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Live stream Sinner vs. Fritz in the 2024 US Open final online for free in the UK.

TL;DR: Live stream Sinner vs. Fritz in the 2024 US Open final for free on 9Now or TVNZ+. Access these free streaming platforms from the UK with ExpressVPN.

It sucks that there isn’t a free broadcast of the US Open final in the UK, but don’t let that stop you from finding alternative options. And no, we’re not talking about those dodgy streams that fill your screen with even dodgier ads. We’re talking about live streaming the US Open final for free with a simple (and legit) hack.

If you want to watch Sinner vs. Fritz in the 2024 US Open final for free in the UK, we have all the information you need.

How to watch vs. in the 2024 US Open for free in the UK

Fans can live stream the 2024 US Open for free on these platforms:

Australia — 9Now

New Zealand — TVNZ+

These streaming services are geo-blocked, but anyone in the UK can access these sites with a VPN. These tools can hide your real IP address (digital location) and connect you to secure servers in other countries, meaning you can access free live streams on 9Now and TVNZ+ from the UK.

Access free live streams of the 2024 US Open final by following these simple steps:

Subscribe to a streaming-friendly VPN (like ExpressVPN)

Download the app to your device of choice (the best VPNs have apps for Windows, Mac, iOS, Android, Linux, and more)

Open up the app and connect to a server in Australia or New Zealand

Visit 9Now or TVNZ+

Watch Sinner vs. Fritz in the 2024 US Open final for free in the UK

The best VPNs for streaming are not free, but leading VPNs tend to offer free-trial periods or money-back guarantees. By making the most of these offers, you can access free live streams of Sinner vs. Fritz without actually spending anything. This obviously isn’t a long-term solution, but it gives you enough time to watch the US Open final before recovering your investment.

If you want to retain permanent access to free streaming sites from around the world, you’ll need a subscription. Fortunately, the best VPN for streaming live sport is on sale for a limited time.

What is the best VPN for the US Open?

ExpressVPN is the best service for bypassing geo-restrictions to stream the US Open for free in the UK, for a number of reasons:

Servers in 105 countries including Australia and New Zealand

Easy-to-use app available on all major devices including iPhone, Android, Windows, Mac, and more

Strict no-logging policy so your data is always secure

Fast connection speeds

Up to eight simultaneous connections

30-day money-back guarantee

A one-year subscription to ExpressVPN is on sale for $99.95 and includes an extra three months for free — 49% off for a limited time. This plan also includes a year of free unlimited cloud backup and a generous 30-day money-back guarantee.

Live stream Sinner vs. Fritz in the 2024 US Open final for free in the UK with ExpressVPN.

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Live stream Portugal vs. Scotland in the UEFA Nations League for free from anywhere in the world.

TL;DR: Live stream Portugal vs. Scotland in the UEFA Nations League for free on ITVX. Access this free streaming site from anywhere in the world with ExpressVPN.

The UEFA Nations League has thrown together some really interesting matchups, including Portugal vs. Scotland. Portugal will be heavy favorites in this clash, but don’t count out the Scots. They were disappointing at Euro 2024, but that’s behind them now. They will be keen for a fresh start, and a win over Portugal would certainly lift spirits.

If you want to watch Portugal vs. Scotland in the UEFA Nations League for free from anywhere in the world, we have all the information you need.

When is Portugal vs. Scotland?

Portugal vs. Scotland in the UEFA Nations League kicks off at 7:45 p.m. BST on Sept. 8. This fixture takes place at the Estádio da Luz.

How to watch Portugal vs. Scotland for free

Portugal vs. Scotland in the UEFA Nations League is available to live stream for free on ITVX.

ITVX is geo-restricted to the UK, but anyone can access this free streaming platform with a VPN. These tools can hide your real IP address (digital location) and connect you to a secure server in the UK, meaning you can access free live streams on ITVX from anywhere in the world.

Access a free live stream of Portugal vs. Scotland by following these simple steps:

Subscribe to a streaming-friendly VPN (like ExpressVPN)

Download the app to your device of choice (the best VPNs have apps for Windows, Mac, iOS, Android, Linux, and more)

Open up the app and connect to a server in the UK

Visit ITVX

Live stream Portugal vs. Scotland for free from anywhere in the world

The best VPNs for streaming are not free, but most do offer free-trials or money-back guarantees. By leveraging these offers, you can watch Portugal vs. Scotland in the UEFA Nations League without actually spending anything. This clearly isn’t a long-term solution, but it does give you enough time to stream select UEFA Nations League fixtures before recovering your investment.

What is the best VPN for ITVX?

ExpressVPN is the best choice for bypassing geo-restrictions to stream live sport on ITVX, for a number of reasons:

Servers in 105 countries including the UK

Easy-to-use app available on all major devices including iPhone, Android, Windows, Mac, and more

Strict no-logging policy so your data is secure

Fast connection speeds free from throttling

Up to eight simultaneous connections

30-day money-back guarantee

A one-year subscription to ExpressVPN is on sale for $99.95 and includes an extra three months for free — 49% off for a limited time. This plan also includes a year of free unlimited cloud backup and a generous 30-day money-back guarantee.

Stream Portugal vs. Scotland in the UEFA Nations League for free with ExpressVPN.

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Live stream New York Giants vs. Minnesota Vikings in the NFL for free in the UK.

TL;DR: Live stream New York Giants vs. Minnesota Vikings for free on RTL+. Access this free streaming platform from the UK with ExpressVPN.

The New York Giants are taking on the Minnesota Vikings in round one of the NFL. There are a lot of interesting matchups in the opening round of the season, and this is no exception. There are plenty of intriguing storylines to keep tabs on, but at the end of the day, the result is what matters most.

If you’re interested in watching New York Giants vs. Minnesota Vikings for free in the UK, we have all the information you need.

When is Giants vs. Vikings?

New York Giants vs. Minnesota Vikings starts at 6 p.m. BST on Sep 8. This fixture takes place at MetLife Stadium.

How to watch Giants vs. Vikings for free in the UK

New York Giants vs. Minnesota Vikings is available to live stream for free on RTL+.

RTL+ is geo-restricted to Germany, but anyone in the UK can access this free streaming platform with a VPN. These tools can hide your real IP address (digital location) and connect you to a secure server in Germany, meaning you can bypass geo-restrictions to access RTL+ from the UK.

Live stream New York Giants vs. Minnesota Vikings for free by following these simple steps:

Subscribe to a streaming-friendly VPN (like ExpressVPN)

Download the app to your device of choice (the best VPNs have apps for Windows, Mac, iOS, Android, Linux, and more)

Open up the app and connect to a server in Germany

Visit RTL+

Live stream New York Giants vs. Minnesota Vikings for free in the UK

The best VPNs for streaming are not free, but top VPNs do tend to offer free-trial periods or money-back guarantees. By leveraging these deals, you can access free live streams of the NFL without actually spending anything. This is clearly not a long-term solution, but it gives you enough time to stream a number of NFL fixtures before recovering your investment.

What is the best VPN for the NFL?

ExpressVPN is the best service for bypassing geo-restrictions to stream live sport for free, for a number of reasons:

Servers in 105 countries including Germany

Easy-to-use app available on all major devices including iPhone, Android, Windows, Mac, and more

Strict no-logging policy so your data is always secure

Fast connection speeds

Up to eight simultaneous connections

30-day money-back guarantee

A one-year subscription to ExpressVPN is on sale for $99.95, saving you 49% on list price. This deal includes an extra three months of coverage, a year of unlimited cloud backup, and a 30-day money-back guarantee.

Live stream New York Giants vs. Minnesota Vikings for free in the UK with ExpressVPN.

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Here’s the answer for “Wordle” #1177 on September 8, as well as a few hints, tips, and clues to help you solve it yourself.

Oh hey there! If you’re here, it must be time for Wordle. As always, we’re serving up our daily hints and tips to help you figure out today’s answer.

If you just want to be told today’s word, you can jump to the bottom of this article for September 8’s Wordle solution revealed. But if you’d rather solve it yourself, keep reading for some clues, tips, and strategies to assist you.

Where did Wordle come from?

Originally created by engineer Josh Wardle as a gift for his partner, Wordle rapidly spread to become an international phenomenon, with thousands of people around the globe playing every day. Alternate Wordle versions created by fans also sprang up, including battle royale Squabble, music identification game Heardle, and variations like Dordle and Quordle that make you guess multiple words at once. 

Wordle eventually became so popular that it was purchased by the New York Times, and TikTok creators even livestream themselves playing.

What’s the best Wordle starting word?

The best Wordle starting word is the one that speaks to you. But if you prefer to be strategic in your approach, we have a few ideas to help you pick a word that might help you find the solution faster. One tip is to select a word that includes at least two different vowels, plus some common consonants like S, T, R, or N.

What happened to the Wordle archive?

The entire archive of past Wordle puzzles used to be available for anyone to enjoy whenever they felt like it. Unfortunately, it has since been taken down, with the website’s creator stating it was done at the request of the New York Times.

Is Wordle getting harder?

It might feel like Wordle is getting harder, but it actually isn’t any more difficult than when it first began. You can turn on Wordle‘s Hard Mode if you’re after more of a challenge, though.

Here’s a subtle hint for today’s Wordle answer:

A creative act that’s spoken in the past tense.

Does today’s Wordle answer have a double letter?

There are no reoccurring letters.

Today’s Wordle is a 5-letter word that starts with…

Today’s Wordle starts with the letter D.

The Wordle answer today is…

Get your last guesses in now, because it’s your final chance to solve today’s Wordle before we reveal the solution.

Drumroll please!

The solution to today’s Wordle is…

DRAWN.

Don’t feel down if you didn’t manage to guess it this time. There will be a new Wordle for you to stretch your brain with tomorrow, and we’ll be back again to guide you with more helpful hints.

Are you also playing NYT Strands? See hints and answers for today’s Strands.

Reporting by Chance Townsend, Caitlin Welsh, Sam Haysom, Amanda Yeo, Shannon Connellan, Cecily Mauran, Mike Pearl, and Adam Rosenberg contributed to this article.

If you’re looking for more puzzles, Mashable’s got games now! Check out our games hub for Mahjong, Sudoku, free crossword, and more.

Not the day you’re after? Here’s the solution to yesterday’s Wordle.

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Connections is a New York Times word game that’s all about finding the “common threads between words.” How to solve the puzzle.

Connections is the latest New York Times word game that’s captured the public’s attention. The game is all about finding the “common threads between words.” And just like Wordle, Connections resets after midnight and each new set of words gets trickier and trickier—so we’ve served up some hints and tips to get you over the hurdle.

If you just want to be told today’s puzzle, you can jump to the end of this article for September 8’s Connections solution. But if you’d rather solve it yourself, keep reading for some clues, tips, and strategies to assist you.

What is Connections?

The NYT‘s latest daily word game has become a social media hit. The Times credits associate puzzle editor Wyna Liu with helping to create the new word game and bringing it to the publications’ Games section. Connections can be played on both web browsers and mobile devices and require players to group four words that share something in common.

Tweet may have been deleted

Each puzzle features 16 words and each grouping of words is split into four categories. These sets could comprise of anything from book titles, software, country names, etc. Even though multiple words will seem like they fit together, there’s only one correct answer. If a player gets all four words in a set correct, those words are removed from the board. Guess wrong and it counts as a mistake—players get up to four mistakes until the game ends.

Tweet may have been deleted

Players can also rearrange and shuffle the board to make spotting connections easier. Additionally, each group is color-coded with yellow being the easiest, followed by green, blue, and purple. Like Wordle, you can share the results with your friends on social media.

Here’s a hint for today’s Connections categories

Want a hit about the categories without being told the categories? Then give these a try:

Yellow: Making a cake

Green: Increasing blood pressure

Blue: Religious servants

Purple: Boy bands and duos

Here are today’s Connections categories

Need a little extra help? Today’s connections fall into the following categories:

Yellow: Verbs in a Cake Recipe

Green: What A Heart Does When Excited

Blue: Ecclesiastical Titles

Purple: ___Boys

Looking for Wordle today? Here’s the answer to today’s Wordle.

Ready for the answers? This is your last chance to turn back and solve today’s puzzle before we reveal the solutions.

Drumroll, please!

The solution to today’s Connections #455 is…

What is the answer to Connections today

Verbs in a Cake Recipe: BAKE, BEAT, FROST, PREHEAT

What A Heart Does When Excited: POUND, PUMP, RACE, THROB

Ecclesiastical Titles: BISHOP, PASTOR, POPE, PRIOR

___Boys: BAD, BEACH, HARDY, PET SHOP

Don’t feel down if you didn’t manage to guess it this time. There will be new Connections for you to stretch your brain with tomorrow, and we’ll be back again to guide you with more helpful hints.

Are you also playing NYT Strands? See hints and answers for today’s Strands.

If you’re looking for more puzzles, Mashable’s got games now! Check out our games hub for Mahjong, Sudoku, free crossword, and more.

Not the day you’re after? Here’s the solution to yesterday’s Connections.

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Mikey Madison holds nothing back in Sean Baker’s “Anora,” and we’re elated. TIFF 2024 review.

Celebrated indie writer/director Sean Baker isn’t precious about sex. On social media, pearl-clutchers chatter about love scenes being unneeded in media. In politics, our bedroom activities and identities become fear-mongering talking points. Meanwhile, Baker shrugs off such puritanical shame, turning out one critically heralded movie after another that offers a defiantly casual yet humane portrait of sex work in the U.S.

Among his most notable: Tangerine, which won a slew of Gotham Awards, follows two enchanting trans sex workers around during a harried Christmas in Los Angeles. The Florida Project, which features Willem Dafoe in an Oscar–nominated supporting role, centers on the mischievous child of a sex worker, being raised in candy-colored squalor under the shadow of the Disney theme park. Palme d’Or nominee Red Rocket stars Simon Rex as a washed-up porn star looking for a new lease on life with a fresh-faced ingénue. Now, Baker’s Palme d’Or winner Anora chases the Pretty Woman dream — a “hooker with a heart of gold” marries a wealthy white knight — to a far less Hollywood ending. 

Rejecting both the Holly Golightly/Vivian Ward version of sex for sale and the gritty thriller route of treating sex work as scandalous set dressing, Baker has made films about Americans living on the fringe of a society that wants yet rejects them. And Anora may be his best yet.  

Anora is outrageous, sexy, and hilarious. 

Written and directed by Baker, Anora stars Mikey Madison (Scream 5, Better Things) as its eponymous heroine (and she would really prefer it if you called her Ani). When she’s not getting shit from her sister/roommate in their humble Brooklyn apartment, the twentysomething is shaking her G-string-clad bum at a strip club with a beguiling smile on her face. Like Baker’s previous films, sex work is shown with a mix of frankness and humor. So amid a montage of lap dances, Ani is also shown eating dinner out of a Tupperware while arguing with her boss about her rights as a freelance contractor. This snatch at office comedy is a simple way to demystify a job that’s such a point of fascination and condemnation for American audiences. 

However, Ani soon finds a way out of this grind when a sweet-faced and suspiciously wealthy Russian boy offers her a sugar daddy deal. What begins as a house call soon escalates into a trip to Vegas and a quickie wedding. But this isn’t a flat-out love match for either. For Ani, it’s a chance to be a trophy wife to a young, hot, rich husband with whom she actually enjoys hanging out. For Vanya (Mark Eidelshtein), Ani is a ticket to a green card that can keep him in the U.S. and away from the tedious demands of his oligarch parents back in Russia. As you might expect with such a setup, their honeymoon is short-lived. Before long, a couple of thick-necked goons come knocking at Vanya’s New York City home, demanding an explanation about the rumor he’s married beneath his station. 

Mafia movies train us to brace for violence in such a scenario. And Baker delivers, but not in the way you’d expect. Rather than showing men brutalizing a beautiful, scantily clad young woman (a real danger for women in sex work), Ani turns the tables — and shatters them — in a sequence that is wild and unnervingly funny.

Far from a frightened mouse, Ani rages at these intruders who aim to bully her out of her dream and into an annulment. What follows is a wonderfully bewildering road trip movie. With Vanya having fled in a juvenile panic, it’s up to a reluctant Ani, a motley crew of brooding Armenian brothers (Karren Karagulian and Vache Tovmasyan), and a bit of extra muscle in the introverted but emotionally intelligent Igor (Yura Borisov) to find the thrill-seeking heir before his very pissed-off parents land in their private jet. 

Mikey Madison is a force of nature. 

Anora demands a lot of its leading lady.

Ani’s work means Madison’s body is on recurring display, performing steamy dances and acrobatic pole work in long shots that keep every extension in frame. The emotional arc of the story has dizzying highs and gut-churning lows, while the stunt work includes (but isn’t limited to) the previously mentioned fight scene with shattered glass and a broken nose (not hers). On top of all of this, Madison must shoulder the story as every man in the vicinity of her heroine acts like a buffoon or a bully.

All this demands more than being Julia Roberts-level charming, which she is. It demands a smirking self-awareness, an edged brand of humor, and a vulnerability that can flash to defense in the blink of an eye. Madison isn’t performing Ani; she’s bringing to life a woman in full, from her carefully lacquered pedicure to her tinsel hair extensions. Ani might not be like someone you know, but by the end of the movie you will know her intimately. 

It’s easy to fall in love with Ani. And we’re not the only ones who do. 

Yura Borisov is superb in Anora. 

From Tangerine‘s Mya Taylor to The Florida Project‘s Brooklynn Prince to Red Rocket‘s Simon Rex, Baker has an eye for casting. In his homeland of Russia, Yura Borisov has a sizable filmography. And whether you’re familiar with it or not, it’s easy to see why from the moment he makes eye contact with Ani. Though Igor is brought along in case there’s trouble, his face is not one of aggression or threat. He’s not some Goon #2, as his eyes glisten with a sharp understanding of every situation he finds himself in.

While all around him there’s hollering and proselytizing and drama, his words are few and his tone is soft. Steadily and subtly, he becomes a counterpoint to the other characters, quietly making space for Ani’s feelings and thoughts where others reject them. It’s character work that relies so heavily on physicality that every shift of his eyebrow, shrug of his shoulder, or flex of his finger carries weight. And as Ani begins to notice this, the film moves further and further from the conventions of a mafia drama or a Hollywood happy ending, into a path that is Baker’s to chart. And where it ends up is at once funny, frustrating, and yet satisfyingly cathartic. 

Anora is hands down one of the year’s best. 

Ushering audiences from the back rooms of a sweaty strip club to the silk sheets of a posh condo, to the dazzling, neon-lit promenade of Las Vegas and back to the pungent Russian restaurants of Coney Island, Anora is magnificently alive. Madison is its shining star, her charisma absolute as she wields a Brooklyn accent like a whip to dazzle with or wreak havoc as she sees fit. The supporting cast — including Lindsey Normington as a vicious rival — is terrifically grounded in Baker’s Brooklyn of bumbling intimidation and reckless lust, nurturing sharp comments and sharper punchlines. But Borisov proves the perfect foil to Madison, allowing her to glow all the brighter under his gaze. He reflects our own growing awe of this badass broad who won’t — to borrow from another 2024 cinematic sex worker — will not accept a life she does not deserve.

Underscoring this passionate tone, the cinematography of Drew Daniels draws us in closer, following over Ani’s shoulder as she strides onto a stage or into a challenge. The resplendent colors — rich reds, cool teals — are set off against environments of posh beiges or urban grays, setting Ani apart as extraordinary in every moment. Altogether, Anora is a visceral experience, making its audience not voyeurs but one of the crew. Thus embedded, our pulses race, our eyes grow wide, our hearts dance as our heroes do. Anora offers a glorious thrill, as bold as it is brilliant.

Anora was reviewed out of the Toronto International Film Festival, and will open in theaters on Oct. 18, 2024.

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Jenna Ortega, Winona Ryder, Catherine O’Hara and Justin Theroux walk us through the shenanigans they went through to create the incredible lipsync scene in ‘Beetlejuice Beetlejuice’

Jenna Ortega, Winona Ryder, Catherine O’Hara and Justin Theroux walk us through the shenanigans they went through to create the incredible lipsync scene in ‘Beetlejuice Beetlejuice’

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Watch Phoenix Mercury vs. Seattle Storm in the WNBA from anywhere in the world.

TL;DR: Watch Phoenix Mercury vs. Seattle Storm in the WNBA with WNBA League Pass. Avoid blackouts and watch the WNBA from anywhere in the world with ExpressVPN.

The WNBA 2024 playoffs kick off later this month, and both the Phoenix Mercury and the Seattle Storm have now qualified. As they go into this next fixture, each team will be looking to improve their positioning.

If you want to watch Phoenix Mercury vs. Seattle Storm in the WNBA from anywhere in the world, keep reading to find out all the information you need.

When is Phoenix Mercury vs. Seattle Storm?

Phoenix Mercury vs. Seattle Storm in the WNBA starts at 9 p.m. ET on Sept. 7. This fixture takes place at the Climate Pledge Arena in Seattle, Washington.

How to watch Phoenix Mercury vs. Seattle Storm

You can catch the rest of the 2024 WNBA season with the WNBA League Pass.

However, the WNBA League Pass might not show locally televised games live in the participating teams’ local areas. But all you need is a VPN to work your way around this. It works by hiding your real IP address and connecting you to secure servers in other locations. This means you can watch every WNBA League Pass game live, excluding games hosted by Amazon Prime Video.

To access every WNBA League Pass game, follow these easy steps:

Subscribe to a streaming-friendly VPN (like ExpressVPN)

Download the app to your device of choice (the best VPNs have apps for Windows, Mac, iOS, Android, Linux, and more)

Open up the app and connect to a server in a location with no broadcast deals for the WNBA

Log in to WNBA League Pass

Stream Phoenix Mercury vs. Seattle Storm plus other WNBA games live (except games hosted by Amazon Prime Video)

What is the best VPN for the WNBA?

ExpressVPN is the best choice for hiding your real IP address and streaming more sport, for a number of reasons:

Servers in 105 countries

Easy-to-use app available on all major devices including iPhone, Android, Windows, Mac, and more

Strict no-logging policy so your data is secure

Fast connection speeds free from throttling

Up to eight simultaneous connections

30-day money-back guarantee

A one-year subscription to ExpressVPN is on sale for $99.95 and includes an extra three months for free — 49% off for a limited time. This plan also includes a year of free unlimited cloud backup and a generous 30-day money-back guarantee.

Stream Phoenix Mercury vs. Seattle Storm in the WNBA from anywhere in the world with ExpressVPN.

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“April,” directed by Déa Kulumbegashvili, reviewed out of the Venice International Film Festival, is a powerful film about a Georgian obstetrician performing illegal abortions.

Déa Kulumbegashvili’s April is a bone-rattling drama about what it means to be a woman in the country of Georgia. The nation’s laws permit pregnancy termination only up to 12 weeks — before some people even know they’re expecting — and even then, rural stigma prevents many of them from accessing care. Kulumbegashvili places her protagonist Nina (Ia Sukhitashvili) against this volatile backdrop, as an obstetrician who risks her career by driving to far-flung villages to help pregnant women in need of abortions.

While the film’s focus is the aspersions cast on Nina’s character, it tells its story in oblique ways, with stunning confrontations of violence and bodily function that form a visceral fabric. The film presents life as an overlapping showreel of birth, death, pregnancy, abortion, and sex, all facets of female experience that Kulumbegashvili merges into a monstrous beast — not just narratively, but literally, through nightmarish imagery.

All the while, April unfolds with the kind of unrelenting tension that takes it from understated drama to razor-wire thriller, a metamorphosis owed not to speeding up its images, but slowing down and lingering on them for jaw-dropping lengths of time. It’s a film that induces revulsion, but at the same time, is too magnetic to divert your eyes away from.

What is April about?

The opening sounds and images of April are squirm-inducing, but immediately hypnotic. A humanoid figure wanders in a dark and empty void, naked and hunched-over — either like a fetus, or an old woman — as breathy whispers consume the soundscape. These gradually transform to sounds of laughter and children playing, as though this mysterious being were separated from some phantom family by only a thin layer of reality. Even before the movie presents its subject, it calls to mind images of abortion and of aging, woven together in some nightmare of anxious regret.

Without warning, stray shots of rain and cautious observed natural landscapes yank us into a hospital room, as Kulumbegashvili captures a woman giving birth under harsh fluorescents — but this beautiful, bloody, painful miracle of life ends in death. The mother and her husband launch an inquiry against Nina as to why their baby died, placing the OBGYN under a spotlight of her own, and leaving looming doubts for the audience as to whether she was at fault.

Nina, middle-aged and single, makes for an easy target by men looking to question her character — especially as she’s long been the subject of rumors about illegal abortions. Her superiors at the hospital seem willing to look the other way, but only up to a point. Given the investigation, who better to throw under the bus than the aging spinster who already has a black mark against her?

However, none of this stops Nina from continuing to to travel to rural villages on her own time to perform what she sees as her duty toward uneducated women whose lives would be ruined by unmarried pregnancy — thanks to threats from local men — even if they wanted to be mothers in the first place. She represents a choice, or at least an option, when these women have none, even if it puts her own choices at risk.

April is dreamlike, but hauntingly realistic.

Just as often as Kulumbegashvili’s cuts to the aforementioned, formless creature, it presents lengthy scenes of Nina traveling to the countryside that offer space for viewers to ruminate — and to recover. The tension the movie otherwise holds can be debilitating.

Take, for instance, a lengthy abortion scene. When Nina helps a young mute girl, Nana (Roza Kancheishvili), terminate her pregnancy, Kulumbegashvili’s camera — courtesy of cinematographer Arseni Khachaturan — focuses not on any one character, but the meeting of hands and bodies. The procedure itself is obscured, but the frame’s focus is Nana’s torso as she lies on a plastic tablecloth. On one side of the frame, Nina works diligently to protect the young girl’s future. On the other side, the girl’s mother, Mzia (Ana Nikolava), holds and comforts her. It’s a traumatic sequence due to the emotions it expresses and conjures by juxtaposing a mother’s act of love with a daughter’s yelps of pain, through a procedure that could have its own serious consequences, should it be discovered.

The women in April are all caught between a rock and a hard place, and Nina’s story embodies theirs in microcosm. She becomes, in the process, a kind of cypher of womanhood, and at times she even imagines herself as the formless creature (especially when she sleeps with one of her superiors), as though her self-perception and fears of aging were tied to pregnancy and sex. Her personal relationship to pregnancy, however, is never clarified — whether she’s ever been pregnant, or had an abortion herself — because she seems to wall that part of herself off from other people. Perhaps it’s necessary for the job.

In April, there’s a violence and beauty inherent to both pregnancy and abortion, just as there is to nature. Kulumbegashvili seems to frequently draw this comparison through transitions that involve thundering rain and lush, flowery landscapes. However, violence of a different kind lurks in every corner, too, and appears suddenly, without warning. 

April makes the violence of men feel gut-churning. 

In an early scene, when the father who accused Nina confronts her, the scene is eerily quiet, until he has an outburst and spits in Nina’s face. The sound this makes, and the impact it has in the process, is as visceral (if not more so) than any image of birth or abortion that Kulumbegashvili presents. Although male doctors and administrators claim to be on Nina’s side, the frame places them at odds with her even in its narrow, square-ish aspect ratio, seating them at an office table alongside the aforementioned father, as though she were a criminal on trial.

The violence of men, through their actions, and through the constraints they create, is practically the glue that binds April together — even when the movie veers toward empowering carnal pleasures. Nina, perhaps to cope with the pressures ( or maybe she just feels like it) cruises through the night and picks up men to hook up with. However, there’s a thin line between pleasure and pain, and not in a sexy way. Men try to take advantage of her, and become violent with a quickness, turning quiet moments oppressively loud, like gunshots echoing through the night.

There’s a similarly razor-thin margin between sex and death, if only because of the consequences imposed on sex — or rather, on women for having sex — that manifests in several ways. Sex itself leads to violence. Or it leads to pregnancy, which forces some women to put their lives at risk, whether they have abortions or not. Much of this is implied or referenced rather than shown outright. But the specter of these possibilities is ever-present, reinforced through Kulumbegashvili’s frames, which capture the powerful gazes of men through unbroken stares at the camera and the minimized position of women through their miniscule size in frame.

April is a ghostly film that beats with life at its most fragile, contrasted with shots of natural landscapes in ways that suggest (and force) a deeper reflection on the body and spirit. It’s deeply discomforting in ways that cinema ought to be when making such a complex point about the ways women’s experiences — or experiences defined by gendered violence, from the womb to the tomb — are so intrinsically bound by personal fears and desires, and by the fragility of personal autonomy in a world that so easily legislates it away through shame. It’s a masterful work.

April was reviewed out of its world premiere at the Venice International Film Festival.

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Alex Ross Perry takes the concert film and the music biopic to strange and hilarious heights with “Pavements,” about the band Pavement. Review.

Every band has its biggest fans. The ’90s slacker/alt rock group Pavement is probably the greatest, most vital musical group in existence to someone, but right from its opening frames, Alex Ross Perry’s Pavements deflates the grandeur of this idea, sarcastically overstating the band’s stature in its opening text. In an age of musical biopic plenty, this semi-ironic, postmodern take — which runs through Perry’s part drama, part documentary, and part mockumentary — may be just what the doctor ordered.

To those with only passing knowledge of the Stockton, California, rockers — Stephen Malkmus, Bob Nastanovich, Scott Kannberg, Steve West, and Mark Ibold — this approach to the band’s concert footage may seem counterproductive, but it also perfectly embodies their lackadaisical, experimental facade. The unique form of Perry’s film has its strengths and drawbacks. However, like Pavement itself, what sets the film apart is its outright refusal to adhere to tradition. It is, for better or worse, unique.

What is Pavements about?

Through split screens that contrast the group’s late-’90s breakup with its 2022 reunion, Pavements establishes a sense of visual and narrative duality early on. While the film eventually chronicles the lives of its members (and the band’s life as a whole) in slightly more linear fashion, this contrast establishes what appear to be the film’s dramatic parameters: an early success story later granted a new lease on life. However, the strange nature of the band’s revival soon begins fading into view, revealing just how idiosyncratic this movie truly is.

Much of the movie unfolds in side-by-side split screen, which has become a common technique in musical docs, from Todd Haynes’ Rothko-inspired The Velvet Underground to the self-generating, new-each-time Eno. However, Pavements uses this visual cue for tongue-in-cheek purpose early on. On one side, the band’s frontman Stephen Malkmus espouses his youthful, perhaps naive philosophies in a decades-old video. On the other, actor Joe Keery (Steve Harrington on Stranger Things) begins reciting the very same words, with remarkably similar intonations. This reveals — amusingly, and acerbically — that the movie’s real subjects exist alongside fictitious versions of them, a group of young actors (including the likes of Nat Wolff and Griffin Newman) who have been cast in a film called Range Life, a prestige biopic practically designed to win awards.

The doc veers between presenting the making of this satirical project and presenting it as a movie within a movie, whose footage is sprinkled sporadically throughout Pavements (rife with its own “For Your Consideration” watermark, as though it were a screener for award voting). Perry really did direct and exhibit this feature-length, Bohemian Rhapsody–style satire in New York last year — starring seasoned performers like Jason Schwartzman and Tim Heidecker in biopic stock roles, like the band’s manager and a record executive — with the intention of including this premiere footage in the documentary. 

Soon, Pavements begins documenting not just the band themselves, but the development of three parallel art projects that go hand in hand with the band’s recent reunion: the aforementioned movie, a museum installation dedicated to the group, and Slanted! Enchanted!, a Broadway-style jukebox musical starring Michael Esper and Zoe Lister-Jones that pulls from the band’s discography.

Pavements takes a multifaceted approach to its subjects.

The film cuts between its four aforementioned trajectories — the band and its performance, the biopic and its making, the museum, and the show, each with its own dedicated, roughly equal screen time — with reckless abandon. However, these subjects can be paired up along two interesting axes. On one hand, old footage of the band, when contrasted with their museum commemoration, serves to contrast the past and present, and eventually creates a chronology, albeit non-chronologically. On the other hand, the biopic project is tongue-in-cheek, as though it were more about the biopic genre than about Pavement themselves, and thus, it embodies the group’s ironic musings. But this could not feel more different from the musical theater project, which draws from the group’s lyrics and melodies to create a sincere story (this show also really did premiere, in 2022).

While Pavements might seem like it meanders for the first of its two hours, cutting rapidly between these four trajectories helps weave together a complete fabric — about the band’s story then and now, and about the conflict between their approach and the meaning behind their work. While watching the movie, you may not feel like you’re learning anything about the group or its members, but all that really means is you aren’t learning things according to the linear, straightforward language that most music docs and biopics have established.

However, the film’s most entertaining segments are undoubtedly those featuring Keery, which chronicle his fictitious preparation process in meticulous detail. More than anything or anyone in Pavements, the actor seems to embody the group’s spirit through his Borat-like pranks, in which he sits down with accent coaches to prepare for his role as Malkmus and meets up with various people he thinks might be able to help him stay in character. Fittingly, the only music film Pavements resembles in any fashion is Popstar: Never Stop Never Stopping.

What does Pavements actually have to say about the band Pavement?

The film, amidst its head-spinning montage approach, goes to ludicrous lengths with its movie-in-a-movie, all but presenting it in full during its runtime. However, this extended lark isn’t really about the band, per se, the way the other segments are — none of which are individually sufficient to make any viewer a Pavement expert. Beyond a few dates and events, you’re unlikely to come away from Pavements knowing much more about its members and their college disc jockey days than when you went in, which understandably elicits the question: “What’s the point?”

The point, it would seem, lies in the making of the film itself, as an anti-biopic that runs counter to everything a standard Hollywood biopic is — or rather, what it represents. If Pavement was an anti-institution band, then Pavements is its anti-institution movie made with their participation. In presenting a hilariously schmaltzy vision of what a straightforward biopic might have looked like, Perry helps them avoid an overly serious canonization.

In a way, he helps keep them young. Bands, when they reach a certain age or threshold, become nostalgic cover acts for themselves, and Pavements is determined to prevent this from happening at all costs, even if it means crafting a movie on the verge of avant-garde that might alienate half its audience.

Still, even when the various narrative threads in Pavements start to meander, the movie remains an entrancing sensory experience, given just how much screen time is dedicated to performance footage, both real and re-created. At the end of the day, despite the tricks and pranks Perry pulls, he knows full well that the reason people show up to musical biopics in the first place — and the reason they’re made to begin with — is music that connects with people’s sensibilities. This, he delivers in spades, all while maintaining a reverence for Pavement by being, well, irreverent.

Pavements was reviewed out of its world premiere at the Venice International Film Festival.

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