‘It’s Just a Matter of Time for the Taliban to Find Me’: On the Run in Afghanistan | NYT Opinion
As the clock wound down on the American military presence in Afghanistan during the summer, Najlla Habibyar, a 37-year-old Afghan living in Kabul, planned to leave the country. A United States green card holder, she was among thousands of Afghans who had worked closely with the American government — an association that, she suspected, made her a ripe target for the Taliban.
But in a lightning-quick offensive in early August that seemed to catch everyone by surprise, the Taliban swept across the country and into Kabul, and suddenly the nation was theirs.
Ms. Habibyar, effectively trapped behind enemy lines, prepared to die.
In the Opinion video above, Ms. Habibyar, using video diaries she sent to The New York Times over the course of several weeks, documents her life on the run as she and about 20 relatives move from safe house to safe house while seeking an escape route out of the country. She recorded the diaries knowing they might be her last chance to share her story with the world.
“I think it’s just a matter of time for the Taliban to find me,” she said.
During this fight for survival, she wrestled with the painful truths of her lifelong and deeply troubled relationship with Afghanistan, a country that she loved, yet one that never fully loved her back.
Her story, in some ways, is the story of generations of Afghans and their struggle to find a stable home amid ceaseless political uncertainty, armed conflict and loss.
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October 14, 2021
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Inside an Afghan School the U.S. Helped Build, Then Destroy | Afghanistan News
After years of fighting, Afghanistan’s war-torn rural areas are opening up for the first time. We traveled with the Taliban to a U.S.-funded school in Faryab Province that’s become a symbol of foreign intervention.
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Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch.
October 13, 2021
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Takeover: How We Occupied a Hospital and Changed Public Health Care | Op-Docs
On July 14, 1970, members of the Young Lords occupied Lincoln Hospital in the South Bronx — known locally as “the Butcher Shop.” A group of activists, many of them in their late teens and early 20s, barricaded themselves inside the facility, demanding safer and more accessible health care for the community.
Originally a Chicago-based street gang, the Young Lords turned to community activism, inspired by the Black Panthers and by student movements in Puerto Rico. A Young Lords chapter in New York soon formed, agitating for community control of institutions and land, as well as self-determination for Puerto Rico. Their tactics included direct action and occupations that highlighted institutional failures.
Through archival footage, re-enactments and contemporary interviews, Emma Francis-Snyder's "Takeover" shines a light on the Young Lords’ resistance movement and their fight for human rights. The dramatic takeover of Lincoln Hospital led to one of the first Patient’s Bill of Rights, changing patients’ relationship with hospitals and doctors nationwide.
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Op-Docs is a forum for short, opinionated documentaries by independent filmmakers. Learn more about Op-Docs and how to submit to the series. Follow The New York Times Opinion section on Facebook, Twitter and Instagram (@NYTopinion).
October 11, 2021
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Watch Daniel Craig in Action in ‘No Time to Die’ | Anatomy of a Scene
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Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch.
October 08, 2021
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Meet a Young Tony Soprano in ‘The Many Saints of Newark’ | Anatomy of a Scene
While the “Sopranos” movie prequel “The Many Saints of Newark” (in theaters and on HBO Max) contains plenty of action, betrayals and all that you would expect from a mob drama based on the HBO series, a no-frills scene involving a bedroom conversation is a favorite of the film’s director, Alan Taylor.
That interlude takes place in the room of a young Tony Soprano (here played by William Ludwig), who has been suspended for running a numbers game at school. His mother has sent his (sort of) uncle, Dickie Moltisanti (Alessandro Nivola), up to have a chat with him and try to set him on the right path.
“I try to be good,” Tony says.
“I don’t think so. Try harder,” Dickie responds.
Narrating the scene, Taylor, says that the moment isn’t just a typical domestic chat.
“It’s two guys sitting on a bed talking,” he says, “but it really contains the entire relationship and the entire destiny of Tony’s character.”
Read the New York Times review: https://nyti.ms/39U9rvp
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Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch.
October 01, 2021
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In a Galaxy Far, Far Away, I Was Almost Anakin Skywalker | 'Almost Famous' by Op-Docs
It was the late 1990s, and 3,000 young actors around the world were scouted for the role of a lifetime. On the ride home from school, Devon Michael’s mom told him he’d be auditioning for one of the most anticipated movies ever. “The Phantom Menace” — then the next installment of the “Star Wars” franchise — was in production, and they were searching for young Anakin Skywalker.
Growing up, Michael had small roles in commercials, television shows and movies. At 9 years old, he understood that an opportunity like “Star Wars” could change his life. From 3,000, the producers narrowed it down to three, and soon Michael was at Skywalker Ranch doing a test screen with George Lucas and Natalie Portman. The role ultimately went to Jake Lloyd, who experienced a level of criticism and bullying that would be alarming for even an adult actor. In Ben Proudfoot's "The Unchosen One," Michael shares his experience as a child actor and urges the public not to forget that they’re just kids.
See more of "Almost Famous:" https://youtube.com/playlist?list=PL4CGYNsoW2iALgt6KRyVQYSEoNFTaHKzo
Credits
Director: Ben Proudfoot
Editor: Minh Hieu Bui
Featuring: Devon Michael
Producers: Elizabeth Brooke, Abby Lynn Kang Davis, Gabriel Berk Godoi, Ben Proudfoot, Brandon Somerhalder, Sarah Stewart
Co-Producer: Jeremy Lambert
Cinematographer: Byron Kopman
Original Score Composed and Orchestrated by: Nicholas Jacobson-Larson
Supervising Sound Editor and Re-Recording Mixer: Sean Higgins
Colorist: Stephen Derluguian
Post Production Supervisor: Dillon Brown and Laura Carlson
Cultural Consultant: David Faddis
Assistant Editor: Cody Wilson
Sound Designer: Tom Boykin
Additional Music: Erik Kertes
Musicians: Nicholas Jacobson-Larson, Erik Kertes, Garth Neustadter, Saxophone Greg Agid
Vocals: Loren Battley
Story Reported by: Dillon Brown
Consulting Cinematographer: Brandon Somerhalder
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September 28, 2021
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The U.S. Military Said It Was an ISIS Safe House. We Found a Family Home. | Visual Investigations
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Even as the military apologized for killing 10 civilians by mistake in a drone strike in Kabul, it insisted its target had stopped by an ISIS “safe house.” The Times found that the building was actually home to an NGO worker and his family.
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Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch.
September 28, 2021
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Watch Ben Platt Perform in ‘Dear Evan Hansen’ | Anatomy of a Scene
Adapting the Broadway musical “Dear Evan Hansen” for the big screen gave the director Stephen Chbosky an opportunity to interpret some of the show’s themes in fresh visual ways.
In this sequence, the lead character Evan Hansen (Ben Platt) is struggling with anxiety on his first day of school. He sings one of the show’s signature songs, “Waving Through a Window,” as he walks the hallways. But the sequence isn’t choreographed or performed like a traditional musical.
“What is distinct about the scene,” Chbosky said, “is that if you look at what’s actually happening, even though he is singing, what the singing in this moment represents is a thought in his head.” So the character isn’t so much bursting into song as he is thinking into song.
Rather than “High School Musical”-style moves, Chbosky and his team instead went for a kind of visual choreography. That involved locker slams to the beat of the music and some quick cuts to represent Evan’s feelings of being both overwhelmed and ignored.
“It was really choreographed to his emotions,” Chbosky said. “That was always the main thing. Where is he living? What does this mean? How does it affect him emotionally?”
Read the New York Times review: https://nyti.ms/3o37F38
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September 24, 2021
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The Death Cleaner: Cleaning Up After Death Is His Business | Op-Docs
Death is Donovan Tavera’s business. For nearly 20 years, Tavera has been a forensic cleaner in Mexico City, providing families of the deceased with the solace of a clean home. For mourning families, his services become integral to their healing process. Louise Monlaü's "The Death Cleaner," filmed before the pandemic, considers what it means to wash away what’s left after someone dies.
Read more: https://nyti.ms/31ypZ88
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September 16, 2021
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Watch Jessica Chastain Take a Stand in ‘The Eyes of Tammy Faye’ | Anatomy of a Scene
An outdoor barbecue turns into a forum for uncomfortable debate in this scene from “The Eyes of Tammy Faye.” The film, which chronicles the rise and fall of the televangelist couple Jim and Tammy Faye Bakker, stars Andrew Garfield and Jessica Chastain in the lead roles.
This sequence, which occurs as Jim and Tammy Faye are becoming more popular on the Christian Broadcasting Network, involves a gathering thrown by that network’s head, Pat Robertson (Gabriel Olds). Jim is at a table with Robertson and other leaders in the televangelism world, including Jimmy Swaggart (Jay Huguley) and Jerry Falwell (Vincent D’Onofrio).
Tammy Faye is initially seated at another table with the wives, but decides the conversation seems more interesting at the men’s table and makes her way over, with not much subtlety, to join them.
“I wanted to show the extent to which Tammy is trying to operate and be seen and heard in a man’s world,” Michael Showalter said.
He did that with audio cues along with visual ones. When Tammy Faye drags a seat over to the table, the chair scraping across the floor is so loud, people stop to look. “We amplified the sound of the napkin on her lap and the silverware,” Showalter said. “Everything that she’s doing is disrupting this kind of insular boys’ club thing that they’re all having with each other.”
The intention was to show how disruptive Tammy Faye’s behavior seemed to people, but to also shine a light on a person who was always breaking the norms. A discussion between Falwell and Tammy Faye involves his view about the need to fight against “the liberal agenda, feminist agenda, homosexual agenda.” Tammy Faye disagrees.
“I love our country,” she replies, “but America is for them, too.”
“The central conflict that is ignited in this scene between her and Jerry Falwell ends up being the central theme of Tammy Faye’s arc throughout the entire film,” Showalter said.
Read the New York Times review: https://nyti.ms/3zuwBTz
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Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch.
September 17, 2021
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Don’t Go Tellin' Your Momma: Remixing the Black ABCs | Op-Docs
The Black ABCs were once taught across the United States. Created in 1970 by two Chicago teachers and the Society for Visual Education, the cards and posters linked the 26 letters of the alphabet with language and imagery that reflected the lives of Black children. This forward-thinking educational tool was designed to empower Black youth, who would finally see their community reflected in teaching materials, which had historically been dominated by white faces.
For musician Topaz Jones, the Black ABCs served as an inspiration to explore his own coming of age in Montclair, N.J. In the Sundance Film Festival winner "Don't Go Tellin' Your Momma," Jones and rubberband. take viewers on a visual and musical journey through Jones's education on his own Black identity. Jones’s personal update to each letter of the alphabet continues the tradition of documenting Black life as valuable.
Creative Team
Topaz Jones / https://www.topazjones.com/
rubberband. / https://rubber.band/
Luigi Rossi
Kevin Storey
Eric McNeal
Chayse Irvin
Read more:
https://www.nytimes.com/dontgotellin
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September 15, 2021
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The Truth Takes a Journalist | The New York Times
Behind every story from The Times is a team of more than 1,700 journalists — all people who have dedicated their lives to helping us understand the world.
September 07, 2021
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The Truth Takes a Journalist | The New York Times
Behind every story from The Times is a team of more than 1,700 journalists — all people who have dedicated their lives to helping us understand the world.
September 08, 2021
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How a U.S. Drone Strike Killed the Wrong Person in Afghanistan | Visual Investigations
A week after a New York Times visual investigation, the U.S. military admitted to a “tragic mistake” in a drone strike in Kabul last month that killed 10 civilians, including an aid worker and seven children.
Read the story here: https://nyti.ms/39cEdzn
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Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch.
September 10, 2021
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Inside an Abandoned Mansion That 150 Taliban Now Call Home | Afghanistan News
More than 150 fighters have taken over the residence of a notorious Afghan warlord. Many are adjusting to a new lifestyle while awaiting orders from the new government.
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Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch.
September 09, 2021
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‘I Won’t Go 20 Years Back in Time’: Young Afghan Women Speak Out | NYT
Sadiqa Madadgar (@SadiQa Madadgar صدیقه مددگار) was a contestant on “Afghan Star.” Seema Rezai was a member of Afghanistan's national boxing team. They are part of a select group of young women who were fortunate enough to find success in Kabul, Afghanistan. When the Taliban took the city, their dreams were shattered. We reached them on WhatsApp and learned about their hopes and their fears for the future.
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Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch.
August 30, 2021
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Watch a Scary Story Come to Life in ‘Candyman’ | Anatomy of a Scene
“Want to hear a scary story?”
That enticing question (or horrifying one, depending on your point of view) begins this scene from the new “Candyman” (now in theaters), which is both a continuation and a reimagining of Bernard Rose’s 1992 horror film.
The update is directed by Nia DaCosta and co-written by Jordan Peele (with DaCosta and Win Rosenfield). It still involves the menacing figure who comes after you if you say his name five times in front of a mirror, but this scene reaches back to the story of the original film.
Brianna (Teyonah Parris) and her brother, Troy (Nathan Stewart-Jarrett), are both hanging out one evening with their boyfriends when Troy turns down the lights and turns up the dread to tell a story. It concerns Helen Lyle, one of the main characters (played by Virginia Madsen) from the earlier film, and how one day she just “snaps.” Killings and snow angels in blood ensue.
Troy’s story retraces the steps of the earlier film’s narrative, with some embellishments. Rather than flashing back to footage from the 1992 movie, moments are depicted with shadow puppetry. Narrating the sequence, DaCosta said that she wanted each shadow puppet segment to “be specific to the teller” because she saw it as “someone’s way of thinking about the story. It’s not necessarily the truth.” In this scene, hands move the puppets to convey a sense of how the storyteller, Troy, is also manipulating his tale.
Read the New York Times review: https://nyti.ms/3jkK8b7
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Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch.
August 27, 2021
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I Uncovered Abuse in the Catholic Church. Why Was it Ignored? | ‘Almost Famous’ by Op-Docs
Nearly 20 years ago, an investigation by The Boston Globe into sexual abuse by Roman Catholic priests ignited a firestorm of scandal that has traveled around the world. For many Americans, these shocking revelations — especially of the related cover-ups by the church — came out of nowhere, almost like a bolt of lightning. But the sobering reality is that this bolt of lightning had been striking for at least 15 years.
In May 1985, Jason Berry, a Catholic journalist in Louisiana, wrote his first piece on child sexual abuse in the church, for the National Catholic Reporter and the Times of Acadiana. Mr. Berry called himself a “reluctant muckraker,” but his exposé on the Rev. Gilbert Gauthe would prove to be only the first in a series of exhaustive investigations over the years, including his 1992 book, “Lead Us Not Into Temptation.” Mr. Berry appeared on national television programs like “Donahue” and “Oprah,” arguing that child sexual abuse had become “the Watergate of the Catholic Church.”
So why did it take another decade or more for this scandal to truly break? And when is a society willing to face facts that may already be sitting in plain sight? In Ben Proudfoot's "The First Report," Mr. Berry grapples with those questions and with what it means to spend years ringing an alarm bell that nobody is willing to hear.
See more of "Almost Famous:" https://youtube.com/playlist?list=PL4CGYNsoW2iALgt6KRyVQYSEoNFTaHKzo
Credits
Director: Ben Proudfoot
Editor: David Faddis
Featuring: Jason Berry
Producers: Elizabeth Brooke, Abby Lynn Kang Davis, Gabriel Berk Godoi, Ben Proudfoot, Brandon Somerhalder, Sarah Stewart
Cinematographer: Brandon Somerhalder
Original Score Composed and Orchestrated by: Nicholas Jacobson-Larson
Co-Producer: Jeremy Lambert
Supervising Sound Editor and Re-Recording Mixer: Sean Higgins
Colorist: Stephen Derluguian
Post Production Supervisor: Dillon Brown
Post Production Coordinator: Laura Carlson
Cultural Consultant: David Faddis
Assistant Editor: Cody Wilson
Prop Graphic Designer: Brooke Granowski
Sound Designer: Alex Weiss
Second Unit Cinematographer: Haley Watson
Scoring Mixer: Erik Kertes
Musicians: Garth Neustadter, Nicholas Jacobson-Larson, Erik Kertes
Archival Digitization: Hannah Auslander
Story Reported By: Jaimie Woo
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August 24, 2021
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20 Years, 4 Presidents: The Words That Shaped the War in Afghanistan | NYT
From the invasion in 2001 to the sudden collapse of the Afghan government, we look back at two decades of shifting strategy in America’s longest war.
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August 25, 2021
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Dying in the Name of Vaccine Freedom | NYT Opinion
In the video above, Alexander Stockton, a producer on the Opinion Video team, explores two of the main reasons the number of Covid cases is soaring once again in the United States: vaccine hesitancy and refusal.
“It’s hard to watch the pandemic drag on as Americans refuse the vaccine in the name of freedom,” he says.
Seeking understanding, Mr. Stockton travels to Mountain Home, Ark., in the Ozarks, a region with galloping contagion and — not unrelated — abysmal vaccination rates.
He finds that a range of feelings and beliefs underpins the low rates — including fear, skepticism and a libertarian strain of defiance.
This doubt even extends to the staff at a regional hospital, where about half of the medical personnel are not vaccinated — even while the intensive care unit is crowded with unvaccinated Covid patients fighting for their lives.
Mountain Home — like the United States as a whole — is caught in a tug of war between private liberty and public health. But Mr. Stockton suggests that unless government upholds its duty to protect Americans, keeping the common good in mind, this may be a battle with no end.
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Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch.
August 23, 2021
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