited, pixie-ish persona later in life, French filmmaker Agnès Varda was also capable of the bruising emotions of 1985’s “Vagabond,” arguably her greatest fiction feature and winner of the Golden Lion at Venice and the César for best actress for star Sandrine Bonnaire. Opening with the lead character found dead in a ditch, the film flashes backward to piece together her life from the memories of others, creating a fragmented portrait of an enigmatic young woman’s life.

Mezzanine will screen the film on Saturday at 2220 Arts + Archives, followed by a conversation between art critic Megan O’Grady and former Times staffer Carolina Miranda. Writing about the film in 1986, Sheila Benson said, “Just how Agnes Varda has kept ‘Vagabond’ from being a monumental downer is interesting, but she has. It is haunting. It is melancholy … but ultimately, beyond its central tragedy, it is an exhilarating film, the sort you leave burning to talk about with friends.”

A cartoon comes to life

Robin Williams and Shelley Duvall in the 1980 movie “Popeye.”

(Paramount Pictures / Getty Images)

It is one of the most deranged credit blocks imaginable: an adaptation of “Popeye” directed by Robert Altman, produced by Robert Evans, with a screenplay by Jules Feiffer, music by Harry Nilsson and starring Robin Williams and Shelley Duvall. When it was first released in December 1980, it was seen as too weird for kids and too naive for adults, but it has since been reconsidered as a unique snapshot of intersecting talents — a strange, wonderful, one-of-a-kind movie.

Vidiots will screen the film on Saturday afternoon with actors Paul Dooley and Donovan Scott, who played J. Wellington Wimpy and Castor Oyl. In our original 1980 review that is more positive than one might expect, Charles Champlin wrote, “Its difficulties arise not from a lack of ambition and innovation but from excesses of them.”

Neil Young + Devo = gloriously weird

Neil Young in the 1982 movie “Human Highway.”

(Shakey Pictures)

Neil Young’s place as a singer-songwriter and musician is unassailable — he’s an irascible, restless troubadour. But his sidebar work as a filmmaker, typically under the name Bernard Shakey, has had more sporadic and unpredictable output.

Young’s 1982 film “Human Highway” is probably the pinnacle of his work as a director, starring Young himself in an offbeat story of a small community in the shadow of a nuclear power plant. Dennis Hopper, Dean Stockwell, Devo and even former Times music critic Robert Hilburn all appear. Now Instant Image Hall will be screening the film on Saturday and Sunday along with a selection of Devo music videos in celebration of an exhibition at the MutMuz gallery.

After Young premiered a new cut of “Human Highway” a decade or so ago, I somehow found myself sitting across from him at a diner on a rainy midnight in downtown Toronto. (This job does have its moments.)

“My films are not super commercial, but they mean something to me,” Young said.

An Oscar-winning debut

Shirley MacLaine, Debra Winger and Jack Nicholson in the 1983 movie “Terms of Endearment.”

(Paramount Pictures)

Part tearjerker, part family drama and part comedy, 1983’s “Terms of Endearment” trademarks a certain bittersweet tone that is still just pure magic. The story of a mother (Shirley MacLaine) and daughter (Debra Winger) across many years of ups and downs in their relationship, the film was the feature debut for James L. Brooks as writer-director and won five Oscars, including three for Brooks. The Academy Museum will play the film in a new 35mm print on Sunday afternoon.

When the movie came out on 4K disc in 2023, I spoke to Brooks about it. He talked about how even though it does have moments of great emotional weight, it was intended to play with a lighter tone overall.

“The whole thing was to make it as a comedy,” Brooks said. “The whole thing was to clock laughs. You had to, in order to do it right. And of course, once the audience leaves and it has its afterlife, it’s a drama because people are watching it alone. But I swear to you, in the theaters it was a comedy.”

A ’90s noir ripe for rediscovery

Jason Patric, left, Bruce Dern and Rachel Ward in the 1990 movie “After Dark, My Sweet.”

(Kino Lorber)

Set in the Coachella Valley with the woozy feel of a day drunk and a sense of uneasy menace, 1990’s “After Dark, My Sweet” is an adaptation of the novel by pulp icon Jim Thompson, directed by James Foley.

Jason Patric, then only 23, stars as Kevin Collins, known as Collie, a former boxer who escapes from a mental institution and is now just drifting. He falls in with Fay (Rachel Ward), an enigmatic, lonely alcoholic widow, who in turn introduces Collie to a shady man known as Uncle Bud (a delightfully sleazy Bruce Dern). Soon Collie is ensnared in a plot to kidnap a sickly rich boy that immediately goes off the rails.

On Tuesday at Vidiots, there will be a screening of Patric’s personal 35mm print of the film — a gift he received some 20 years ago and has never watched before. (It is said to be in pristine shape.) Along with a video introduction from actor and filmmaker Alex Winter, there will be a Q&A afterward with Patric moderated by critic and scholar Travis Woods, who contributed a commentary track to a recent Australian Blu-ray release of the film.

Patric organized the screening as a tribute to director Foley, who died in May 2025 at age 71. “After Dark” landed in between Foley making “Who’s That Girl” with Madonna and the David Mamet adaptation “Glengarry Glen Ross.” Among his other credits are “At Close Range,” “Fear” and the last two “Fifty Shades” movies.

“He was a good friend of mine at the time,” says Patric on a recent phone call from Santa Monica. “I know this was his favorite movie and it was closest to him. It’s the only movie that he had actually written that he directed. And I thought the best way to do that is just to show the movie.”

Patric, who says Collie is his favorite character in a career that also includes “The Lost Boys,” “Rush” and “Your Friends & Neighbors,” was first given the script and in turn gave it to Foley; developed it further together, trying to retain the language of Thompson’s novel. (The screenplay is credited to Foley and Robert Redlin.)

“It’s really a subjective piece of filmmaking,” says Patric. “So as Collie’s figuring things out, the audience is figuring things out.”

In her original review of the film, Sheila Benson wrote that “Collie is one of those roles actors lust after, the damaged dreamer, maybe dumb, maybe dangerous, and Patric demolishes the conventions of the role with breathtaking skill.”

“After Dark, My Sweet” landed just ahead of the Tarantino-inspired crime movie boom of the mid-’90s, alongside such noir-influenced precursors as Dennis Hopper’s “The Hot Spot,” John Dahl’s “Kill Me Again” and Stephen Frears’ Thompson adaptation “The Grifters.”

“This is just such an exciting film to want to reintroduce to audiences,” said Woods in a call. “And to get the opportunity to see this film on the big screen, which most people haven’t had that opportunity for 36 years, it’s just one of those really cool, really only in Los Angeles cinematic moments.”

New this week

Argentinian director Lucrecia Martel, photographed at the Sunset Marquis in April.

(Jason Armond / Los Angeles Times)

• The unlikely duo of James Cameron and Billie Eilish co-directed a 3D concert film drawn from Eilish’s 2025 tour, “Billie Eilish — Hit Me Hard and Soft: The Tour (Live in 3D).” Film critic Amy Nicholson and pop music critic Mikael Wood traded their thoughts on the movie.
• Argentinian director Lucrecia Martel is among the world’s most accomplished filmmakers and the true crime tale “Our Land (Nuestra Tierra)” is her first documentary. Carlos Aguilar spoke to Martel about it.
• “Mad Bills to Pay” expands to multiple Laemmle venues after a weekend run in the Vidiots microcinema. Carlos Aguilar spoke to director Joel Alfonso Vargas about portraying the Dominican American community in the Bronx.

Prosecutors charge Florida served as central hub in 2021 assassination of Moise, which sparked ongoing political crisis.

Four people have been convicted in the United States in connection with the 2021 assassination of Haitian President Jovenel Moise.

Arcangel Pretel Ortiz, Antonio Intriago, Walter Veintemilla and James Solages were found guilty on Friday of conspiring to kill or kidnap Moise, whose assassination left a political vacuum in the Caribbean nation that has compounded overlapping security and humanitarian crises.

They were also convicted of providing material support for the plot in violation of US law. All four face possible life sentences.

US prosecutors have said that the south of Florida, the closest US state to Haiti, served as a central hub for planning and funding Moise’s assassination.

During the trial, which began nearly two months ago, the defence argued that the defendants were scapegoats.

They claimed they had instead been involved in a plan to serve Moise an arrest warrant, amid a dispute about whether the president had overstayed his term.

They further maintained that Colombian mercenaries involved in the assassination were meant to accompany Haitian police to execute the warrant, but that Moise was killed by his own security forces before they arrived.

“This is a Haitian plot, and it is ⁠a Haitian conspiracy,” defence lawyer Emmanuel Perez said, as reported by the Miami Herald.

US prosecutors, in turn, charged that the men initially sought to remove and replace Moise, but the plan eventually escalated to assassination.

A fifth defendant, Christian Emmanuel Sanon, a Haitian-born doctor who allegedly wanted to be named president after Moise was killed, was set to be tried at a later date due to health issues.

Eight other individuals accepted plea deals as part of the US investigation.

No national elections have been held in Haiti since Moise’s assassination, although a provisional council was appointed in September 2024 to organise new polls.

The council has since been replaced by US-backed Prime Minister Alix Didier Fils-Aime, who has said elections will be held by the end of the year.

The UN has said a stable government is essential to restoring order in Haiti, which has been beset by a series of natural disasters and rising violence, with criminal gangs controlling large swaths of territory.

At least 8,100 gang killings were documented in 2025, with insecurity displacing about 1.5 million people, according to the UN.

INVESTIGATORS think Towie star Jake Hall died from a horror chest injury caused by broken glass.

Jake, 35, suffered head wounds after allegedly turning aggressive and trying to harm himself during a party at the £200-a-night Majorcan villa he was renting.

Sources close to the investigation said the worst injury the reality star suffered was a chest wound from a shard of glass after smashing into a door.

The insider said: “The thorax injury was the one emergency responders at the scene felt was the most traumatic one and most likely to have been fatal.”

Jake’s autopsy is expected to take place today in the Majorcan capital Palma, but the results will not be publicly released.

The CPJ says the ‘lack of concrete progress’ in the FBI investigation represents a failure by the US government.

The Committee to Protect Journalists (CPJ) has demanded a “public progress update” from United States authorities on the FBI probe into the Israeli military’s killing of Palestinian-American Al Jazeera journalist Shireen Abu Akleh, 51, who was shot dead in the occupied West Bank in 2022.

In an open letter to the Department of Justice (DOJ) and FBI chief Kash Patel, the CPJ said on Thursday evening that “the effectively stagnant status of this case is inconsistent with ensuring the security of US citizens anywhere in the world.”

It said the “lack of concrete progress” represents a failure by the US government to respond to the “killing of one of its citizens by a foreign military”.

It noted that there had been no formal interviews with witnesses, “despite the willingness of multiple witnesses to cooperate”, and no signs of FBI activity to gather evidence in Israel or Palestine.

Longtime TV correspondent for Al Jazeera Arabic, Abu Akleh, was covering Israeli army raids in the West Bank city of Jenin when she was killed by Israeli forces on May 11, 2022. She was wearing a clearly marked press vest when she was shot dead.

Israel initially accused Palestinian fighters of her death, but the Israeli military later released a statement saying “it is not possible to unequivocally determine the source of the gunfire which hit” Abu Akleh. It added that there was a “high possibility” that she was hit by Israeli gunfire.

Many independent investigations conducted by CNN, The Associated Press news agency, and The Washington Post concluded that Abu Akleh was deliberately targeted, the CPJ letter noted.

‘Justice remains elusive’

The CPJ asked for a public update on the status of the investigation, a commitment to a timeline for the investigation, and the public release of its findings. It also said the investigation needs to be “impartial and independent, free from political considerations”.

Abu Akleh’s family said in a statement on Thursday, “despite the passage of time, justice remains elusive,” adding that the lack of justice “sends a dangerous message that journalists can be targeted without consequence”.

Abu Akleh’s death became a symbol of the wider Palestinian struggle. Murals of her have adorned the cities of the occupied territory as people remember her for her fearless reporting.

Since her killing, Israel has killed 258 journalists and media workers, the CPJ reported. Israel has acknowledged killing a number of journalists, alleging they had links to armed groups, accusations their employers deny and the CPJ calls “deadly smears”.

“The prevailing culture of complete impunity enjoyed by Israel is a direct factor in the continued targeting of journalists without deterrence,” said Sara Qudah, CPJ’s regional director. “Without an independent investigation and real accountability, such attacks will only continue to escalate, emboldening those who seek to silence the truth through violence.”

A small plane carrying five people crashed into a residential building in Belo Horizonte, Brazil, shortly after takeoff, killing three and leaving two others hospitalised. The aircraft went down minutes after departing Pampulha Airport, with no injuries reported among residents on the ground.

More than 20 years after Jam Master Jay of Run-DMC was shot to death in a New York recording studio, a man admitted to his role in the killing.

Jay Bryant, 52, pleaded guilty to a federal murder charge, telling U.S. Magistrate Judge Peggy Cross-Goldenberg that he helped others gain access to the building where the hip-hop icon, born Jason Mizell, was shot in 2002.

“I knew a gun was going to be used to shoot Jason Mizell,” Bryant told the judge, per the Associated Press. “I knew that what I was doing was wrong and a crime.”

Bryant didn’t name the people he helped, but in 2024, Karl Jordan Jr. and Ronald Washington were convicted of Mizell’s murder in a case that prosecutors had been working for decades.

“Y’all just killed two innocent people,” Washington yelled at the jury at the time of the verdict.

Jordan Jr., Mizell’s godson, won an appeal last year to overturn his conviction, with a judge finding that the prosecutors’ case against him didn’t add up. The judge said the evidence didn’t support the contention that he was motivated by anger after he was cut out of a $200,000 drug deal. Earlier this month, U.S. District Judge LaShann DeArcy approved Jordan Jr.’s $1-million bond package.

Washington has challenged his conviction as well.

According to Courthouse News, prosecutors claimed that Washington and Jordan both confessed to the murder, based on witness testimony that both men discussed being involved in Mizell’s shooting while they were in prison.

As for Bryant’s role in the murder, his uncle Raymond Bryant testified in 2024 that his nephew confessed to killing Mizell, saying he “did it.”

Additionally, a hat with Bryant’s DNA that law enforcement officers found in the recording studio placed Bryant at the scene of the crime.

Bryant told the court Monday that he was in cahoots with people who were wrapped up in a drug deal with the DJ and that he played a part in the killing by helping them gain entry to the recording studio. According to the Associated Press, Bryant flashed a thumbs up to a person in the courtroom before leaving.

Bryant faces 15 to 20 years in prison for his role in the murder, as well as separate narcotics trafficking and firearms charges to which he already pleaded guilty.

“More than two decades after the cold-blooded, execution-style killing of Mr. Mizell, an exhaustive investigation revealed Bryant’s role and today he finally admitted his guilt,” stated U.S. Atty. Joseph Nocella in a news release.

“Justice in the murder of Jam Master Jay has been pursued with determination and resolve for more than two decades. The defendant’s role in facilitating access for the killers was integral to this crime,” added Bryan DiGirolamo, special agent in charge for ATF New York field division.

Although Mizell’s public persona as the “master of the disco scratch” promoted the wholesome side of hip-hop and encouraged a drug-free lifestyle, officials said he turned to dealing after the group’s heyday had come and gone. According to prosecutors, Mizell became involved in arranging the sale of kilogram-size quantities of cocaine.

In August 2002, Mizell was fronted 10 kilos of cocaine from a supplier. Prosecutors alleged that Jordan Jr. and Washington planned to deal the drugs in Maryland, but a dispute led to the men being cut out of the $200,000 deal.

On Oct. 30, 2002, Mizell was playing video games with a friend inside his Queens, N.Y., recording studio, 24/7. According to prosecutors, around 7:30 p.m., Bryant entered the building containing the recording studio and opened a locked fire escape exit door to allow others to slip in without being seen by Mizell.

Two shots were fired and Mizell was hit once in the head, killing him. The second shot struck another individual in the leg.