OK: Found an XML parser.
OK: Support for GZIP encoding.
OK: Support for character munging.

Notice: MagpieRSS [debug] Returning STALE object for https://awardworld.net/feed/ in /home/raynelson/public_html/walter/feed2js/magpie/rss_fetch.inc on line 243

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Channel: Award World

RSS URL:

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      ["title"]=>
      string(70) "Authorized to leave Russia, director Serebrennikov admits his surprise"
      ["link"]=>
      string(105) "https://awardworld.net/palme-dor/authorized-to-leave-russia-director-serebrennikov-admits-his-surprise-3/"
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        ["creator"]=>
        string(14) "Stephen Juarez"
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      string(31) "Wed, 19 Jan 2022 12:02:51 +0000"
      ["category"]=>
      string(68) "Palme D’oradmitsauthorizeddirectorleaveRussiaSerebrennikovsurprise"
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      ["description"]=>
      string(684) "Russian director and director Kirill Serebrennikov, who has obtained permission for a short trip to Germany, said on Friday he had “no idea” why Moscow suspended its ban on leaving the country. “I probably behaved well,” quipped the terrible child of Russian theater during a conference at the Thalia Theater in Hamburg (north), where he ... Read more"
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Russian director and director Kirill Serebrennikov, who has obtained permission for a short trip to Germany, said on Friday he had “no idea” why Moscow suspended its ban on leaving the country.

“I probably behaved well,” quipped the terrible child of Russian theater during a conference at the Thalia Theater in Hamburg (north), where he is staging the play “The Black Monk” based on the fantastic novel by Anton Chekhov.

Arrived on Monday, he specified that he would return to Russia on January 22, the evening of the premiere of his play.

“We filed an official request with the authorities asking them to be able to go to Hamburg. And they gave us permission for this project,” he continued.

“I have no idea” what prompted this decision, he said, after having suffered many rejections in the past for other projects.

The director was thus unable to attend the Cannes Film Festival in July, where his film “Petrov’s Fever” was in the running for the Palme d’Or. He had received strong support from the world of cinema from a distance.

Serebrennikov assured that he would return home. “I have to go back because I promised,” he said in Hamburg.

Known for his daring creations, his support for LGBT + and his criticism of the authoritarianism of Vladimir Putin’s regime, the 52-year-old artist is subject to a ban on leaving Russian territory after being convicted of embezzlement.

His troubles with the law began in August 2017, when he was, in the middle of filming the film “Leto”, arrested by the police and accused of embezzlement of public funds.

For his defenders, this audacious artist, who once enjoyed the favors of power, is punished for his effrontery.

For a year and a half, he was under house arrest, without access to the internet or the telephone. Never mind. He receives via his lawyer USB keys with videos of rehearsals for his shows, which he supervises in the same way, setting up an opera in Hamburg, for example.

In June 2020, he was sentenced for embezzlement to a three-year suspended prison sentence and a ban on leaving Russia during this period. A relief, when he risked six years in prison.

And in February 2021, the Moscow City Hall ousted him from the theater, the Gogol Center, which he had directed since 2012.

Despite these difficulties, the director has no plans to leave his country.

“This is my homeland,” he told AFP on the sidelines of the conference. “I love him very much and have many friends in Russia. My dreams are still in Russia,” he stressed.

Despite his years of confinement, he said he always felt free.

“Being free is part of my job. It’s impossible to work in art or theater without freedom. Otherwise it’s propaganda or something else,” he says.

“We carry our freedom within us. We do not receive it from the outside,” he said. “It has to do with how we build our lives and how we build ourselves.”

fec-ilp/ial/

We would love to say thanks to the author of this post for this awesome content

Authorized to leave Russia, director Serebrennikov admits his surprise

Other links: https://awardworld.net/resources/
" } ["summary"]=> string(684) "Russian director and director Kirill Serebrennikov, who has obtained permission for a short trip to Germany, said on Friday he had “no idea” why Moscow suspended its ban on leaving the country. “I probably behaved well,” quipped the terrible child of Russian theater during a conference at the Thalia Theater in Hamburg (north), where he ... Read more" ["atom_content"]=> string(3914) "

Russian director and director Kirill Serebrennikov, who has obtained permission for a short trip to Germany, said on Friday he had “no idea” why Moscow suspended its ban on leaving the country.

“I probably behaved well,” quipped the terrible child of Russian theater during a conference at the Thalia Theater in Hamburg (north), where he is staging the play “The Black Monk” based on the fantastic novel by Anton Chekhov.

Arrived on Monday, he specified that he would return to Russia on January 22, the evening of the premiere of his play.

“We filed an official request with the authorities asking them to be able to go to Hamburg. And they gave us permission for this project,” he continued.

“I have no idea” what prompted this decision, he said, after having suffered many rejections in the past for other projects.

The director was thus unable to attend the Cannes Film Festival in July, where his film “Petrov’s Fever” was in the running for the Palme d’Or. He had received strong support from the world of cinema from a distance.

Serebrennikov assured that he would return home. “I have to go back because I promised,” he said in Hamburg.

Known for his daring creations, his support for LGBT + and his criticism of the authoritarianism of Vladimir Putin’s regime, the 52-year-old artist is subject to a ban on leaving Russian territory after being convicted of embezzlement.

His troubles with the law began in August 2017, when he was, in the middle of filming the film “Leto”, arrested by the police and accused of embezzlement of public funds.

For his defenders, this audacious artist, who once enjoyed the favors of power, is punished for his effrontery.

For a year and a half, he was under house arrest, without access to the internet or the telephone. Never mind. He receives via his lawyer USB keys with videos of rehearsals for his shows, which he supervises in the same way, setting up an opera in Hamburg, for example.

In June 2020, he was sentenced for embezzlement to a three-year suspended prison sentence and a ban on leaving Russia during this period. A relief, when he risked six years in prison.

And in February 2021, the Moscow City Hall ousted him from the theater, the Gogol Center, which he had directed since 2012.

Despite these difficulties, the director has no plans to leave his country.

“This is my homeland,” he told AFP on the sidelines of the conference. “I love him very much and have many friends in Russia. My dreams are still in Russia,” he stressed.

Despite his years of confinement, he said he always felt free.

“Being free is part of my job. It’s impossible to work in art or theater without freedom. Otherwise it’s propaganda or something else,” he says.

“We carry our freedom within us. We do not receive it from the outside,” he said. “It has to do with how we build our lives and how we build ourselves.”

fec-ilp/ial/

We would love to say thanks to the author of this post for this awesome content

Authorized to leave Russia, director Serebrennikov admits his surprise

Other links: https://awardworld.net/resources/
" ["date_timestamp"]=> int(1642593771) } [1]=> array(11) { ["title"]=> string(66) "“Voyeurism” cycle on LaCinetek in January 2022 – Film Critic" ["link"]=> string(90) "https://awardworld.net/palme-dor/voyeurism-cycle-on-lacinetek-in-january-2022-film-critic/" ["dc"]=> array(1) { ["creator"]=> string(14) "Stephen Juarez" } ["pubdate"]=> string(31) "Wed, 19 Jan 2022 11:01:21 +0000" ["category"]=> string(52) "Palme D’orcriticCyclefilmJanuaryLaCinetekVoyeurism" ["guid"]=> string(31) "https://awardworld.net/?p=12652" ["description"]=> string(632) "The Amateur © 1979 Film Polski / MK2 All rights reserved A bit of a voyeur, the movie viewer certainly is. The monthly selection of LaCinetek therefore has all its legitimacy, since it offers you at the beginning of the year 2022 and until Wednesday February 9 inclusive, ten films on voyeurism in the broad ... Read more" ["content"]=> array(1) { ["encoded"]=> string(10013) "


Voyeurism cycle on LaCinetek in January 2022 Film Critic
The Amateur © 1979 Film Polski / MK2 All rights reserved

A bit of a voyeur, the movie viewer certainly is. The monthly selection of LaCinetek therefore has all its legitimacy, since it offers you at the beginning of the year 2022 and until Wednesday February 9 inclusive, ten films on voyeurism in the broad sense. These film studies are all pretty sick. But how could it be otherwise, when the gaze ventures where it should not go: on the side of intimacy and the suffering of the other? You are therefore warned of the radical change of register compared to the comic cycle of December. Which should in no way prevent you from observing, from France, Belgium and Luxembourg, these cantilevered characters with discretion.

Fortunately, there is no sign of inflation in terms of subscription price to LaCinetek, the mode of operation of which remains unchanged. For less than three euros per month or thirty euros per year, you will have unlimited access to the selection of the month on its site. And to give you even more desire to take the plunge and subscribe permanently, be advised that the next cycles are also worth taking a close look at. Thus, you will find on the platform founded in 2015 by Pascale Ferran, Laurent Cantet and Cédric Klapisch, next month a cycle “En train” with films by Abel Gance, Alfred Hitchcock and Jean Renoir, then in March a tribute to the brothers and sisters, brought together by, among others, Ingmar Bergman, Akira Kurosawa and Mike Leigh.

Otherwise, in the same way in the news of the platform on the video on demand side, LaCinetek has brought together since the beginning of the month a program dedicated to the pioneers of cinema, including the directors Germaine Dulac and Alice Guy. In two days, on Thursday January 20, a John Travolta focus will allow us to review three key films from the actor’s career: Saturday night fever by John Badham grease by Randal Kleiser and pulp Fiction by Quentin Tarantino. And director Nicole Garcia – pretty unlucky at the box office recently with her latest film lovers – will present you his list of bedside films, on which appear among others Tess by Roman Polanski and My favorite season by André Téchiné.

1642590077 847 Voyeurism cycle on LaCinetek in January 2022 Film Critic
The Diabolical Doctor Mabuse © 1960 Arthur Grimm / Central Cinema Company / CEI Incom / Critérion Film /
Les Acacias All rights reserved

These are mostly French dirty stories that clash on the list of this cycle, assembled with as much care as ever by the LaCinetek selectors. Since the cinema of the immediate post-war period with the oppressive Panic from Julien Duvivier to the percussive Hidden by Michael Haneke, from which we still haven’t completely recovered, even fifteen years after its release, national productions shine there indeed by their ill-intentioned state of mind. Unfortunately, unsurprisingly, it is often men who are the source of voyeuristic intrusion, by Michael Lonsdale in the funny documentary A dirty story from Jean Eustache to Michel Blanc in Mr Hire by Patrice Leconte, to the detriment of the female characters, the poor Romy Schneider in the lead, exploited and undressed with a look in quick succession by the directors Andrzej Zulawski and Bertrand Tavernier.

The camera plays an even more essential and inquisitive role in the four foreign films of the monthly selection. In Poland, at the time of the socialist leaden screed, the fact of having a small camera does not bring much luck to the protagonist of The Amateur, the second fiction film by Krzysztof Kieslowski. As for the titled film par excellence The Voyeur, his treatment of voyeurism far ahead of his time had resulted in the early 1960s by the almost definitive end of the career of the legendary Michael Powell. Exactly the same year, the great Fritz Lang had also bowed out, with a German thriller that probably did not live up to his previous treatment of the enigmatic figure of Doctor Mabuse.

Finally, the prestige gained from the outset thanks to the Palme d’Or won by Sex lies and video, Steven Soderbergh’s first film, had up to now supported the career of this prolific and unpredictable director.

1642590077 981 Voyeurism cycle on LaCinetek in January 2022 Film Critic
The important thing is to love © 1975 Jean-Pierre Fizet / Albina Productions / Rizzoli Film / TIT Filmproduktion /
Tamasa Distribution All rights reserved

The “Voyeurism” selection of the month of January 2022

The Amateur (Poland / 1979) by Krzysztof Kieslowski, with Jerzy Stuhr and Malgorzata Zabkowska

Hidden (France / 2005) by Michael Haneke, with Daniel Auteuil and Juliette Binoche, Best Director Award at the Cannes Film Festival in 2005

The Diabolical Doctor Mabuse (Germany / 1960) by Fritz Lang, with Dawn Addams and Peter Van Eyck

The important thing is to love (France / 1975) by Andrzej Zulawski, with Romy Schneider and Fabio Testi, César for Best Actress to Romy Schneider in 1976

Mr Hire (France / 1989) by Patrice Leconte, with Michel Blanc and Sandrine Bonnaire, César for Best Sound in 1990

1642590077 441 Voyeurism cycle on LaCinetek in January 2022 Film Critic
Monsieur Hire © 1989 Jean-Marie Leroy / Hachette Premiere / France 3 Cinema / UGC International / Pathé Films
All rights reserved

death live (France / 1980) by Bertrand Tavernier, with Romy Schneider and Harvey Keitel

Panic (France / 1946) by Julien Duvivier, with Viviane Romance and Michel Simon

Sex lies and video (United States / 1989) by Steven Soderbergh, with James Spader and Andie MacDowell, Palme d’or and Best Actor Award to James Spader at the Cannes Film Festival in 1989

A dirty story (France / 1977) by Jean Eustache, with Michael Lonsdale

The Voyeur (United Kingdom / 1960) by Michael Powell, with Karlheinz Böhm and Moira Shearer

1642590078 432 Voyeurism cycle on LaCinetek in January 2022 Film Critic
Panic © 1946 Raymond Voinquel / Filmsonor Marceau / Les Acacias All rights reserved

We would love to thank the writer of this short article for this outstanding web content

“Voyeurism” cycle on LaCinetek in January 2022 – Film Critic

Other links: https://awardworld.net/resources/
" } ["summary"]=> string(632) "The Amateur © 1979 Film Polski / MK2 All rights reserved A bit of a voyeur, the movie viewer certainly is. The monthly selection of LaCinetek therefore has all its legitimacy, since it offers you at the beginning of the year 2022 and until Wednesday February 9 inclusive, ten films on voyeurism in the broad ... Read more" ["atom_content"]=> string(10013) "


Voyeurism cycle on LaCinetek in January 2022 Film Critic
The Amateur © 1979 Film Polski / MK2 All rights reserved

A bit of a voyeur, the movie viewer certainly is. The monthly selection of LaCinetek therefore has all its legitimacy, since it offers you at the beginning of the year 2022 and until Wednesday February 9 inclusive, ten films on voyeurism in the broad sense. These film studies are all pretty sick. But how could it be otherwise, when the gaze ventures where it should not go: on the side of intimacy and the suffering of the other? You are therefore warned of the radical change of register compared to the comic cycle of December. Which should in no way prevent you from observing, from France, Belgium and Luxembourg, these cantilevered characters with discretion.

Fortunately, there is no sign of inflation in terms of subscription price to LaCinetek, the mode of operation of which remains unchanged. For less than three euros per month or thirty euros per year, you will have unlimited access to the selection of the month on its site. And to give you even more desire to take the plunge and subscribe permanently, be advised that the next cycles are also worth taking a close look at. Thus, you will find on the platform founded in 2015 by Pascale Ferran, Laurent Cantet and Cédric Klapisch, next month a cycle “En train” with films by Abel Gance, Alfred Hitchcock and Jean Renoir, then in March a tribute to the brothers and sisters, brought together by, among others, Ingmar Bergman, Akira Kurosawa and Mike Leigh.

Otherwise, in the same way in the news of the platform on the video on demand side, LaCinetek has brought together since the beginning of the month a program dedicated to the pioneers of cinema, including the directors Germaine Dulac and Alice Guy. In two days, on Thursday January 20, a John Travolta focus will allow us to review three key films from the actor’s career: Saturday night fever by John Badham grease by Randal Kleiser and pulp Fiction by Quentin Tarantino. And director Nicole Garcia – pretty unlucky at the box office recently with her latest film lovers – will present you his list of bedside films, on which appear among others Tess by Roman Polanski and My favorite season by André Téchiné.

1642590077 847 Voyeurism cycle on LaCinetek in January 2022 Film Critic
The Diabolical Doctor Mabuse © 1960 Arthur Grimm / Central Cinema Company / CEI Incom / Critérion Film /
Les Acacias All rights reserved

These are mostly French dirty stories that clash on the list of this cycle, assembled with as much care as ever by the LaCinetek selectors. Since the cinema of the immediate post-war period with the oppressive Panic from Julien Duvivier to the percussive Hidden by Michael Haneke, from which we still haven’t completely recovered, even fifteen years after its release, national productions shine there indeed by their ill-intentioned state of mind. Unfortunately, unsurprisingly, it is often men who are the source of voyeuristic intrusion, by Michael Lonsdale in the funny documentary A dirty story from Jean Eustache to Michel Blanc in Mr Hire by Patrice Leconte, to the detriment of the female characters, the poor Romy Schneider in the lead, exploited and undressed with a look in quick succession by the directors Andrzej Zulawski and Bertrand Tavernier.

The camera plays an even more essential and inquisitive role in the four foreign films of the monthly selection. In Poland, at the time of the socialist leaden screed, the fact of having a small camera does not bring much luck to the protagonist of The Amateur, the second fiction film by Krzysztof Kieslowski. As for the titled film par excellence The Voyeur, his treatment of voyeurism far ahead of his time had resulted in the early 1960s by the almost definitive end of the career of the legendary Michael Powell. Exactly the same year, the great Fritz Lang had also bowed out, with a German thriller that probably did not live up to his previous treatment of the enigmatic figure of Doctor Mabuse.

Finally, the prestige gained from the outset thanks to the Palme d’Or won by Sex lies and video, Steven Soderbergh’s first film, had up to now supported the career of this prolific and unpredictable director.

1642590077 981 Voyeurism cycle on LaCinetek in January 2022 Film Critic
The important thing is to love © 1975 Jean-Pierre Fizet / Albina Productions / Rizzoli Film / TIT Filmproduktion /
Tamasa Distribution All rights reserved

The “Voyeurism” selection of the month of January 2022

The Amateur (Poland / 1979) by Krzysztof Kieslowski, with Jerzy Stuhr and Malgorzata Zabkowska

Hidden (France / 2005) by Michael Haneke, with Daniel Auteuil and Juliette Binoche, Best Director Award at the Cannes Film Festival in 2005

The Diabolical Doctor Mabuse (Germany / 1960) by Fritz Lang, with Dawn Addams and Peter Van Eyck

The important thing is to love (France / 1975) by Andrzej Zulawski, with Romy Schneider and Fabio Testi, César for Best Actress to Romy Schneider in 1976

Mr Hire (France / 1989) by Patrice Leconte, with Michel Blanc and Sandrine Bonnaire, César for Best Sound in 1990

1642590077 441 Voyeurism cycle on LaCinetek in January 2022 Film Critic
Monsieur Hire © 1989 Jean-Marie Leroy / Hachette Premiere / France 3 Cinema / UGC International / Pathé Films
All rights reserved

death live (France / 1980) by Bertrand Tavernier, with Romy Schneider and Harvey Keitel

Panic (France / 1946) by Julien Duvivier, with Viviane Romance and Michel Simon

Sex lies and video (United States / 1989) by Steven Soderbergh, with James Spader and Andie MacDowell, Palme d’or and Best Actor Award to James Spader at the Cannes Film Festival in 1989

A dirty story (France / 1977) by Jean Eustache, with Michael Lonsdale

The Voyeur (United Kingdom / 1960) by Michael Powell, with Karlheinz Böhm and Moira Shearer

1642590078 432 Voyeurism cycle on LaCinetek in January 2022 Film Critic
Panic © 1946 Raymond Voinquel / Filmsonor Marceau / Les Acacias All rights reserved

We would love to thank the writer of this short article for this outstanding web content

“Voyeurism” cycle on LaCinetek in January 2022 – Film Critic

Other links: https://awardworld.net/resources/
" ["date_timestamp"]=> int(1642590081) } [2]=> array(11) { ["title"]=> string(105) "“Itinerary of a spoiled child”, “One + one”… The 5 best and the 5 worst films of Claude Lelouch" ["link"]=> string(121) "https://awardworld.net/palme-dor/itinerary-of-a-spoiled-child-one-one-the-5-best-and-the-5-worst-films-of-claude-lelouch/" ["dc"]=> array(1) { ["creator"]=> string(14) "Stephen Juarez" } ["pubdate"]=> string(31) "Wed, 19 Jan 2022 10:00:10 +0000" ["category"]=> string(56) "Palme D’orchildClaudefilmsItineraryLelouchspoiledWorst" ["guid"]=> string(31) "https://awardworld.net/?p=12649" ["description"]=> string(773) "Horrifying at times, luminous at other times… Claude Lelouch’s long filmography can only be divisive. But as his new film with a very… Lelouchi title is released, love is better than life, Marianne plunged back into its previous opuses to deliver a now traditional Top 5 / Flop 5. Beware, subjectivity guaranteed. TOP 5 5. ... Read more" ["content"]=> array(1) { ["encoded"]=> string(12702) "

Horrifying at times, luminous at other times… Claude Lelouch’s long filmography can only be divisive. But as his new film with a very… Lelouchi title is released, love is better than life, Marianne plunged back into its previous opuses to deliver a now traditional Top 5 / Flop 5. Beware, subjectivity guaranteed.

TOP 5

5. A Man and a Woman (1966)

Chabadabada, chabadada… We’re not going to repeat the pitch for this cult film which won the Palme d’or at Cannes, two Oscars and four Golden Globes the same year and brought critical and public fame to Claude Lelouch. But we still love, 56 years after its release, Jean-Louis Trintignant and Anouck Aimé, legendary couple under the cold sky of Deauville, the deserted hotel, the empty beach, the wind blowing the sand, the emerging smiles, confidences delivered in one breath, superb black and white, suspended moments. Even if the scenario fits on a postage stamp – two beings wounded by life learn to love again – the essential is elsewhere, in the moving camera, in the music of Francis Lai, Pierre Barouh and Nicole Croisille, in the divine plans , in the magnetism of its performers and in the infinite sensuality of these undecided hearts. Timeless and universal.

4. Each Other (1981)

Family fresco centered on four lineages of different nationalities (French, Russian, German and American) and three generations linked by the love of music, this monster film of three hours auscultates, from 1936 to 1981, destinies marked by the Second World War world. As prima ballerina Jorge Donn says of a fallen Russian soldier: ” Those who declare war have neither ties nor love. Not for the actors of Lelouch.

With a silky voiceover, that of Francis Huster, a five-star cast – Geraldine Chaplin, Nicole Garcia, Macha Méril, Fanny Ardant, Robert Hossein, Daniel Olbrychski, James Caan, Richard Bohringer, Jacques Villeret, Jean-Claude Brialy… – sensitive sequences – a conductor who nevertheless decides to perform in an empty room – and an exceptional finale where Jorge Donn flies away on Ravel’s Boléro choreographed by Maurice Béjart, Lelouch offers a delicate and powerful hymn to tolerance .

3. The Happy New Year (1973)

A thriller in the form of a romantic comedy. Lelouch has no equal when he turns actors he venerates and to whom he leaves all their place on the screen. Here, Lino Ventura, as a romantic robber trying to conquer an emancipated Françoise Fabian, helped by a Charles Gérard, as a faithful friend and ready for anything, including robbing a Van Cleef jewelry store in Cannes, reputed to be unbreakable. With his light, naturalistic camera and chiseled dialogue, Lelouch films the preparations for the robbery with as much grace as the budding love story between Lino Ventura and Françoise Fabian.

As a bonus, a cult sequence, a nod to his own filmography: prisoners whistle A man and a woman during the weekly prison screening. The Happy New Year, which Stanley Kubrick projected to his team before starting each of his shoots, has, almost 50 years later, lost none of its freshness and elegance.

2. Adventure is Adventure (1972)

A gem of comedy served by a quintet of outstanding actors having fun like crazy. Lino Ventura, Jacques Brel, Charles Denner, Aldo Maccione and Charles Gérard embody robbers converted into political crime, trying to kidnap a Swiss diplomat or organize a revolution in a banana republic.

Filled with cult lines – “ Capital is over! The Fifth is over! », « Is power really profitable? », « Stalin, driver of the revolution, it’s a metaphor », this whirling tenth feature film by Lelouch is a jubilant farce that shoots post-sixty-eight ideals on sight. And to think that when it was released, this film was accused of being reactionary! It was to forget that he is above all, like the famous joke delivered by Lino Ventura, ” Marxist, Groucho tendency “. Tasty.

1. Itinerary of a Spoiled Child (1988)

With this thirtieth film, Claude Lelouch confirms not only that he is a great director but also that he is capable of damaging a legend of the 7th art. It’s not nothing. Jean-Paul Belmondo, here, scratching his image of magnificent and tender thug, breaks with himself. His character, Sam Lion, a man in the prime of life, abandoned by his mother when he was only 6 months old and to whom everything has succeeded, decides to disappear, to change his identity and to live in adventurer. But one of his former employees, superbly portrayed by Richard Anconina, will find him in the depths of the African bush and lead him to reconnect with his family. With a swirling camera and a scenario full of humanity, Lelouch makes people love life, the one we suffer and the one we have chosen. A must to see and review.

FLOP 5

5. A man a woman already twenty years old, 1986

So there, we pinch ourselves. By capitalizing on its greatest success and resuming its cult couple, exactly twenty years after the release of the cult A man, a woman, Lelouch hoped to play the nostalgia and the cash drawer. Except that the sauce no longer takes, the shots are devoid of any emotion but filled with people – PPDA, Gérard Oury, Michèle Morgan – and the plot turns out to be calamitous, bland and uninteresting. Apart from the touching scene of the reunion of the old lovers, who have become rally director and film producer, shot in improvisation, everything smells of mothballs.

Lelouch looks at his navel and fame in a totally sterile and superfluous mise en abyme. In the casting, the Lelouch family is reunited, Marie Sophie L., her companion, Évelyne Bouix, her ex-companion, Salomé and Sarah, her daughters, and, of course, the “chabadabadadieuseries” of rigor. We forget. Fortunately, Lelouch will sign, in 2019, a new sequel, more touching and more inspired, The best years of a life, where the magic of love shines through again, under the wrinkles.

4. Les Miserables, 1995

Undoubtedly the worst adaptation of the gigantic work of Victor Hugo, brought up to date with the Lelouch Touch, namely casting, melodrama and good feelings. Except that there, by dint of playing with the eras – from the Great War to the Second and the German occupation in France – and the characters, Lelouch loses us and, above all, annoys us. Because it is not enough to bring together Jean-Paul Belmondo, Annie Girardot, Philippe Léotard, Clémentine Célarié, Jean Marais, Philippe Khorsand and Rufus to make a good film, even and above all with a handheld camera.

Lelouch yielding to his passion for historical frescoes, tangles the film to deliver a nonsense gloubi-boulga on miserable people who are perpetuated from generation to generation. The ace. We prefer to dive back into the romantic and virtuoso performance given by Robert Hossein in 1982 with Lino Ventura Michel Bouquet and Jean Carmet.

3. One+one, 2015

A love story on Indian soil where Claude Lelouch spends his time doing product placement, such as this Mercedes in which Christophe Lambert drives, who plays the French ambassador, or this Chopard watch filmed in close-up, adorning the wrist by Jean Dujardin, who embodies a music composer falling in love with Anna, a diplomat’s wife portrayed by Elsa Zylberstein.

By plane, by train, by boat, by car, these two crisscross India in pasteboard, take part in ritual ceremonies, are embraced by the holy Amma and rant about existence in business class in a country where 90% of working people earn less than 125 euros per month. ” Don’t you think we’re doing a bit too much? “says Jean Dujardin to Elsa Zylberstein. How to say… yes. Sore concerns for a sore film.

2. Men women, instructions for use, 2008

The eternal subjects exploited by Lelouch, but this time with Bernard Tapie and Ophélie Winter as guest-stars. We could fear the worst with this marketing casting, we were right. A businessman – Tapie, of course – meets Fabrice Luchini, a sickly hypochondriac, in a doctor’s waiting room. Against all odds, these two become friends. And hold forth for more than two hours on the things of life as vain as they are hollow. The scene where they philosophize on Pascal is a monument of the genre.

Uninspired, Lelouch, as usual, brings together characters who should never have met, but there, like the spectator, even the supporting roles are bored. Charles Gérard is yawning, Ticky Holgado is chomping at the bit and Daniel Gélin is jaw dropping. Clumsy staging, lyrical dialogue that falls flat and a boring script. We zap.

1. The Beautiful Story, 1991

Two thousand years of hardship for a second of eternity proclaimed the poster of the film. And for the spectator, 210 minutes of suffering. Two hundred and ten minutes where we have to endure cliches on crappy existential questions, life, death, love, the eternal restart… Hang on: nowadays, Jesus, interpreted by Gérard Lanvin, comes out of prison, falls in love with Marie, played by Marie-Sophie L., a teacher in need of National Education, while Simon, a policeman camped by Vincent Lindon, pursues Odana, sublime Béatrice Dalle, convinced that he has already met her in another life. And for good reason, all these characters met during the occupation of Judea by Rome, two thousand years ago. Draft, cacophonous, chaotic, this shoddy esotericism punctuated by the guitars of the Gypsy Kings is saved only by the grace of a radiant Béatrice Dalle.

Indoors, love is better than life, by Claude Lelouch.

READ ALSO: Lelouch, beautiful confession

We want to thank the author of this write-up for this remarkable content

“Itinerary of a spoiled child”, “One + one”… The 5 best and the 5 worst films of Claude Lelouch

Other links: https://awardworld.net/resources/
" } ["summary"]=> string(773) "Horrifying at times, luminous at other times… Claude Lelouch’s long filmography can only be divisive. But as his new film with a very… Lelouchi title is released, love is better than life, Marianne plunged back into its previous opuses to deliver a now traditional Top 5 / Flop 5. Beware, subjectivity guaranteed. TOP 5 5. ... Read more" ["atom_content"]=> string(12702) "

Horrifying at times, luminous at other times… Claude Lelouch’s long filmography can only be divisive. But as his new film with a very… Lelouchi title is released, love is better than life, Marianne plunged back into its previous opuses to deliver a now traditional Top 5 / Flop 5. Beware, subjectivity guaranteed.

TOP 5

5. A Man and a Woman (1966)

Chabadabada, chabadada… We’re not going to repeat the pitch for this cult film which won the Palme d’or at Cannes, two Oscars and four Golden Globes the same year and brought critical and public fame to Claude Lelouch. But we still love, 56 years after its release, Jean-Louis Trintignant and Anouck Aimé, legendary couple under the cold sky of Deauville, the deserted hotel, the empty beach, the wind blowing the sand, the emerging smiles, confidences delivered in one breath, superb black and white, suspended moments. Even if the scenario fits on a postage stamp – two beings wounded by life learn to love again – the essential is elsewhere, in the moving camera, in the music of Francis Lai, Pierre Barouh and Nicole Croisille, in the divine plans , in the magnetism of its performers and in the infinite sensuality of these undecided hearts. Timeless and universal.

4. Each Other (1981)

Family fresco centered on four lineages of different nationalities (French, Russian, German and American) and three generations linked by the love of music, this monster film of three hours auscultates, from 1936 to 1981, destinies marked by the Second World War world. As prima ballerina Jorge Donn says of a fallen Russian soldier: ” Those who declare war have neither ties nor love. Not for the actors of Lelouch.

With a silky voiceover, that of Francis Huster, a five-star cast – Geraldine Chaplin, Nicole Garcia, Macha Méril, Fanny Ardant, Robert Hossein, Daniel Olbrychski, James Caan, Richard Bohringer, Jacques Villeret, Jean-Claude Brialy… – sensitive sequences – a conductor who nevertheless decides to perform in an empty room – and an exceptional finale where Jorge Donn flies away on Ravel’s Boléro choreographed by Maurice Béjart, Lelouch offers a delicate and powerful hymn to tolerance .

3. The Happy New Year (1973)

A thriller in the form of a romantic comedy. Lelouch has no equal when he turns actors he venerates and to whom he leaves all their place on the screen. Here, Lino Ventura, as a romantic robber trying to conquer an emancipated Françoise Fabian, helped by a Charles Gérard, as a faithful friend and ready for anything, including robbing a Van Cleef jewelry store in Cannes, reputed to be unbreakable. With his light, naturalistic camera and chiseled dialogue, Lelouch films the preparations for the robbery with as much grace as the budding love story between Lino Ventura and Françoise Fabian.

As a bonus, a cult sequence, a nod to his own filmography: prisoners whistle A man and a woman during the weekly prison screening. The Happy New Year, which Stanley Kubrick projected to his team before starting each of his shoots, has, almost 50 years later, lost none of its freshness and elegance.

2. Adventure is Adventure (1972)

A gem of comedy served by a quintet of outstanding actors having fun like crazy. Lino Ventura, Jacques Brel, Charles Denner, Aldo Maccione and Charles Gérard embody robbers converted into political crime, trying to kidnap a Swiss diplomat or organize a revolution in a banana republic.

Filled with cult lines – “ Capital is over! The Fifth is over! », « Is power really profitable? », « Stalin, driver of the revolution, it’s a metaphor », this whirling tenth feature film by Lelouch is a jubilant farce that shoots post-sixty-eight ideals on sight. And to think that when it was released, this film was accused of being reactionary! It was to forget that he is above all, like the famous joke delivered by Lino Ventura, ” Marxist, Groucho tendency “. Tasty.

1. Itinerary of a Spoiled Child (1988)

With this thirtieth film, Claude Lelouch confirms not only that he is a great director but also that he is capable of damaging a legend of the 7th art. It’s not nothing. Jean-Paul Belmondo, here, scratching his image of magnificent and tender thug, breaks with himself. His character, Sam Lion, a man in the prime of life, abandoned by his mother when he was only 6 months old and to whom everything has succeeded, decides to disappear, to change his identity and to live in adventurer. But one of his former employees, superbly portrayed by Richard Anconina, will find him in the depths of the African bush and lead him to reconnect with his family. With a swirling camera and a scenario full of humanity, Lelouch makes people love life, the one we suffer and the one we have chosen. A must to see and review.

FLOP 5

5. A man a woman already twenty years old, 1986

So there, we pinch ourselves. By capitalizing on its greatest success and resuming its cult couple, exactly twenty years after the release of the cult A man, a woman, Lelouch hoped to play the nostalgia and the cash drawer. Except that the sauce no longer takes, the shots are devoid of any emotion but filled with people – PPDA, Gérard Oury, Michèle Morgan – and the plot turns out to be calamitous, bland and uninteresting. Apart from the touching scene of the reunion of the old lovers, who have become rally director and film producer, shot in improvisation, everything smells of mothballs.

Lelouch looks at his navel and fame in a totally sterile and superfluous mise en abyme. In the casting, the Lelouch family is reunited, Marie Sophie L., her companion, Évelyne Bouix, her ex-companion, Salomé and Sarah, her daughters, and, of course, the “chabadabadadieuseries” of rigor. We forget. Fortunately, Lelouch will sign, in 2019, a new sequel, more touching and more inspired, The best years of a life, where the magic of love shines through again, under the wrinkles.

4. Les Miserables, 1995

Undoubtedly the worst adaptation of the gigantic work of Victor Hugo, brought up to date with the Lelouch Touch, namely casting, melodrama and good feelings. Except that there, by dint of playing with the eras – from the Great War to the Second and the German occupation in France – and the characters, Lelouch loses us and, above all, annoys us. Because it is not enough to bring together Jean-Paul Belmondo, Annie Girardot, Philippe Léotard, Clémentine Célarié, Jean Marais, Philippe Khorsand and Rufus to make a good film, even and above all with a handheld camera.

Lelouch yielding to his passion for historical frescoes, tangles the film to deliver a nonsense gloubi-boulga on miserable people who are perpetuated from generation to generation. The ace. We prefer to dive back into the romantic and virtuoso performance given by Robert Hossein in 1982 with Lino Ventura Michel Bouquet and Jean Carmet.

3. One+one, 2015

A love story on Indian soil where Claude Lelouch spends his time doing product placement, such as this Mercedes in which Christophe Lambert drives, who plays the French ambassador, or this Chopard watch filmed in close-up, adorning the wrist by Jean Dujardin, who embodies a music composer falling in love with Anna, a diplomat’s wife portrayed by Elsa Zylberstein.

By plane, by train, by boat, by car, these two crisscross India in pasteboard, take part in ritual ceremonies, are embraced by the holy Amma and rant about existence in business class in a country where 90% of working people earn less than 125 euros per month. ” Don’t you think we’re doing a bit too much? “says Jean Dujardin to Elsa Zylberstein. How to say… yes. Sore concerns for a sore film.

2. Men women, instructions for use, 2008

The eternal subjects exploited by Lelouch, but this time with Bernard Tapie and Ophélie Winter as guest-stars. We could fear the worst with this marketing casting, we were right. A businessman – Tapie, of course – meets Fabrice Luchini, a sickly hypochondriac, in a doctor’s waiting room. Against all odds, these two become friends. And hold forth for more than two hours on the things of life as vain as they are hollow. The scene where they philosophize on Pascal is a monument of the genre.

Uninspired, Lelouch, as usual, brings together characters who should never have met, but there, like the spectator, even the supporting roles are bored. Charles Gérard is yawning, Ticky Holgado is chomping at the bit and Daniel Gélin is jaw dropping. Clumsy staging, lyrical dialogue that falls flat and a boring script. We zap.

1. The Beautiful Story, 1991

Two thousand years of hardship for a second of eternity proclaimed the poster of the film. And for the spectator, 210 minutes of suffering. Two hundred and ten minutes where we have to endure cliches on crappy existential questions, life, death, love, the eternal restart… Hang on: nowadays, Jesus, interpreted by Gérard Lanvin, comes out of prison, falls in love with Marie, played by Marie-Sophie L., a teacher in need of National Education, while Simon, a policeman camped by Vincent Lindon, pursues Odana, sublime Béatrice Dalle, convinced that he has already met her in another life. And for good reason, all these characters met during the occupation of Judea by Rome, two thousand years ago. Draft, cacophonous, chaotic, this shoddy esotericism punctuated by the guitars of the Gypsy Kings is saved only by the grace of a radiant Béatrice Dalle.

Indoors, love is better than life, by Claude Lelouch.

READ ALSO: Lelouch, beautiful confession

We want to thank the author of this write-up for this remarkable content

“Itinerary of a spoiled child”, “One + one”… The 5 best and the 5 worst films of Claude Lelouch

Other links: https://awardworld.net/resources/
" ["date_timestamp"]=> int(1642586410) } [3]=> array(11) { ["title"]=> string(140) "From the IMF to peripheral countries: it is time for adjustment | In the middle of the negotiation, message between the lines for Argentina" ["link"]=> string(171) "https://awardworld.net/nobel-prize/from-the-imf-to-peripheral-countries-it-is-time-for-adjustment-in-the-middle-of-the-negotiation-message-between-the-lines-for-argentina/" ["dc"]=> array(1) { ["creator"]=> string(15) "David Armstrong" } ["pubdate"]=> string(31) "Wed, 19 Jan 2022 09:36:05 +0000" ["category"]=> string(85) "Nobel PrizeadjustmentArgentinacountriesIMFlinesmessagemiddlenegotiationperipheraltime" ["guid"]=> string(31) "https://awardworld.net/?p=12646" ["description"]=> string(867) "While the Argentine government tries to negotiate with the IMF an extension of the path of fiscal adjustment to avoid an abrupt brake on the economic recovery, the organization continues to show signs that it maintains its historical perspective on the role of austerity as a method to obtain the repayment of their credits. The ... Read more" ["content"]=> array(1) { ["encoded"]=> string(6564) "

While the Argentine government tries to negotiate with the IMF an extension of the path of fiscal adjustment to avoid an abrupt brake on the economic recovery, the organization continues to show signs that it maintains its historical perspective on the role of austerity as a method to obtain the repayment of their credits.

The new global scenario dominated by the data of the highest US inflation in the last four decades, new waves of contagion and strains of the pandemic and bottlenecks in various global production chains is the ideal breeding ground for the Fund to go out and say that emerging countries tighten their belts. Especially those highly indebted in foreign currency, with high inflation and weakened institutions. Without saying so, the IMF referred to Argentina.

“Some emerging markets have already begun to adjust their monetary policy and are preparing to reduce fiscal support to deal with growing debt and inflation. Those countries with a credible policy on inflation can adjust their monetary policy more gradually, while others with higher inflation or weaker institutions must act quickly and comprehensively. In any case, the answer must include depreciating currencies and raising interest rates,” says the report “Emerging Economies Must Prepare for Fed Policy Tightening,” by Stephan Danninger, Kenneth Kang and Hélène Poirson, published in the IMF blog.

The path

The Argentine Government is in the middle of a discussion with the IMF due to the pace of the adjustment requested by the organization to close the credit agreement that allows paying the mega-debt package signed by Mauricio Macri in 2018.

According to the numbers shown by the Minister of Economy, Martín Guzmán, the Government’s intention is that in 2022 the deficit is somewhat lower than the 3 points of GDP registered in 2021, and then advance in a gradual reduction path of about half a point of the product per year. The primary balance would be reached around 2027.

However, The Fund would be looking for fiscal balance to be reached in 2024, which would require a harsh adjustment to begin this year. For the Government, this scenario would slow down the economic recovery.

If the IMF pushes Argentina into a destabilizing situation, it will also have less legitimacy in the future, when other countries require multilateralism to be able to solve their problems together with the international community. If we want to protect each other and protect the functioning of multilateralism, it is important to agree on something that is credible. Y credible means implementable“, warned Guzmán, who is fine-tuning the numbers to see if he approaches positions.

Meanwhile, the Government is negotiating in Washington directly with the administration of Jhey Biden, who is ultimately the one with the last word because he pulls the strings of the Monetary Fund.

Regardless of how the brains of the creditor organization reason, what is certain is that They have interests that are very different from those of the government.: the drop in activity would allow greater foreign exchange slack through lower imports and thus It would free up dollars to pay off the debt, which is ultimately what the Fund is interested in.

Nobel laureate Joseph Stiglitz warned days ago that “everyone should know by now that austerity is counterproductive, although some influential member states in the IMF still push for it.” If “the old demands for austerity prosper, the consequences for the Fund itself would be serious, including the less willingness of other countries to engage with it. That, in turn, could threaten global political and financial stability. In the end, everyone would lose,” Stiglitz said.

“Hard Choices”

The world economic context of greater uncertainty due to the pandemic and the growing inflation in the central countries is the ideal scenario for the IMF to hammer with its cookbook.

“Wage-base inflation in the United States or larger supply bottlenecks may push prices higher than anticipated. Consequently, faster interest rate hikes by the Fed may tighten financial conditions around the world. This may be accompanied by a slowdown in US demand and may lead to capital flows against emerging economies and the depreciation of those currencies,” indicates the report.

“The actions that need to be taken may pose difficult choices for emerging economies, as they must choose between supporting a weak domestic market and taking care of price performance and external stability. Similarly, extending support to businesses can increase credit risks and weaken the long-term health of financial institutions. Although retracing these measures may weaken the recovery,” the document says.

“Countries with high levels of indebtedness in foreign currency must reduce the risks of the roll over of debt. The maturity of the obligations should be extended even if it implies higher costs. The most heavily indebted countries may need to start fiscal adjustment soon and quickly“, adds the work. There is not much doubt that Argentina is in the last group of countries.

Meanwhile, another article written by Sanjaya Panth and Ceyla Pazarbasioglu warns that “As the world emerges from the pandemic, short- and medium-term financial shocks will repeat themselves.. Sharper-than-expected monetary tightening in the face of inflationary pressures in advanced economies will, for example, have spillover effects on the balance of payments of emerging market countries.”

We would love to thank the author of this article for this incredible content

From the IMF to peripheral countries: it is time for adjustment | In the middle of the negotiation, message between the lines for Argentina

Other links: https://awardworld.net/resources/
" } ["summary"]=> string(867) "While the Argentine government tries to negotiate with the IMF an extension of the path of fiscal adjustment to avoid an abrupt brake on the economic recovery, the organization continues to show signs that it maintains its historical perspective on the role of austerity as a method to obtain the repayment of their credits. The ... Read more" ["atom_content"]=> string(6564) "

While the Argentine government tries to negotiate with the IMF an extension of the path of fiscal adjustment to avoid an abrupt brake on the economic recovery, the organization continues to show signs that it maintains its historical perspective on the role of austerity as a method to obtain the repayment of their credits.

The new global scenario dominated by the data of the highest US inflation in the last four decades, new waves of contagion and strains of the pandemic and bottlenecks in various global production chains is the ideal breeding ground for the Fund to go out and say that emerging countries tighten their belts. Especially those highly indebted in foreign currency, with high inflation and weakened institutions. Without saying so, the IMF referred to Argentina.

“Some emerging markets have already begun to adjust their monetary policy and are preparing to reduce fiscal support to deal with growing debt and inflation. Those countries with a credible policy on inflation can adjust their monetary policy more gradually, while others with higher inflation or weaker institutions must act quickly and comprehensively. In any case, the answer must include depreciating currencies and raising interest rates,” says the report “Emerging Economies Must Prepare for Fed Policy Tightening,” by Stephan Danninger, Kenneth Kang and Hélène Poirson, published in the IMF blog.

The path

The Argentine Government is in the middle of a discussion with the IMF due to the pace of the adjustment requested by the organization to close the credit agreement that allows paying the mega-debt package signed by Mauricio Macri in 2018.

According to the numbers shown by the Minister of Economy, Martín Guzmán, the Government’s intention is that in 2022 the deficit is somewhat lower than the 3 points of GDP registered in 2021, and then advance in a gradual reduction path of about half a point of the product per year. The primary balance would be reached around 2027.

However, The Fund would be looking for fiscal balance to be reached in 2024, which would require a harsh adjustment to begin this year. For the Government, this scenario would slow down the economic recovery.

If the IMF pushes Argentina into a destabilizing situation, it will also have less legitimacy in the future, when other countries require multilateralism to be able to solve their problems together with the international community. If we want to protect each other and protect the functioning of multilateralism, it is important to agree on something that is credible. Y credible means implementable“, warned Guzmán, who is fine-tuning the numbers to see if he approaches positions.

Meanwhile, the Government is negotiating in Washington directly with the administration of Jhey Biden, who is ultimately the one with the last word because he pulls the strings of the Monetary Fund.

Regardless of how the brains of the creditor organization reason, what is certain is that They have interests that are very different from those of the government.: the drop in activity would allow greater foreign exchange slack through lower imports and thus It would free up dollars to pay off the debt, which is ultimately what the Fund is interested in.

Nobel laureate Joseph Stiglitz warned days ago that “everyone should know by now that austerity is counterproductive, although some influential member states in the IMF still push for it.” If “the old demands for austerity prosper, the consequences for the Fund itself would be serious, including the less willingness of other countries to engage with it. That, in turn, could threaten global political and financial stability. In the end, everyone would lose,” Stiglitz said.

“Hard Choices”

The world economic context of greater uncertainty due to the pandemic and the growing inflation in the central countries is the ideal scenario for the IMF to hammer with its cookbook.

“Wage-base inflation in the United States or larger supply bottlenecks may push prices higher than anticipated. Consequently, faster interest rate hikes by the Fed may tighten financial conditions around the world. This may be accompanied by a slowdown in US demand and may lead to capital flows against emerging economies and the depreciation of those currencies,” indicates the report.

“The actions that need to be taken may pose difficult choices for emerging economies, as they must choose between supporting a weak domestic market and taking care of price performance and external stability. Similarly, extending support to businesses can increase credit risks and weaken the long-term health of financial institutions. Although retracing these measures may weaken the recovery,” the document says.

“Countries with high levels of indebtedness in foreign currency must reduce the risks of the roll over of debt. The maturity of the obligations should be extended even if it implies higher costs. The most heavily indebted countries may need to start fiscal adjustment soon and quickly“, adds the work. There is not much doubt that Argentina is in the last group of countries.

Meanwhile, another article written by Sanjaya Panth and Ceyla Pazarbasioglu warns that “As the world emerges from the pandemic, short- and medium-term financial shocks will repeat themselves.. Sharper-than-expected monetary tightening in the face of inflationary pressures in advanced economies will, for example, have spillover effects on the balance of payments of emerging market countries.”

We would love to thank the author of this article for this incredible content

From the IMF to peripheral countries: it is time for adjustment | In the middle of the negotiation, message between the lines for Argentina

Other links: https://awardworld.net/resources/
" ["date_timestamp"]=> int(1642584965) } [4]=> array(11) { ["title"]=> string(117) "Cinema – Launch of “Tigritudes”: African cinema from all angles – Lequotidien – General information journal" ["link"]=> string(132) "https://awardworld.net/palme-dor/cinema-launch-of-tigritudes-african-cinema-from-all-angles-lequotidien-general-information-journal/" ["dc"]=> array(1) { ["creator"]=> string(14) "Stephen Juarez" } ["pubdate"]=> string(31) "Wed, 19 Jan 2022 08:58:40 +0000" ["category"]=> string(65) "Palme D’orAfricananglescinemaJournallaunchLequotidienTigritudes" ["guid"]=> string(31) "https://awardworld.net/?p=12643" ["description"]=> string(810) "From January 1 to February 27, the Forum des Images de Paris presents a selection of 126 African films of all genres. A selection that should then circulate on the continent, starting with Burkina Faso. The simple reading of this title, Tigritudes, makes it possible to understand that this vast anthology offered by the Forum ... Read more" ["content"]=> array(1) { ["encoded"]=> string(9379) "

From January 1 to February 27, the Forum des Images de Paris presents a selection of 126 African films of all genres. A selection that should then circulate on the continent, starting with Burkina Faso.

The simple reading of this title, Tigritudes, makes it possible to understand that this vast anthology offered by the Forum des Images is not simply one more look at the history of African cinema and its diasporas (United States, Caribbean, Cuba , etc.). This beautiful title is inspired by the famous expression of the Nigerian writer Wole Soyinka, Nobel Prize for Literature, who declared in 1962 during a meeting in Kampala: “The tiger does not proclaim its tigritude, it leaps on its prey and devours”. Which then amounted to criticizing, with a certain ferocity, the literary movement of negritude in vogue since the 1930s in the French-speaking sphere, well before the era of decolonization. He thus wanted to oppose the “vain rhetoric” of this intellectual and literary current whose leaders were Senghor and Césaire and the need, at the time of independence, to take action to obtain results. Applying the formula to the cinema is therefore, for the directors Dyana Gaye and Valérie Osouf who designed this cycle, a way of presenting a program that would ignore the divisions of the continent, mixing ethical, aesthetic and political dimensions of the seventh art, emphasizing the importance of self-determination. A tribute to Soyinka that also honors the continent’s struggles and diversity. Remembering, commented with a smile on Valérie Osouf’s lips, that a tiger is a very uneven animal, “with its welts that refer to the plural”.

A subjective and assumed choice
It is therefore, wishes to clarify Dyana Gaye, neither a retrospective nor a festival: the choice of programming is subjective and assumed as such by the two filmmakers who met a quarter of a century ago. in Senegal and who wanted to share the pleasure of discovering, or getting to know better, a cinematography that is still underexposed. Admittedly, the period explored only runs from 1956 to today and the screenings, 64 in number, make it possible to present a total of 126 films, all formats combined, in a chronological approach. But it is not a question of recapitulating the history of African cinema – a formula which, moreover, unsurprisingly rejects the two programmers who hear about “cinemas from Africa and the diaspora”.
The starting date of 1956, for example, is not at all intended to coincide with that of the supposed beginnings of this cinema which is most often fixed (forgetting the previous existence of an Egyptian cinema) with Africa on Seine of Beninese naturalized Senegalese Paulin Soumanou Vieyra. 1956 represents for them above all the date of the independence of Sudan, from which one records “a seismography of the struggles”, according to the title of the work of the art historian Zahia Rahmani who inspired them. Two thirds of a century of struggles of an Africa “not outside but, whether Nicolas Sarkozy likes it, in history” which lead us to today.

Unknown films by great directors
How was the choice of films made, necessarily draconian given the extent of the field explored? The main concern being to discover works, the organizers decided not to exclude the big names but rather to show some of their little-known films. Thus, we will not see Yeelen but Finyè by Souleymane Cissé, not Bamako or Timbuktu by Abderrrahmane Sissako but Heremakono (Waiting for Happiness), not Borrom Charrette or La Noire by… or Moolaade by Ousmane Sembene but Emitaï, not Yaaba or Kini and Adams by Idrissa Ouedraogo but Samba Traoré, not Gare centrale or Le Destin by Youssef Chahine but Black Waters, not Un Homme qui crie by Mahamat Saleh Haroun but Bye bye Africa, not Do the right thing by Spike Lee but School Daze , not Touki Bouki or Hyènes by Djibril Diop Mambety but Badou Boy. Diversity has been favored, even if it means giving up showing big-name films like those by Burkinabè Gaston Kaboré, Nigerian Ola Balogun or Algerian Mohamed Lakhdar Hamina, the only African Palme d’Or at Cannes to date with Chronicle of the Years embers. Not without regret since, for example, Hassan Terro by the Algerian director was still in the penultimate list of films. This desire to favor the discovery and cinematography of countries with little exposure, avoiding an over-representation of Senegalese films dear to the two programmers or of the prolific Algeria, has however come up against impasses. Dyana Gueye and Valérie Osouf know that there are three Libyan films but they couldn’t get their hands on the copies. And if they did not find films from the Central African Republic or Uganda worthy of screening, they were surprised to find that, sometimes, relatively recent films had “disappeared” like Drum by South African Zola Maseko, however winner of the Fespaco in 2005, Fangs by Mohammed Shebl or those of the Algerian Djamila Sahraoui. Furthermore, it was necessary to bow before certain questions of rights and exclusivity on works such as that of the Ethiopian installed in the United States Hailé Gerima, of which they would have liked to show The Harvest of the three thousand years which symbolizes better than quite different is the link between Africa and its diaspora.

The emergence of a hybrid cinema
Having seen or re-watched a large number of films from the past sixty-five years, have the directors spotted periods or moments that were particularly creative or, on the contrary, disappointing? They reply without hesitation that the years that aged the worst were the 1990s, which are often considered to be good times for African cinema, because many films from this period, especially French-speaking ones, appear “formatted”. An effect of European funding? On the other hand, the 1970s, and in particular the year 1975, retained their relevance with many films not having aged a bit.

Bold new generations…
Encouragingly, they think we are probably living in exciting new times today. With bold new generations who offer freer writing, subjects and new forms, freeing themselves from codes. In particular, we observe the appearance of a hybrid cinema, on the edge of the plastic arts. To illustrate this evolution in the cycle presented at the Forum des images, we will discover the film by Lesotho director Lemohang Jeremiah Mosese, Mother, i’m suffocating. Or a short film by Moroccan Randa Maroufi Bab Sebta.

Sessions for young audiences and Master class
Apart from the films, which will often be the subject of debates in the presence of the directors or other guests, Tigritudes will also offer screenings for young audiences, Master classes (in particular one by Billy Woodberry, co-founder of the renaissance movement African-American cinema LA Rebellion in the 1960s-70s, February 26) and film lessons. Among these, in addition to a look at Algerian cinematography (by critic Saad Chakali, January 14) and a dive into the cinema of Djibril Diop Manbety (February 11 by Catherine Ruelle), a presentation by Nigerian director Newton Aduaka explaining that his country’s cinema is not just about Nollywood (January 28), a history of pan-African political documentary by Egyptian Jihan El-Tahri (February 18) or an exploration of “Lusophone cinemas in the turmoil of conflict” by producer Pedro Pimento (February 25).

From next March in Burkina Faso
Open this January 13 in the evening with the projection in a restored version of the superb film by Cameroonian Jean-Pierre Dikongué Pipa Muna Moto who won the Yennenga Stallion at the Fespaco in 1975, Tigritudes will end on February 27 with on the screen, in preview, a very recent Ethiopian documentary by Jessica Beshir. But that won’t be the end of the story. Because Dyana Gaye and Valérie Osouf, before devoting themselves again to their personal cinematographic projects (a musical comedy to be shot in Dakar for the first time, a documentary made with Patrick Chamoiseau from an adaptation of the book Sartorius by Edouard Slippery for the second), intend to circulate Tigritudes beyond Paris. In American universities and in the Caribbean, but especially on the African continent. This will begin next March in Burkina Faso, in Bobo Dioulasso, and projects are in the process of being implemented in Senegal, Benin, Cameroon, Tunisia and Algeria.

Young Africa

We want to say thanks to the writer of this article for this awesome web content

Cinema – Launch of “Tigritudes”: African cinema from all angles – Lequotidien – General information journal

Other links: https://awardworld.net/resources/
" } ["summary"]=> string(810) "From January 1 to February 27, the Forum des Images de Paris presents a selection of 126 African films of all genres. A selection that should then circulate on the continent, starting with Burkina Faso. The simple reading of this title, Tigritudes, makes it possible to understand that this vast anthology offered by the Forum ... Read more" ["atom_content"]=> string(9379) "

From January 1 to February 27, the Forum des Images de Paris presents a selection of 126 African films of all genres. A selection that should then circulate on the continent, starting with Burkina Faso.

The simple reading of this title, Tigritudes, makes it possible to understand that this vast anthology offered by the Forum des Images is not simply one more look at the history of African cinema and its diasporas (United States, Caribbean, Cuba , etc.). This beautiful title is inspired by the famous expression of the Nigerian writer Wole Soyinka, Nobel Prize for Literature, who declared in 1962 during a meeting in Kampala: “The tiger does not proclaim its tigritude, it leaps on its prey and devours”. Which then amounted to criticizing, with a certain ferocity, the literary movement of negritude in vogue since the 1930s in the French-speaking sphere, well before the era of decolonization. He thus wanted to oppose the “vain rhetoric” of this intellectual and literary current whose leaders were Senghor and Césaire and the need, at the time of independence, to take action to obtain results. Applying the formula to the cinema is therefore, for the directors Dyana Gaye and Valérie Osouf who designed this cycle, a way of presenting a program that would ignore the divisions of the continent, mixing ethical, aesthetic and political dimensions of the seventh art, emphasizing the importance of self-determination. A tribute to Soyinka that also honors the continent’s struggles and diversity. Remembering, commented with a smile on Valérie Osouf’s lips, that a tiger is a very uneven animal, “with its welts that refer to the plural”.

A subjective and assumed choice
It is therefore, wishes to clarify Dyana Gaye, neither a retrospective nor a festival: the choice of programming is subjective and assumed as such by the two filmmakers who met a quarter of a century ago. in Senegal and who wanted to share the pleasure of discovering, or getting to know better, a cinematography that is still underexposed. Admittedly, the period explored only runs from 1956 to today and the screenings, 64 in number, make it possible to present a total of 126 films, all formats combined, in a chronological approach. But it is not a question of recapitulating the history of African cinema – a formula which, moreover, unsurprisingly rejects the two programmers who hear about “cinemas from Africa and the diaspora”.
The starting date of 1956, for example, is not at all intended to coincide with that of the supposed beginnings of this cinema which is most often fixed (forgetting the previous existence of an Egyptian cinema) with Africa on Seine of Beninese naturalized Senegalese Paulin Soumanou Vieyra. 1956 represents for them above all the date of the independence of Sudan, from which one records “a seismography of the struggles”, according to the title of the work of the art historian Zahia Rahmani who inspired them. Two thirds of a century of struggles of an Africa “not outside but, whether Nicolas Sarkozy likes it, in history” which lead us to today.

Unknown films by great directors
How was the choice of films made, necessarily draconian given the extent of the field explored? The main concern being to discover works, the organizers decided not to exclude the big names but rather to show some of their little-known films. Thus, we will not see Yeelen but Finyè by Souleymane Cissé, not Bamako or Timbuktu by Abderrrahmane Sissako but Heremakono (Waiting for Happiness), not Borrom Charrette or La Noire by… or Moolaade by Ousmane Sembene but Emitaï, not Yaaba or Kini and Adams by Idrissa Ouedraogo but Samba Traoré, not Gare centrale or Le Destin by Youssef Chahine but Black Waters, not Un Homme qui crie by Mahamat Saleh Haroun but Bye bye Africa, not Do the right thing by Spike Lee but School Daze , not Touki Bouki or Hyènes by Djibril Diop Mambety but Badou Boy. Diversity has been favored, even if it means giving up showing big-name films like those by Burkinabè Gaston Kaboré, Nigerian Ola Balogun or Algerian Mohamed Lakhdar Hamina, the only African Palme d’Or at Cannes to date with Chronicle of the Years embers. Not without regret since, for example, Hassan Terro by the Algerian director was still in the penultimate list of films. This desire to favor the discovery and cinematography of countries with little exposure, avoiding an over-representation of Senegalese films dear to the two programmers or of the prolific Algeria, has however come up against impasses. Dyana Gueye and Valérie Osouf know that there are three Libyan films but they couldn’t get their hands on the copies. And if they did not find films from the Central African Republic or Uganda worthy of screening, they were surprised to find that, sometimes, relatively recent films had “disappeared” like Drum by South African Zola Maseko, however winner of the Fespaco in 2005, Fangs by Mohammed Shebl or those of the Algerian Djamila Sahraoui. Furthermore, it was necessary to bow before certain questions of rights and exclusivity on works such as that of the Ethiopian installed in the United States Hailé Gerima, of which they would have liked to show The Harvest of the three thousand years which symbolizes better than quite different is the link between Africa and its diaspora.

The emergence of a hybrid cinema
Having seen or re-watched a large number of films from the past sixty-five years, have the directors spotted periods or moments that were particularly creative or, on the contrary, disappointing? They reply without hesitation that the years that aged the worst were the 1990s, which are often considered to be good times for African cinema, because many films from this period, especially French-speaking ones, appear “formatted”. An effect of European funding? On the other hand, the 1970s, and in particular the year 1975, retained their relevance with many films not having aged a bit.

Bold new generations…
Encouragingly, they think we are probably living in exciting new times today. With bold new generations who offer freer writing, subjects and new forms, freeing themselves from codes. In particular, we observe the appearance of a hybrid cinema, on the edge of the plastic arts. To illustrate this evolution in the cycle presented at the Forum des images, we will discover the film by Lesotho director Lemohang Jeremiah Mosese, Mother, i’m suffocating. Or a short film by Moroccan Randa Maroufi Bab Sebta.

Sessions for young audiences and Master class
Apart from the films, which will often be the subject of debates in the presence of the directors or other guests, Tigritudes will also offer screenings for young audiences, Master classes (in particular one by Billy Woodberry, co-founder of the renaissance movement African-American cinema LA Rebellion in the 1960s-70s, February 26) and film lessons. Among these, in addition to a look at Algerian cinematography (by critic Saad Chakali, January 14) and a dive into the cinema of Djibril Diop Manbety (February 11 by Catherine Ruelle), a presentation by Nigerian director Newton Aduaka explaining that his country’s cinema is not just about Nollywood (January 28), a history of pan-African political documentary by Egyptian Jihan El-Tahri (February 18) or an exploration of “Lusophone cinemas in the turmoil of conflict” by producer Pedro Pimento (February 25).

From next March in Burkina Faso
Open this January 13 in the evening with the projection in a restored version of the superb film by Cameroonian Jean-Pierre Dikongué Pipa Muna Moto who won the Yennenga Stallion at the Fespaco in 1975, Tigritudes will end on February 27 with on the screen, in preview, a very recent Ethiopian documentary by Jessica Beshir. But that won’t be the end of the story. Because Dyana Gaye and Valérie Osouf, before devoting themselves again to their personal cinematographic projects (a musical comedy to be shot in Dakar for the first time, a documentary made with Patrick Chamoiseau from an adaptation of the book Sartorius by Edouard Slippery for the second), intend to circulate Tigritudes beyond Paris. In American universities and in the Caribbean, but especially on the African continent. This will begin next March in Burkina Faso, in Bobo Dioulasso, and projects are in the process of being implemented in Senegal, Benin, Cameroon, Tunisia and Algeria.

Young Africa

We want to say thanks to the writer of this article for this awesome web content

Cinema – Launch of “Tigritudes”: African cinema from all angles – Lequotidien – General information journal

Other links: https://awardworld.net/resources/
" ["date_timestamp"]=> int(1642582720) } [5]=> array(11) { ["title"]=> string(56) "Indira, the secret of the Nobel Gabriel García Márquez" ["link"]=> string(89) "https://awardworld.net/nobel-prize/indira-the-secret-of-the-nobel-gabriel-garcia-marquez/" ["dc"]=> array(1) { ["creator"]=> string(15) "David Armstrong" } ["pubdate"]=> string(31) "Wed, 19 Jan 2022 06:35:11 +0000" ["category"]=> string(50) "Nobel PrizeGabrielGarcíaIndiraMárquezNobelSecret" ["guid"]=> string(31) "https://awardworld.net/?p=12640" ["description"]=> string(580) "The name of Indira Cato had been in my mind for many years. On the day of the death of Gabriel Garcia Marquez (1927-2014), that noon of Holy Thursday, in that April of brilliant light and ominous omens near the sea of ​​San Antero, someone alluded to the still unconfirmed rumor that the author of ... Read more" ["content"]=> array(1) { ["encoded"]=> string(7897) "

The name of Indira Cato had been in my mind for many years. On the day of the death of Gabriel Garcia Marquez (1927-2014), that noon of Holy Thursday, in that April of brilliant light and ominous omens near the sea of ​​San Antero, someone alluded to the still unconfirmed rumor that the author of A hundred years of solitude had left a daughter, and it was a kept secret.

The rumor had spread from Mexico to the Caribbean and had crept like an unexpected wind into the Madrid apartment of Gabo’s biographer, Dasso Saldivar, the author of “The Journey to the Seed,” and into Gerald Martin’s house in London, and to our house in Cartagena de Indias. It is a rumor that was suspiciously awakened again at the writer’s funeral at the Palace of Fine Arts, and remained flapping like a wind that opened and closed doors, without bringing credible reasons or verifiable news.

Dasso confessed to me that, in the face of rumours, a biographer has the duty to scrutinize and decipher until the origin and veracity of the loose voices is verified. Gerald Martin had the suspicion since it all started, more than 30 years ago. And he was convinced of the reality only 10 years ago. It was a secret that no one dared to name, not even those closest to Garcia Marquez, his family, his brothers and his friends. With Dasso we had a dialogue since 2019 that became a secret pact to trace the fate of that girl, test the news and find the best way to tell it. Dasso agreed from the beginning that I should tell this monumental news. It was an overwhelming challenge.

A silence out of respect for Mercedes

Dasso Saldivar confirmed the news thanks to Guillermo Angulo, the oldest of his surviving friends, at 94 years old, with the fresh memory of when he met the young and skinny writer under 30 years old, who had dark circles under his eyes Purples from scaring away hunger in Paris, while writing the novel of the veteran colonel grandfather of the Thousand Days War, there were still misgivings and fears among the brothers and friends themselves in recognizing that open secret that no one dared to tell.

When I learned the name from the lips of Dasso and his family in Cartagena de Indias, Indira Cato resounded in my heart like an enigma to be solved. When I asked the relatives of Cartagena de Indias about Indira, they were speechless, and over time, they themselves revealed to me that she was the daughter of Garcia Marquez, but that no one dared to name that love relationship between the writer and the journalist and filmmaker. Susana Cato “for veneration of Mercedes Barcha”.

That was an emotional cataclysm for Mercedes and for the family, but the Garcia Marquez barely knew about her, they welcomed her with the warmth and affection of being a member of the lineage. However, that reception also generated conflicts with Mercedes. Nothing that had happened could dethrone the splendor of the love epic that Mercedes and Gabo had forged over 57 years of marriage, but that became the best kept secret of the writer and his family.

Dasso suggested that this should be told with subtlety and respect for human beings and the two families. And he remembered having witnessed an image in which Gabo carried his little girl on his legs. “The smile of happiness that Gabo has with his little girl on his legs, I will not forget it as long as I live!”, he told me for that scoop of the report in the newspaper El Universal de Cartagena. In those pages, he began as a journalist on May 21, 1948. The world returning to its origins.

Gabo’s student

Susana Cato (Mexico City, 61 years old) enrolled in the Script Workshop taught by Garcia Marquez at the San Antonio de los Banos Film School (Cuba). She was one of Gabo’s most outstanding students, when she proposed plots about love stories at the film school. Together with his teacher and Eliseo Alberto Diego, he wrote the film series “You don’t play with love” (1991), directed by Carlos Garcia Agraz, Jose Luis Garcia Agraz and Tomas Gutierrez Alea. And I also created the plot of the short film “El Espejo de Dos Lunas”, directed by Carlos Garcia Agraz, with a script by Garcia Marquez.

Also together with Gabo he participated in the script about Maria. As a correspondent for Cambio magazine in Mexico, I interviewed Garcia Marquez and titled his report: “In Colombia, the writer has no choice but to change his profession.” Susana published between 2019 and 2020 two books: Ellas. Las mujeres del 68 (Process Editions), a series of interviews with women who lived through this historical moment, with a prologue by Elena Poniatowska and the book “Issir. Spoken portrait of an Iraqi migrant” (2019) (Process Editions).

Indira’s train

The train shakes the memories again. Watching the documentary “Take my loves away”, produced by Indira Cato, I feel that this train is the same one that takes us from Aracataca to the hearts of these Mexican women who, along the railway, deliver bags of food to migrants. hungry peeking out of the windows. Upon discovering them, the young film producer Indira Cato went after these supportive women who gave what they did not have, something more than food, for the smile of the migrants. He knew that there was the harsh movie of everyday life.

Indira Cato, a young film producer, has a profound and coherent social, ethical and aesthetic vision of cinema. In 2020 he won a fortnight of awards with the production of his first documentary “Take my loves” (2014), directed by Arturo Gonzalez Villasenor, with a script by both. Study Dramatic Literature and Theater at UNAM. He has published film reviews on the website Butaca Ancha. She successfully participated in the second edition of the Coahuila State Film Festival, 2020. She works on the documentary “Las hijas del maiz”, about a group of midwives from Chiapas.

Indira bears the surname of her mother, Susana Cato, and not that of her father, Gabriel Garcia Marquez. The two have forged their destiny by hand. Indira has never claimed the surname of her father, who did not publicly recognize her, but kept his loving paternity a secret. Gabo did not escape the fate of his paternal ancestors: his father and grandfather adopted the maternal surname as they were not recognized by their parents. The brothers Rodrigo and Gonzalo are watching her, says Gabriel Torres Garcia, Gabo’s nephew, who maintains that life is beyond fiction: Indira studied with her nephew Mateo, son of Gonzalo Garcia Barcha. Gabo, for his part, was attentive to her until the end of his life. When choosing a name for her, he banished Virginia, which had haunted his clairvoyance since the sixties, and Indira was imposed by Indira Gandhi, whom he met in 1983, and who was the first head of state to call him in that October 1982 when The Nobel Prize was announced to him.

Indira has the deep gaze, the very black eyebrows of her father, and the unfathomable gaze of someone who goes through things just by looking at them.

We would like to thank the author of this article for this remarkable material

Indira, the secret of the Nobel Gabriel García Márquez

Other links: https://awardworld.net/resources/
" } ["summary"]=> string(580) "The name of Indira Cato had been in my mind for many years. On the day of the death of Gabriel Garcia Marquez (1927-2014), that noon of Holy Thursday, in that April of brilliant light and ominous omens near the sea of ​​San Antero, someone alluded to the still unconfirmed rumor that the author of ... Read more" ["atom_content"]=> string(7897) "

The name of Indira Cato had been in my mind for many years. On the day of the death of Gabriel Garcia Marquez (1927-2014), that noon of Holy Thursday, in that April of brilliant light and ominous omens near the sea of ​​San Antero, someone alluded to the still unconfirmed rumor that the author of A hundred years of solitude had left a daughter, and it was a kept secret.

The rumor had spread from Mexico to the Caribbean and had crept like an unexpected wind into the Madrid apartment of Gabo’s biographer, Dasso Saldivar, the author of “The Journey to the Seed,” and into Gerald Martin’s house in London, and to our house in Cartagena de Indias. It is a rumor that was suspiciously awakened again at the writer’s funeral at the Palace of Fine Arts, and remained flapping like a wind that opened and closed doors, without bringing credible reasons or verifiable news.

Dasso confessed to me that, in the face of rumours, a biographer has the duty to scrutinize and decipher until the origin and veracity of the loose voices is verified. Gerald Martin had the suspicion since it all started, more than 30 years ago. And he was convinced of the reality only 10 years ago. It was a secret that no one dared to name, not even those closest to Garcia Marquez, his family, his brothers and his friends. With Dasso we had a dialogue since 2019 that became a secret pact to trace the fate of that girl, test the news and find the best way to tell it. Dasso agreed from the beginning that I should tell this monumental news. It was an overwhelming challenge.

A silence out of respect for Mercedes

Dasso Saldivar confirmed the news thanks to Guillermo Angulo, the oldest of his surviving friends, at 94 years old, with the fresh memory of when he met the young and skinny writer under 30 years old, who had dark circles under his eyes Purples from scaring away hunger in Paris, while writing the novel of the veteran colonel grandfather of the Thousand Days War, there were still misgivings and fears among the brothers and friends themselves in recognizing that open secret that no one dared to tell.

When I learned the name from the lips of Dasso and his family in Cartagena de Indias, Indira Cato resounded in my heart like an enigma to be solved. When I asked the relatives of Cartagena de Indias about Indira, they were speechless, and over time, they themselves revealed to me that she was the daughter of Garcia Marquez, but that no one dared to name that love relationship between the writer and the journalist and filmmaker. Susana Cato “for veneration of Mercedes Barcha”.

That was an emotional cataclysm for Mercedes and for the family, but the Garcia Marquez barely knew about her, they welcomed her with the warmth and affection of being a member of the lineage. However, that reception also generated conflicts with Mercedes. Nothing that had happened could dethrone the splendor of the love epic that Mercedes and Gabo had forged over 57 years of marriage, but that became the best kept secret of the writer and his family.

Dasso suggested that this should be told with subtlety and respect for human beings and the two families. And he remembered having witnessed an image in which Gabo carried his little girl on his legs. “The smile of happiness that Gabo has with his little girl on his legs, I will not forget it as long as I live!”, he told me for that scoop of the report in the newspaper El Universal de Cartagena. In those pages, he began as a journalist on May 21, 1948. The world returning to its origins.

Gabo’s student

Susana Cato (Mexico City, 61 years old) enrolled in the Script Workshop taught by Garcia Marquez at the San Antonio de los Banos Film School (Cuba). She was one of Gabo’s most outstanding students, when she proposed plots about love stories at the film school. Together with his teacher and Eliseo Alberto Diego, he wrote the film series “You don’t play with love” (1991), directed by Carlos Garcia Agraz, Jose Luis Garcia Agraz and Tomas Gutierrez Alea. And I also created the plot of the short film “El Espejo de Dos Lunas”, directed by Carlos Garcia Agraz, with a script by Garcia Marquez.

Also together with Gabo he participated in the script about Maria. As a correspondent for Cambio magazine in Mexico, I interviewed Garcia Marquez and titled his report: “In Colombia, the writer has no choice but to change his profession.” Susana published between 2019 and 2020 two books: Ellas. Las mujeres del 68 (Process Editions), a series of interviews with women who lived through this historical moment, with a prologue by Elena Poniatowska and the book “Issir. Spoken portrait of an Iraqi migrant” (2019) (Process Editions).

Indira’s train

The train shakes the memories again. Watching the documentary “Take my loves away”, produced by Indira Cato, I feel that this train is the same one that takes us from Aracataca to the hearts of these Mexican women who, along the railway, deliver bags of food to migrants. hungry peeking out of the windows. Upon discovering them, the young film producer Indira Cato went after these supportive women who gave what they did not have, something more than food, for the smile of the migrants. He knew that there was the harsh movie of everyday life.

Indira Cato, a young film producer, has a profound and coherent social, ethical and aesthetic vision of cinema. In 2020 he won a fortnight of awards with the production of his first documentary “Take my loves” (2014), directed by Arturo Gonzalez Villasenor, with a script by both. Study Dramatic Literature and Theater at UNAM. He has published film reviews on the website Butaca Ancha. She successfully participated in the second edition of the Coahuila State Film Festival, 2020. She works on the documentary “Las hijas del maiz”, about a group of midwives from Chiapas.

Indira bears the surname of her mother, Susana Cato, and not that of her father, Gabriel Garcia Marquez. The two have forged their destiny by hand. Indira has never claimed the surname of her father, who did not publicly recognize her, but kept his loving paternity a secret. Gabo did not escape the fate of his paternal ancestors: his father and grandfather adopted the maternal surname as they were not recognized by their parents. The brothers Rodrigo and Gonzalo are watching her, says Gabriel Torres Garcia, Gabo’s nephew, who maintains that life is beyond fiction: Indira studied with her nephew Mateo, son of Gonzalo Garcia Barcha. Gabo, for his part, was attentive to her until the end of his life. When choosing a name for her, he banished Virginia, which had haunted his clairvoyance since the sixties, and Indira was imposed by Indira Gandhi, whom he met in 1983, and who was the first head of state to call him in that October 1982 when The Nobel Prize was announced to him.

Indira has the deep gaze, the very black eyebrows of her father, and the unfathomable gaze of someone who goes through things just by looking at them.

We would like to thank the author of this article for this remarkable material

Indira, the secret of the Nobel Gabriel García Márquez

Other links: https://awardworld.net/resources/
" ["date_timestamp"]=> int(1642574111) } [6]=> array(11) { ["title"]=> string(43) "Hispanics wait for their Martin Luther King" ["link"]=> string(79) "https://awardworld.net/nobel-prize/hispanics-wait-for-their-martin-luther-king/" ["dc"]=> array(1) { ["creator"]=> string(15) "David Armstrong" } ["pubdate"]=> string(31) "Wed, 19 Jan 2022 03:32:38 +0000" ["category"]=> string(40) "Nobel PrizeHispanicsKingLutherMartinwait" ["guid"]=> string(31) "https://awardworld.net/?p=12637" ["description"]=> string(564) "* The author is part of the community of readers of La Vanguardia. In addition to his name, year of birth and death 1929 -1968, Martin Luther King’s epitaph reads: “Free at last, Free at last, Thank God Al mighty I’m Free at last”, which means “Free at last”. , free at last, thank God ... Read more" ["content"]=> array(1) { ["encoded"]=> string(8994) "

* The author is part of the community of readers of La Vanguardia.

In addition to his name, year of birth and death 1929 -1968, Martin Luther King’s epitaph reads: “Free at last, Free at last, Thank God Al mighty I’m Free at last”, which means “Free at last”. , free at last, thank God almighty I am free at last.

Last words adapted from his speech I have a Dream (I have a dream), delivered at the March for Jobs and Freedom at the Lincoln Memorial, Washington DC, on August 28, 1963.

Born in Atlanta, Georgia, he is one of the greatest civil rights leaders and activists, pastor and reverend of the Ebenezer Baptist Church of Atlanta until his assassination in Memphis, Tennessee, on April 4, 1968 by James Earl Ray, when a national occupation of Washington D.C. was planned in favor of striking sanitation workers.


Enlarge

Dr. Martin Luther King Jr., during his “I Have a Dream” speech. (AP Photo/File)

AP

Follower of Gandhi, one of the most prominent leaders of the independence of India who practiced nonviolent civil disobedience, pacifist, influenced the tactics of nonviolence and peaceful resistance led by Martin Luther King Jr. in his protests against the War of Vietnam, poverty, racial inequality, segregation and legalized oppression in the United States.

He participated in the bus boycott in Montgomery, Alabama, in 1955 to prevent racial segregation in public transportation, years before the March on Washington in 1963 where he delivered his “I have a dream” speech. He was a promoter of the Civil Rights Act of 1964.

Nobel Peace Prize

The only official public national holiday in the United States that commemorates an African American is the third Monday in January each year. It was objected to by Republicans for alleged links to communism, but was signed into law by Ronald Reagan in 1983.

In 1964, Martin Luther King received the Nobel Peace Prize at the age of 39, making him the youngest person to win it up to that point.


Enlarge

Detail of the sculpted face of Martin Luther King jr.  in washington

Detail of the sculpted face of Martin Luther King jr. in washington

Own

One of his maxims says “our lives begin to end the day we remain silent about the things that matter” and this applies to our current reality in the United States, since there is a total indifference of the current political pseudo-leaders in relation to a promise of Immigration Reform with which they play in each electoral process.

Another expression is about our diversity and we should understand that this makes us strong and that the United States is great for it, because here the only natives or owners of the land are the Native Americans: “We may have all come in different boats, but We are in the same boat now,” he said.

Needless to say, “injustice anywhere is a threat to justice everywhere.”

It is time to reflect on who we are and what our role is in today’s society, how much we Hispanics would give today to have leaders of this category and level.


Enlarge

The cherry trees have begun to bloom next to the Martin Luther King monument in Washington

Cherry blossoms next to the Martin Luther King monument in Washington

Own


read also

Juan Carlos Valderrama

Horizontal

■ HOW CAN I PARTICIPATE IN THE LA VANGUARDIA COMMUNITY?

We would like to give thanks to the author of this write-up for this remarkable material

Hispanics wait for their Martin Luther King

Other links: https://awardworld.net/resources/
" } ["summary"]=> string(564) "* The author is part of the community of readers of La Vanguardia. In addition to his name, year of birth and death 1929 -1968, Martin Luther King’s epitaph reads: “Free at last, Free at last, Thank God Al mighty I’m Free at last”, which means “Free at last”. , free at last, thank God ... Read more" ["atom_content"]=> string(8994) "

* The author is part of the community of readers of La Vanguardia.

In addition to his name, year of birth and death 1929 -1968, Martin Luther King’s epitaph reads: “Free at last, Free at last, Thank God Al mighty I’m Free at last”, which means “Free at last”. , free at last, thank God almighty I am free at last.

Last words adapted from his speech I have a Dream (I have a dream), delivered at the March for Jobs and Freedom at the Lincoln Memorial, Washington DC, on August 28, 1963.

Born in Atlanta, Georgia, he is one of the greatest civil rights leaders and activists, pastor and reverend of the Ebenezer Baptist Church of Atlanta until his assassination in Memphis, Tennessee, on April 4, 1968 by James Earl Ray, when a national occupation of Washington D.C. was planned in favor of striking sanitation workers.


Enlarge

Dr. Martin Luther King Jr., during his “I Have a Dream” speech. (AP Photo/File)

AP

Follower of Gandhi, one of the most prominent leaders of the independence of India who practiced nonviolent civil disobedience, pacifist, influenced the tactics of nonviolence and peaceful resistance led by Martin Luther King Jr. in his protests against the War of Vietnam, poverty, racial inequality, segregation and legalized oppression in the United States.

He participated in the bus boycott in Montgomery, Alabama, in 1955 to prevent racial segregation in public transportation, years before the March on Washington in 1963 where he delivered his “I have a dream” speech. He was a promoter of the Civil Rights Act of 1964.

Nobel Peace Prize

The only official public national holiday in the United States that commemorates an African American is the third Monday in January each year. It was objected to by Republicans for alleged links to communism, but was signed into law by Ronald Reagan in 1983.

In 1964, Martin Luther King received the Nobel Peace Prize at the age of 39, making him the youngest person to win it up to that point.


Enlarge

Detail of the sculpted face of Martin Luther King jr.  in washington

Detail of the sculpted face of Martin Luther King jr. in washington

Own

One of his maxims says “our lives begin to end the day we remain silent about the things that matter” and this applies to our current reality in the United States, since there is a total indifference of the current political pseudo-leaders in relation to a promise of Immigration Reform with which they play in each electoral process.

Another expression is about our diversity and we should understand that this makes us strong and that the United States is great for it, because here the only natives or owners of the land are the Native Americans: “We may have all come in different boats, but We are in the same boat now,” he said.

Needless to say, “injustice anywhere is a threat to justice everywhere.”

It is time to reflect on who we are and what our role is in today’s society, how much we Hispanics would give today to have leaders of this category and level.


Enlarge

The cherry trees have begun to bloom next to the Martin Luther King monument in Washington

Cherry blossoms next to the Martin Luther King monument in Washington

Own


read also

Juan Carlos Valderrama

Horizontal

■ HOW CAN I PARTICIPATE IN THE LA VANGUARDIA COMMUNITY?

We would like to give thanks to the author of this write-up for this remarkable material

Hispanics wait for their Martin Luther King

Other links: https://awardworld.net/resources/
" ["date_timestamp"]=> int(1642563158) } [7]=> array(11) { ["title"]=> string(65) "A short film shot in Châteauguay is eyeing the Oscars | Reflect" ["link"]=> string(100) "https://awardworld.net/academy-awards/a-short-film-shot-in-chateauguay-is-eyeing-the-oscars-reflect/" ["dc"]=> array(1) { ["creator"]=> string(10) "Lisa White" } ["pubdate"]=> string(31) "Wed, 19 Jan 2022 01:19:45 +0000" ["category"]=> string(58) "Academy AwardsChâteauguayeyeingfilmOscarsreflectShortshot" ["guid"]=> string(31) "https://awardworld.net/?p=12634" ["description"]=> string(684) "The great slaps of Annie St-Pierre with Steve Laplante, Lilou Roy-Lanouette, Larissa Corriveau, Amélie Grenier, Jérémie Jacob and Laurent Lemaire. (Picture: Screenshot) The big slaps by director Annie St-Pierre is part of the selection of 15 international short films vying for a place at the prestigious 2022 Oscars ceremony. Shot in Châteauguay, this film with ... Read more" ["content"]=> array(1) { ["encoded"]=> string(3784) "

The great slaps of Annie St-Pierre with Steve Laplante, Lilou Roy-Lanouette, Larissa Corriveau, Amélie Grenier, Jérémie Jacob and Laurent Lemaire. (Picture: Screenshot)

The big slaps by director Annie St-Pierre is part of the selection of 15 international short films vying for a place at the prestigious 2022 Oscars ceremony. Shot in Châteauguay, this film with aromas of sweetness and bitterness highlights the shared custody of the children, a reality that many Quebec families began to come to terms with in the 1980s.

In the film, we follow Denis, a recently divorced father, who picks up his children from the house of his ex-in-laws on Christmas Eve. Heartbreak, discomfort and tenderness rock this wintery short film.

“It’s not an autobiography, I would say it’s autofiction, it’s like a mix between emotions already experienced and a fictional context, a kind of intuition”, explains Annie St. -Rock.

The one who is from Bas Saint-Laurent maintains that each author and director has his little obsessions. For her part, she says she is fascinated by the gentle cruelty of ordinary life. This is what she wanted to convey in Les grandes slaps.

“I think it was a good time to talk about that generation of kids who are now adults whose parents were trying to invent the notion of shared custody in the ’80s. They were awkwardly taming that reality,” says -she.

Chateauguay as background

The director indicates that she would have liked to shoot her film in her native region, but for practical reasons, she and her team decided to stay in the Montreal region.

“We scouted all over the suburbs of Montreal and I found that in Châteauguay, there were still neighborhoods that had this vibe 80s, that’s what we were looking for,” admitted Ms. St-Pierre.

Located on rue du Parc, the rented house has undergone slight interior transformations in order to recreate a design worthy of the desired era.

A film that travels

Since its premiere at the renowned Sundance Festival in Utah in 2020, Annie St-Pierre’s film has seen many festivals around the world, a sign that the work has met with great success among various audiences. The film was presented in particular in Finland, Korea, Belgium, Spain, Italy and even Japan.

“For the Oscars, we are currently in the shortlist of the last 15 films. We will find out on February 8 if we are one of the 5 short films that will be nominated! she announces.

Asked about her future projects, Ms. St-Pierre indicates that she currently has two feature-length fiction projects in development.

In Quebec, Les grandes clades will be presented on January 20 as part of the free festival of short films Plein(s) Ecran(s) on Facebook, Instagram and on the web.

We would love to thank the writer of this article for this amazing web content

A short film shot in Châteauguay is eyeing the Oscars | Reflect

Other links: https://awardworld.net/resources/
" } ["summary"]=> string(684) "The great slaps of Annie St-Pierre with Steve Laplante, Lilou Roy-Lanouette, Larissa Corriveau, Amélie Grenier, Jérémie Jacob and Laurent Lemaire. (Picture: Screenshot) The big slaps by director Annie St-Pierre is part of the selection of 15 international short films vying for a place at the prestigious 2022 Oscars ceremony. Shot in Châteauguay, this film with ... Read more" ["atom_content"]=> string(3784) "

The great slaps of Annie St-Pierre with Steve Laplante, Lilou Roy-Lanouette, Larissa Corriveau, Amélie Grenier, Jérémie Jacob and Laurent Lemaire. (Picture: Screenshot)

The big slaps by director Annie St-Pierre is part of the selection of 15 international short films vying for a place at the prestigious 2022 Oscars ceremony. Shot in Châteauguay, this film with aromas of sweetness and bitterness highlights the shared custody of the children, a reality that many Quebec families began to come to terms with in the 1980s.

In the film, we follow Denis, a recently divorced father, who picks up his children from the house of his ex-in-laws on Christmas Eve. Heartbreak, discomfort and tenderness rock this wintery short film.

“It’s not an autobiography, I would say it’s autofiction, it’s like a mix between emotions already experienced and a fictional context, a kind of intuition”, explains Annie St. -Rock.

The one who is from Bas Saint-Laurent maintains that each author and director has his little obsessions. For her part, she says she is fascinated by the gentle cruelty of ordinary life. This is what she wanted to convey in Les grandes slaps.

“I think it was a good time to talk about that generation of kids who are now adults whose parents were trying to invent the notion of shared custody in the ’80s. They were awkwardly taming that reality,” says -she.

Chateauguay as background

The director indicates that she would have liked to shoot her film in her native region, but for practical reasons, she and her team decided to stay in the Montreal region.

“We scouted all over the suburbs of Montreal and I found that in Châteauguay, there were still neighborhoods that had this vibe 80s, that’s what we were looking for,” admitted Ms. St-Pierre.

Located on rue du Parc, the rented house has undergone slight interior transformations in order to recreate a design worthy of the desired era.

A film that travels

Since its premiere at the renowned Sundance Festival in Utah in 2020, Annie St-Pierre’s film has seen many festivals around the world, a sign that the work has met with great success among various audiences. The film was presented in particular in Finland, Korea, Belgium, Spain, Italy and even Japan.

“For the Oscars, we are currently in the shortlist of the last 15 films. We will find out on February 8 if we are one of the 5 short films that will be nominated! she announces.

Asked about her future projects, Ms. St-Pierre indicates that she currently has two feature-length fiction projects in development.

In Quebec, Les grandes clades will be presented on January 20 as part of the free festival of short films Plein(s) Ecran(s) on Facebook, Instagram and on the web.

We would love to thank the writer of this article for this amazing web content

A short film shot in Châteauguay is eyeing the Oscars | Reflect

Other links: https://awardworld.net/resources/
" ["date_timestamp"]=> int(1642555185) } [8]=> array(11) { ["title"]=> string(84) "Argentina: blue dollar reaches new maximum, bonds fall and country risk exceeds 1900" ["link"]=> string(118) "https://awardworld.net/nobel-prize/argentina-blue-dollar-reaches-new-maximum-bonds-fall-and-country-risk-exceeds-1900/" ["dc"]=> array(1) { ["creator"]=> string(15) "David Armstrong" } ["pubdate"]=> string(31) "Wed, 19 Jan 2022 00:32:02 +0000" ["category"]=> string(71) "Nobel PrizeArgentinaBluebondscountrydollarexceedsfallmaximumreachesrisk" ["guid"]=> string(31) "https://awardworld.net/?p=12631" ["description"]=> string(712) "Exclusive Content The note you are trying to access is exclusively for subscribers subscribe know our plansand enjoy El País without limits. Get into If you are already a subscriber you canSign in with your username and password. While the negotiations with the International Monetary Fund (IMF) are still truncated, Argentine assets have not been ... Read more" ["content"]=> array(1) { ["encoded"]=> string(5918) "

While the negotiations with the International Monetary Fund (IMF) are still truncated, Argentine assets have not been able to break the bad streak they have been going through since the beginning of the year. The risk country broke the ceiling of 1900 basis points, while the bonds of the last debt swap continue to operate in negative territory.

This Tuesday, the risk country advances 25 units (+0.7%) and stands at 1,910 basis points. This is the highest record since the debt was restructured in September 2020, ahead of the 1,898 that it reached at the end of November. Looking at the 2022 route, the index prepared by the J. P. Morgan accumulates an increase of 213 basic points.

The escalation of country risk occurs as a result of the fall in sovereign bonds. Today is no exception. Abroad, the bonds of the last debt swap sink to 2.6% (Bonar 2035); at the local level, the drop is up to 1.8% (Global 2046 and Bonar 2035). Since the beginning of the year, they have accumulated casualties of between 7% and almost 15%.

“The dollar debt does not breathe. There has not been a single positive wheel for Argentine titles so far in 2022. The weighted average price of global titles broke again with US$32 and is even below the floor of March last year. The indicator plummeted to US$31.13 and is one step away from the post-restructuring minimums”, they observed from Portfolio Personal de Inversiones (PPI).

For economists, Argentina is still far from reaching an agreement with the multilateral organization. The key date will be March 21, when the country must disburse US$ 2,901 million to pay the Fund. “The government prefers to delay the negotiation as much as possible before signing an agreement that may contain some disadvantage. However, this could be negative, since with an agreement, Argentina could have more of its financing needs covered for this year and receive investments that will speed up recovery. The market is not exempt from having months with high volatility ahead”, warned Ignacio Morales, an analyst at Wise Capital.

Two weeks ago, Economy Minister Martín Guzmán admitted that the lack of agreement is due to the fiscal path that Argentina must follow. In this regard, today the group of private bondholders Argentina Exchange Bondholders pointed to the electricity subsidies, the power outages that occurred last week in the city and province of Buenos Aires, and the sayings of the Nobel Prize winner Joseph Stiglitz for his statements about the “miracle” of Argentina’s recovery in 2021.

“Argentina’s differences with the IMF are reduced to the fiscal cost of providing almost free electricity in AMBA. people extract bitcoin at home, he never turns off the air conditioning and the system is without electricity due to lack of investment. Professor Stiglitz, why are creditors supposed to subsidize this ‘miracle’?

As for the Stock market, today the S&P Merval operates at 84,110 units (-1.1%). In the Buenos Aires stock market, the shares of Loma Negra sank 3.9%, Central Puerto 2.2% and Transportadora de Gas del Norte 1.9%.

After yesterday’s holiday in the United States, today the argentine stocks that are listed on Wall Street (called ADR) start the week trending lower. The biggest fall is for the papers of Pampa Energía (-3.8%), Central Puerto (-3.7%), YPF (-3.4%) and Grupo Financiero Galicia (-3.4%).

On the other hand, in the first business of the day the Dolar blue climbs a peso and is sold for 210 Argentine pesos, the highest value on record. The gap with the official wholesale dollar (104.18 Argentine pesos) continues to be above 100%.

The official retail dollar It is sold in the main banks of the country at an average of 109.52 Argentine pesos, according to information from the Central Bank (BCRA). The “solidarity” dollar, which has a surcharge of 30% in PAIS tax and 35% on Profit account, reaches 180.70 Argentine pesos.

Meanwhile, the financial dollars show some disparate variations. On the one hand, the MEP dollar with AL30 bonds is offered at 205.53 Argentine pesos (0.7%) and with GD30 at 205.20 Argentine pesos (+0.7%). On the other hand, the dollar counted with settlement (CCL) with AL30 appears on screens at 205.24 Argentine pesos (-0.9%), with GD30 at 211.91 Argentine pesos and with Cedears at 212.10 Argentine pesos (+ 0.9%).

We would like to give thanks to the writer of this short article for this incredible material

Argentina: blue dollar reaches new maximum, bonds fall and country risk exceeds 1900

Other links: https://awardworld.net/resources/
" } ["summary"]=> string(712) "Exclusive Content The note you are trying to access is exclusively for subscribers subscribe know our plansand enjoy El País without limits. Get into If you are already a subscriber you canSign in with your username and password. While the negotiations with the International Monetary Fund (IMF) are still truncated, Argentine assets have not been ... Read more" ["atom_content"]=> string(5918) "

While the negotiations with the International Monetary Fund (IMF) are still truncated, Argentine assets have not been able to break the bad streak they have been going through since the beginning of the year. The risk country broke the ceiling of 1900 basis points, while the bonds of the last debt swap continue to operate in negative territory.

This Tuesday, the risk country advances 25 units (+0.7%) and stands at 1,910 basis points. This is the highest record since the debt was restructured in September 2020, ahead of the 1,898 that it reached at the end of November. Looking at the 2022 route, the index prepared by the J. P. Morgan accumulates an increase of 213 basic points.

The escalation of country risk occurs as a result of the fall in sovereign bonds. Today is no exception. Abroad, the bonds of the last debt swap sink to 2.6% (Bonar 2035); at the local level, the drop is up to 1.8% (Global 2046 and Bonar 2035). Since the beginning of the year, they have accumulated casualties of between 7% and almost 15%.

“The dollar debt does not breathe. There has not been a single positive wheel for Argentine titles so far in 2022. The weighted average price of global titles broke again with US$32 and is even below the floor of March last year. The indicator plummeted to US$31.13 and is one step away from the post-restructuring minimums”, they observed from Portfolio Personal de Inversiones (PPI).

For economists, Argentina is still far from reaching an agreement with the multilateral organization. The key date will be March 21, when the country must disburse US$ 2,901 million to pay the Fund. “The government prefers to delay the negotiation as much as possible before signing an agreement that may contain some disadvantage. However, this could be negative, since with an agreement, Argentina could have more of its financing needs covered for this year and receive investments that will speed up recovery. The market is not exempt from having months with high volatility ahead”, warned Ignacio Morales, an analyst at Wise Capital.

Two weeks ago, Economy Minister Martín Guzmán admitted that the lack of agreement is due to the fiscal path that Argentina must follow. In this regard, today the group of private bondholders Argentina Exchange Bondholders pointed to the electricity subsidies, the power outages that occurred last week in the city and province of Buenos Aires, and the sayings of the Nobel Prize winner Joseph Stiglitz for his statements about the “miracle” of Argentina’s recovery in 2021.

“Argentina’s differences with the IMF are reduced to the fiscal cost of providing almost free electricity in AMBA. people extract bitcoin at home, he never turns off the air conditioning and the system is without electricity due to lack of investment. Professor Stiglitz, why are creditors supposed to subsidize this ‘miracle’?

As for the Stock market, today the S&P Merval operates at 84,110 units (-1.1%). In the Buenos Aires stock market, the shares of Loma Negra sank 3.9%, Central Puerto 2.2% and Transportadora de Gas del Norte 1.9%.

After yesterday’s holiday in the United States, today the argentine stocks that are listed on Wall Street (called ADR) start the week trending lower. The biggest fall is for the papers of Pampa Energía (-3.8%), Central Puerto (-3.7%), YPF (-3.4%) and Grupo Financiero Galicia (-3.4%).

On the other hand, in the first business of the day the Dolar blue climbs a peso and is sold for 210 Argentine pesos, the highest value on record. The gap with the official wholesale dollar (104.18 Argentine pesos) continues to be above 100%.

The official retail dollar It is sold in the main banks of the country at an average of 109.52 Argentine pesos, according to information from the Central Bank (BCRA). The “solidarity” dollar, which has a surcharge of 30% in PAIS tax and 35% on Profit account, reaches 180.70 Argentine pesos.

Meanwhile, the financial dollars show some disparate variations. On the one hand, the MEP dollar with AL30 bonds is offered at 205.53 Argentine pesos (0.7%) and with GD30 at 205.20 Argentine pesos (+0.7%). On the other hand, the dollar counted with settlement (CCL) with AL30 appears on screens at 205.24 Argentine pesos (-0.9%), with GD30 at 211.91 Argentine pesos and with Cedears at 212.10 Argentine pesos (+ 0.9%).

We would like to give thanks to the writer of this short article for this incredible material

Argentina: blue dollar reaches new maximum, bonds fall and country risk exceeds 1900

Other links: https://awardworld.net/resources/
" ["date_timestamp"]=> int(1642552322) } [9]=> array(11) { ["title"]=> string(78) "Why Pete Davidson Is Unlikely To Host The 2022 Oscars – CNET – ApparelGeek" ["link"]=> string(109) "https://awardworld.net/academy-awards/why-pete-davidson-is-unlikely-to-host-the-2022-oscars-cnet-apparelgeek/" ["dc"]=> array(1) { ["creator"]=> string(10) "Lisa White" } ["pubdate"]=> string(31) "Tue, 18 Jan 2022 23:16:33 +0000" ["category"]=> string(51) "Academy AwardsApparelGeekCNETDavidsonhostOscarsPete" ["guid"]=> string(31) "https://awardworld.net/?p=12628" ["description"]=> string(676) "There’s a reason Pete Davidson is unlikely to host the 2022 Oscars. The Oscars have aired without a host for the past three years. After Kevin Hart resigned from his post after being criticized for old homophobic tweets, the Academy of Motion Picture Arts and Sciences decided to do without a host for the first ... Read more" ["content"]=> array(1) { ["encoded"]=> string(3905) "

There’s a reason Pete Davidson is unlikely to host the 2022 Oscars. The Oscars have aired without a host for the past three years. After Kevin Hart resigned from his post after being criticized for old homophobic tweets, the Academy of Motion Picture Arts and Sciences decided to do without a host for the first time since 1989. This model proved a hit for ABC, which continued the show without a host for the next two years.

AMPAS recently announced that the 2022 Oscars will have a host. It comes after Glen Weiss was hired to lead the show for the seventh consecutive year. The prestigious awards show is a staple of broadcast television and was the most anticipated event of the year in the film industry. Last year, ABC saw its lowest ratings ever for the awards show, even by pandemic standards. AMPAS is looking for new ways to renew interest in the program and gain audience, with Davidson a leading candidate for the job.

According to Variety, the chances of Davidson hosting are very low. The Oscars air on ABC, and Davidson has a strong connection to the NBC brand as a member of Saturday Night Live. Davidson hosting would essentially favor a rival network. The comedian/actor notably received accolades for recently co-hosting Miley Cyrus’ New Year’s Eve special. Although its profile is quite high at the moment, ABC is probably more willing to stay under the Disney umbrella when it comes to host choice.

The Academy recently sent out a tweet asking its followers who they want to see host the Oscars, and responses ranged from Elmo to Dionne Warwick. Tom Holland is a top contender for the hosting job that is making waves on social media. Spider-Man: No Coming Home broke box office records, and it’s actually under contract to Disney. Many are hesitant about this choice because many Oscar hosts are comedians with years of improv experience. However, Holland has definitely charmed audiences with her interviews and talk show appearances over the years.

Additionally, many have speculated if the star trio of Only murders in the building, Selena Gomez, Martin Short and Steve Martin, will be asked to sign on for the duty. The show has received positive reception on Hulu and continues to receive various high-profile nominations. The host will need to be able to attract a high number of viewers. The safest option is to choose someone who is friendly and can add value to the event experience. There is currently no word on when AMPAS will announce the host. However, nominations will be announced in February and the event will take place on March 27, so the host could be announced any day now.

Source: Variety

Hulk Just Killed Bruce Banner In The Most Violent Way Possible

We wish to thank the author of this write-up for this amazing material

Why Pete Davidson Is Unlikely To Host The 2022 Oscars – CNET – ApparelGeek

Other links: https://awardworld.net/resources/
" } ["summary"]=> string(676) "There’s a reason Pete Davidson is unlikely to host the 2022 Oscars. The Oscars have aired without a host for the past three years. After Kevin Hart resigned from his post after being criticized for old homophobic tweets, the Academy of Motion Picture Arts and Sciences decided to do without a host for the first ... Read more" ["atom_content"]=> string(3905) "

There’s a reason Pete Davidson is unlikely to host the 2022 Oscars. The Oscars have aired without a host for the past three years. After Kevin Hart resigned from his post after being criticized for old homophobic tweets, the Academy of Motion Picture Arts and Sciences decided to do without a host for the first time since 1989. This model proved a hit for ABC, which continued the show without a host for the next two years.

AMPAS recently announced that the 2022 Oscars will have a host. It comes after Glen Weiss was hired to lead the show for the seventh consecutive year. The prestigious awards show is a staple of broadcast television and was the most anticipated event of the year in the film industry. Last year, ABC saw its lowest ratings ever for the awards show, even by pandemic standards. AMPAS is looking for new ways to renew interest in the program and gain audience, with Davidson a leading candidate for the job.

According to Variety, the chances of Davidson hosting are very low. The Oscars air on ABC, and Davidson has a strong connection to the NBC brand as a member of Saturday Night Live. Davidson hosting would essentially favor a rival network. The comedian/actor notably received accolades for recently co-hosting Miley Cyrus’ New Year’s Eve special. Although its profile is quite high at the moment, ABC is probably more willing to stay under the Disney umbrella when it comes to host choice.

The Academy recently sent out a tweet asking its followers who they want to see host the Oscars, and responses ranged from Elmo to Dionne Warwick. Tom Holland is a top contender for the hosting job that is making waves on social media. Spider-Man: No Coming Home broke box office records, and it’s actually under contract to Disney. Many are hesitant about this choice because many Oscar hosts are comedians with years of improv experience. However, Holland has definitely charmed audiences with her interviews and talk show appearances over the years.

Additionally, many have speculated if the star trio of Only murders in the building, Selena Gomez, Martin Short and Steve Martin, will be asked to sign on for the duty. The show has received positive reception on Hulu and continues to receive various high-profile nominations. The host will need to be able to attract a high number of viewers. The safest option is to choose someone who is friendly and can add value to the event experience. There is currently no word on when AMPAS will announce the host. However, nominations will be announced in February and the event will take place on March 27, so the host could be announced any day now.

Source: Variety

Hulk Just Killed Bruce Banner In The Most Violent Way Possible

We wish to thank the author of this write-up for this amazing material

Why Pete Davidson Is Unlikely To Host The 2022 Oscars – CNET – ApparelGeek

Other links: https://awardworld.net/resources/
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