Manfred Kirchheimer, the greatest documentary maker you’ve probably never heard of

The 90-year-old German American director, who completed a trio of documentaries during lockdown, reflects on his career, his black activism and asking his father difficult questions about Nazi occupation

Manfred Kirchheimer, the US’s least-known great documentarian, may be 90 years old, but his memory is as sharp as a knife. “I wasn’t always a film aficionado,” he recalls. “Then, in 1949, I was at Manhattan’s City College and the students were on strike against two professors – one antisemite, the other anti-black. I saw someone filming a police horse and I asked him why. He said: ‘I’m making this for the film department.’ I had signed up for chemistry, but I didn’t like chemistry. So I went to the office of its head – the film-maker Hans Richter – and I said, ‘Professor, are there any opportunities in film?’ He said, ‘Yes – opportunities are plenty. But no jobs!’ I went anyway.” He chuckles fondly.

Kirchheimer was born in 1931 in Saarbrücken, Germany. His Jewish parents, sensing which way the winds were blowing, moved to the US five years later, eventually landing in New York’s Washington Heights, where they joined a close-knit and prosperous community peopled by so many exiles it was sometimes known as Frankfurt-on-the Hudson. Kirchheimer might have stopped practising the faith in his early 20s, but across the decades, his films all benefit – rely, even – on his migrant eye. They’re endlessly curious about how his adopted city works, searching for its often-overlooked architectural or environmental details, alive to its marginal voices.

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‘If publishers become afraid, we’re in trouble’: publishing’s cancel culture debate boils over

Publishing staff, in rows over authors from Mike Pence to Woody Allen, are voicing their reluctance to work on books they deem hateful. But is this really ‘younger refuseniks’, or a much older debate?

In the 1960s, Simon & Schuster’s co-founder Max Schuster was facing a dilemma. Albert Speer, Hitler’s chief architect and armaments minister, had written a memoir providing new insights into the workings of Nazi leadership. As Michael Korda, Schuster’s editor-in-chief, recounted in his memoir Another Life, Schuster knew it would be a huge success. “There is only one problem,” he said, “and it’s this: I do not want to see Albert Speer’s name and mine on the same book.”

In the liberal industry of publishing, the tension that exists between profit and morality is nothing new, whether it’s Schuster turning down Speer (the book was finally published by Macmillan), or the UK government introducing legislation to prevent criminals making money from writing about their crimes.

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The Beatles in India: ‘With their long hair and jokes, they blew our minds!’

Two new documentaries offer intriguing insights on how the Beatles’ 1967 escape to study transcendental meditation shaped the band and India, baffled the KGB – and saw Ringo survive on a diet of baked beans

In 1968, Paul Saltzman was a lost soul. The son of a Canadian TV weatherman, he was working as a sound engineer for the National Film Board of Canada in India when he received a “Dear John” letter from the woman he thought was going to be his wife. “I was devastated,” he says. “Then someone on the crew said: ‘Have you tried meditation for the heartbreak?’”

Saltzman went to see the Maharishi Mahesh Yogi – the founder of transcendental meditation – speak at New Delhi University. Emboldened by promises of “inner rejuvenation”, Saltzman then travelled to the International Academy of Meditation in Rishikesh. It was closed, due to the arrival of the Beatles.

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Samuel L Jackson’s 20 best films – ranked!

Soon to be seen in The Hitman’s Wife’s Bodyguard, the actor has a CV taking in dancing losers, choric narrators, a Bible-misquoting killer – and Marvel’s coolest middleman

Samuel L Jackson is the elegantly besuited, cane-twirling, fourth-wall-breaking narrator in Spike Lee’s Chi-Raq (pronounced “shy-rack”), set in the city of Chicago, where the homicide rate has exceeded the US death toll in Iraq. It is a twist on Aristophanes’s Lysistrata, about one woman’s mission to end the Peloponnesian war with a sex strike. Teyonah Parris plays Lysistrata, the girlfriend of a gangbanger. She reaches out to the wives and partners of their enemies with a similar idea – and the chant: “No peace, no pussy!” Jackson is the dapper, impish Dolmedes, whose rhyming couplets bring us into the story.

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‘She had no fear mechanism’: the incredible, outrageous life of Miss Mercy

The life of the co-founder of Frank Zappa’s band GTOs and industry wild child is explored in a raucous new book

For many people, the notion of the groupie brings to mind something generic: a woman known solely for her relationship to her rock star of choice. But the most celebrated of the original groupies – the women who first inspired the term in the 1960s – had attitudes and styles that made them unique creatures, earning them an elevated place in the cutting-edge culture of the day.

Related: 'Frank didn't adhere to any movements': behind the Zappa documentary

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‘That was the day I knew I had died … ’ José Mauro, the reborn genius of bossa nova

The melancholic singer was a gem in Brazil’s musical history, but many thought he had been killed in a motorcycle accident. At 72, he is releasing his lost recordings and finally reclaiming his legacy

It was the summer of 1995 when José Mauro discovered he was dead. The Brazilian musician, then 46 years old, was living on the outskirts of Rio de Janeiro, teaching guitar, when a friend called from London saying he’d spotted a CD of Mauro’s long-deleted 1970 LP, Obnoxius, on sale in a London record shop.

“He called and explained about this CD, and about how it said I’d been killed in a motorcycle accident,” says Mauro today, now 72. “That was the day I knew I had died.”

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Christina Hendricks: ‘We were critically acclaimed – and everyone wanted to ask me about my bra’

The star of Good Girls discusses Mad Men, sexual harassment and squaring her glamorous reputation with her ‘weird, goofy’ personality

Christina Hendricks appears on our video call with the most dramatic backdrop. Art deco gold peacocks bedeck a black wall, making her look, as she has so often in her career, a bit too good to be human. Perfectly poised, perfectly framed, perfectly lit, she is more like a dreamy vision of what humans look like. “I, erm, like your wall,” I say, pointlessly. She flashes a smile, as if to say: “Obviously.”

We are here primarily to discuss the comedy-drama series Good Girls, the fourth season of which will resume in the US this month after a midseason break. The elevator pitch would be Breaking Bad for girls: three suburban women, each hovering on the edge of bankruptcy, unite to embark on a life of cack-handed crime, only to discover they are good at it. The ensemble – Hendricks, Mae Whitman, who plays her sister, and Retta, their friend – works strikingly well, their pacey comic rapport instilling a sense of perpetual motion. You just can’t imagine Good Girls ending. Every time a plot line seems to be reaching its climax, something worse – and funnier – happens.

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‘Michelangelo of Middlesbrough’ hailed for 27,000-hour model project

Lockdown hobbyist painted 1m tiny cobbles for scale model of Yorkshire town’s demolished St Hilda’s district

Lockdown has inspired many of us to take up new hobbies, but for one Middlesbrough man, the pandemic just meant more time to devote to a mammoth project already nine years in the making.

“It was business as usual,” says Steve Waller, 61, a model artist and historian known affectionately as the “Michelangelo of Middlesbrough” who has spent almost a decade recreating the town’s historical St Hilda’s district in his bedroom.

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A banal, excruciating mess – you review Friends: the Reunion

The show you’ve waited 17 years for aired at last – and could you BE any more emotional? But what did you rate and what did you hate? And why did Matt LeBlanc come out on top?

Friends was a huge part of my life. Growing up, and realising I was gay but having nobody to talk to, I felt very alone and very isolated. Watching Friends got me through some really dark moments.

I sat down to watch [the reunion], fully expecting to hate it, but was crying within minutes. All the feelings I had growing up came back. I loved seeing the cast get together and hearing how they felt on set and how they reacted when they arrived. The bond they all share is so clear and strong. I always felt as if I was a part of Friends, as silly as that may sound, but watching it definitely influenced my personality. I’m sarcastic like Chandler, a clean freak like Monica and a little bit different like Phoebe.

Seeing them all together again just reminds you that lifelong ‘Friends’ are achievable. I just wish I could let the cast and the writers know how much it means to me. Scott, 30, Essex

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‘Who are we performing for?’: Will McPhail on the strange art of small talk

The New Yorker cartoonist’s debut graphic novel In follows an aimless artist who struggles to connect with others. He talks about his own experiences, and his love for drawing ‘characterful’ pigeons

One morning this week, Will McPhail went out to buy a coffee. While fishing for his keys, he rested the takeaway cup on the roof of his car. A passerby spotted him.

“Oof,” the man said, with a convivial, wotcha-cobber gesture at the coffee. “Don’t drive off!”

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‘They had soul’: Anton Corbijn on 40 years shooting Depeche Mode

He thought they were pop lightweights – then turned them into moody megastars. The photographer recalls his adventures with the band, from desert trips to drug-induced near-death experiences

By his own cheerful admission, Anton Corbijn’s relationship with Depeche Mode did not get off to a flying start. It was 1981 and Corbijn was the NME’s new star photographer, having previously been lured to the UK from his native Netherlands by the sound of British post-punk, particularly Joy Division. His black and white portraits became iconic images of that band’s brief career, and Corbijn had gone on to take equally celebrated shots of everyone from Captain Beefheart to David Bowie.

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Mare of Easttown finale review – Kate Winslet drama is a stunning, harrowing success

The actor’s turn as a complex, fallible detective has been a privilege to witness, in a murder mystery that kept us guessing right to the profoundly moving end

In interviews, Kate Winslet always said it wasn’t a thriller. And she was right. Yes, Mare of Easttown (Sky Atlantic) began with a murder in a small, bleak Pennsylvania town and Winslet’s police detective Mare Sheehan being called upon to investigate. But it was almost immediately clear that the seven-part drama was setting up to be so much more – and even clearer soon after that it was likely to succeed in all its endeavours.

It was a character study, of how a woman ground down by life after the loss of a son to drugs and suicide, the consequent divorce from her husband and raising of her grandson in the face of a custody battle with his mother (her son’s former girlfriend, rehabbed but fragile) endures.

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Romeo and Juliet remixed: how technology can change storytelling

With the touch of a button, a Sydney Opera House audience rewrites Shakespeare as it is performed in front of them

On Sunday, as part of the Sydney Opera House’s UnWrapped series, a group of dancers “remixed” Shakespeare’s Romeo and Juliet by way of an Australian storytelling technology, Omelia. A product built to shuffle characters and events and generate narrative possibilities in real time, dancers using it brought a new version of the classic tragedy to life. The one-off production, R+J RMX, was filmed for the Opera House’s streaming platform.

The “remix” was interactive: audience members were sent to a website where they could restructure the play with the touch of a button, while on stage narrators and dancers ran through numerous renditions of the story.

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Man in Black at 50: Johnny Cash’s empathy is needed more than ever

The country star is not always remembered for his politics, but his about-face to withdraw support for Nixon and the Vietnam war may be his finest moment

“I speak my mind in a lot of these songs,” Johnny Cash wrote in the liner notes to the album Man in Black, released 50 years ago today. He might be better known now for the outlaw songs of his youth or the reckonings with death in his final recordings, but Cash used his 1971 album to set out his less-discussed political vision: long on feeling and empathy, and short on ideology and partisanship. The United States seemed hopelessly polarised, and Cash confronted that division head-on, demanding more of his fellow citizens and Christians amid the apparently endless war in Vietnam.

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Is that a surrealist masterpiece by the draining board? Inside Leonora Carrington’s sculpture-filled home

The great British artist’s home in Mexico has been turned into a wonderful museum, full of her sculptures, books, diaries and unsmoked cigarettes. Our writer, Carrington’s cousin, takes an emotional tour

In October 2010, a few months before her death, I said my last goodbye to my cousin Leonora Carrington. As I left her home in Mexico City, she stood waving on the doorstep. Today, I’m back for the first time – to see Leonora’s house recreated as a visitor attraction. It feels surreal, but the surreal has become the everyday since I set off to find Leonora in 2006, almost 70 years after she checked out of our family and Britain. She travelled first to Paris to be with her lover, the German artist Max Ernst, before moving on to Mexico with a diplomat she met after she and Ernst were separated by the second world war.

This house, 194 Calle Chihuahua, is where she was anchored for more than 60 years. Here, she painted some of her best-known works, including The Juggler, which sold at auction in 2005 for £436,000; And Then We Saw the Daughter of the Minotaur, now at MoMA in New York; and her mural The Magical World of the Mayans, now at the National Anthropological Museum in Mexico City.

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‘This is our cultural heritage’: Spanish photographers seek national archive

Lack of permanent photography hub means precious work is being lost forever, says group

Spain’s best-known photographers have thrown their weight behind a new campaign to establish a national centre to catalogue, share, protect and promote the country’s rich and diverse photographic history.

The Platform for a Centre of Photography and the Image – whose members include Ramón Masats, Isabel Muñoz, Alberto García-Alix, Juan Manuel Castro Prieto and Cristina García Rodero – points out that Spain is one of only a handful of EU countries that does not have a centre exclusively dedicated to photography.

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Neil Finn on the return of Crowded House: ‘I am ultimately very optimistic about the world’

As the band release their first record in a decade, the New Zealand songwriter reflects on their influences – from Fleetwood Mac to Donald Trump

Neil Finn, New Zealand music’s jovial elder statesman, is remembering his best friend and bandmate Paul Hester.

He recalls the Crowded House drummer holding Finn’s baby son Liam up to the heavens, recreating a scene from the 70s TV show Roots; how Hester taught Liam’s younger brother, Elroy, to play the drums. But Hester’s gone now – he took his own life in 2005.

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Scotland’s best island? Orkney wins first place in survey

Prehistoric sites, dramatic scenery and sandy beaches earn the island the top spot for visitors, with Shetland coming second

The ancient standing stones and neolithic settlements of Orkney have earned it the title of best Scottish island, according to a survey from Which?

Readers were asked to rate 14 of the biggest of the hundreds of islands in Scotland’s waters, with 10 of them receiving an impressive visitor score of 80% or more.

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‘My parents still have no clue what I’m doing’: Lupin star Omar Sy on Hollywood, fame and fighting racism

After a decade in Hollywood, French actor Omar Sy returned home to star in Netflix’s much-loved hit, Lupin. He talks about playing the charming thief, growing up with Arsenal’s Nicolas Anelka and his battle with racism

Actors, obliged to exhaustively market their wares, will pose for hours in front of posters of their latest film or TV show. They’ll hop between city premieres, sit on dreary festival panels, tell rehearsed comic stories on night-time talkshows, then get up early to be on breakfast radio. Before meeting Omar Sy, a 43-year-old Frenchman who stars in the massively popular Netflix drama Lupin, I’d never heard of an actor picking up a bucket and brush to spend a day gluing up their own billboard posters on the Paris metro. Sy, who is 6ft 2in, born in a working-class Parisian suburb to West African parents, explains the thinking behind this unusual marketing stunt that took place just before the first series of Lupin debuted earlier this year.

“A lot of people know me in Paris,” begins Sy, who worked as a comedian in France through his 20s before becoming a film star there in his early 30s. “Because people in France have watched me in stuff for years, I’m used to meeting strangers who recognise me and who already have smiles on their faces.” In Lupin, lightly adapted from the classic heist books by Maurice Leblanc, Sy plays a French-Senegalese man called Assane Diop, an anonymous Parisian who is used to being ignored and overlooked in his home town, but who is willing to use that to his advantage while robbing the city’s jet-set blind. “The show is entertainment and we want to have fun with it,” he says, “but at the same time we’re talking about something very serious: that some people in France are simply not seen.”

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Lionel Shriver: ‘A chosen death is an authorial act – I’ve never cared for stories that end on ellipses’

The author’s new novel centres around an elderly couple bound in a suicide pact. Watching her parents age, the subject of dying with dignity is never far from her mind

For those of us with elderly parents, countless news broadcasts of bewildered residents cruelly exiled in care homes during this pandemic have been especially raw. Even so, I can’t be the only one who’s thought reflexively: “That will never be me.”

My friend Jolanta in Brooklyn has made that vow official. Put through quite the medical ringer herself, she tended to a difficult mother through a drawn-out decline. Not long ago, she declared to me fiercely that she’d no interest in living beyond the age of 80. Dead smart and not given to whimsy, Jolanta was already about 60, the very point at which old age starts to seem like something that might actually happen. I couldn’t help but wonder, should she indeed turn 80, will she take matters into her own hands – or not?

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