A 58-year-old man who had a travel history to France and was recovering from COVID-19 died yesterday at The University Hospital of the West Indies (UHWI), as government officials intensified calls for Jamaicans to limit movement and interaction to...
jamaica-gleaner.com | 4/1/20
OneWeb has filed for Chapter 11 bankruptcy. OneWeb CEO Adrian Steckel stated that they were "close to obtaining financing" but failed as a "consequence of the economic impact of the COVID-19 crisis." That is plausible, but they were also far behind SpaceX Starlink in launch cost and capacity. (SpaceX, remains open as an essential industry working on defense contracts, but two employees have tested positive for COVID-19) and financial analyst Tim Farrar said SpaceX faced a "near-term cash problem” even before the pandemic).
OneWeb has valuable assets — satellites in orbit, ground stations, flat panel antenna, progressive pitch, debris mitigation and other technologies, engineering and manufacturing experience, patents, a satellite factory, supply chains, memoranda of understanding with nations, spectrum, marketing deals, and other partnerships, etc. Who will acquire those assets?
Amazon comes immediately to mind as a potential buyer. Amazon is a relatively recent entry in the LEO constellation broadband race, which leaves it far behind SpaceX, and it is first and foremost an an infrastructure company. CEO Jeff Bezos has a lifelong interest in space and owns satellite-launch and ground-station service companies. He could also fund the purchase himself.
While Amazon is perhaps most likely to acquire the OneWeb's assets, there are others. China is home to three LEO broadband startups that are also late to the LEO broadband race and have a ready funding source. Facebook might also be interested if they are seriously considering satellite broadband, .
Twitter user @megaconstellati has suggested that a government — the US, UK or France — might take over OneWeb. With its new Space Force and interest in lEO constellations, the US could consider taking over OneWeb, but that would not seem likely to appeal to a relatively anti-government administration. The same goes for the UK.
Not that it's likely to happen, but one could argue that a global ISP should not be owned by a single nation or corporation — it should be a global asset — just as coronavirus and climate change are global liabilities. Those liabilities remind us that we live on a "pale blue dot.
Written by Larry Press, Professor of Information Systems at California State University
www.circleid.com | 3/31/20
James (Jon) Castle - 7 December 1950 to 12 January 2018
Over four decades Captain Jon Castle navigated Greenpeace ships by the twin stars of ‘right and wrong’, defending the environment and promoting peace. Greenpeace chronicler, Rex Weyler, recounts a few of the stories that made up an extraordinary life.
Captain Jon Castle onboard the MV Sirius, 1 May 1996
James (Jon) Castle first opened his eyes virtually at sea. He was born 7 December 1950 in Cobo Bay on the Channel Island of Guernsey, UK. He grew up in a house known locally as Casa del Mare, the closest house on the island to the sea, the second son of Robert Breedlove Castle and Mary Constance Castle.
Young Jon Castle loved the sea and boats. He worked on De Ile de Serk, a cargo boat that supplied nearby Sark island, and he studied at the University of Southampton to become an officer in the Merchant Navy.
Jon became a beloved skipper of Greenpeace ships. He sailed on many campaigns and famously skippered two ships during Greenpeace’s action against Shell’s North Sea oil platform, Brent Spar. During his activist career, Jon spelt his name as "Castel" to avoid unwanted attention on his family.Right and wrong
Jon had two personal obsessions: he loved books and world knowledge and was extremely well-read. He also loved sacred sites and spent personal holidays walking to stone circles, standing stones, and holy wells.
As a young man, Jon became acquainted with the Quaker tradition, drawn by their dedication to peace, civil rights, and direct social action. In 1977, when Greenpeace purchased their first ship - the Aberdeen trawler renamed, the Rainbow Warrior - Jon signed on as first mate, working with skipper Peter Bouquet and activists Susi Newborn, Denise Bell and Pete Wilkinson.
In 1978, Wilkinson and Castle learned of the British government dumping radioactive waste at sea in the deep ocean trench off the coast of Spain in the Sea of Biscay. In July, the Rainbow Warrior followed the British ship, Gem, south from the English coast, carrying a load of toxic, radioactive waste barrels. The now-famous confrontation during which the Gem crew dropped barrels onto a Greenpeace inflatable boat, ultimately changed maritime law and initiated a ban on toxic dumping at sea.
After being arrested by Spanish authorities, Castle and Bouquet staged a dramatic escape from La Coru?a harbour at night, without running lights, and returned the Greenpeace ship to action. Crew member Simone Hollander recalls, as the ship entered Dublin harbour in 1978, Jon cheerfully insisting that the entire crew help clean the ship's bilges before going ashore, an action that not only built camaraderie among the crew, but showed a mariner's respect for the ship itself. In 1979, they brought the ship to Amsterdam and participated in the first Greenpeace International meeting.
In 1980 Castle and the Rainbow Warrior crew confronted Norwegian and Spanish whaling ships, were again arrested by Spanish authorities, and brought into custody in the El Ferrol naval base.
The Rainbow Warrior remained in custody for five months, as the Spanish government demanded 10 million pesetas to compensate the whaling company. On the night of November 8, 1980, the Rainbow Warrior, with Castle at the helm, quietly escaped the naval base, through the North Atlantic, and into port in Jersey.
In 1995, Castle skippered the MV Greenpeace during the campaign against French nuclear testing in the Pacific and led a flotilla into New Zealand to replace the original Rainbow Warrior that French agents bombed in Auckland in 1985.
Over the years, Castle became legendary for his maritime skills, courage, compassion, commitment, and for his incorruptible integrity. "Environmentalism: That does not mean a lot to me," he once said, "I am here because of what is right and wrong. Those words are good enough for me."Brent Spar Action at Brent Spar Oil Rig in the North Sea, 16 June 1995
One of the most successful Greenpeace campaigns of all time began in the summer of 1995 when Shell Oil announced a plan to dump a floating oil storage tank, containing toxic petroleum residue, into the North Atlantic. Castle signed on as skipper of the Greenpeace vessel Moby Dick, out of Lerwick, Scotland. A month later, on 30 April 1995, Castle and other activists occupied the Brent Spar and called for a boycott of Shell service stations.
When Shell security and British police sprayed the protesters with water cannons, images flooded across world media, demonstrations broke out across Europe, and on May 15, at the G7 summit, German chancellor Helmut Kohl publicly protested to British Prime Minister John Major. In June, 11 nations, at the Oslo and Paris Commission meetings, called for a moratorium on sea disposal of offshore installations.
After three weeks, British police managed to evict Castle and the other occupiers and held them briefly in an Aberdeen jail. When Shell and the British government defied public sentiment and began towing the Spar to the disposal site, consumers boycotted Shell stations across Europe. Once released, Castle took charge of the chartered Greenpeace vessel Altair and continued to pursue the Brent Spar towards the dumping ground. Castle called on the master of another Greenpeace ship, fitted with a helideck, to alter course and rendezvous with him. Using a helicopter, protesters re-occupied the Spar and cut the wires to the detonators of scuppering charges.
One of the occupiers, young recruit Eric Heijselaar, recalls: "One of the first people I met as I climbed on board was a red-haired giant of a man grinning broadly at us. My first thought was that he was a deckhand, or maybe the bosun. So I asked if he knew whether a cabin had been assigned to me yet. He gave me a lovely warm smile, and reassured me that, yes, a cabin had been arranged. At dinner I found out that he was Jon Castle, not a deckhand, not the bosun, but the captain. And what a captain!"
With activists occupying the Spar once again, Castle and the crew kept up their pursuit when suddenly the Spar altered course, heading towards Norway. Shell had given up. The company announced that Brent Spar would be cleaned out and used as a foundation for a new ferry terminal. Three years later, in 1998, the Convention for the Protection of the Marine Environment of the North-East Atlantic (OSPAR) passed a ban on dumping oil installations into the North Sea.
"There was no question among the crew who had made this possible, who had caused this to happen," Heijselaar recalls. "It was Jon Castle. His quiet enthusiasm and the trust he put into people made this crew one of the best I ever saw. He always knew exactly what he wanted out of a campaign, how to gain momentum, and he always found the right words to explain his philosophies. He was that rare combination, both a mechanic and a mystic. And above all he was a very loving, kind human being."Moruroa
After the Brent Spar campaign, Castle returned to the South Pacific on the Rainbow Warrior II, to obstruct a proposed French nuclear test in the Moruroa atoll. Expecting the French to occupy their ship, Castle and engineer, Luis Manuel Pinto da Costa, rigged the steering mechanism to be controlled from the crow's-nest. When French commandos boarded the ship, Castle stationed himself in the crow's-nest, cut away the access ladder and greased the mast so that the raiders would have difficulty arresting him.
Eventually, the commandos cut a hole into the engine-room and severed cables controlling the engine, radio, and steering mechanism, making Castle's remote control system worthless. They towed the Rainbow Warrior II to the island of Hao, as three other protest vessels arrived.
Three thousand demonstrators gathered in the French port of Papeete, demanding that France abandon the tests. Oscar Temaru - leader of Tavini Huiraatira, an anti-nuclear, pro-independence party - who had been aboard the Rainbow Warrior II when it was raided, welcomed anti-testing supporters from Britain, Ireland, New Zealand, Australia, Japan, Sweden, Canada, Germany, Brazil, the Netherlands, Luxembourg, the Philippines, and American Samoa. Eventually, France ended their tests, and atmospheric nuclear testing in the world's oceans stopped once and for all.“Moral courage”
Through these extraordinary missions, Jon Castle advocated "self-reflection" not only for individual activists, but for the organisation that he loved. Activists, Castle maintained, required "moral courage." He cautioned, "Don't seek approval. Someone has to be way out in front... illuminating territory in advance of the main body of thought."
He opposed "corporatism" in activist organisations and urged Greenpeace to avoid becoming "over-centralised or compartmentalised." He felt that activist decisions should emerge from the actions themselves, not in an office. We can't fight industrialism with "money, numbers, and high-tech alone," he once wrote in a personal manifesto. Organisations have to avoid traps of "self-perpetuation" and focus on the job "upsetting powerful forces, taking on multinationals and the military-industrial complex."
He recalled that Greenpeace had become popular "because a gut message came through to the thirsty hearts of poor suffering people ... feeling the destruction around them." Activists, Castle felt, required "freedom of expression, spontaneity [and] an integrated lifestyle." An activist organisation should foster a "feeling of community" and exhibit "moral courage." Castle felt that social change activists had to "question the materialistic, consumerist lifestyle that drives energy overuse, the increasingly inequitable world economic tyranny that creates poverty and drives environmental degradation," and must maintain "honour, courage and the creative edge."Well loved hero
Susi Newborn, who was there to welcome Jon aboard the Rainbow Warrior way back in 1977, and who gave the ship its name, wrote about her friend with whom she felt "welded at the heart: He was a Buddhist and a vegetarian and had an earring in his ear. He liked poetry and classical music and could be very dark, but also very funny. Once, I cut his hair as he downed a bottle or two of rum reciting The Second Coming by Yeats."
Newborn recalls Castle insisting that women steer the ships in and out of port because, "they got it right, were naturals." She recalls a night at sea, Castle "lashed to the wheel facing one of the biggest storms of last century head on. I was flung about my cabin like a rag doll until I passed out. We never talked about the storm, as if too scared to summon up the behemoth we had encountered. A small handwritten note pinned somewhere in the mess, the sole acknowledgment of a skipper to his six-person crew: ‘Thank You.’” Others remember Castle as the Greenpeace captain that could regularly be found in the galley doing kitchen duty.
In 2008, with the small yacht Musichana, Castle and Pete Bouquet staged a two-man invasion of Diego Garcia island to protest the American bomber base there and the UK's refusal to allow evicted Chagos Islanders to return to their homes. They anchored in the lagoon and radioed the British Indian Ocean Territories officials on the island to tell them they and the US Air Force were acting in breach of international law and United Nations resolutions. When arrested, Castle politely lectured his captors on their immoral and illegal conduct.
In one of his final actions, as he battled with his failing health, Castle helped friends in Scotland operate a soup kitchen, quietly prepping food and washing up behind the scenes.
Upon hearing of his passing, Greenpeace ships around the world - the Arctic Sunrise, the Esperanza, and the Rainbow Warrior - flew their flags at half mast.
Jon is fondly remembered by his brother David, ex-wife Caroline, their son, Morgan Castle, born in 1982, and their daughter, Eowyn Castle, born in 1984. Morgan has a daughter of eight months Flora, and and Eowyn has a daughter, Rose, who is 2.
feedproxy.google.com | 3/30/20
After limiting gatherings to 100 people and closing down schools, daycares and universities, the French government has now decided to shut down all stores, restaurants, and movie theaters in order to contain the spread of the coronavirus. The new restrictions, announced by the prime minister Édouard Philippe on Saturday, will take effect at midnight for […]
variety.com | 3/14/20
With the announcement on Wednesday that movie theaters in three Indian states will be closed through the end of March, half of the top 10 markets in the global box office now face at least partial shutdowns of their movie theaters due to the pandemic.
The other countries in the top 10 that are facing various levels of closures are China, Japan, South Korea and Italy. China is the most severely hit, as tens of thousands of theaters nationwide have been closed since the start of the Lunar New Year holiday period in late January. That has erased a critical profit period for the Chinese box office that contributed $835 million to the country’s $9.3 billion total in 2019.
Last week, financial analysts told TheWrap the coronavirus would cost the box office at least $5 billion in global revenue and possibly more if the pandemic persists well into the summer.
Combined, the five top markets facing closures contributed approximately $16.5 billion to the global box office in 2019, according to the Motion Picture Association’s annual THEME report released on Wednesday. That’s 39% of the $42.2 billion grossed globally last year — though it’s worth noting that theater closures have not spread nationwide in all five countries (at least not yet).
The viral outbreak has already prompted studios to push back major global releases like the James Bond thriller “No Time to Die” and “Peter Rabbit 2,” which had previously been scheduled to open in April.
Pinarayi Vijayan, the chief minister of the Indian state of Kerala, on Tuesday ordered the closure of all schools, universities and cinemas until at least March 31 in the region on the country’s southwest coast. Movie shoots in the region are also being shutdown, and on Wednesday, the states of Jammu and Kashmir also announced that movie theaters will be closed there until the end of March.
Several movie theater chains in Japan and South Korea have announced partial closures in regions where the coronavirus has been most widespread. Some companies, like 109 Theaters in Japan, are reducing the number of seats sold for each auditorium, keeping every other seat empty to allow space between moviegoers. Shares for Toho, a cinema chain and film studio that owns the Godzilla franchise, are down 24% from the start of the year.
Partial closures and reduced capacity has also spread to France, particularly in northern regions. The country’s National Centre for Cinema (CNC) announced on Wednesday that movie theaters, production companies and distributors will be able to have their applications for state subsidies fast-tracked as part of an effort by President Emmanuel Macron to support businesses hurt by coronavirus shutdowns. Many movie theaters in northern France that haven’t closed are keeping every other row of seats empty, and the rest of the film industry has been hit with film shoot cancellations and the possible cancellation of the Cannes Film Festival, though the festival’s director says he’s “reasonably optimistic” that the event will still go on.
Outside of the global top 10, other countries like Poland, Kuwait, and Lebanon have also announced movie theater closures with more Middle Eastern nations expected to do the same. Aside from China, the hardest hit country has been Italy, which has also had all theaters closed as part of a nationwide lockdown announced Tuesday by Prime Minister Giuseppe Conte.
One major market that hasn’t closed theaters or reduced capacity yet is the United States. On Tuesday, the California/Nevada division of the National Association of Theater Owners announced that movie theaters in Santa Clara County, one of the areas hardest hit by the virus so far in the U.S., will remain open this weekend. County health officials announced a ban on “mass gatherings” that draw over 1,000 people into a single space, but this does not apply to cinemas as modern movie auditoriums hold a maximum capacity of 180-220 people.
Pacific Northwest Theater Owners, the NATO regional office for Washington State, told TheWrap that theaters will also remain open there this weekend. Over 700 cases of coronavirus have been reported so far in the U.S.
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www.thewrap.com | 3/11/20
‘Wendy’ Director Benh Zeitlin Dreamed About Making This Peter Pan-Inspired Tale His Entire Life (Video)
“Wendy,” Benh Zeitlin’s riff on the iconic Peter Pan tale, was something he dreamed about making his entire life.
“Me and my sister Eliza, who I wrote the film with, really dreamed about making this film our entire lives, and it evolved as we grew up,” Zeitlin told TheWrap’s Steve Pond at the Sundance Film Festival. “I think that when we looked back at all of our games we played as children, where you were in a world and when you became 13 you were out — you were kicked out of it. In our childhood world, you know, we looked at adults and we just thought, how could that happen to us? What are we gonna lose that’s going turn us into who we are now, which is wild and free and imaginative and what’s gonna turn us into people that we don’t recognize? People who are destroying the planet, who don’t care. The things that adults do that children would never do. It terrified us.”
“Wendy” stars Devin France as Wendy and Yashua Mack as Peter, and follows Wendy as she’s kidnapped and taken from her home to an island where mysterious pollen has disrupted age and time.
This is France’s first acting role, and she said she had to beg her parents to take her to the audition for the film.
“In second grade, [co-producer] Nathan Harrison came to our school and he gave us a little presentation about the movie and he said that they wanted some kid actors for the movie,” she said. “Me wanting to do with this for so long, I ran home and I was like, ‘hey, you guys gotta take me to this, okay? My opportunity, alright?’ And so my parents had taken me to the audition and it was really fun. I don’t think I met Benh the first audition… I kept getting called back and called back until eventually I was cast as Wendy from this big bossman right here.”
Zeitlin added: “We did this grassroots casting all over Louisiana — I live in New Orleans so we just went into New Orleans and the surrounding towns just going into schools, putting out casting calls and community centers and trying to find kids who had never had an opportunity to act or wouldn’t necessarily imagine ever doing that and we auditioned people in a way that kind of anybody can walk in and try out for the film.”
“Wendy” had its debut at Sundance and will hit theaters on Feb. 28.
Watch the video above.
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www.thewrap.com | 2/11/20
A new memorial for Félicette, the first and only cat to go to space, has arrived at its permanent home at the International Space University in Strasbourg, France.
www.space.com | 1/24/20
NBCUniversal unveiled its forthcoming streaming service Peacock on Thursday, including the full slate of scripted originals set to debut on the platform.
One of the new projects announced was a scripted comedy series from Tina Fey, Robert Carlock and “Unbreakable Kimmy Schmidt” alum Meredith Scardino. Titled “Girls5Eva,” the series centers on a one-hit-wonder girl group from the ’90s who reunite to give their pop star dreams one more shot. Per Peacock’s description of the series, “They may be grown women balancing spouses, kids, jobs, debt, aging parents, and shoulder pain, but can’t they also be Girls5Eva?”
Scardino will write and executive produce alongside Fey and Eric Gurian of Little Stranger, “Unbreakable Kimmy Schmidt” producer Robert Carlock, and Jeff Richmond and David Miner of 3 Arts Entertainment.
Earlier on Thursday, Peacock also announced a new slate of original development, including a “MacGruber” revival, a new drama starring Laverne Cox, a comedy based on the McElroy family’s “Dungeons & Dragons” podcast, and others from Amy Poehler and Mindy Kaling.
Peacock has also picked up a number of international series for distribution in the U.S., including the BBC drama thriller “The Capture”; Channel 4’s “Lady Parts”; and the comedies “Intelligence” starring David Schwimmer, “Code 404,” and “Hitmen” from Sky Studios.
Previously announced Peacock scripted originals include comedies “Rutherford Falls,” “Saved by the Bell,” “A.P. Bio,” “Punky Brewster,” and the movie spinoff “Psych 2: Lassie Come Home,” as well as dramas “Dr. Death,” “Battlestar Galactica,” “Brave New World,” “Angelyne,” and “Armas de Mujer.”
See the full list of projects picked up to series at Peacock below.
Armas De Mujer
Brave New World
The Amber Ruffin Show
Psych 2: Lassie Come Home (Film)
Saved by the Bell
The Kids Tonight Show
Who Wrote That
Archibald’s Next Big Thing
Dragon Rescue Riders
DreamWorks Where’s Waldo?
Dream Team 2020
Hot Water: In Deep with Ryan Lochte
United States of Speed
Run Through the Line
The Greatest Race
Untitled Dale Earnhardt Jr. Series
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www.thewrap.com | 1/16/20
Transport and schools are severely affected as millions threaten to strike over pension changes.
www.bbc.co.uk | 12/5/19
School shootings happen with such regularity in America now that they barely get reported, or if they are reported, they are swiftly forgotten.
That has not been the case with the Parkland shooting at Marjory Stoneman Douglas High School, which happened on Valentine’s Day of 2018, because some of the survivors — notably David Hogg and Emma González — led protests and put themselves forward to the media as the faces of a new generation who were not going to settle for “thoughts and prayers” for a day.
“After Parkland” is a documentary that follows several of the survivors of the shooting. Filmmakers Jake Lefferman and Emily Taguchi were given access to Hogg and his family, but González is only seen at a rally in Washington, D.C. where she reads out all 17 of the victim’s names. She says something personal about all of them before stopping and remaining silent for six minutes, which was all the time the killer needed to do his damage.
The focus of “After Parkland” wavers between two fathers of the victims, Andrew Pollack and Manuel Oliver, and their very different but equally effective campaigning for change. Pollack addresses a “listening session” in Washington, where he is met with the likes of corrupt education secretary Betsy DeVos and our reckless, foolish, cruel president, both of whom make hackneyed “concerned” faces. Pollack concentrates on changes at the local level in Florida and pushes for a bill that went through that raised the minimum age for buying rifles to 21 and established waiting periods and background checks for buyers.
Pollack is asked directly if he supports the banning of the AR-15 rifle, which was used in the Parkland shooting, but he sidesteps this and seems to think that such a ban cannot happen. He speaks about mental health and how many times police were called in regards to the shooter, who made many threats and sent out many warning signs.
The shooter is not identified by name in “After Parkland,” and this is understandable. The filmmakers clearly want to focus on the positive, and on the lives of the victims. But evil cannot be understood or fought by avoiding it. The specifics of evil and of evil actions need to be faced directly, even if you risk contamination or giving the committer of evil actions what they may want.
And that evil is often surrounded by the lesser evil of inaction, or failure to act. The controversy surrounding the inaction of the Broward County Sheriff’s Office, the FBI, and an armed school resource officer at the school is barely touched on in this film.
A great deal of “After Parkland” is spent detailing the life of Joaquin Oliver, and this is also understandable. His father Manuel uses Joaquin’s serenely beautiful face as an image on signs and public art works, making his son an emblem of the movement being led by the most active Parkland survivors. (We see a copy of David France’s book “How to Survive a Plague” on Manuel’s bookshelf as a model for his activism.) There is footage of Joaquin with his girlfriend Victoria Gonzalez, including a moment at school when she is painting his face and they look lovingly at each other.
In the aftermath of the shooting that killed Joaquin, Gonzalez says that she realizes that she is “really good at putting up a front.” We watch her and several of the other students going back to school two weeks after the shooting. Some of them get to graduate, and some of them have to enter their sophomore year, or their senior year. Since the Columbine shooting 20 years ago, dread has been added to the sheer plodding awfulness of high school, and anyone who went to school before that dread started should be concerned with removing it.
Gonzalez goes to the prom with Joaquin’s best friend, and she talks about how a fire alarm went off accidentally, and how a teacher who had been present during the shooting had a hard time with that. “Before the shooting, I had the greatest life,” says Pollack. “I was able to smile. I’m not able to smile anymore.”
Pollack’s focus on what can be done in his daughter Meadow’s name becomes more admirable as the film goes on, and his attention to specifics might have been adopted to the benefit of this well-meaning, touching, but sometimes evasive film.
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www.thewrap.com | 11/27/19
Versatile in a way that few directors at his level of recognition dare to be, prolific French auteur François Ozon follows his psychosexual thriller “Double Lover” with a multi-narrative drama based on true events. “By the Grace of God” offers a masterfully structured and sublimely acted account of a group of men reckoning with childhood sexual abuse at the hands of a priest neglectfully entrusted with their innocence.
While a procedural like Tom McCarthy’s “Spotlight” took a journalistic angle on the subject, and Pablo Larraín’s “The Club” functioned as fiery character study centered on the perpetrators, Ozon’s compassionate and ideologically balanced take on the Catholic Church’s disgraceful inaction against pedophilia within its ranks serves the victims’ stories first and foremost. The ramifications of the ongoing suffering caused by such despicable criminal acts guide the film through the lives of three distinct survivors.
Email correspondence in voice-over form provides a crucial device for the plot’s first act, as Alexandre Guérin (frequent Ozon collaborator Melvil Poupaud), a married father of five living in Lyon, attempts to navigate the proper channels inside the institution to urge Cardinal Barbarin (François Marthouret) to investigate Father Bernard Preynat (Bernard Verley, “Chloe in the Afternoon”), who abused him as a kid and still interacts with children despite the diocese’s awareness of his conduct.
Poupaud plays Alexandre with the precision required to vividly portray torturous ambivalence. As someone whose religious faith remains strong notwithstanding his experience, and whose children attend the same Catholic school he did, Alexandre wants the Church to fix itself without airing more of its dirty laundry. Going public with his case doesn’t align with what he sees as correct course of action, and unsupportive parents heighten his already conflicting emotions. “Do you still believe in God?” his eldest son asks him curiously, a question too loaded for him to dismantle in one answer.
Brief and tactful flashbacks take us back to the scouts’ camp and the photography lab where Preynat preyed on boys with impunity. In the present, the now feeble old clergyman never denies the harm he inflicted but puts the blame on his superiors, who didn’t stop him. Verley’s personification of the reviled character is more pitiful than monstrous, an ill individual willing to meet his accusers, though he continues to infantilize them. Although believed to have molested scores of children under his care, Preynat knows it’s unlikely he’ll be defrocked.
Meanwhile, Barbarin, who fancies himself a revolutionary force in close contact with the Pope, rejects the term “pedophile,” claiming it undermines pure affection towards the youth, and noting “pedosexual” would a more accurate descriptive. Later in the ordeal, Barbarin utters the movie’s title in a sentence so repugnantly shameless it sends shockwaves through one’s system as his true colors manifest. Even if Ozon practices utmost objectivity — as much as possible considering what’s being discussed — and avoids sensationalism that generalizes any group, the reaction of the Church’s representatives on screen, based on facts, doesn’t make for a flattering look.
Shifting perspective to François Debord (Denis Ménochet, “Inglorious Basterds”), a burly family guy whose parents were always on his side upon discovering what he endured with Preynat, the narrative changes from individual battle to collective effort. Armed with a letter of confession and documentation that corroborates higher-ups knew of the Father’s perversion, François assembles a community of affected men now seeking justice through legal avenues and media exposure, even if most of their claims are outside of the restrictive statute of limitations.
In François’ determination, Ozon finds an atheist protagonist who, unlike Alexandre, bears much more virulent sentiments against the Church. Tensions between François and the other members of his newly formed organization, Lift the Burden, arise from his radical yet warranted approach. Relevant discussions regarding the fear of coming forward and handling the press, as well as how economic class influenced how each family handled the tragic situation, are interspersed in the writer-director’s brilliantly written, character-driven screenplay. Editor Laure Gardette (“Capernaum”) earns special praise for the virtuous assembly of the elaborate and intermingling storylines.
Trauma, even if dormant for decades, is an inescapable psychological force, as the arc of Emmanuel Thomassin (Swann Arlaud) powerfully exemplifies in a marvelous and devastatingly heartbreaking third segment. A physical deformity, violent seizures, and the inability to forge relationships grounded on true intimacy are the results of his contact with Preynat. Arlaud, in a standout performance among a multitude of gifted actors, shows us a young man fighting to keep his head above the waters of despair, for whom meeting others understanding of his deepest pain is a life-saving blessing. Speaking their truth in unison, this is a brotherhood born of shared wounds.
One of Ozon’s finest efforts to date and one of 2019’s must-see releases, “By the Grace of God” bolsters an ensemble cast comprised of many of France’s most respected actors for a subtly galvanizing stunner that observes human beings hurting with a sympathetic gaze, never minimizing or exaggerating their emotional turmoil. Ozon manages to instill a measured touch into every argument, outburst, and testimony, matching the naturalistic cinematography (by Manuel Dacosse, “Let the Corpses Tan”) and bestowing on us the most important and assured movie on this treacherous topic made this decade.
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www.thewrap.com | 10/19/19
The nominees for this year’s Streamy Awards were announced Wednesday by Dick Clark Productions, Tubefilter and YouTube. David Dobrik leads the way with 11 nominations and murder-mystery reality web series “Escape the Night: Season 4” follows with five nominations.
Lil Nas X and Lizzo are both nominated for the first time.
The awards specifically celebrate the best in online video. This year’s ceremony, the ninth one, will be held Dec. 13 at the Beverly Hilton in Beverly Hills, California. It will stream live globally on YouTube.
“Creators are the heart and soul of YouTube, so we’re excited to celebrate and honor their creativity, diversity and hard work,” Jamie Byrne, director of creator partnerships at YouTube, said in a statement. “Together with the Streamys, we’ve expanded our award categories to even more regions around the world to bring fans some of the biggest and most unforgettable moments from the past year, all from the creators they love.”
See the full list of nominees below:
Show of the Year
Action or Sci-Fi
First Person presented by GoPro HERO8 Black
International: Asia Pacific
International: Europe, Middle East, and Africa
International: Latin America
Health and Wellness
Kids and Family
Science and Education
Visual and Special Effects
Company or Brand
Nonprofit or NGO
Branded Content: Series
Branded Content: Video
Social Good Campaign
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www.thewrap.com | 10/16/19
The Uniform Domain Name Dispute Resolution Policy, commonly known as the UDRP, was first introduced on October 24, 1999, by the Internet Corporation for Assigned Names and Numbers (ICANN). The UDRP is incorporated by reference into Registration Agreements for all generic top-level domain names (gTLDs) and some country-code top-level domain names (ccTLDs).
The Policy sets out the legal framework for resolving disputes between a domain name registrant and a third party over the registration and use of a specific domain name. Over the last twenty years, the number of registered domain names has dramatically increased, reaching over 354 million registrations this year. The UDRP has become the primary route to resolve domain name disputes.
The World Intellectual Property Organisation (WIPO) is one of the main providers for domain disputes and has processed over 45,000 cases to date. Besides gTLDs, which all fall under the UDRP, WIPO provides domain dispute resolution services for 76 ccTLDs. In total, six accredited providers administer UDRP complaints, the Forum being the second largest provider.
The Evolution of the UDRP
The purpose of the UDRP is to combat cybersquatting, which, according to the US Anticybersquatting Consumer Protection Act (ACPA) is defined as "registering, trafficking in, or using an Internet domain name with bad faith intent to profit from the goodwill of a trademark belonging to someone else”.
Since the very first case under the UDRP, World Wrestling Federation Entertainment, Inc. v. Michael Bosman, WIPO Case No. D99-0001, which was decided by Panelist M. Scott Donahey, the UDRP has dealt with many complex issues involving a significant number of domain names. Indeed, WIPO has administered over 45,000 cases involving over 83,000 domain names since the UDRP's creation. The top 2 industry sectors in terms of Complainant activity are retail, and the banking and finance industry, which respectively amounts to 10.36% and 10.05%.
The UDRP has also seen Complainants and Respondents coming from countries all around the world. Complainants in the United States account for almost 35% of cases filed, followed by France (12.48%) and the United Kingdom (8.10%). However, while domain registrants primarily reside in the United States with over 30% of cases filed, People's Republic of China is the second-ranked country where registrants are based, amounting to 11.22% of cases filed since 1999.
When filing UDRP cases, Complainants need to rely on UDRP jurisprudence to build their cases. Although Panelists are under no obligation to follow past decisions, case precedents form a significant part of the UDRP, which has helped the Policy to develop over the years. With the high number of decisions decided each year, the growing need to identify consensus in UDRP jurisprudence became even more vital.
WIPO Overviews and the UDRP Jurisprudence
Since the creation of the UDRP, law practitioners have always expressed the need for a document summarising consensus views among the UDRP Panelists. Based on this request, WIPO introduced Version 1.0 of the WIPO Overview of WIPO Panel Views on Selected UDRP Questions in 2005. In 2011, WIPO Overview 2.0 launched, which examined 46 issues in UDRP decisions. WIPO Overview 2.0 was in use for six years, and it was only on May 23rd, 2017 that WIPO launched the third version (WIPO Overview 3.0). This version discussed 64 issues with more than 1,000 decisions cited.
Key changes took place between the two versions. Between 2011 and 2017, the emergence of new gTLDs impacted the importance of the domain suffix. TLDs such as ".clothing" or ".tech" for example, now have more weight when assessing bad faith. One of the pioneer cases which discussed this issue is Canyon Bicycles GmbH v. Domains By Proxy, LLC/ Rob van Eck, WIPO Case No. D2014-0206, where the Panel held that "given the advent of multiple new gTLD domain names, panels may determine that it is appropriate to include consideration of the top-level suffix of a domain name for the purpose of the assessment of identity or similarity in a given case, and indeed, there is nothing in the wording of the Policy that would preclude such an approach”.
As a result, the use of new gTLDs, which imply a link to the trademark owner can add to Internet user confusion, and for this reason, is considered under the first element, as well as the third element when assessing bad faith. Internationalised domain names (IDN) are also becoming more popular in recent years, with Internet users registering non-Latin or symbolic domain names. UDRP Panelists have adapted to this change and now consider translations or transliterations of domain names in their deliberations.
Through the years, the UDRP has tackled various issues, but some decisions are cited more than others. The case of Telstra Corporation Limited v. Nuclear Marshmallows, WIPO Case No. D2000-0003 remains the most cited case, with a frequency of 8,088 times. This decision, the fourth case ever decided by a UDRP Panel, tackled the issue of inactive domain names. The decision set out conditions by which the passive holding of a domain name still amounted to bad faith use. Since the decision in Telstra, trademark owners continue to rely on the principles outlined in this case when addressing a domain name that fails to resolve to active content. Though passive holding of a domain name can amount to bad faith use, trademark owners must not forget that they still have the burden to prove registration in bad faith.
The second most popular UDRP decision is, without a doubt, the case of Oki Data Americas, Inc. v. ASD, Inc., WIPO Case No. D20001-0903. Here, the Panelist David H. Bernstein raised the difficult question of whether an authorized sales or service agent of trademarked goods could use the trademark at issue in its domain name. In his decision, the Panel held that specific conditions must be met by the reseller to justify a legitimate interest in using a domain name containing the trademark's owner brand. Though this decision was published in the early stages of the UDRP in 2001, reseller cases still apply the Oki Data decision when assessing if a reseller can justify a legitimate interest in its domain name. Following this decision, uncertainty arose over whether this case also applied to unauthorized resellers. The decision, Volvo Trademark Holding AB v. Auto Shivuk, WIPO Case No. D2005-0447 clarified this, finding that the Oki Data decision could apply to both authorized and unauthorized resellers.
The two decisions cited above are among the most popular cases used in UDRP disputes, but several more Panel decisions have helped shape UDRP jurisprudence. This includes, among others, the issue of proving common law or unregistered trademark rights, which led to several well-known decisions, such as Uitgerverij Crux v. W. Frederic Isler, WIPO Case No. D2000-0575 (discussing this for the first time), and the case of Israel Harold Asper v. Communication X Inc., WIPO Case No. D2001-0540, which clarified that rights in a personal name are recognized under the UDRP if the name has been used in a commercial manner, which the complaining party, a Canadian businessman and lawyer, had failed to establish.
For trademark owners and legal practitioners, WIPO Overview 3.0 remains the ultimate resource when filing domain disputes. With more than 1,000 cases listed, Panelists always advise trademark owners to use the cases cited in the Overview.
Following the guidelines provided can also help to prevent trademark owners from being found guilty of Reverse Domain Name Hijacking ("RDNH").
RDNH is when a trademark owner attempts to use the UDRP to deprive a registered domain name holder of a domain name. 2016 saw a record number of RDNH in UDRP cases, with 37 complainants found to have abused the UDRP Policy. This surpassed the previous record with 31 RDNH decisions issued in 2015. Complainants are found guilty of RDNH for various reasons. One reason often found is that the Complainant knew or clearly should have known at the time that it filed the complaint that it could not prove one the essential elements required by the UDRP, perhaps because the domain name was registered many years before it acquired rights in a mark. This has led many Respondent to claim that such cases be barred based on the doctrine of laches.
Doctrine of Laches – Time to Reconsider?
Traditionally, the question of timing was a factor to consider when assessing whether a complaining party had a legitimate right to bring a claim against another entity on the grounds of trademark infringement. Under the US doctrine of laches, a trademark claim is barred if a defendant can show that a prolonged period has passed between the registration of the plaintiff's trademark and the alleged infringement. That said, when it comes to domain names, the doctrine does not apply. WIPO Overview 3.0, Guideline 4.17 states that:
"Panels have widely recognized that mere delay between the registration of a domain name and the filing of a complaint neither bars a complainant from filing such case, nor from potentially prevailing on the merits."
Panels noted that the UDRP remedy is injunctive, and the principal concern is to avoid future abuse/damage, and not provide equitable relief. Panels have also recognized that trademark owners cannot reasonably be expected to monitor every instance of potential trademark abuse or to enforce each instance as they arise. For these reasons, Panels have declined to adopt the doctrine of laches or its equivalent in UDRP cases.
Even so, some Panels have taken account of the delay of a Complainant to bring a complaint under the UDRP when making their decision. In the case of Board of Trustees of the University of Arkansas v. FanMail.com, LLC, WIPO Case No. D2009-1139, the doctrine of laches was discussed at great length. Though the decision rejected the use of laches, the Panel held that "the delay and lack of explanation for it strengthen Respondent's cases for a right or legitimate interest in the Domain Name and negate Complainant's case that the Domain Name has been used in bad faith. That is so because the unchallenged evidence is that Complainant, by inactivity, encouraged Respondent to continue to use the Domain Name in the way in which Complainant knew it was being used”.
Still, finding for the Respondent based on laches alone is not possible under the UDRP, and Panels would only deny complaints if Complainants have failed to establish the substantive grounds required under the Policy. For example, in the recent case of The Pennsylvania State University v. Mark Lauer/ Keystone Alternatives, NAF Claim FA1847529, July 29, 2019, the Panel denied the complaint as the trademark owner failed to prove that the registrant had no legitimate interest in the domain name, and consequently, did not act in bad faith. The Respondent, in this case, relied on the doctrine of laches and asked for the complaint to be denied on those grounds, but the Panel held that it was unnecessary to decide whether the proceeding would or should have been denied on the ground of laches alone.
Twenty years after the creation of the UDRP, Panels will see more and more cases brought with domain names registered 15 to 20 years ago, and the delay in bringing a complaint by a trademark holder may have more significance to a Respondent than ever before.
Another significant event already having a tremendous effect on the UDRP is the implementation of the new European data protection law in 2018.
GDPR and its effect on the UDRP
Since the new European data protection law (General Data Protection Regulation 2016/679) came into force on May 25th, 2018, the number of UDRP disputes has increased. Indeed, with GDPR coming into effect last year, law practitioners have seen changes in the disclosure of WHOIS details. Before GDPR, the WHOIS Registry was publically accessible, and trademark owners and their representatives could identify a domain name owner before filing a dispute. Now, however, GDPR has made it more difficult to engage with domain registrants. With most information unavailable, it seems that more practitioners now file cases in an attempt to disclose registrant information. Once revealed, Complainants have the opportunity to amend the dispute to reflect the Respondent's correct details.
Furthermore, GDPR has made UDRP consolidations even more challenging. The UDRP allows trademark owners to include multiple domain names in a single complaint. The limitations placed on WHOIS information prevent trademark owners from identifying additional domain names owned by the same cybersquatter. This is likely to lead to trademark owners needing to file more single complaints, which is more expensive and time-consuming.
The UDRP element most affected by the GDPR is the third circumstance that deals with bad faith. Showing an abusive pattern of conduct has become more complex, and trademark owners have more of a difficult task of finding past cybersquatting activity. The tools previously available to investigators to analyze a registrants' previous dispute record or portfolio have become less effective with the arrival of GDPR. While an investigator's job has become more challenging, the UDRP remains one of the most effective tools to combat cybersquatting in the Internet world.
What is next for the UDRP?
A lot has changed since the creation of the UDRP, and with new issues arising, the Policy has evolved to be in line with the fast-pacing change of the Internet. The new generation of TLDs contributed to the rise of UDRP filings, but ".com" domain names still amount to 79% of cases filed. The ccTLD ".co" assigned to Colombia is the most popular ccTLD using the UDRP, with 56 cases filed this year.
Nevertheless, despite the increase in filings, after two decades, some practitioners/groups believe that some essential elements of the UDRP are due for reform. In 2015, ICANN issued a Preliminary Issue Report to review all Rights Protection Mechanisms (RPMs) in all gTLDs followed up by a working group which was established to review and possibly reform RPMs, including the UDRP, which is yet to be reviewed.
In the meantime, the UDRP continues — 20 years after its creation — to be the most effective tool to combat cybersquatting, saving time and money to trademark owners.
* * *
On October 21, 2019, WIPO organizes a conference to commemorate this milestone. This event, where over 100 UDRP Panelists will attend, will look back at the UDRP jurisprudence, and look ahead on the future of the UDRP, Internet developments, and other topical items. As one of the top-ranking filers of domain name disputes with WIPO, Safenames' Legal Department will be attending this event, which will be held at WIPO's headquarters in Geneva, Switzerland.
Written by Caroline Valle, Senior Legal Adviser at Safenames
www.circleid.com | 10/14/19
Dutch toymakers are told to think carefully, after France's toy industry agrees to end stereotypes.
www.bbc.co.uk | 9/26/19
A24 has acquired the North American rights to “Saint Maud,” a psychological horror film that made its world premiere in TIFF’s Midnight Madness program, an individual with knowledge of the deal told TheWrap.
“Saint Maud” is the first feature film from British writer-director Rose Glass, whose previous work includes the short “Room 55.” It next makes its U.S. premiere at Fantastic Fest on Sept. 19. No release date has yet been set. It will also be playing next month in competition at the BFI London Film Festival.
“Saint Maud” follows a pious but unstable nurse, Maud, who becomes convinced that she must save the soul of her dying employer, Amanda, as signs of eternal damnation begin to present themselves in their isolated seaside town. The film nods to other religious horror films, most notably “The Exorcist,” among others.
Morfydd Clark (“Love & Friendship,” “The Personal History of David Copperfield”) stars in the film as Maud alongside Jennifer Ehle (“Zero Dark Thirty”) as Amanda.
Oliver Kassman and Andrea Cornwell produced “Saint Maud,” and the film is executive produced by Daniel Battsek, Sam Lavender, and Mary Burke.
The film was developed by Film4, and production was backed by Film4 and the BFI (using National Lottery funds), and produced by Escape Plan Productions. Protagonist Pictures is handling worldwide sales. Sony Pictures Worldwide Acquisitions holds all international rights to the film, excluding the U.K. and France.
Glass is represented by Tracey Hyde at Casarotto Ramsay.
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www.thewrap.com | 9/18/19
French and EU flags are now required in every classroom in the country in new laws from 1 September.
www.bbc.co.uk | 9/2/19
The television series “Mrs. Fletcher,” “Briarpatch” and “Limetown” have been added to the lineup at the 2019 Toronto International Film Festival, which will screen two or three episodes of each series followed by extended Q&As with the creators and cast.
Those three U.S. series will be part of TIFF’s Primetime section, which will also showcase the international series “Black Bitch” (Australia), “Savages” (France) and “The Sleepers” (the Czech Republic).
“Mrs. Fletcher” is an upcoming series from HBO and Crave, based on the Tom Perotta novel and starring Kathryn Hahn as an empty-nest mother. “Briarpatch,” from USA Network, stars Rosario Dawson as a political fixer investigating the death of her sister. And Facebook Watch’s podcast-based “Limetown” follows a public radio journalist (Jessica Biel) looking into the disappearance of 300 people at a research facility.
Toronto organizers also announced the lineup for its five-day TIFF Industry Conference, which will launch on September 6 with a conversation with director Ron Howard and producer Brian Grazer, whose collaborations include the TIFF opening-night documentary “Once Were Brothers: Robbie Robertson and the Band.”
The conference will also include master classes with Brazilian director Fernando Meirelles and Chinese-born director Lulu Wang; a conversation about gender equality led by Swedish Film Institute CEO Anna Serner; and guest speakers including Edward Burns, Barbara Kopple, Franklin Leonard and Alan Berliner.
The TIFF Doc Conference, curated by Thom Powers and Denae Peters, will include talks and panels featuring Kopple, Berliner, Kickstarter’s Elise McCave, Showtime’s Vinnie Malhotra, the International Documentary Association’s Claire Aguilar and the Brooklyn Academy of Music’s Ashley Clark, among others.
Finally, TIFF named four young actors – Argentina’s Chino Darin, Norway’s Josefine Frida, the United States’ Kelvin Harrison Jr. and Australia’s Geraldine Viswanathan – to its Rising Stars program. The four join a quartet of previously announced Canadian Rising Stars, Mikhail Ahooja, Shamier Anderson, Kacey Rohl and Nahema Ricci.
Darin will appear at TIFF in “Heroic Losers,” Frida in “Disco,” Harrison in “Waves” and Viswanathan in “Bad Education.”
The 44th Toronto International Film Festival will kick off on September 5 with a screening of the documentary “Once Were Brothers: Robbie Robertson and the Band,” and conclude on September 15.
Additional information on the programming is available at www.tiff.net.
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www.thewrap.com | 8/15/19
A 47-year-old Princeton University professor fell to his death in a rock-climbing accident over the weekend while vacationing with his family in France, school officials said.
www.foxnews.com | 8/8/19
That smiling, bearded hipster you might have seen raving about President Trump in a recent Facebook ad — turns out, he’s not from Washington, D.C. — as the ad suggests — but Izmir, Turkey.
The president’s reelection campaign is using free stock video footage to portray his real-life supporters, the Associated Press reported on Wednesday. The MAGA “fans” in the stock footage aren’t even allowed to vote for President Trump if they wanted to, with the models coming from not only Turkey but Brazil and France as well.
“President Trump and his family and the administration are in our prayers for strength and wisdom from God almighty. God bless,” Thomas, the coffee shop hipster mentioned above, says in one ad.
“I could not ask for a better president,” another ad, featuring “Tracey from Florida,” said.
But the people shown on screen never made the glowing remarks. As the 20-second ads mention in a small disclaimer, the videos feature “actual testimonial, actor portrayal.”
“Thomas from Washington” isn’t exactly from Washington (via Facebook)
“Tracey from Florida” turns out to be a video labeled “young woman smiling and walking at the beach” on iStock by Getty Images; her pictures and videos were taken by Tuto Photos, a French company, as the AP pointed out. “Thomas from Washington” can be found on iStock under “bearded and tattooed hipster coffee shop owner posing.”
White House reps did not immediately respond to TheWrap’s request for comment.
“As a producer, you want to control — you want people to look a certain way and you want them to sound a certain way,” Jay Newell, a former cable TV executive and current professor at Iowa State University, told the AP. “The fact that the footage is from outside the U.S. makes it that much more embarrassing.”
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www.thewrap.com | 7/3/19
French startup Ornikar is raising a $40 million Series B round (€35 million) from Idinvest and BpiFrance. The company competes with traditional driving schools in Europe with an online marketplace of students and teachers. And Ornikar has been a massive success in France. Overall, 35 percent of driving school registrations in 2019 are handled by […]
techcrunch.com | 6/27/19
Regions around Paris announce school closures as France and Spain expect heat above 40C.
www.bbc.co.uk | 6/26/19
The short film “Mano a Mano,” from French director Louise Courvoisier, won the top prize from the Short Films and Cinéfondation Jury headed by Claire Denis at Cannes, the festival announced Thursday.
The jury led by Denis and consisting of Stacy Martin, Eran Kolirin, Panos H. Koutras and C?t?lin Mitulescu chose the winners between 17 student films out of 2,000 entries from 366 film schools around the world. The awards were presented at the 2019 Cinéfondation Prizes, now in its 22nd edition, during a ceremony held in the Buñuel Theatre, followed by the screening of the winning films.
The Cinéfondation allocates a €15,000 grant for the first prize, €11,250 for the second and €7,500 for the third. The winner of the first prize is also guaranteed the presentation of his or her first feature film at a future Cannes Film Festival. The awarded films will also be screened at the Cinéma du Panthéon on May 28.
First prize went to “Mano a Mano,” directed by Courvoisier and from the school CinéFabrique in France. It’s the story of two circus acrobats traveling from town to town to perform their duet, even as their romantic relationship is falling apart. They’re forced to confront their problems and regain their trust in one another while driving in a small car en route to their next performance.
Second prize went to “Hieu,” directed by Richard Van of CalArts in the US. The short is about a Vietnamese-American household that receives a surprise visit from a long-lost patriarch after he fails at a get-rich-quick scheme.
Finally, a joint third prize was awarded to both “Ambience” directed by Wisa Al Jafari out of the Dar al-Kalima University College of Arts and Culture in Palestine and “Duszyczka” (“The Little Soul”) from director Barbara Rupik at PWSFTviT in Poland.
“Ambience” is about two young Palestinians who try to record a demo for a music competition inside a noisy, crowded refugee camp, only to discover a creative method to complete their deadline.
“The Little Soul” looks at a dead body that became stuck by a river bank. Its decaying insides still hide a human soul – a miniature of the deceased. When the organs rot, a tiny creature escapes, and it says goodbye to the corpse before setting off on a journey through the post-mortem land.
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www.thewrap.com | 5/23/19
Art imitates life in Pedro Almodóvar’s “Pain and Glory,” which screened in competition at the Cannes Film Festival on Friday evening. Or maybe it’s more accurate to say that the iconic Spanish director reimagines life — his life — as a fantasia borne out of the cinematic vocabulary he’s created over the last four decades.
“Pain and Glory” suggests that Almodóvar’s films were based on the preoccupations that developed when he was a child, but then refracts the life that formed his art through the style of that art. If there’s a house-of-mirrors aspect to this, the trickiness is one of the least important aspects of this lovely, gentle reverie, which has already opened to largely positive reception in Spain.
Antonio Banderas plays a film director named Salvador Mallo, who happens to dress like Almodóvar and live in a house that looks just like Almodóvar’s house. He also has a little bit of Almodóvar’s trademark spiky hair, though it’s not as white or as poofy.
Banderas, who began his career in the early 1980s in a film by Almodóvar and has now appeared in eight of the director’s movies, told TheWrap that at times he found it difficult to wrap his head around what his old friend asked him to do in “Pain and Glory.”
“It’s very complicated,” Banderas said. “Even if he said, ‘It’s not me, it’s my alter ego’ — OK, but it’s in you. It’s not self-biography, but it’s self-fiction.”
Banderas said he never did an imitation, instead drawing from things about Almodóvar that he knew as a friend, notably the writer-director’s solitude. And Salvador Mallo is indeed a solitary figure – a man we first see submerged in a swimming pool, and a man lost in the pain that wracks his body and in the memories that flow through him.
Those memories, the subject of numerous flashbacks, include growing up Catholic with a strong mother (played by Penélope Cruz) and fainting at his sudden sexual awakening when the young Salvador (Asier Flores) sees a workman bathing nude. You can look at them as a CliffsNotes version of what formed Almodóvar — sorry, Mallo — as a director, but they are more essential than that.
Back in the present day, Mallo seeks out an actor, Alberto Crespo (Asier Etxeandia), with whom he had a falling out 32 years earlier — he wrote a role for a character he envisioned as a cocaine addict, the actor played him as a heroin addict instead and only now, on the eve of a cinematheque restoration of the film, does Mallo appreciate the performance. The reconnection leads to a theater piece written by Mallo and performed by Crespo, and also to Mallo’s flirtation with smoking heroin, still a regular ritual for Crespo.
The performance also leads to a reunion between Mallo and Federico (Leonardo Sbaraglia), old lovers who share the tenderest reconciliation in a film built around a series of reconciliations.
Almodóvar has called “Pain and Glory” the third part of a trilogy that also includes 1987’s “Law of Desire” and 2004’s “Bad Education,” but devotees of the director’s work can find call-outs to much of the director’s filmography. And as always, the film’s look is impeccable; Almodóvar’s fascination with scarlet continues, but he finds a way to make even a doctor’s waiting room look vibrant and alive.
But you wouldn’t use those words to describe the main character. Banderas’ Mallo is weary and subdued, a man looking for peace and too tired to fight. It might be the quietest performance the actor has ever given, and quite possibly the most affecting; as a lion in winter, he makes every sigh matter.
And “Pain and Glory” is, clearly, a film of sighs. Just as the character seeks physical and mental healing, the film is one of the most meditative of Almodóvar’s career. He may have made his reputation with a string of transgressive, jarring and provocative films that helped upend Spanish cinema in the 1980s and ’90s, but with this film passion has given way to mature introspection.
It makes for less energetic and, yes, less exciting filmmaking. But “Pain and Glory” is a beautiful meditation on past and present, a memory piece that will nourish rather than provoke.
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www.thewrap.com | 5/17/19
There are no zombies on the red carpet of the Croisette, a reporter told Bill Murray after the world premiere of his latest film “The Dead Don’t Die,” which opened the Cannes Film Festival Tuesday.
“Says you,” Murray (un)dead-pans in response.
During the press conference following Jim Jarmusch’s zombie comedy, Murray said he finds Cannes “frightening,” and it’s hard not to come away with that assessment when “The Dead Don’t Die” managed to bring together an unusual assemblage of art-house darlings and global pop stars for the occasion.
Jarmusch donned his trademark sunglasses on the red carpet and received a (expected) standing ovation as the screening was began, and he was joined by the film’s diverse crop of stars, including Adam Driver, Tilda Swinton, Chloe Sevigny and even Selena Gomez, who were all in attendance.
And the film itself is a nonchalant, hipster commentary on people sleepwalking through the modern age as well as the Trump era. A red hat worn by Steve Buscemi’s character in the film that read “Make America White Again” was a popular talking point among critics after the first screenings in the Grand Theatre Lumiere and the Sally Debussy theater next door. And it’s not unusual for this generally tough Cannes crowd to be fairly mixed on the splashy opening night film, even for someone as respected as Jarmsuch.
“It’s the self-awareness that really hurts it,” TheWrap’s critic Ben Croll wrote in his review. “Jarmusch knows that his audience wants to see Murray and Driver riff in deadpan and that the image of Swinton strutting down the street wielding a katana will set the internet ablaze, so he offers them as much, without ever feeling the imperative to go a step beyond.”
Cannes Jury Press Conference Touches on Diversity, Netflix and the Border Wall
Photo by Pascal Le Segretain/Getty Images
Elle Fanning, filmmakers Kelly Reichardt and Alice Rohrwacher, and Senegalese actress Maimouna N’Diaye are among the women serving on this year’s Cannes main competition jury led by Alejandro González Iñárritu. The group represents one of the most diverse juries the festival has ever had, with 21-year-old Fanning the youngest jury member the festival has ever had.
And while the festival has been committed to striving toward 50/50 gender parity, the women on the jury would very much like to move past the same questions about being a “woman” filmmaker.
“I look forward to a time that will come when we don’t have to say ‘women directors’ or ‘as a woman,'” Reichardt said at the press conference Tuesday.
“But it’s odd when we’re asked this question,” Rohrwacher added. “It’s sort of like asking someone who survived a shipwreck why he’s still alive. Everyone is on the beach — ‘Why are you still alive?’ Why are you asking us? Well, ask the person who built the boat, who sold the tickets, the schools. People have said there haven’t been enough women, but it’s not enough to talk about at the end [of the chain]. We have to look at the beginning of the chain.”
Splashy International Deals
The Cannes marketplace is also just kicking off at the festival, but select international deals are already in place for some of the competition films.
Sony Pictures Worldwide Acquisitions nabbed select territories to Sally Hawkins’s “Eternal Beauty,” according to The Hollywood Reporter, excluding the U.S., Canada, France, Germany, Austria, Switzerland, the U.K., China, Japan, South Korea and the Middle East. And Focus Features acquired the international rights to Robert Eggers’s film “The Lighthouse,” which A24 already has domestic rights to distribute.
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www.thewrap.com | 5/15/19
A radioactive isotope one billion times older than the Universe! An international team of researchers, including six scientists from the Faculty of Science and Technology of the University of Coimbra (FCTUC), was able to measure for the first time the longest average lifetime of a radioactive isotope recorded by a device of measurement. This extraordinary fact is published (April 25), as the main piece on the cover, in Nature, the most prestigious of all scientific journals. The isotope in question is Xe 124 and its average lifetime is approximately one billion times older than the Universe. The Universe is about 14 billion years old, a period of time inconceivable when compared to the scale of human life. As if that alone did not cause enough amazement, there are radioactive isotopes (unstable elements that change over time emitting radiation) whose average life happens on scales much greater than the existence of the Universe itself. "The fact that we can directly measure such a rare process as this demonstrates the extraordinary scope of our measurement system, even when it was not made to measure these events, but rather dark matter," stresses José Matias, coordinator of the Portuguese team in this effort international and researcher of the Laboratory of Instrumentation, Biomedical Engineering and Radiation Physics (LIBPhys) of FCTUC. In fact, this measurement was only possible thanks to the XENON1T system, the most sensitive instrument ever produced by mankind for the detection of dark matter. It is installed in the National Laboratory of Gran Sasso (Italy), the largest underground laboratory in the world, under 1300 meters of rock to shield the system from cosmic rays existing on the surface. The study published by Nature shows that, after all, "XENON1T was also able to measure other rare physical phenomena, such as double electronic capture. In this case, the nucleus captures two of the electrons that orbit it in the atom, transforming two of the protons that constituted it into neutrons and emitting radiation in the form of two neutrinos. The energy released in this process forms the signal that the system registers, despite the extreme difficulty in being detected by its rarity, and can be generally masked by the omnipresent "normal" radiation ", affirms the also vice president of the Higher Institute of Engineering of Coimbra (ISEC). The average life span of Xe 124 Only with the detailed knowledge of the sources of radiation recorded by the detector was it possible to observe 126 events of double electron capture of the isotope Xe 124 and thus to determine for the first time its average life time of 2.5 x 1022 years (25 thousand millions of billions of years). This is the longest physical process ever measured directly by mankind. In fact, there is a register of phenomena with a longer average life (isotope Te 128) in the Universe, but that was inferred indirectly from another process. For the time being, it is not possible to predict the implications of this discovery that opens new horizons in human knowledge. The XENON consortium consists of 160 scientists from 27 research groups from the US, Germany, Portugal, Switzerland, France, the Netherlands, Sweden, Japan, Israel and Abu Dhabi. Portugal has been a partner in this collaboration since its inception in 2005 through the LIBPhys team. Cristina Pinto University of Coimbra • Faculty of Science and Technology Translated from the Portuguese version Ekaterina Santos
www.pravdareport.com | 4/25/19
“Barry,” “Hannah Gadsby: Nanette” and “The Good Place” lead the nominees for this year’s Peabody Awards, which recognizes the best of digital and broadcast media for the year. The three programs were among a crowded field of contenders in the entertainment category.
“It is our great honor to recognize the most powerful and compelling, but also most brilliant and creative programming of 2018,” Jeffrey P. Jones, executive director of Peabody said in a press statement. “Across genres and platforms, these are stories that help us make sense of our world, and locate our humanity in the joys and tragedies and struggles of people worldwide.”
The 78th annual awards ceremony nominees also honored other achievements in the categories of “children’s and youth,” “documentaries,” “public service,” “news,” “web,” and “radio/podcast.” The nominees were selected by unanimous vote of 19 jurors from more than 1,200 entries from television, radio/podcasts and the web in entertainment, news, documentary, children’s and public service programming. Thirty winners selected from amongst these nominees will be announced beginning next week.
The ceremony will take place on May 18 in New York City at Cipriani Wall Street, and will be hosted by New Yorker contributing writer Ronan Farrow.
You can see the full list of Peabody nominees below.
CHILDREN’S & YOUTH
“Hilda” Silvergate Media for Netflix (Netflix)
“Steven Universe” Cartoon Network Studios (Cartoon Network)
“A Dangerous Son” HBO Documentary Films and Moxie Firecracker Films (HBO)
“Blue Planet II” BBC Studios’ Natural History Unit, co-produced with BBC AMERICA, Tencent, WDR, France Télévisions and CCTV9 in partnership with The Open University (BBC AMERICA)
“Brides & Brothels: The Rohingya Trade” 101 East (Al Jazeera English)
“I Am Evidence” HBO Documentary Films and Mighty Entertainment in association with Fixit Productions and Artemis Rising Foundation (HBO)
“Independent Lens: Dolores” A Carlos Santana Production, in association with 5 Stick Films, and THE DOLORES HUERTA FILM PROJECT, LLC (PBS)
“Independent Lens: I Am Not Your Negro” A co-production of Velvet Film Inc., Velvet Film S.A.S., Artémis Productions, Close Up Films, ARTE France, RTS, RTBF, Shelter Prod and the Independent Television Service (ITVS) presented in association with the National Black Programming Consortium (NBPC), with funding provided by the Corporation for Public Broadcasting (CPB) (PBS)
“Independent Lens: The Judge” A co-production of Three Judges LLC, Idle Wild Films Inc., and Independent Television Service (ITVS), with funding provided by the Corporation for Public Broadcasting (CPB) (PBS)
“Lorraine Hansberry: Sighted Eyes/Feeling Heart” Lorraine Hansberry Documentary Project, LLC in co-production with Independent Television Service and Black Public Media in association with The Film Posse, Chiz Schultz Inc. and American Masters Pictures (PBS/WNET/TV)
“Minding the Gap” Hulu presents in association with Kartemquin, American Documentary | POV and ITVS (Hulu)
“POV: QUEST: A Portrait of an American Family” Quest Fury Sound LLC, Vespertine Film and Media Productions Inc., American Documentary | POV, ITVS (PBS)
“POV: The Apology” National Film Board of Canada, American Documentary | POV (PBS)
“POV: Survivors” WeOwnTV, American Documentary | POV, ITVS (PBS)
“POV: Whose Streets?” Whose Streets? LLC, American Documentary | POV (PBS)
“Shirkers” A Netflix Documentary in association with Cinereach (Netflix)
“The Bleeding Edge” A Netflix Original Documentary in association with Shark Island Institute (Netflix)
“The Facebook Dilemma” FRONTLINE (PBS)
“The Jazz Ambassadors” Thirteen Productions LLC, Antelope South Ltd., Normal Life Pictures, in association with the BBC and ZDF in collaboration with Arte (PBS)
“The Rape of Recy Taylor” Augusta Films, in co-production with Transform Films Inc., in association with Artemis Rising and Matador Content (Starz)
“Atypical” Sony Pictures Television for Netflix (Netflix)
“Barry” HBO Entertainment in association with Alec Berg and Hanarply (HBO)
“Hannah Gadsby: Nanette” Netflix (Netflix)
“Homecoming,” Universal Content Productions and Amazon Studios (Amazon Prime Video)
“Killing Eve” Sid Gentle Films Ltd. for BBC AMERICA (BBC AMERICA)
“My Brilliant Friend” HBO Entertainment in association with RAI FICTION, TIMVISION and Wildside, Fandango, and Umedia (HBO)
“Patriot Act with Hasan Minhaj” Netflix (Netflix)
“Pose” Fox 21 Television Studios and FX Productions (FX Networks)
“Random Acts of Flyness” HBO Entertainment in association with A24 and MVMT (HBO)
“The Americans” Fox 21 Television Studios and FX Productions (FX Networks)
“The Chi” SHOWTIME Presents, Fox 21 Television Studios, Kapital Entertainment, Verse, Freedom Road Productions, Hillman Grad Productions, Elwood Reid Inc. (Showtime)
“The End of the F***ing World” Clerkenwell Films/Dominic Buchanan Productions for Channel 4 Television and Netflix (Netflix)
“The Good Place” Universal Television, Fremulon and 3 Arts Entertainment (NBC)
“This Close” Killer Films and Super Deluxe (SundanceNow)
“Anatomy of a Killing” BBC Africa Eye (BBC)
“Aquí y Ahora: The Faces of the Immigration Crisis ” Univision Network (Univision Network)
“CBS News Special: 39 Days” CBS News (CBS)
“Back of the Class” KING Television NBC affiliate/KING
“Cambridge Analytica” ITN for Channel 4 News (Channel 4 News)
“Inside Yemen” PBS NewsHour (PBS)
“NewsChannel 5 Investigates: Toxic School Water” WTVF-TV (WTVF-TV)
“Nima Elbagir: Human Rights Reporting” CNN (CNN)
“On the Fire Line” PBS NewsHour (PBS)
“Separated: Children at the Border” FRONTLINE (PBS)
“Spartan Silence” E:60, OTL, ESPNW, Sportscenter (ESPN)
“The Plastic Problem” PBS NewsHour (PBS)
“$2 Tests: Bad Arrests” WAGA-TV FOX 5 Atlanta (WAGA-TV)
“Student/Trafficked” R.AGE (Star Media Group)
“Zero Tolerance” ProPublica
“Bag Man” MSNBC (MSNBC)
“Believed” Michigan Radio (NPR)
“Buried Truths” WABE (WABE)
“Caliphate” The New York Times (The New York Times)
“Ear Hustle” PRX’s Radiotopia (PRX’s Radiotopia)
“In The Dark (season 2)” APM Reports (Podcast)
“Kept Out” Reveal from The Center for Investigative Reporting, PRX, PBS Newshour, and the Associated Press (Public radio stations nationwide)
“Monumental Lies” Type Investigations and Reveal from The Center for Investigative Reporting and PRX (Public radio stations nationwide)
“My World Was Burning: The North Bay Fires and What Went Wrong” KQED and Reveal from the Center for Investigative Reporting and PRX (Center for Investigative Reporting and PRX)
“This American Life Episode #657: The Runaways” This American Life and ProPublica Inc. (Public Radio Stations, podcast)
“The Daily” The New York Times (The New York Times)
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www.thewrap.com | 4/9/19
The French educational system is highly centralized, organized, and ramified. It is divided into three different stages: the primary education (enseignement primaire); secondary education (enseignement secondaire); higher education (enseignement supérieur).