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London (dpa) – Why was Adolf Hitler the way he was? As simple as the question sounds, even over 80 years after the Nazi dictator's death, an answer remains elusive — and every new attempt to explain it stirs controversy. A new British documentary now aims to shed light on the issue by analysing Hitler’s DNA. Doubts remain about the methods and conclusions, but a lasting fascination surrounding this topic endures nonetheless. The documentary, titled "Hitler’s DNA: Blueprint of a Dictator", claims to identify specific genetic traits in Hitler’s DNA for the first time. Airing in the United Kingdom on Saturday, the documentary is being promoted with the strapline: "For the first time ever, experts identify Hitler’s DNA. What do his genes reveal about Hitler's heritage and origins, his neurology and drives?" The Times newspaper reported in its coverage of the documentary "Hitler's DNA: Blueprint of a Dictator" that Hitler had a hidden genetic sexual disorder. According to British media, the research team behind the documentary suggests that Hitler’s genetic profile shows signs of Kallmann syndrome. This rare condition affects puberty, which may not occur at all or may be incomplete. In boys, this can lead to minimal body hair, a lack of voice deepening and other underdeveloped secondary sexual characteristics. However, drawing conclusions about personality traits from such findings is problematic, as The Guardian has commented. "Some of the insights are scientifically sound and will contribute to historical debate," the newspaper writes, but adds that drawing conclusions about Hitler’s peculiarities remains scientifically questionable. At the same time, attempting to read the destiny of a person from their blood is not dissimilar to the so-called "race science" at the heart of Nazi ideology, the paper comments. The DNA analysis in question reportedly relies on a blood sample taken from a sofa found in Hitler’s Führerbunker after his death on April 30, 1945, and Germany’s defeat in World War II. US troops recovered the sofa, upon which Hitler is believed to have shot himself. The connection to Hitler was supposedly confirmed in 2008, when the blood sample was compared to the DNA of a man who shares paternal ancestry with the dictator. The following information is not intended for publication dpa mj mxx pba wjh xx n1 tay coh

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Paris (tca/dpa) – The French New Wave gets a fresh coat of paint with " Nouvelle Vague ," director Richard Linklater's lovely and loving tribute to the revolutionary film movement and the making of Jean-Luc Godard's "Breathless." Guillaume Marbeck plays Godard as a peerlessly cool, misfit rebel artist who sees the world from behind the lenses of his black wayfarer shades, which never leave his face. He assembles a group of actors and crew members to shoot his masterpiece in the streets of Paris , on the fly, and never more than two takes, causing everyone around him to panic about his perceived carelessness and the idea that he doesn't know what it is he's doing. Among those in his orbit are François Truffaut (Adrien Rouyard), Éric Rohmer (Côme Thieulin), Jacques Rivette ( Jonas Marmy ), Claude Chabrol ( Antoine Besson ) and Agnès Varda (Roxane Rivière), pillars of the burgeoning French New Wave. Zoey Deutch is Jean Seberg , the American actress thrust into the scene, wondering if she's throwing away her life on the whims of the young filmmaker, who was just 30 at the time of "Breathless'" filming. Linklater, working from a script by Holly Gent and Vincent Palmo , employs a light, loose comic tone throughout and captures the youthful energy of the scene, which thumbed its nose at the traditions and conventions of film at the time. It is shot by David Chambille in crisp black and white, emblematic of the era of film it's depicting, and Marbeck's Godard is a warrior for truth, constantly tossing out quotable nuggets ("all you need to make a movie is a girl and a gun," he declares, as if from the heavens) like a scholar of the screen. Further, " Nouvelle Vague " is inviting rather than exclusionary, down-to-earth rather than pretentious. It's a romp for film fans that celebrates the notion that cinema can change the world, 24 frames per second at a time. The following information is not intended for publication tca dpa coh

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In the fictional desert town of Eddington, the pandemic has changed everything. Pedro Pascal, Joaquin Phoenix and Emma Stone star in this tense satire, now streaming on HBO Max after a staggered international cinematic release in recent months. London (dpa) – Known for shocking audiences with horror hits such as "Hereditary" and "Midsommar", and leaving viewers perplexed with his surreal epic "Beau Is Afraid", filmmaker Ari Aster returns with his latest unsettling creation, "Eddington". The film, a chaotic mix of satire, political drama and thriller, stars Joaquin Phoenix and Pedro Pascal as political rivals whose feud spirals out of control during the COVID-19 pandemic. Set in the fictional small town of Eddington, New Mexico, the story follows Joe Cross (Joaquin Phoenix), a plainspoken, unpolished sheriff whose wife Louise (Emma Stone) struggles with mental health issues. Adding to his woes, Joe’s mother-in-law Dawn (Deirdre O’Connell), a lockdown conspiracy theorist, has moved in with the couple, much to his frustration. The town’s charismatic mayor, Ted Garcia (Pedro Pascal), is a single father and a self-aggrandising showman who once had a brief affair with Joe’s wife. Garcia’s plan to build a massive data centre on the outskirts of Eddington, meant to revitalize the local economy, is met with fierce opposition due to its high water and electricity consumption. The tension between the two men soon ignites a political and personal battle. Masks, protests and a town on the brink What begins as private animosity escalates into a full-blown political war. Garcia is a staunch advocate of mask mandates and other COVID-19 restrictions, while Joe, who suffers from asthma, is a vocal opponent. He views such measures as overreach by the government — and by Garcia personally — leading to heated public clashes. Joe decides to run against Garcia for mayor, centring his campaign on opposition to the mask mandate and the data centre project. Meanwhile, unrest brews in Eddington as teenagers organise Black Lives Matter protests, targeting the local police. Ironically, the town’s only Black resident is police officer Michael (Micheal Ward). Into this volatile mix arrives Vernon Peak (Austin Butler), an opportunistic cult leader who captivates Louise. Butler’s portrayal is both darkly entertaining and unnervingly realistic. As tensions boil over, the town descends into chaos, marked by riots and multiple murders. The investigations are hindered by jurisdictional issues and Joe’s unwillingness to work with the opposing side. The violence escalates, leaving Eddington teetering on the brink of collapse. A satirical lens on a divided society While most would rather leave the pandemic in the past, "Eddington" initially uses it as a sharp, satirical backdrop to explore a fractured society. The film opens with biting humour, showcasing a world where common sense has been replaced by perpetual outrage. In one standout scene, Joe is stopped by two out-of-town police officers and ordered to wear a mask while sitting alone in his car in the middle of the desert. Ari Aster spares no one in his depiction of a society in disarray, portraying overwhelmed law enforcement, self-righteous activists, and performative allies, including white teens tearfully apologising for their privilege. He avoids taking sides, presenting his characters as flawed and morally ambiguous. Eddington becomes a microcosm of modern America, poisoned by political hysteria, the influence of social media and personal grievances. It’s a society in freefall, where everyone believes they are right, and no one listens — a heightened reflection of contemporary reality. A story with no winners Joaquin Phoenix delivers another brilliant performance, fully embodying the complex, unlikeable Joe Cross. However, Pedro Pascal and Emma Stone are given less to work with, as their characters are somewhat lacking in depth. Austin Butler stands out as the chillingly magnetic Vernon Peak, while Micheal Ward brings subtlety to his role as the town’s conflicted police officer. Visually, "Eddington" is stunning, thanks to the elegant cinematography of Darius Khondji ("Panic Room", "Midnight in Paris"), which gives the film the atmosphere of a modern Western. But at nearly two and a half hours, the film feels overstuffed, with too many characters and subplots that lead nowhere. Themes like abuse are introduced but left unresolved, adding to the sense of narrative clutter. The film’s dramatic, brilliantly shot climax should be gripping, but by that point, many viewers may feel fatigued by the overwhelming number of unsympathetic characters. In this nightmarish tale, there are no heroes — just a town and its people spiralling toward destruction. Aster’s bold, if flawed, vision "Eddington" is a bold exploration of a society on the brink, blending dark humour and biting satire with moments of pure chaos. However, its sprawling narrative and unrelenting bleakness may leave some viewers frustrated. While not all of Aster’s risks pay off, his ability to craft unsettling, thought-provoking cinema remains undeniable. "Eddington" is now streaming on HBO Max, after getting a staggered international cinematic release in recent months. The following information is not intended for publication dpa pde xx a3 gth

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