TIME movies

Cartel Land Documents Vigilantes North and South of the Border

A new documentary shows that the fight between good and evil isn't always so clear-cut

When director Matthew Heineman set out to make Cartel Land, he thought he was telling a classic Western tale: a “simple hero/villain story of guys in white shirts fighting against guys in black hats,” he says. But very quickly, he saw that the folks combatting powerful drug cartels on both sides of the Mexican border were not the clear-cut good guys they seemed.

Cartel Land, in theaters Friday, documents two groups: the Autodefensas, a Mexican force to combat violence by the Knights Templar cartel, and a group of unofficial border patrollers in Arizona who try to keep cartel operatives from crossing into the States. While both work to fill roles they felt their respective governments had neglected, their efforts aren’t immune to their own corruption.

Heineman landed himself in some hairy situations tagging along with his subjects, including witnessing (and filming) shoot-outs. “It was scary being in those situations,” he says, “but I actually found that focusing on the craft of filmmaking—focusing, exposing—sort of calmed me down in those really intense moments.”

Witnessing these life and death situations made him ask himself what he would do if violence came to his own doorstep. “What would I do if my sister was raped or my brother was left hanging from a bridge? Would I take up arms? Would I fight violence with violence? Is that just?”

Ultimately, the film doesn’t paint vigilantism as a viable answer to the war on drugs; even despite “noble intentions” among the leaders of the groups he followed, Heineman says, “on both sides of the border we see people within the ranks who might have ulterior motives.” That flaw, he says, “is one of the things that inherently makes vigilantism unsustainable.”

TIME movies

Watch the First Trailer for I Am Chris Farley

The film chronicles Farley’s life, and includes vintage footage, home videos, and interviews with numerous celebrities

It’s hard to believe that it’s been nearly two decades since Chris Farley died at the age of 33 in 1997. The comic—who got his start in Chicago at Second City before breaking out on Saturday Night Liveand films such as Tommy Boy and Black Sheep—is remembered fondly and, of course, sadly in this new trailer for the documentary I Am Chris Farley.

Directed by Brent Hodge and Derik Murray, the film chronicles Farley’s life, and includes vintage footage, home videos, and interviews with David Spade, Adam Sandler, Lorne Michaels, Bob Odenkirk, and Molly Shannon, among others.

The film opens in theaters July 31 and will also become available on VOD on Aug 11.

Watch the trailer above.

This article originally appeared on EW.com

TIME Television

PBS Puts Finding Your Roots on Hold Amid Ben Affleck Controversy

The show complied with Affleck's request to not reveal his ancestor's slave-holding history in the 2014 episode

(LOS ANGELES) — PBS put its “Finding Your Roots” series on hold Wednesday after determining an episode that omitted references to Ben Affleck’s ancestor as a slave owner violated its standards.

The public television service said it is postponing the show’s third season and delaying a commitment to a fourth year until it is satisfied with improvement in the show’s editorial standards.

PBS launched its investigation after it was reported that Affleck requested the program not reveal his ancestor’s slave-holding history in the 2014 episode. The Associated Press examined historical documents and found that Affleck’s great-great-great-grandfather owned 24 slaves.

The review found that co-producers violated PBS standards by allowing improper influence on the show’s editorial process and failed to inform PBS or producing station WNET of Affleck’s efforts to affect the program’s content.

In a statement, series host and executive producer Henry Louis Gates Jr. apologized for forcing PBS to defend the integrity of its programming. He said he’s working with public TV on new guidelines to ensure increased transparency.

Affleck’s request came to light last spring in hacked Sony emails published online by whistleblower site WikiLeaks.

“These reports marked the first time that either PBS or WNET learned of this request,” PBS said Wednesday.

PBS said it will withdraw the episode from all forms of distribution including on-air, digital platforms and home video. The show was also ordered to hire an additional researcher and an independent genealogist to review programs for factual accuracy.

Gates and PBS said in April they didn’t censor the slave-owner details. Instead, more interesting ancestors of the “Argo” and “The Town” actor emerged and Gates chose to highlight them instead.

But in an email exchange between Gates and Sony Pictures chief executive Michael Lynton, Gates asks Lynton for advice on how to handle Affleck’s request.

“Here’s my dilemma,” says Gates in one email, dated July 22, 2014, “confidentially, for the first time, one of our guests has asked us to edit out something about one of his ancestors — the fact that he owned slaves. Now, four or five of our guests this season descend from slave owners, including (prolific documentary filmmaker) Ken Burns. We’ve never had anyone ever try to censor or edit what we found. He’s a megastar. What do we do?”

Lynton replied that it all depends on who knows that the information was in the documentary already.

Last January, PBS station WETA in Washington, D.C., succeeded WNET as the show’s producing station.


AP Television Writer David Bauder contributed to this report.

TIME Argentina

This Ballerina Can Make the Most Disabled Dance

María Fux believes anyone can challenge their limitations

Diana Martínez makes her way down the busy downtown sidewalk with difficulty. She walks slowly, leaning on the crutches she has used all her life after contracting polio at barely nine months old.

Coming off the elevator of an old Parisian-style building in Buenos Aires, she enters the grandiose apartment of Argentine ballet legend María Fux. Diana leaves her crutches leaning against the wall of Fux’s studio, removes the leather and steel brace that allows her to stand upright by supporting her affected right leg, lies down on the floor and prepares to dance.

“Can you dance life? Yes, you can,” says 93-year old María Fux. “As long as you can move, as long you can crawl, but you need a stimulus. I provide that stimulus. They’re waiting for me to give it, and I give.”

Born in 1922, dance therapist Fux has spent the best part of her life giving people like Diana the gift of dance. Before that, a brilliant career in the 1940s and 50s that included being prima ballerina for the Cólon opera house in Buenos Aires had already made her a national celebrity. But in the 1960s Fux turned her attention to helping the physically challenged to move.

In the decades since then, her studio in Buenos Aires has been attended by people who would not previously have been considered able to dance. Blind students, deaf students, teenagers with Down syndrome, persons dealing with psychological stress, all were made to dance by Fux.

It is a work of infinite patience that is replicated today by devoted followers outside Argentina who have opened dance therapy schools to teach the “Fux method,” primarily in Italy, where the method has been followed since the 1990s.

“Her method is being taught in various countries in Europe, especially in Italy where there’s a school in Milan and another in Florence,” says Italian film director Ivan Gergolet, who was in Buenos Aires this week for screenings in Argentina of his feature-length documentary Dancing With Maria.

Dancing With MariaMaría Fux

Gergolet’s 75-minute portrait of Fux and her miraculous work is a beautiful, emotional rollercoaster of a film that last month took the prestigious “Nastri d’Argento” documentary award in Italy. Screened for the first time at the Venice Film Festival last year, where it took another award, it has been playing to packed, tear filled audiences in the film documentary circuit across Europe since.

On a recent Tuesday morning, Fux was preparing to give a class at her spacious second-floor studio in Buenos Aires. Its three wide windows overlook bustling Callao Avenue, just a few blocks from the building of Congress. A mix of classical dancers, Down’s syndrome teenagers and ordinary students are arriving. Diana is already on the floor, stretching in preparation for the class.

“Dance for me was something prohibited until I discovered Fux six years ago,” says Diana, 53. “Thanks to her I’ve been able to recover my femininty. Imagine, having had a rigid body for so long, to discover I could dance, it helped me overcome social prejudices and my own prejudices regarding what I could do.”

Fux strikes a distinctly regal pose as she sits down for the interview. “How do I look?” she asks, laughing. “I am 93 but still giving classes.”

Although she denies she has a method per se, Fux says that testing the limits of the human body is part of it. “I’m interested in limits, my limits and the limits of other people. I give that limit that says, “No, I can’t,” the chance of saying “Yes, I can.” It involves creativity. One and one is not always two, sometimes it is five, sometimes three, sometimes nothing.”

Fux says the elasticity of limits was impressed upon her by her mother, who escaped to Argentina with her 14 siblings before the First World War, fleeing from the anti-Jewish pogroms in Odessa in what is now Ukraine.

Shortly after arriving in Argentina, Fux’s mother caught an infection that required the removal of her kneecap, leaving her with a limp. “I became interested in limits because of my mother, I’ve never seen a woman with as much movement as she had,” Fux says. “She moved, she cooked delicious meals, she gave me and my sisters the chance to say “Yes, I can.” I saw how my mother stretched her limit through movement. I am my mother’s dancing leg.”

It is a life lesson that for over five decades she has imparted to various generations of Argentines, many of whom are crowding the current screenings of Dancing With Maria in Buenos Aires.

“Maybe it’s not so surprising nowadays, but a few decades ago when I attended her studio it was completely shocking and unheard of to have physically and mentally challenged students at a dance class,” said a former student at a screening Sunday night at which she received a standing ovation as the credits rolled.

In one astounding scene in the film, Fux leads a group of blind students through a heart-wrenching dance in her studio. “Blind people need to feel they can move without bumping into anything,” she says in the film. “But we are also blind and deaf sometimes. There’s two ways to see life, the way people think you are and the way you actually are.”

Such is the strength of Fux’s following in Italy that spontaneous flashmobs, in which Fux method students swarmed to dance in the street outside the cinema, occurred in nine cities where the film was screened. In Buenos Aires too, the screenings have been preceded by similar spectacles.

The film was born from the admiration of Gergolet’s wife, the Italian dancer Martina Serban, for Fux. “I met Fux in Italy in 2006. She has a charisma, a power, she transmits love. We are used to the idea that if someone has a limit, you have to help them. But she helps in a different way, by letting the student come up against their own limit and saying ‘I trust you can do it’ to them.”

Convincing Fux to participate in the film was not easy. The ballerina is practically unapproachable, entering the class once it is assembled, leaving immediately after it’s over and seldom interacting outside the lesson. “I often don’t even know their names, but I know who they are,” says Fux.

“We lied to her,” says Gergolet. “We told her we were from an Italian television station and that we wanted to interview her.” Back home in Italy, Gergolet showed the material to a film producer, who became mesmerized with Fux and put his full weight behind the project.

Despite the thousands of tears being shed at the film’s showings, Fux remains somehow detached from it all, continuing to give her weekday classes and weekend seminars in her giant Buenos Aires apartment. At Tuesday’s class, Diana, the polio victim, suddenly starts separating from the floor. In a slow, gyrating movement, she rises on her twisted right leg, stands upright, and dances.

“When I started with Fux I felt very bad because I couldn’t dance on my feet,” says Diana. “But that’s because I was thinking. Now I no longer think about what I can’t do, I just move.”

A legendary figure of the dance world decades before Gergolet and his wife were even born, Fux dismisses questions about her meetings with Maya Plisetskaya at the Bolshoi Theatre in Moscow in the 1950s or her training with Martha Graham in New York in the same decade. (Graham sent Fux back to Argentina after seeing her perfom. “She told me I didn’t need any master, that I already had my masters inside me.”)

Fux’s thoughts are turned instead to the mystery of movement and the testing of limits through dance and music. “Music is like a string,” she says. “Sometimes it breaks, sometimes it continues. That’s all. It’s not a note, C or A. It’s a movement in space that creates drawings. That’s something you can understand, that I can understand, that everyone understands. It’s about becoming a better person. That’s what’s most important.”

TIME Innovation

How the Food We Waste Could Feed Millions

The Aspen Institute is an educational and policy studies organization based in Washington, D.C.

These are today's best ideas

1. The food we waste could feed millions.

By Lizzie Dearden in the Independent

2. How a genetically-modified herpes virus ‘cures’ skin cancer.

By Sarah Knapton in the Telegraph

3. Who provides most of America’s mental health care? Our prisons.

By Newt Gingrich and Van Jones in CNN

4. This ‘smart apartment’ will monitor the activity, mobility and even blood pressure of its residents.

By Traci Peterson in the Fort Worth Star-Telegram

5. Movies make the best journalism.

By Richard Gehr in the Columbia Journalism Review

The Aspen Institute is an educational and policy studies organization based in Washington, D.C.

TIME Ideas hosts the world's leading voices, providing commentary and expertise on the most compelling events in news, society, and culture. We welcome outside contributions. To submit a piece, email ideas@time.com.

TIME In Memoriam

In Memoriam: Mary Ellen Mark (1940 – 2015)

Ralph Gibson Mary Ellen Mark photographed in the Fall of 1967.

The American photographer produced some of the most "delicately shaded studies of vulnerability ever set on film"

Mary Ellen Mark, the celebrated photographer best known for her in-depth documentary projects and her portraiture, has died. She was 75.

A humanist photographer, Mark’s work had been widely published in LIFE, the New York Times Magazine, The New Yorker, Rolling Stone, and Vanity Fair. During her career, the photographer, who was born in Elkins Park, Penn., near Philadelphia, produced 18 books and was working on her 19th for Aperture. That final project was focused on Tiny, a young prostitute from Seattle whom she had photographed in Streetwise, her much admired opus published in 1988.

Working for LIFE Magazine, Mark had traveled to Seattle in 1983 to work on a story about runaway children. Along with reporter Cheryl McCall, she had chosen Seattle “because it is known as ‘America’s most livable city’,” she wrote in the preface to her book. “By choosing America’s ideal city we were making the point: ‘If street kids exist in a city like Seattle then they can be found everywhere in America, and we are therefore facing a major social problem of runaways in this country.”

MORE: Photographers, Writers and Friends Remember Mary Ellen Mark

Streetwise emerged from the assignment. “In every successful still photographic project that I have completed there has always been a turning point in the story where I felt that perhaps I was working on something that could be very special,” Mark wrote. Streetwise also became a documentary film, directed by the photographer’s husband Martin Bell.

Streetwise, in essence, was the continuation of a body of work commenced with Ward 81, another of Mark’s influential books. In 1976, Mark had spent six weeks in a women’s security ward of the Oregon State Mental Institution, then the only locked ward for women in the state. “I wanted to do an essay on the personalities of people who are locked away to show a little bit of what they’re like, especially the women,” Mark told TIME in 1978. “I didn’t want to show them as exotically crazy.”

TIME’s Robert Hughes, writing on the project, embraced Mark’s photographs. “What resulted was, in fact, a lamentation: one of the most delicately shaded studies of vulnerability ever set on film,” he wrote.

Mark joined Magnum Photos in 1977, becoming one of the agency’s few female photographers. But her time at collective would be brief: she left in 1981 to create her own studio.

“Mary Ellen lived hungrily, fully, and had this extraordinary will and determination,” says Melissa Harris, the editor-in-chief at Aperture Foundation, which published Streetwise in 1988 and will release Streetwise, Revisited this fall. “She wanted to work – she loved being a photographer. She was great with her subjects – working so intuitively – and was able to get at the essence of the people she was photographing, to tell their stories. It mattered to her to represent them faithfully and truly, and not just in the documentary visual sense, but distinguishing each individual for who he or she really was in the world. Her work is humane, all heart.”

She adds: “On another, equally important note, she was the most loyal and generous of friends.”

A devotee of film photography, Mark never truly converted to digital. “I’m staying with film, and with silver prints, and no Photoshop,” she told The Philadelphia Inquirer in 2008. “That’s the way I learned photography: You make your picture in the camera. Now, so much is made in the computer… I’m not anti-digital, I just think, for me, film works better.”

In 2014, she received the 2014 Lifetime Achievement in Photography Award from the George Eastman House as well as the Outstanding Contribution Photography Award from the World Photography Organization.

She is survived by her husband.

TIME LightBox will publish a tribute to Mary Ellen Mark’s extensive body of work on May 27.

TIME On Our Radar

9 Mexican Photographers You Need to Follow

Cinco de Mayo is a celebration of Mexican culture

Cinco de Mayo is a day that commemorates the unlikely victory of the Mexican troops against the French army in the 1862 Battle of Puebla. Originally celebrated in Mexico, it became popular in the U.S. during the 1940s and it is, today, an opportunity to celebrate Mexican culture and pride. But what do we really know about this iconic country, beyond the usual stereotypes? The prolific Mexican photographic tradition, whose authors have been documenting the country’s most diverse aspects for decades, offers an answer. From religion, colonization and indigenous history to migrations, influences, rituals and the relationship with the territory, these Mexican photographers offer a solid visual analysis of their country culture, issues and archetypes.

Eunice Adorno (Mexico City, 1982) – Eunice Adorno belongs to a new generation of Mexican photographers. Her work focuses mainly on everyday-life stories within and outside the country with a fresh perspective. In the series Flower Woman she has been documenting for a couple of years the lives of women in a Mennonite community in the north region of Durango. Her photographs describe their daily life and the intimate spaces they live in with sensibility. After having been a photojournalist for more than 10 years, she now focuses on her personal photographic and video work.

Luis Arturo Aguirre (Acapulco, Guerrero, 1983) – Luis Arturo Aguirre is another member of this new generation of Mexican photographers. He is best known for is work Desvestidas, in which he portrays transvestites. Aguirre is driven by a fascination for their ability to give new forms to their bodies, choosing to portray them naked with wigs and makeup, a context in which their male body cannot be hidden. His work has been included in Transatlantica, an international itinerant exhibition featuring the work of rising Latin-American photographers.

Alejandro Cartagena (Dominican Republic, 1977) – Alejandro Cartagena deals with the Mexican society of the 21st century and its current issues. In his work we can see the life of suburban areas, the influence of North American culture and the impact of living in a megalopolis. The later aspect stands out in Carpoolers, which narrates in a systematic and striking way the daily migrations of construction workers due to the constantly expanding suburbs of the city of Monterrey. Cartagena’s work is held at SFMOMA, the Museum of Contemporary Photography in Chicago, and the Museum of Fine Arts Houston.

José Luis Cuevas (Mexico City, 1973) The work of José Luis Cuevas focuses on the human figure in portraits shot without filters. His raw, direct and conceptual style allows the spectator to enter the scene and the emotional status of the subject portrayed. In the project Nueva Era, Cuevas expresses his point of view on how religion and spiritualism affect the common Mexican man while guiding us on an exploration of the power of symbolism.

Mariela Sancari (Buenos Aires, 1976) Born in Argentina but photographically raised in Mexico, where she has lived since 1997, Mariela Sancari presents an intimate and metaphoric work that orbits around personal experience. In Two Headed Horses, she faces the loneliness and changes that have affected her life and that of her twin sister after the suicide of their father when they were 14 years old. In Moisés, she stages the fictionalized research of her lost parent with portraits of men of the same age as her father. It’s a striking way of exploring the emotional impact that images can have, while questioning the concept of photography as evidence.

Ruth Prieto Arenas (Mexico City, 1983) The photography of Ruth Prieto Arenas is characterized by a strong and symbolic use of color, which guides the viewers into the stories she narrates. In her most important project, Safe Heaven, she approaches the issue of migration by portraying the lives of young women who moved from Mexico to the U.S. In the series, she uses the color as a metaphor for diversity and acceptance while bringing us into the intimacy of their apartments, where elements like the Virgen de Guadalupe suggest a nostalgia for these women’s home countries.

Francisco Mata Rosas (Mexico City, 1958) Francisco Mata Rosas is considered one of the most influential Mexican photographers of his generation. His works covers many of the relevant themes of the country’s recent history, from the 1990s conflict in Chiapas to the archetypes of the Mexican collective imaginary. In La Linea, he narrates the political and human conflicts that characterize the border between Mexico and the U.S., a place where “dreams rebound.”

Graciela Iturbide (Mexico City, 1942) – Graciela Iturbide studied cinema at the Universidad Autónoma de Mexico where she worked as a personal assistant for Manuel Alvarez Bravo, the father of Mexican photography. With a dramatic use of black and white, Iturbide covers daily life across the country with a particular focus on the role and condition of women in Mexican society. In Los Que Viven En La Arena, she documents a community living in the Desierto de Sonora; in her series El Baño De Frida, she portrays the intimacy of Frida Kahlo’s bathroom.

Pedro Meyer (Madrid, 1935) Born in Spain, Pedro Meyer quickly moved to Mexico where he developed a career narrating the culture in Mexico and Latin America. His photography, often provocative and visionary, explores the limit of the visual language and questions the limit of traditional photojournalism. One of the most celebrated photographers of the continent, Meyer is considered a pioneer of Mexican photography as well as an early adopter of digital photography. In 1991 he launched the first CD-Rom with images and sound while in 1994 he founded the prestigious photography portal Zone Zero. In 2008 he presented Heresies, a retrospective of his work that was shown in more than 60 galleries across 17 countries simultaneously.

Giuseppe Oliverio is the Founder and CEO of the Photographic Museum of Humanity.

TIME Nepal

Watch This Touching Movie About the Aftermath of Everest Avalanche

"This is our tribute to the fallen."

Climbers on Everest who were caught in an avalanche triggered by Saturday’s earthquake in Nepal have made a short film about the hours and days following the disaster.

The touching video, created by Canadian filmmaker Elia Sailkaly, shows the moment the avalanche hit Everest’s base camp and the rescue efforts immediately following it.

“Our hearts go out to those affected by the earthquake in Nepal, and we pray for the more than 4,000 people who lost their lives on April 25, 2015,” the caption to the video reads. “This is our experience at Mount Everest Base Camp after the avalanche. This is our tribute to the fallen.”

TIME europe

Watch Fighters Literally Go Medieval on Each Other in This New Documentary

Fighters down swords and shields in medieval copmetition

If Game of Thrones has you hankering to see a real-life sword-fight or jousting match, consider a trip to the Battle of the Nations. The annual European event involves fighters in actual armor, using real weapons (that have been blunted for safety) competing across a variety of events. A new documentary from distributor Journeyman Pictures chronicles the 2014 event, which took place in Trogir, Croatia. The video features both fighters and fans donning actual medieval garb, competing in both one-on-one bouts and large-scale pitched “battles.”

The Battle of Nations begins in May this year in Prague, Czech Republic.

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