On What Would Have Been the Launch of Cannes, a Celebration of 26 Film Festivals — and 26 Festival Directors | Filmmaker Magazine

&The Cannes Film Festival and Market

by Kaleem Aftab
in Festivals & Events
on May 12, 2020

Film festivals are all about a community coming together to celebrate an art form that we all love. They were one of the first group of events to cancelled when the coronavirus began to spread. The current crisis in the film industry (and across society and the economy as a whole) — the job losses and closures — made it difficult to publish my look back over my year in film festivals, as I’ve done on an annual basis for Filmmaker since 2014. (Also, I had broken my finger over Christmas so was unable to type for three weeks, which is when I usually pen these articles!) Plus, because last year I’d been to 26 film festivals, a record for me, the piece also took a long time to write.

Twenty-six film festivals is a lot. In December of last year, I promised my partner that in 2020, I would go to fewer festivals. Little did we know that my hand was going to be forced by the tragedy of a virus pandemic. Looking back, I’m so glad I went to so many in 2019, seizing the day like I was in the Dead Poets Society.

Sitting here right now, as Cannes would have begun, I believe we will be lucky to see a film festival happen in a traditional way again in the Fall — if then. For all the efforts to put festivals online, there is nothing that matches the intoxicating atmosphere and excitement of attending. That’s why I go to so many of them. I miss hearing a projector whir and seeing a film for the first time, listening to filmmakers talk about their projects, the conversations with fellow attendees, the pitching of projects, those celebrating great reviews, others commiserating. I even miss the 10-minute standing ovations made more out of courtesy rather than enthusiasm. I’ve even started doing this at home now.

So while it may seem odd to have a look back at 2019 film festival season in May, it also seems so fitting to publish today. Absence has made the heart grow fonder. Right now is a time when the role of film festivals is being analysed more than ever by festival directors, as they decide what is essential, what they have to keep, or for some, what they can replicate online. Most importantly, film festivals have to comprehend how can they stay relevant when the spectacle that is their heart is on life-support.

In my mind, there is nothing quite as exhilarating as attending a film festival. I look forward to the moment of being able to participate in more than 26 festivals in a year. (Just don’t tell my partner!).

The festival director is the public face of a film festival. They guide the program and set the agenda. But who are they? In 2019, I tried to meet as many festival directors as possible, and from time-to-time chat about the poster of the festival. I wanted to know if I could see the personality of the festival director at the event. Little did I know when I started this process in January that I would go to 26 film festivals, either as a journalist, moderating Q and A’s or giving talks on festival strategy. 

Tromsø International Film Festival 

Festival Director: Martha Otte

American Martha Otte first worked as a volunteer at the Tromsø International Film Festival in 1998. By 2005 she became festival director. 2019 was her last year as the position at Tromsø  I’ve known Martha for several years, first meeting her at the now-defunct Abu Dhabi Film Festival. We’ve bonded over films. I’ve appeared on the jury at Tromsø in the past, and this year, she asked me to do the Q&A sessions with Canadian filmmaker Philippe Lesage, following screenings of his excellent coming-of-age drama Genesis.

It takes a kooky personality to want to live in the Arctic Circle, where during the film festival, the sun never quite rises above the horizon. Despite all the darkness, the irony is that Otte is an insomniac. Luckily she’s found a profession where staying up in the dark is a necessary component.

Otte says of her philosophy to running the festival: “We are especially interested in films that are ‘off the radar’ and are not standard festival fare, which doesn’t mean experimental; it just means we want to make our own discoveries.”

I was too busy buying trinkets with Gaspar Noé and chasing the Aurora Borealis to make too many movie discoveries of my own. It’s that kind of place! The one discovery I made was Egil Håskjold Larsen’s Where Man Returned, about a lonely old white man lives in the Arctic wilderness with his dog. He listens to football and shipping news on his radio. It was a metaphor for so many conversations had at festivals this year. 

One thing that did catch my eye was the poster of the festival. It featured an image of a figure dressed in a thawb with the face drawn as the Tromso Film Festival logo. The poster was designed by Christopher Ide (AKA Doffa), of design office Tank, and he has been the go to guy for the festival for a number of years. The image was smart on so many levels. Since 2001, Tromso and Gaza have been twin cities. The festival also had a strong focus on Arab cinema with screenings of Sameh Zoabi’s satire of the Palestinian-Israeli conflict Tel Aviv on Fire, Dalia Kury’s prison recreation documentary Privacy of Wounds, and a section called Arabiyat — the Arab word for women — celebrating female filmmakers from the region and programmed in association with Morocco’s Cinematheque de Tanger.

Rotterdam International Film Festival 

Festival Director Bero Beyer

The next festival I attended was another festival where the festival director was looking to move their life away from festivals. In July, Rotterdam head honcho Bero Beyer announced that he had accepted a job as CEO of the Netherlands Film Fund, commencing in March 2020, after this years’ edition. More recently, it was announced that his replacement would be MUBI acquirer Vanja Kaludje, who had previously worked for the festival. 

2019’s edition was Beyer’s fifth in the post. He’s a confident guy. In the role, Beyer has grown the industry side of the festival and increased the focus on experiences rather than just watching films. The festival takes place when a lot of American eyes are on Sundance, but he’s keen on appealing to the 180 ethnicities found in Rotterdam. “The first thing we want to get right is that the program is representing the world and not just one side of the world,” Beyer tells me on his way to a Claire Denis seminar.

Beyer says of his philosophy to the festival, “We do what others don’t. We always go one step further. What makes us special is the stuff that is slightly crazy and on the fringe of things. People show up to watch avant-garde.”

The film festival posters are part of a campaign living under the umbrella of “Planet IFFR.” Planet IFFR is a concept formulated in 2017, where the emphasis was put on the number of people involved in the movie making process. The various staff on a set are in Rotterdam’s eyes, representive of the cultures and peoples of the world. “This year, we asked what makes us alive? It’s more than facts and truth because they are long gone, facts don’t matter – it’s emotions.” 

“In the poster campaign the faces and the words used to describe the expressions being pulled seem to conflict. There is a happy face, but the poster says angry. These seemingly oppositional emotions are reflected in the films we show. Our cinema doesn’t give you an answer – it gives you a question. The films don’t give you a feeling you have foreseen – they give you an emotion you have not anticipated it’s like a rollercoaster ride without a seatbelt.”

A case in point is Sacha Polak’s Dirty God, an international co-production that blurs fact and fiction by having Vicky Knight, who was a victim of an acid attack, play the victim of an acid attack. Yet from this starting point, a cinematic truth emerges, very different from reality. Or Present.Perfect, the Hivos Tiger Award winner, which is made up of footage of China taken from the Internet by Chicago based Chinese director Shengze Zhu.  

Beyer admits that the pluralism highlighted in the program could be better reflected in the diversity of the staff, stating, “That’s an on-going process.” And one from next year, he’ll presumably be pushing his successor to achieve.

Gothenburg Film Festival 

Festival Director: Jonas Holmberg

Gothenburg is Scandinavia’s biggest film festival, and just like Scandi Noir, it remains something of a mystery to me. It’s the one festival where I make an extra effort to watch the pitching session, where some filmmakers talk about the movies that they intend to make, and also others talk about the films that are deep into post-production. It’s intriguing as there is always something that ends up at Cannes, and not always what you expect. Usually, I hate seeing movie trailers or knowing anything about a film. Nonetheless, somehow I can listen to a Scandinavian auteur talking about their project in intricate detail, and yet see something entirely different on-screen. Is this because of what they say, or how I listen?

I did not know artistic director Jonas Holmberg before the festival. That despite the fact he’s been the head honcho at Gothenburg since 2014, when he was promoted from his position as international film programmer, and I’ve been to previous editions under his watch. His route into festival life was as a film critic. It’s interesting as that once familiar way into programming has gone into decline as dedicated film programmers appear, graduating from film schools, which have recently started hosting courses in curating and curating theory.

Holmberg seemed to be the quintessential Scandinavian when I met him. He dresses well and says all the right things. My younger self would have looked at him like the epitome of cool, but now I find him a little awkward.  He’s also good-natured. When I start by asking him about his poster, his reaction is a sincere, “How wonderful!” There’s a lot to like.

“We have a tradition of asking a local artist to design the poster,” states Holmberg. “They’re given a blank slate to design whatever they come up, and they come back to us with their design. It’s one of the most exciting days of the festival seeing what they have designed.”

It’s a very relaxed way of doing things and it has been that way since 1992. It also means that a look at the festival poster archive is like a journey to a gallery. The theme of the 2019 film festival was Apocalypse, which might explain how I came to watch a movie, Aniara, from the inside of a coffin. Jesper Waldersten was the artist chosen to create the one-sheet and created an eerie yet beautiful work in the style of horror and space movies from his childhood. Think, Alien, David Lynch and John Carpenter, then throw in a bit of Bergman, think of that image in black and white, and with a face populated by figures looking like they stepped out of Jake and Dinos Chapman’s Hell. 

The Scandi vibe was also apparent in Swede Anna Eborn’s fantastic Transnistra, a film that felt like the ’70s even though it is a breakaway state on the border of Moldavia in present day.

Berlin Film Festival 

Head of the Berlinale: Dieter Kosslick

It was Dieter Kosslick’s last stand at the Berlin Film Festival. The year before many prominent German film industry figures called for a change at the top of the Berlin Film Festival arguing that the festival had become irrelevant. The call was heeded and before the festival it was long since announced that his 18th edition would be his last. Kosslick is a unique character. His style and matter is defiantly old school, and eccentric. In his final year, Kosslick programmed a festival that was staunchly unapologetic. No bones thrown to those who criticised him. So the festival was full of challenging choices and featuring buried treasures for those who looked deep into the program. It will be interesting to see how and if that takes changes under the new guard. 

Kosslick attended an event that I organized to celebrate the life and work of publicist Richard Lormond, who had died from an illness a few months before the festival. Kosslick took time out of his busy schedule to say some kind words, and it served as a reminder that the work of a festival director at a festival is more than about selecting films and is also about social interactions. Acknowledging the work of those who help contribute to an event’s success is important as it takes many to put together a great festival.  

Later in the festival, as we sat down to talk about his legacy and the Berlinale poster, I couldn’t help but think that retirement had come at the right time for Kosslick as he was being outpaced by changing times. 

“The bear is our symbol. And for a couple of years now, Swiss artists have been doing our poster,” said Kosslick. “For a couple of years now, the bear has been cruising around going to different locations in Berlin. A lot of people have been asking who are these bears? We thought because it’s the end of my tenure, we would lift the secret of the bear. When the bear takes off his head, it’s the audience that is underneath. The bear is normal people who are on the way to the Berlinale.”

Over the past 18 years, he has worked with many agencies, and they all come up with very different designs, which is evident in the change in the style of the posters every few years. 

“This year, a discussion arose because there was a black person in one of our costumes and we talked about what would be the symbolism of having a black person in a bear costume,” admits Kosslick. “Would it look like discrimination? We wanted to show the variety of the audience that attend the Berlinale, but we have been afraid that if we used it, it would create a discrimination debate. Two people on our poster were from our staff were used as well. I don’t know all of the people personally. We thought about putting me in a costume, but in the end, we believed it was too much.”

The Berlinale like many other festivals this year signed the 50/50 by 2020 pledge to pursued gender parity. “The pledge was a political aim, but I think we are far ahead at the Berlinale,” says Kosslick. We have seven films from female directors in competition and with our staff and selection committee, there are a lot of women in prominent positions.’

Indeed, the film that stuck out most at the festival to my mind was a film screened out of competition, because it had been at Sundance, Joanna Hogg’s The Souvenir.

Stockfish Film Festival 

Festival Director: Marzibil Snæfríõar Sæmundardóttir

Taking place in Reykjavik, Stockfish Film Festival is an event that wants to showcase Icelandic films to industry people to film exhibitors, programmers and distributors from around the world. Several Icelandic bodies come together to promote their wares, and it’s a great excuse to go to one of the most beautiful places in the world, with a burgeoning and exciting coffee scene. Yup, already by early March, coffee was my fuel.

The main two strands at the festival are an industry-pitching event, which has an overlap with Gothenburg and a competition programme of short films. There are also screenings of best of the fests, aimed to get the local audiences out of their warm wooden houses and into the fabulous cinema Bíó Paradís. From floor to high ceiling on one wall of the cinema are some fantastic posters designed by local artists to coincide with the release of huge movies, so it’s no surprise that Stockfish take their poster design seriously as well.

Sæmundardóttir has been the Festival Director of the Stockfish film festival since 2015. Before that, she was a writer and director. It was her love of film, and life, that led to her taking on the festival director role. A social butterfly, she brings a lightness and fun air to the event and promoting movies.

“We use a young designer and last year he came up with a version of yellow, which we liked a lot, and that has become the color of the festival,” says Sæmundardóttir. “The poster is exactly the same as last year, except for the dates!”

This attitude seems about right for a festival that knows what it wants to be and has a focussed goal. It’s a festival that has a great atmosphere, mainly because all the films take place in one cinema. They pick at most 25 films, which they consider the best of the fests, in addition to the industry events. The one thing they want everyone to watch is the local short films, which is a good way to start taking notice of local talent, and for local talent to realise that they’ll end up needing to make European co-productions if they want filmmaking to be their job. 

Bergamo Film Meeting 

Artistic Director: Angelo Signorelli

I love going to festivals that are off the beaten track. The Bergamo film meeting is one of those delightful festivals where much of the joy is in seeing classic movies on the big screen. There are new films that play, but I was more interested in seeing Jean-Pierre Léaud turn up to a screening of The 400 Blows, as part of a retrospective on his films, an exhibition of photographs from the set of Pier Paolo Pasolini’s Arabian Nights and a retrospective on filmmaker and cinematographer Karpo Godina, an exponent of Yugoslavia’s “Black Wave.” In 2020 they were set to take an in-depth look at Jerzy Skolimowski. It’s a festival that loves outsiders. 

The desire to take a new look at the past is imprinted on the festival’s poster, which gives us a classic French New Wave shot of a young Léaud on the set of The 400 Blows in triplicate. Festival director Angelo Signorelli, who helped found the festival, struck me as a laid back, conscientious type. The easy-living style is one that he is happy to replicate at the festival with a communal ethos. A committee seemingly decides everything. No wonder it’s called the Film Meetings, because, in my two days in Bergamo, it felt like a shared experience, one where good coffee shops were not too far away and talking about films was as important as watching them. 

Signorelli had a similar attitude to the marketing material, “The poster is a collective choice. We liked the image a lot this year. It’s cinematographic, suggesting movement and different perspectives. The central focus is on the repeated image, which is also out of focus. In a way, it speaks about the complexity of cinema. How by looking at the cinema of the past, and the present, we see future trends. It reflects the multiplicity of the sections that the festival has.”

For the past four years, SUQ Republic has designed the poster. “They really understand the philosophy of the film meetings.”

Qumra  

Festival Director: Fatma Al Remaihi

The Doha Film Institute has been doing great work over the years, and industry gathering Qumra continues to be a success. It’s often a sign of confidence of an organisation when they are not afraid to admit to divided opinions and frank discourse. The following conversation between Festival director, Fatma Al Remaihi and DFI’s Director of Strategy and Development Hanaa Issa about the poster for this year’s event was one of my favourite moments of the year. 

Fatma: These images [on the numerous posters] represent the projects that we have, the jewels of Qumra. The principal image for the main poster and front of catalogue is from the first Qatari film in post-production and for us that is huge.

Hanaa: The circle in the poster is kind of our symbol. It reminds of the Q for Qumra and also the camera lens.

Fatma: But the question we had was, do we want to use an image that represented peace, or did we have one that was about war?

Hanaa: We had a long debate.

Fatma: We had different opinions. Do you want to tell him yours?

Hanaa: We had a debate. There was this one behind you, and in terms of artwork, it worked well with the colour and catalogue. I surveyed the office, and some of us felt that highlighting on the book of the projects and on the main catalogue an image of soldiers and war, especially of soldiers killing the farmers in Mexico, that this was perhaps the wrong message to send out to the world. We opted to go for something more peaceful. But then we had this debate around the fact that we do live in a hostile world, there is a lot of unfairness and injustice. Even though we want to highlight this, and make it part of the conversation, I thought to put an image that represented hope was more suited to who we are at Qumra, especially as our projects already contain a lot of stories about war and refugees.

Fatma: Whereas I thought that the world is a mess, and we should highlight it and not be afraid of it, we are not celebrating it, we are highlighting it. We spent the whole day with this discussion.

Hanaa: We argue all the time. We’ve known each other for a long time.

Fatma: It took the whole day this discussion. Going into work that day, I knew that we were going to have this discussion.

Hanaa: Me too, I ate a good breakfast, so I was ready to stand up for my view.

London Taiwan Film Festival UK

Festival Director: Aephie Huimi

I went to the opening day of the inaugural festival. They have a tie in with Stockfish, patly because Festival Director Aephie Huimi has strong links to Iceland and Taiwan. The opening was the UK premiere of Tsai-Ming Liang’s VR cinematic experience, The Deserted, with the director in attendance. I’d inadvertently had a hand in this happening, as I met Huimi through a producing pal friend of mine a number of times. When she revealed she was thinking of putting on a Taiwan Festival in the UK, I immediately mentioned The Deserted and said that she had to screen it. Little did I know that they would then have a retrospective of Liang’s work and he would come to London. It was a small but perfectly formed festival, which is how these looks at national cinema should be.

At first glance, I didn’t know what to make of the poster which seemed like a lot of undecipherable elements around an alien looking sea creature. Then Huimi informed me, “We wanted the poster to be as cute as possible.”

The poster designer, Ting Cheng, was also at the opening night party added, “She wanted something that would represent Taiwanese culture. I wanted something multicultural, and so we got a sea monster drinking Bubble Tea that is made up on the Taiwanese alphabet, which is full of symbols and these different shapes are representative of different cultures.”

Huimi adds, “You cannot define Taiwan in one shape, so every year, the festival will take on different forms, and that is why the sea monster is significant.”

All of a sudden, the poster took on a profound meaning that I’d not been able to see. It was a good reminder, not just of the value of art, but the importance of listening to others, and, of course, reading critics to elucidate and fill in gaps of knowledge. 

CPH: DOX 

Festival Head: Tine Fischer

“The posters for me are part of the core DNA of the festival. I’m so involved in the posters in a way that drives people mad. When we started working, we had external graphic designers, and now I hire designers so that they are employed inside the organisation and work with me for months! Each time I used agencies, I ended up being in massive conflict with them, mainly because, for me, it’s so delicate what you do with posters. When you said posters, I thought this is so fucking spot on, because it’s a nightmare each year, really a nightmare, because it’s challenging to find the balance in the posters from what I believe is the core DNA, namely a very active civic voice when it comes to political activism. You’re addressing something that people need to react to, not only will this look nice emotionally, but really react to it politically. Then it also needs to reflect an artistic profile that deals very much with non-fiction as cinema and as art. It can’t be a poster that will resemble an NGO perspective. So that balance has to be that it’s highly political and activist but also speaks with a more contemporary art, conceptual language. Then it needs to appeal to our audience, which is from young hipsters to grown-up decision makers. It’s a headache because it’s so difficult.”

“This year, I worked with the same graphic designer that I worked with for the last few years. So he works in-house for half the year, being a part of the process and understanding what the film process is about, but also what kind of films we will have. He saw climate change would be a big issue, but how do you do a poster on climate change? That’s almost impossible as all images relating to climate change have been used and overused. Then he came up with this image, with a woman’s breasts that have been sunburnt basically, but that makes it delicate to put out in public. It’s not overly clear what it’s about, but it is about someone who is not careful. We have the Morse code symbols on it to reflect a universal language, and then some images show images of climate change, there is a lifebuoy for example. There are lots of messages in that picture.”

I had started to feel like I’d seen most approaches to festival poster design, and just as I was beginning to tire of asking festival directors about it, CPH: DOX’s Tine Fischer blew me out of the water. But that will come as no surprise to anyone who has watched the festival over the years. She has taken the bull by the horns during her long tenure at the festival. She boldly changed the dates of the festival from the Fall to the Spring when she felt that the market was too crowded. The film choices have been radical, and she’s established CPH: DOX as one of the most exciting documentary festivals. 

The festival was also where I conducted one of my favourite interviews of the year, sitting down with Alex Winter. We discussed Bitcoin and The Panama Papers, as well as sexual abuse in the film industry. And of course Bill and Ted, we drank coffee together a couple of days after the announcement that he would appear in Bill And Ted 3. Of course, it was most excellent.

Panama Film Festival 

Artistic Director: Diana Sanchez

A few weeks before the Panama film festival took place Toronto International Film Festival announced that Diana Sanchez would be taking up a position in Toronto full-time. Much of Sanchez’s fantastic reputation that led to that Canada role has come from how she built up the Panama Film Festival into one of the most vibrant, forward-thinking and fun festivals in the Americas. Of course, from my side, it helped that Panama is home to Geisha Coffee, some of the best and most expensive beans on the planet. A competition-winning brew that would set you back $75 a cup in San Francisco retails for $9 in Panama. It’s still a lot to pay for a coffee, given that great blends retail at $4 here, but it’s not often that one can treat yourself daily to the champagne of the coffee world. The coffee and the festival were marvellous. This year it gave a great platform to films from Guatemala. It showcased how artists are trying to comprehend the human catastrophe caused by the years of dictatorship and, also the American support to the dictatorship. There is a similar sentiment in Panama where President George W. Bush ordered an invasion in December 1989.

In total contrast to the approach in Copenhagen, Diana Sanchez, in a somewhat more laidback manner, informed me that she didn’t get involved in the production of the poster. She is someone who knows what she likes to do and is happy to delegate the other jobs to others. She advised me to chat with Pituka Ortega, the Director and founder of the Film Festival, who was involved in the creation of the poster and appointed the new team that will be in charge of the 2020 edition.

“It’s the first time that we have worked with Cisco Merel, a Panamanian artist to create the poster,” Ortega says. “He works with geometrical shapes, and one of his masters is Venezuelan artist [Carlos] Cruz-Diez. When we spoke to him, he brought this concept to us that within these geometrical shapes that conveyed cinema. Artists are artists, and we just loved it and went with it. It’s a detachment from everything else we have done, and we loved working with an up-and-coming artist. It has opened a window for us to work with other up-and-coming artists from Panama. The unifying factor will be the logo. It represents the festival as a platform for new ideas and talent just like we are doing for a central American and Caribbean platform that we have invested so much energy and thought to, and our resources. ”

CineMAS 

Artistic Director Joe Wihl

Formerly, the United Arab Emirates was host to not one, but two great festivals. Then in 2015, the Abu Dhabi Film Festival closed after eight editions, and last year, far more surprisingly, the Dubai Film Festival closed. Fans of cinema in the UAE went from boom to bust. So it was great to see cinephiles take the matter into their own hands and launch an independent film festival at an excellent venue, Manarat Al Saadiyat (the MAS in CineMAS). It was a film festival designed by cinephiles for cinephiles that lasted a joyous four days, with master classes, workshops and screenings. The festival is a demonstration that good taste can be more valuable than finance.  

“The poster was made in Abu Dhabi by a branding agency who designed all our collateral,” Wihl told me. “We wanted a poster that connected film, cinema and the art world. We are lucky to show films that people don’t normally get to see, so we wanted it to reflect the artistic nature of the festival. The branding agency came back to us with three options, and we chose the one used because the brush strokes showed the interconnecting nature of the art world and film. We have five different colours that we used on the posters to reflect the diversity of cinema and the wide selection of films from around the world.”

Admittedly, it is hard for me not to like the festival director, since I played on the same soccer team as him for several years. He scored many goals in his time, so I wanted to go to support the festival. This festival may end up being a one-off, as rumours abound that Abu Dhabi may re-launch an international festival in 2020. But many rumours circulate here. 

Cannes 

Festival Director: Thierry Frémaux

Cannes makes a massive fanfare out of its poster. It is published before any film announcement and widely shared on social media. Arguably, this year’s poster featuring the recently departed French legend Agnes Varda was the most popular one-sheet in its history. And that is saying something! A great article by Sight and Sound’s Isabel Stevens argued: “Cannes has finally woken up to the power of the poster.” She posited that the photo-shopped reinterpretation of the iconic image of Varda standing on top of cinematographer Louis Stein when filming her first feature La Pointe Courte was created to demonstrate that Cannes is changing. Stevens argued, it “signals that the festival has, at long last, clocked that it needs to change. Does this change go deeper than a clever and overdue rebranding exercise? Only the number of female-directed films in future editions of the festival will tell.”

Sadly, not long after the poster release, the competition announcement came, and this change seemed to be an illusion with complaints circulating about the lack of female directors. The festival still snagged the best film of the year, Parasite, and one of the many joys of the film is the range of great posters that Bong Joon-Ho’s film has inspired by regional distributors around the world.

As for the likeable Frémaux, every year he proves how good he, and his team, are at their job of selecting the year’s best films. Nonetheless, using a classic image from the past shows how much he still looks back when so many people are crying out for him to look to the future. He is an enigma, just like his festival, whose policy to exclude films not guaranteed an exclusive first run in French cinemas seems more and more robust with every passing year. So far, it’s Netflix and not Cannes making changes to how they operate. 

Kultur Symposium Weimar

By June, unsurprisingly I had had my fill of film festivals, so it was a delight to be invited by the Goethe Institute to attend their second Kultur Symposium Weimar. It was an invite-only event that contained talks, performance art, films and debates.

For three days, more than 300 participants from all over the world came together at the Kultursymposium Weimar, including representatives from science, culture, politics, business, journalism and publishing. The first Kultursymposium Weimar took place in 2016 on the subject of The Sharing Game – Exchange in Culture and Society. The second edition from 19 to 21 of June 2019 was entitled Recalculating the Route. It was an incredibly inspiring event, and great to be somewhere where I did not see the same faces, and people were talking about social issues without the conversation being bound to a film. I also didn’t talk to anyone about the design of the poster for the event. Indeed from this point on in the year, my observation on the one-sheet became largely my own again. This event felt like a real marker separating the first part of the year focussing on the branding to the second part of the year, informed by trying to reconnect with the idea of looking at how film festivals relate the realities of the world and present the future. Of course, there were movies, but this event was really about new ideas and building better social groupings. 

London Indian Film Festival

Festival Director: Cary Rajinder Sawhney

The London Indian Film Festival celebrated a decade. It was a big year for Festival Director Cary Sawhney as he also collected an MBE for services to the film industry. His work is getting noticed. I dipped my toe into the festival attending a screening of The Flight, where it was my pleasure to be asked to host the Q and A with legendary Bengali Filmmaker Buddhadeb Dasgupta. It was a lovely event held at the Cine Lumiere in London. It reminded me how lucky I was to be living in London, where almost every night there is some great film festival of some sort or some fantastic filmmaker giving a talk. For the festival to reach ten years, and be more significant than ever, takes some doing.

Oh and I don’t think I looked at the poster. Sorry, Cary! And, really I need to stay in my home time more often! 

Nordic Youth Film Festival

Festival Director: Hermann Greuel

Having started the year in Tromsø, for a week when the sun never rises above the horizon, it was nice to be back in the Arctic Circle for NUFF when the sun never dips below the horizon. I mean, it’s cold whatever the time of the year one is in the Arctic, but on a clear day, when you can actually glimpse the sun it is gorgeous. At NUFF, the efforts to build a politicised film community are what brightens-up every day of this youth orientated festival.  

NUFF is an annual short film festival and film workshop for young filmmakers up to the age of 26. These talents get split into several groups under the guidance of a filmmaker. They have a week to make a short film from scratch. On the final weekend, the freshly made short films screen as part of a short films festival. The mentors included producer Racha H Larsen and filmmaker Egil Håskjold Larsen, whose film Where Man Returns opened the Tromso International Film Festival. The prolific award-winning short filmmaker Mahdi Fleifel, Anders Emblem, whose film Hurry Slowly I had missed at Tromsø International Film Festival but saw at a special here. Inuk Jørgensen from Greenland and Virtual Reality expert Marta Ordeig were also in charge of a group, and composer Rune Simonsen was producing music for the images.

I delivered a film appreciation seminar and hosted a masterclass event with Mahdi Fleifel talking about his short films, which we screened in chronological order, as well as hosting Q&A sessions with some of the talents attending the workshops It was an awesome time!

Festival director Hermann Greuel is such a great personality and so friendly. I wish that I could wipe away the years, and be young enough to be accepted as one of the participants. It’s a truly great event, and one that seemed to be practising the philosophy preached at the Weimar Kultur Symposium. The future is sunny. 

Karlovy Vary Film Festival 

Festival Director Karel Och

Karel Och is one of the great festival directors of our times. He has good taste, hosts a well-respected film festival that has great talents, juries, parties and writing courses. So what’s not to like? Well, somehow on the first night I was put into the world’s most noisy hotel, above a party that went on until 4 am every night. Add to this that the Internet in the basement house in Parasite worked better than it did at the hotel and I wasn’t a happy camper. Thankfully, the next night they moved me to the edge of town, and the smile returned to my face.

Apart from that blip, I saw many unique films. HBO put on a great party. I’d seen so many films at Cannes, that I wasn’t as side-tracked by catching up with Cannes movies as I have been on past visits to Karlovy Vary film festival. It’s a great place to get a taste of films from Eastern Europe and the Middle East. There was an excellent retrospective taking a look at the works of Egyptian maestro Youssef Chahine films. Even though I haven’t been for a few years, the festival seems familiar. Even the poster for the festival is the same design, this year the colours were changed to be black and white. So why is it, that I always leave Karlovy Vary with a but…

Every time I get home I think I’ll give Karlovy Vary a skip next time. But that’s usually because every second year clashes with a big soccer tournament. The festival will be happy that in 2022, the world cup is moving to the winter because of the hot Doha summer, that will probably be the year I’m not invited! The festival has a great press dinner, and at the main festival centre, there is a bar where everyone congregates. However, the festival still manages to get it wrong because it separates the industry, press and guests from each other. There feels like several festivals going on at the same time, which is a shame as really Karlovy Vary should be about breaking down those barriers between the different parts of the film community rather than reinforcing them. 

Locarno Film Festival 

Festival Director: Lili Hinstin

Locarno feels like a bit of a blur. It was the first year that Lili Hinstin was in the Festival hot seat. Her philosophy seems to be that evolution and not revolution was the best way to get her feet under the table. On my first night by the magnificent lake, I met her at an official dinner attended by Palme D’Or winner Bong Joon-Ho and also hosted were those programmers and filmmakers who put together the excellent Black Light retrospective. On the Industry side, the push to support filmmakers from around the world, especially from those areas without traditional support for independent cinema remains strong.

The poster also evolves slightly every year, but it noticeable evolved that little bit more this year, the main indicator of changes. What I like about Locarno is the use of the yellow and black leopard spots, which are always such a unique identifier. It’s also fun. There have been some inventive variations on the leopard theme, especially the kiss poster from the 59th edition in 2006, which remains one of my all-time festival favourites. This year, there was a bold reinterpretation that saw far more playful brush strokes, creating a more abstract version of the leopard, but one that seemed more playful, child-friendly and looking to the future. With it being Lili’s first year, it was understandably difficult to find time to catch her for a conversation on the direction of the festival, which I’m looking forward to doing in 2020

Locarno is a festival that has so much going for it, from the magnificent screenings in the Piazza Grande of more commercially minded films to the selection of more challenging fare in competition and elsewhere. Yet, as with so many other festivals, it has suffered from sales agents no longer using the film festivals as their primary location to source and sell movies. It will be interesting to see how Karlovy Vary and Locarno tackle the hurdles ahead, especially on the side of promoting cinema rather than movies. Festivals such as Locarno and Karlovy Vary have begun addressing this issue by being more supportive of a broader range of critical voices. Still, there must be more effort to make audiences feel part of the movie industry and encourage spectators to make bolder choices, not just at film festivals, but on a Friday night date.

Venice Film Festival 

Festival Director: Alberto Barbera

In the last couple of years, it’s been a surprise that the Venice Film Festival hasn’t just found a space to put the Netflix logo in the middle of the poster, given the preponderance of films from the streamer. I get it. Venice has been the primary beneficiary of the stance taken by Cannes on streaming platforms failure to heed cinematic windows, and they have reaped the red carpet rewards, with more stars in attendance and more media interest. It’s undeniable that Alberto Barbera has done a great job in making Venice a place to launch films, especially award contenders. Although it’s likely that for the second year in succession, unless Marriage Story does pull off an unlikely Best Film Oscar victory, that for the second year, the Oscar winner will not have debuted on the Lido. There is also a well-voiced and, quite frankly well-placed, concern about the dominance of English language films in the Venice competition. Again, the media and the trades desire to push films as Oscar contenders, that will result in them receiving advertising money from studios looking to win awards, is also part of the game. So it’s not in anyone’s interest to complain too much. It’s another example of how capitalism can limit choice, even in art.

Consequently, some great movies that could have done with the status push that can come with appearing in competition on the Lido get somewhat lost in the sidebar sections. I would like to see Venice be a bit bolder in its official selection. But if it’s glam you want, Barbera is your man. He is incredibly slick, has a big fun personality and could have been a character in La Dolce Vita. He is Italian Hollywood.

Even the choice of poster, which I love, reflects this debate. It’s a painted image of a couple being filmed kissing on the front of a boat. It’s a hint towards Titanic more than the refugee crisis, or the debate about how locals have turned against cruise ships, and the worry about climate change. The poster designed by Italian illustrator Lorenzo Mattotti (he’s also created the 2000 edition Cannes poster) emphasizes the water that makes Venice so unique, and the painted image connects the film festival to La Biennale, of which it is part. I liked the poster, and yes, I liked the festival. 

Toronto Film Festival 2020

Artistic Director and Co-Head: Cameron Bailey

I must admit it’s only now that I’m writing this that I’m looking properly at the one-sheet of the Toronto International Film Festival for the first time. The fall film festival season doesn’t allow for much navel-gazing. It’s the moment every year that I forget the sage advice from Ferris Bueller’s Day Off about life moving pretty fast and the need to take stock and look around once in a while. At Toronto, there is no such opportunity to stop. After the curated programmes of Venice and Telluride is the splurge of films in Canada.  The festival ends with the announcement of the winner of the Toronto audience award. Then we are all supposed to guess what will win the Oscars for the next few months. Of the Oscar frontrunners, only 1917 and The Irishman, which debuted shortly after at the New York Film Festival had not screened at this stag. It’s a shame that there is this enormous focus on what goes on in Hollywood in February because great stuff that happens in Toronto gets overlooked as a consequence.

One of which is the mentoring of film critics from underrepresented demographics. So at TIFF, I had the great honor of mentoring Valerie Complex at the festival. It was great to be able to meet up and hang with a young writer, who had exciting and differing viewpoints about films. She’s also making significant headway into the field of criticism, and has a prevalent Twitter account should you want to employ her. Together, we watched Anna Winocour’s space training epic Proxima, which we were still debating the next day. It was a film that grew on both of us, with Complex being the first to admit that the film was better than she initially thought. The joy of movies and not writing immediate tweets and reviews. As with many things in Toronto, it did feel like the critic mentoring scheme was another thing added, and need some refinement and more support from the festival, but it’s a great start for the initiative that I hope will grow. It came as no surprise to me that this initiative was taking place at a festival where Cameron Bailey is the head honcho. Despite all the talk around inclusion, white male critics still have so much more opportunity than women and people of color. And it’s no surprise that Bailey has overseen this initiative given his background. He’s a top programmer, and it won’t be long before his evolution at TIFF becomes a revolution. Of the big fall festivals, Toronto is the one making the most significant effort to bring about change not just to film, but also society.

But back to that poster, it’s a bit abstract and difficult to tell what it wants to be. Maybe I did see it during TIFF, everywhere, I just didn’t realise that it was the visual identity that was supposed to be representing the festival. Having said that, it kind of fits with some of my sentiments about a festival where a lot of films, seem to be put together abstractly, and where it doesn’t quite come together as a whole.

El Gouna Film Festival 

Festival Director: Ihtishal Al Timimi

I have a good rapport with Festival Director Ihtishal Al Timimi from his time at the Abu Dhabi Film Festival. Heading to Egypt meant that I had to miss San Sebastian, one of my favourite film festivals of the year, every year. I’m still crying, even if it was well worth the change of water and sun location. El Gouna is one of those friendly festivals, with a real hub where everyone mingles and chats about the movies that they have, or haven’t been watching. Its focus is on films from the Middle East and North Africa, and all of the key players from the region turn up, make plans and plot for the future. It comes a few weeks before Cairo and has a far more curated programme in which most films had a lot going for it. It was one of those festivals with not much to do in a resort late at night, so it was easy to mingle with filmmakers and festival programmers.

The poster is striking, albeit one more in keeping with it a perfume fragrance rather than a film festival. It shows a lady in a red dress walking across a stage from left to right, with the backdrop resembling a film reel. It wants to be modern but can’t help but feel retro. Much like this festival, the poser is a throwback to a bygone era, and that’s not always a bad thing. I’m hoping the festival moves dates to avoid a clash with San Sebastian in the future.

Zurich Film Festival 

Artistic Director: Karl Spoerri

Straight from El Gouna, I crashed into the Zurich Film Festival. This festival, with its green carpets, has been growing in stature every year. It’s the sister festival to San Sebastian and benefits from filmmakers coming straight from the Basque region to Switzerland. Zurich has improved a lot in recent years, but the selection has yet to catch fire. The big Swiss festival, Locarno, has a much more progressive and diverse programme. This year was a watershed for Zurich in many ways as it was the final year that co-founders Nadja Schildknecht (managing director) and Karl Spoerri (artistic director) were at the helm. They will be board members and advisors to the festival from here on in. Some months before the festival started, Zurich announced that leading film journalist Christian Jungen, the chief cultural editor at the German-language Swiss newspaper NZZ am Sonntag, had joined the Zurich Film Festival and would take over as Artistic Director in 2020. The appointment shows that good taste and a long career observing the film industry is still a way into festival curating (despite my earlier observation), especially for celebrations of cinema looking to be bolder in their selection.

One of the changes that can immediately be made, that would highlight a bit more risk-taking, is the creation of more captivating movie posters. I hope Jungen changes this up too. The Zurich Film Festival has a strong logo presence, but the desire to have a visual identity that appears on tickets, festival cars and stationery has led to the uninspiring and corporate logo dominating the festival poster. Where is the fun? The use of the logo on the poster is more bland corporate identity than art. Let’s face it, the formula for many film festivals is the same, you have films, industry talks and events with a bit of glamour on the carpet, it’s the other stuff that stokes the audience imagination that creates buzz. That starts with a good poster.

London Film Festival 

Festival Director Tricia Tuttle

The London Film Festival also went for the abstract approach to designing their visual identity. At first glance, it feels even more abstract than that in Toronto and less cohesive with it’s merging triangles and colours. The British Film Institute said when launching the poster: “Delivered in collaboration with creative agency DBLG, the design continues to develop iconography that was inspired by the beautiful NFT sign on our building at BFI Southbank, which was created in 1957 by Norman Engleback, and harks back to some of our classic Festival artwork from the 60s.” Hmm. If you say so! I’ve been to the BFI Southbank building countless times, and I’m at a loss about the beautiful NFT sign! 

London is my hometown film festival, so I guess that makes me harder on it, in the way that happens in families. It was the first year that Tricia Tuttle was officially in charge as festival head. The year before she was acting head, so 2019 wasn’t her first festival in the hot seat. Her promotion seemed to be an anointment rather than an appointment. I was surprised that there was not a more significant fanfare about the failure to open up the application process, but not too surprised. Tricia is very personable and is well-qualified for the role and probably would have got the job anyway. Also, it’s hard to imagine many clamoring for a position that involves programming a festival around talent that is coming to London for BAFTA screenings so that they can campaign for award season votes. London feels like a hostage to the awards season. 

That being said the clamoring for votes is terrific timing for the festival as it means it gets a host of talent to attend the festival because it’s the early stage of the awards campaigning when producers and studios are still unsure of what will emerge as the frontrunners. Consequently, it struggles to be a festival of discovery or even a festival of festivals, despite the introduction in recent years of competition segments. The surprising omission of Nadav Lapid’s Synonyms meant that this was the first time that I can remember that none of the Berlin, Cannes, or Venice Best Film winners played at the festival. (Someone will no doubt fact check this and prove me wrong!) 

As with any festival that has this many films and star names, the attention gets placed on the usual suspects. While film festivals are the life-blood of smaller independent films, it is harder than ever for them to emerge and break out into the mainstream. It’s a chicken and egg situation. London does try to make this push, but the sheer size and scale of the operation, and the need to get audiences through the door means it usually fails. How hard it is for films to get noticed is the struggle of our times, and it’s even harder persuading a distributor to release it after a festival appearance, which sounds odd given that more movies are coming out each week than ever before. London is just another festival that seems to favor the studios rather than the independents, as it’s easier to get bums on seats and ticket sales for blockbusters, even if the goal is to highlight smaller films and BFI funded films. However, I realize I know I’m more aware of the issues of the festival in regards to the distribution scene in the United Kingdom, as I’m much more often in contact with the local sales agents, distributors and exhibitors, which could be highlighting the problem. I’m sure the same story is being told elsewhere, but it is one that comes into sharp focus for me in London.

Lumière Film Festival 

Festival Director: Thierry Frémaux

When not presiding over Cannes, Thierry Frémaux is the director of the Institut Lumière, in Lyon. The museum and the festival are located within the grounds of the Lumière family house, around the site that the Lumière brothers shot one of their earliest works, Workers Leaving the Lumière Factory in Lyon. It’s often called the first motion picture ever made. The Institut Lumière was founded in 1982, and charged with promotion and preservation of film. Acclaimed French filmmaker Bertrand Tavernier is President and Frémaux is its director. It’s a job that Frémaux clearly loves. One of my best experiences in a cinema was watching Frémaux live-present Lumière! A film he directed in 2016, made up of clips and reels of early French cinema. The witty and engaging commentary that he delivers as the reels play is extraordinary and full of passion.

A decade ago, Frémaux decided to launch the Lumière Film Festival, which focuses on the history of cinema with a line-up dedicated to restored prints and retrospectives. There are some new films, presented when one of the many luminaries who come through the festival give a masterclass. Top talent comes, because of the connection to Cannes. The masterclasses are extensive, intriguing and unique, some of the best of the year. Go on their website and listen to the podcasts if you have not done so already, you will not be disappointed. It’s impossible not to have a fabulous time when spent watching the works of Lina Wertmüller, treasures from pre-code Hollywood, and re-mastered classics including 5 Fingers by Joseph L. Mankiewicz and Phillipe Garrel’s Liberty at Night.

The Festival poster is in keeping with the cinematic history theme. It’s a poster of Francis Ford Coppola directing on the set of Rumble Fish. It’s in black and white, of course, and chosen to celebrate the fact that Coppola was in town to pick up the festival’s big honour, Prix Lumière. Coppola had a great time. My particular highlight was seeing him introduce The Cotton Club. A couple of days later at The Godfather Trilogy all-nighter, I was struck by how The Cotton Club and The Godfather movies use entertainment as a mask for nefarious activities. It is a great film festival, and a joy to see cinema through the eyes of Frèmaux, in a way that is impossible at Cannes. Bravo!

Red Sea Industry Workshop

Red Sea Festival Director: Mahmoud Sabbagh

The decision to allow cinemas to open in Saudi Arabia after a 30-year ban has brought a vast new audience and film market hungry for cinema. Saudi Arabia, with a population of around 70 million, is full of cinephiles. The cinemas that have been opening have been booked out. There have also been several Saudi films that have started to appear at film festivals. Haifaa Al Mansour’s The Perfect Candidate vied for the Golden Lion at the Venice Film Festival. The observational comedy Barakah Meets Barakah by Mahmoud Sabbagh is one of the most popular films from the region on Netflix. It is Sabbagh, a pioneer as a director, who is leading the drive to set up the Red Sea Film Festival, and also the Red Sea Lodge, an incubator for regional filmmakers that’s been set-up in collaboration with the Torino Film Lab. Two of the projects will win a production grant of $500,000. Next year, the Red Sea Film Festival will have its inaugural edition in March.

I jumped at the chance of going to the Old Town in Jeddah for the weekend to meet the filmmakers from the 12 projects selected for incubation. The filmmakers seemed invigorated at workshops where leading industry experts were discussing and dissecting their scripts for just over a week. I watched enthralled as one workshop leader used toys to highlight character journeys and some structural problems. Egyptian filmmaker Marwan Hamed delivered a masterclass, where he discussed his career, including the adaptation of The Yacoubian Building. I was most impressed by the attendance, where the local community sat enthralled throughout and came armed with interesting and intelligent questions. It was a surprisingly more engaged audience than I had seen at other Middle East Film Festival over the years. Cairo usually being the best. 

There was no poster as such, although on the literature that was released, often the writing would come over a photographic image of the Unesco heritage site in Old Town Jeddah. It will be interesting to see what happens in March when the first edition launches. Will the festival be seen as Saudi filmmakers celebrating film for the first time in three decades or will it be clouded and judged by a geo-political narrative? Much will be in the eyes of the beholder.

Films From the South 

Festival Director: Lasse Skagen

I found myself in Norway again, this time in Oslo for Films From the South Film Festival, where I delivered a master class at the Sørfund Pitching Forum on “Festival and Press strategy” to Norwegian producers, international directors and producers. At Sørfund Pitching Forum six selected filmmakers from Latin America, Africa and Asia pitch their films that they hope will be backed by the Norwegian film fund in 2020. One of the great advantages of this fund is that you don’t have to invest the money in Norway, but you need to woo a local producer, who will then be your Norwegian co-production partner. The standard of filmmakers is extraordinary. Two of the filmmakers pitching at the event had won Lion of the Future awards, for best first film at the Venice Film Festival.

So I didn’t attend a film at the Films from the South Festival. This was a festival that for me was about helping filmmakers further their career. In Oslo, I was the one in control of the show, or more accurately the Powerpoint presentation. It’s great to talk to filmmakers directly in this way. The aim of the talk is to give them an idea of a strategy that might attract the media to their films, including which festivals they might get the best results at, and when or where they will need to employ publicists, find sales agents, or just do it on their own. It always amazes me that independent filmmakers have to be both architects and realtors, they plan, create and when they have finished their film, they then realise that it’s up to them to sell their films. Even if they have a great team behind them, or working with them, often festivals can be a confusing and demoralising place for a filmmaker. 

I looked through the Films from the South catalogue, and it was an impressive list of films that were screening, and Sørfund can be proud of the success the films they’ve funded have had, especially last year. The screenings highlight how there are so many great filmmakers around the world, and how much stimulating and fascinating work gets created each year. On the minus side, it’s demoralising to see so many amazing films get ignored. As for Lasse Skagen, who is also the Artistic Director at the Oslo Festival Agency, and has been at the Oslo Films from the South Foundation since 1997, our paths didn’t cross, but I admire his work. I was in contact with the SORFOND team. As for the poster for the festival, I have only just looked at it now, and have to say I like it. A rainbow of paint is segmented to show the sun high in the sky casting a shadow down to the sea, a clear distinction of the world between the North and the South. Although some may balk at my interpretation as it can also be looked at as a representation of privilege. 

Ajyal 2019 

Festival Director: Fatma Al Remaihi

If you have made it this far, I salute you. You must be as exhausted as I was by the start of December. For my last festival of the year, I was back in Doha at the Ajyal Film Festival. This time it didn’t seem like Fatma Al Remaihi and Hanaa Issa argued very much about the poster, as it was in the spirit of the posters from previous edition, featuring an explosion of colourful splintered geometric shapes creating a circle with no borders. The use of the white background, a change from the previously used black background, made it pop out even more.

It’s been a few years since I’d been to this festival, and I have to say I was very impressed with how much better it is now, then from it’s baby years. Ajyal’s excellent goal is to foster a love of cinema in children and young adults. There are 96 films screened from 39 countries, with the juries for these films made up of these young spectators, split up into various age groups. Each age group were given 4 to 6 movies to watch and judge. There were also workshops for the 400 jurors from 41 nationalities, including 40 international jurors. 

I delivered a quick talk on how to watch movies and criticize them. What was surprising was how little help they needed, and that they were open to the fact that film criticism can come in many forms these days, not just print, but also with memes, video streaming and just chatting to your friends over a milkshake. It was the perfect end to an exhausting year, and as I finally finish writing this up, I realise that I went to a hell of a lot of events last year, and it’s impressive how non-repetitive and unique each festival is.

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Tony Allen: the Afrobeat pioneer’s 10 finest recordings | Music | The Guardian

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Listen to a playlist of Ammar’s selections:

Fela Kuti: Roforofo Fight (Roforofo Fight, 1972)




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Roforofo Fight is the earliest cohesive expression of Tony Allen and saxophonist Fela Kuti’s Afrobeat sound: part Yoruba polyrhythm, part Nigerian highlife melody, part calypso swing, and all shuffling swagger. Allen and Kuti had been playing together for the best part of eight years at this point, mixing highlife and jazz, but a 1969 trip to the US proved pivotal, exposing Kuti to the radicalism of the Black Panther movement and leading to the formulation of his militant aesthetic Africa ‘70 band. On the title track of Kuti’s second album to be recorded after the trip, Allen takes centre stage with his undulating groove, slapping the snare on the jaunty offbeats to counter Kuti’s forceful diction. An enticing taste of things to come.

Fela Kuti: Water No Get Enemy (Expensive Shit, 1975)




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Afrobeat rhythms seem deceptively simple: a steadily paced, off-kilter shuffle that holds the beat without succumbing to the western convention of landing the snare on the third beat of the bar. Try to play an Allen line, though, and you soon realise how much ghosting and embellishment is going on below the surface – doubles splayed on the first note of a phrase, kick drums scattered throughout. And yet, the groove remains even when it feels like it might fall apart. Water No Get Enemy is the perfect example: a hip-swaying mid-tempo horn line sits atop Allen’s liquid shuffle while Kuti uses the amorphous imagery of water to outline methods of resistance to Nigeria’s reactionary government.

Fela Kuti: Zombie (Zombie, 1976)




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By the mid 70s, Kuti’s politics of resistance was reaching its peak. Zombie was its most forceful expression, Kuti’s lyrics characterising the violent Nigerian army as mindless zombies. You can feel the force of his frustration through his blistering saxophone as it meanders over the highlife guitar line, while Allen’s snappy, shaker-heavy rhythm is the ever-reliable foundation for Kuti’s social message. The song’s success in Nigeria was not without consequences, leading to a severe beating for Kuti, the torching of his studio and his elderly mother being thrown from a window and killed.

Tony Allen: Nepa (Never Expect Power Always, 1984)

Kuti had a domineering relationship to his bandmates, demanding all recording royalties for himself despite Allen’s role as musical director. As the 70s wore on and the group’s popularity increased, so did the dissent in its ranks. By 1979, Allen had recorded three albums as bandleader and so decided to leave the ‘Africa 70, taking many of its members with him. The greatest recording of his new era is 1984’s Nepa – an attack on the notoriously unreliable Nigerian Electrical Power Authority. Here Allen continues Kuti’s lineage of playful socio-political criticism, this time updating the Afrobeat sound to include dub-inflected electronics and fusion funk. It would become representative of Allen’s all-encompassing musical appetite in the years to come.

The Good, the Bad & the Queen: The Good, the Bad & the Queen (The Good, the Bad & the Queen, 2007)

As the 90s continued and Allen was establishing himself as an architect of Afrobeat in his own right, especially in the wake of Kuti’s 1997 death, his own genre-eating journey was evolving further into electronics and collaboration. A longtime fan of the genre, Damon Albarn enlisted Allen for his supergroup, The Good, the Bad & the Queen, featuring the Clash’s Paul Simonon on bass and the Verve’s Simon Tong on guitar. The sprawling title track is the closest we see Allen to cutting loose behind the kit and producing an unabashed rock sound behind Tong’s voluminous closing solo – a testament to his energetic versatility.

Moritz von Oswald: Sounding Line 1 (Sounding Lines, 2015)




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Perhaps the strangest and least well-known of Allen’s collaborations is that with the techno producer Moritz von Oswald, who replaced his longtime drummer Vladislav Delay with Allen for his 2015 album Sounding Lines. Allen produces a truly remarkable sound: a warped and manipulated series of electronics. The opening track sees Allen superimpose an Afrobeat shuffle on to a wobbly dub that builds over 10 minutes to create a simmering, electro dancefloor odyssey.

Tony Allen: A Night in Tunisia (A Tribute to Art Blakey and the Messengers, 2017)




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Allen’s first love was always jazz and he referenced throughout his life the work of rhythmic mastermind Max Roach and explosive powerhouse Art Blakey as major influences. This 2017 Blue Note recording was a welcome opportunity for Allen to finally delve into those roots and lay down his own interpretations. Across its four tracks Allen tackles some of Blakey’s best-loved tunes, like a straight-eighths Moanin’, but his Afrobeat-inflected Night in Tunisia is a work of genius, transforming the horn line into a punchy, driving vamp.

Tony Allen: Wolf Eats Wolf (The Source, 2017)




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Continuing his jazz explorations, Allen delivered his first album of original compositions as a bandleader for legendary jazz label Blue Note. The culmination of his decades of musical exploration, it interweaves metallic electronics with warm percussion, bright horn lines and that ever-present drum language. On Wolf Eats Wolf, Allen is comfortably experimental, putting a Synclavier to work over a highlife guitar line and Kuti-referencing horns to create an eminently danceable new jazz standard.

Tony Allen and Jeff Mills: Locked and Loaded (Tomorrow Comes the Harvest, 2018)




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Never one to be pigeonholed, on 2018’s Tomorrow Comes the Harvest Allen paired up with techno wizard Jeff Mills to further the electronic experiments he had begun with Von Oswald. Largely formulated for modular live performances, the record has a wonderfully loose, improvisatory feel. It hits its stride on the propulsive Locked and Loaded as Allen’s shuffle dissipates into white noise beneath Mills’s distorting sub bass. Even in the grid-work of Mills’ techno, Allen manages to swing.

Tony Allen and Hugh Masekela: Never (Lagos Never Gonna Be The Same) (Rejoice, 2020)




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In 2010, Allen paired up with trumpeter Hugh Masekela, a longtime collaborator and giant of South African jazz. Rejoice was released a decade later, following Masekela’s death in 2018, and now stands as Allen’s last released recording. As its title indicates, the album is a sun-dappled, joyous listening experience celebrating both artists’ effortless ability to make us shake a leg. Never (Lagos Never Gonna Be The Same) plays as an homage to Kuti and it serves as a perfect reminder that although our musical greats ultimately pass on, their legacy lies in each note, ready and willing to be dusted off, played and reinterpreted all over again.

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Death toll from coronavirus in care homes set to be published daily | London Evening Standard

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The death tolls for the number of people who have died in care homes after testing positive for coronavirus will now be announced daily, Matt Hancock has said.

The Government previously faced criticism over the fact the daily death toll figures provided by the Department of Health only include hospital fatalities.

To date, figures for deaths in care homes and in the community have been released weekly by the Office for National Statistics.

The news comes as the Care Quality Commission revealed today that 4,343 Covid-19  deaths occurred in care homes between April 10 to the 24.​

Speaking in Downing Street, Mr Hancock said: “From tomorrow we’ll be publishing not just the number of deaths in hospital each day but the number of deaths in care homes and the community too.”

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The Health Secretary said that this was part of a Government effort to “bring as much transparency as possible” during the Covid-19 pandemic.

He added: “This will supplement the ONS and CQC weekly publication and all add to our understanding of how this virus is spreading day by day.”

The move will also “help inform the judgments that we make as we work to keep people safe,” Mr Hancock said.

Answering questions from journalists during the press briefing, he said the spread of Covid-19 through care homes is “absolutely a priority” for the Government.

The Health Secretary also revealed that after successful pilots, the government will be rolling out coronavirus testing to asymptomatic residents and staff in care homes in England as well as staff and patients in the NHS.

“This will mean that anyone who is working or living in a care home will be able to get access to a test whether they have symptoms or not,” he stated.

“I am determined to do everything I can to protect the most vulnerable.”

Professor John Newton, co-ordinator of the national testing effort, addressing the spread of the virus in care homes, said: “We’ve done some intensive studies of infection in care homes.

“What that showed was that the presence of symptoms was not really a good marker in the care home setting, both among residents and staff, for the presence of the virus.

“There were significant numbers who were asymptomatic who had the virus and so we have massively increased the amount of testing available.

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“We have now tested 25,000 residents in care homes and we are rolling out testing now to symptomatic and asymptomatic residents, as well as providing testing through the drive-thru centres and other means.”

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UK’s coronavirus death toll rises by 684 to 3,605 in biggest jump yet – Mirror Online

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The UK’s coronavirus death toll has soared to 3,605 after 684 patients died in just 24 hours – the biggest single day increase yet.

The figure does not include people who have died at home. The previous total stood at 2,921 deaths.

The number of confirmed cases has increased to 38,168 after 4,450 more people tested positive.

Most of the deaths have been in England (3,244), followed by Scotland (172), Wales (141) and Northern Ireland (48).

Two NHS nurses, who were both mothers in their 30s with three young children, are among the latest patients to die after battling Covid-19 in hospital.

The grim news came as Health Secretary Matt Hancock, who is back at work after battling the virus, said the Government expects the virus to peak in Britain in the next few weeks and Prime Minister Boris Johnson, who is still infected with Covid-19 and isolating, urged people to stick with social distancing in a bid to flatten the curve.

Have you been affected by coronavirus? Email webnews@mirror.co.uk.

Aimee O'Rourke

The Department of Health said: “As of 9am on 3 April 2020, 173,784 people have been tested, of which 38,168 were confirmed positive.

“As of 5pm on 2 April 2020, of those hospitalised in the UK who tested positive for coronavirus, 3,605 have died.”

Public Health England said 11,764 tests were carried out on Thursday in England, while testing capacity for inpatient care in the country currently stands at 12,799 tests per day.

Two NHS nurses were among the latest patients to die.

BBC Radio 4

Mum-of-three Areema Nasreen, 36, was in intensive care on a ventilator after testing positive for the virus.

She worked at Walsall Manor Hospital in the West Midlands.

In Kent, Aimee O’Rourke, 38, died at the Queen Elizabeth The Queen Mother Hospital in Margate, where she worked.

The mum-of-three was hailed as a “brave angel” as her family said in a tribute: “Aimee was a beautiful woman and a valued NHS nurse.”

Boris Johnson

More than 10,000 tests carried out

Friday’s figures from the Department of Health show that for the second day running more than 10,000 new people were tested in the UK for coronavirus.

A total of 10,590 new people were reported as being tested in the 24 hours to 9am April 3.

The equivalent figure for April 2 was 10,215.

The total number of people in the UK tested since the outbreak began is now 173,784.

This is the equivalent of around 261 people in every 100,000, or 0.3% of the population.

The number of coronavirus-related hospital deaths reported by the Department of Health stood at 3,605 as of 5pm April 2.

It took 19 days for this number to pass 300. It has taken further 11 days to pass 3,000.

Meanwhile, the number of confirmed cases of coronavirus in the UK has taken two weeks to go from just under 4,000 (3,983 as of 9am March 20) to just under 40,000 (38,168 as of 9am April 3).

Commenting on the death of Ms Nasreen, Mr Hancock said: “I pay tribute to the NHS staff who’ve died serving the NHS, serving the nation.

“It shows the incredible bravery of every member of the NHS who goes into work knowing that these dangers are there.

“I think it is a testament to every doctor and nurse and paramedic and other health professional who is working in the NHS in these difficult times.

“And I think the whole nation is grateful.”

About 35,000 front-line NHS staff are not currently in work due to coronavirus, said Mr Hancock.

He said testing figures for health staff “should” rise to thousands a day in the next few weeks.

The Government has set a goal of testing 100,000 people a day across the whole of the UK by the end of April following widespread criticism of its testing strategy.

The Prime Minister’s spokesman said the 5,000-plus NHS staff who had been tested had mainly been tested at new testing sites.

Health Secretary

A total of 172 patients have died in Scotland after testing positive for coronavirus, up by 46 from 126 on Thursday.

3,001 people have now tested positive for the virus in Scotland, up from 2,602 the day before.

Officials said 176 people are in intensive care with coronavirus or coronavirus symptoms, and increase of 14 on Thursday.

First Minister Nicola Sturgeon warned: “I want to be very clear that nothing I have seen gives me any basis whatsoever for predicting the virus will peak as early as a week’s time here in Scotland.”

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A total of 24 patients have died after testing positive for coronavirus in Wales, bringing the total number of deaths in the country to 141, health officials said.

Public Health Wales said 345 new cases had tested positive for Covid-19, bringing the total number of confirmed cases in Wales to 2,466.

Dr Robin Howe, from Public Health Wales, said “345 new cases have tested positive for Covid-19 in Wales, bringing the total number of confirmed cases to 2,466, although the true number of cases is likely to be higher”.

Dr Howe added: “Twenty-four further deaths have been reported to us of people who had tested positive for Covid-19, taking the number of deaths in Wales to 141.

Louisa Jordan

“We offer our condolences to families and friends affected, and we ask those reporting on the situation to respect patient confidentiality.”

The Welsh Government will introduce a law compelling all employers to make sure their workers keep two metres apart, Wales’ First Minister has said.

Mark Drakeford said the social distancing legislation, the first in the UK, would require bosses to “put the needs of their workforce first” when it comes into force on Monday or Tuesday of next week.

The number of people who have died in Northern Ireland after contracting coronavirus has risen by 12 to 48, health officials said.

Testing has resulted in 130 new positive cases, bringing the total number of confirmed cases in the region to 904.

Manchester's Central Complex

In England, two siblings of Ismail Mohamed Abdulwahab, the 13-year-old London boy who died after testing positive for coronavirus, have also developed symptoms, according to a family friend who launched an online appeal.

The development means Ismail’s mother and six siblings are forced to self-isolate and cannot attend his funeral in Brixton on Friday, Mark Stephenson said.

Meanwhile, Prince Charles, who tested positive for coronavirus last month, officially opened the NHS Nightingale Hospital at the ExCeL centre in east London.

The Prince of Wales, 71, appeared via video-link from his Scottish home of Birkhall and spoke to those gathered at the entrance of the new temporary hospital.

He said: “It is without doubt a spectacular and almost unbelievable feat of work in every sense, from its speed of construction – in just nine days as we’ve heard – to its size and the skills of those who have created it.

Mark Stephenson

NHS Nightingale Hospital – the facts

The NHS Nightingale Hospital has been built in east London in the ExCel convention centre.

The facility will be used to treat Covid-19 patients transferred from intensive care units across London

Just one ward will need 200 members of staff

“An example, if ever one was needed, of how the impossible could be made possible and how we can achieve the unthinkable through human will and ingenuity.”

Charles added: “The creation of this hospital is above all the result of an extraordinary collaboration and partnership between NHS managers, the military and all those involved to create a centre on a scale that has never been seen before in the United Kingdom.

“To convert one of the largest national conference centres into a field hospital, starting with 500 beds with a potential of 4,000, is quite frankly incredible.”

The prince and Mr Hancock both recently ended self-isolation after contracting the virus and Charles commented on the fact they had recovered.

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He said: “Now I was one of the lucky ones to have Covid-19 relatively mildly and if I may say so I’m so glad to see the Secretary of State has also recovered, but for some it will be a much harder journey.”

Shortly after he spoke, Buckingham Palace confirmed the Queen has recorded a special broadcast on the coronavirus outbreak to be broadcast on Sunday night.

Previously, it was said that the 93-year-old monarch, who is isolating with Prince Philip, 98, at Windsor Castle, was preparing to make a televised address to calm the nation’s nerves, but was waiting for the “right moment” to address the country.

Mr Hancock, meanwhile, praised all those involved in the setting up of the hospital, adding the “extraordinary project”, the core of which was completed in just nine days, was a “testament to the work and the brilliance of the many people involved”.

Matt Hancock

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Add your partial postcode (eg: CF5 1) to put a heart on the map and you can add a thank you message too.

If you’re an NHS worker, you’ll also find a handy list of all the places and brands currently offering you well-deserved discounts.

Share the page to encourage others to show their support!

He also praised the NHS and the way its staff are dealing with the virus crisis.

The Health Secretary said: “In these troubled times with this invisible killer stalking the whole world, the fact that in this country we have the NHS is even more valuable than before.”

Asked about the number of ventilators currently in use and how many are expected to arrive next week, Mr Hancock said: “We’ve obviously got a big programme to ramp up the number of ventilators and we now have more ventilators than we had before.

“And we’re going to need them for this hospital and I’m just going to go and have a look at that now.”

Pressed for exact numbers, Mr Hancock did not respond.

Northern Ireland

Speaking on BBC Radio 4’s Today programme earlier, Mr Hancock said it is unclear whether he is now immune to Covid-19.

He described having coronavirus as a “pretty unpleasant experience” with an “incredibly” sore throat and a feeling of “having glass in my throat”.

He said he has lost half a stone in weight.

Prime Minister Boris Johnson remained in isolation in Downing Street after testing positive for the virus.

He was “feeling better” but still had a fever on Friday.

nurse and paramedic

In a video on social media, the Prime Minister urged the public to stick with social distancing and not be tempted to “hang out” in the warmer weather predicted for this weekend.

“In my own case, although I’m feeling better and I’ve done my seven days of isolation, alas I still have one of the symptoms, a minor symptom, I still still have a temperature,” he said.

“So, in accordance with government advice I must continue my self-isolation until that symptom itself goes.”

Mr Johnson said people must not be tempted to break social distancing rules as the weather warms up even if they were going “a bit stir crazy”

In England, more than 26.7 million units of personal protection equipment (PPE) were delivered to 281 NHS “trusts and providers” on Thursday, Downing Street confirmed.

Prime Minister

Mr Johnson’s spokesman said: “That included 7.8 million aprons, 1.7 million masks and 12.4 million gloves.”

It follows the new guidance issued by Public Health England about the level of protection health staff should wear depending on the patient situation.

There would be no new guidance published on the public wearing masks or face coverings when out of the house, said the spokesman.

The spokesman said “surveillance” of the population to determine the spread of coronavirus was ongoing, with 3,500 antibody tests carried out per week.

“This is a population surveillance programme which we have been carrying out since February,” said the spokesman.

“It is being done by Public Health England at their campus which is at Porton Down.

“We currently have capacity for 3,500 of these surveillance tests to be carried out this week which is enough for small-scale population sampling.”

Two newly-planned temporary hospital sites have been agreed at the University of the West of England and the Harrogate Convention Centre.

They will join other sites due to open at Birmingham’s National Exhibition Centre and Manchester’s Central Complex.

Construction of a temporary hospital called the NHS Louisa Jordan is underway in Glasgow.

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Death Toll From Indian Capital Communal Violence Rises To 46

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The death toll during the four-day communal violence in the Indian capital city rose to 46 on Sunday, officials said.

“Today three more bodies were recovered from the violence-hit northeast part of the city,” a police official said. “One of the bodies was found in a canal in Gokalpuri and two were recovered from the Bhagirathi Vihar canal.”

According to the officials, the death toll by now stands at 46. Over 350 people were also injured in the violence that ravaged the city.

Police officials on Sunday said the situation was under control. However, the huge deployment of police and paramilitary remains in the affected parts.

The violence left a trail of damage in the northeastern parts of the city as rioters torched vehicles, vandalised shops and burnt buildings including schools.

A man walks through a vandalized market after violence-ravaged New Delhi, India, Feb. 26, 2020. (Xinhua/Javed Dar)

Many people, especially Muslims, have left their homes in the affected areas and took refuge in the shelters set up by the government.

Delhi Police has come under fierce criticism for its apparent inaction. Locals alleged their calls to police for help proved futile.

The police have set up two Special Investigative Teams (SITs) to probe the violence. According to officials, hundreds of people have been detained in connection with the violence.

The clashes broke out between pro- and anti-Citizenship Amendment Act (CAA) groups in the northeastern part of the city last Sunday and took an ugly turn on Monday and Tuesday.

Protests against the controversial new citizenship law were triggered on Dec. 11 last year, the day India’s upper house of parliament passed the law. Since then there has been no let-up in the protests.

The law aims at granting citizenship to illegal immigrants belonging to six religions – Hinduism, Sikhism, Buddhism, Jainism, Parsi and Christianity – from Bangladesh, Afghanistan and Pakistan. However, it has kept out Muslim immigrants from applying for citizenship.

So far, the violence against the law has killed over 70 people across India.

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Church and State in Montenegro: between National(istic) and Imperial Policies | Political Theology Network

A crisis is brewing in the tiny ex-Yugoslav country of Montenegro. There are massive street protests, attacks on priests, and fights in the Parliament. Various domestic, regional, and international actors, interests and policies are at stake here, giving us the opportunity to learn important lessons about national (and nationalistic) ideological projects, and the role of religion and international (also imperial) aspirations in their creation. And yet, mainstream Western media has shown little interest in the matter. One can speculate why.

The Government of Montenegro proposed new legislation on religious organizations called “The Law on the Freedom of Religion,” which was approved by the Parliament on December 27, 2019.  A draft version of the document is available from the website of the Ministry for Human and Minority Rights, both in the local language and in English. The legislation generated significant controversy due to its treatment of religious organizations, their internal procedures, as well as their property.

Article 4 specifies that:

“Prior to the appointment, i.e. announcement of the appointment if the highest religious leaders, a religious community shall confidentially notify the Government of Montenegro (hereinafter: the Government) about that.”

Article 16, § 1 requires that the application for registration of a religious community shall contain:

“The name of the religious community, which must be different from names of other religious communities and must not contain the official name of other state and its features”

For many, the most problematic article is 52, found under the
section “Transitional and Final Provisions”:

“Religious facilities and land used by the religious communities in the territory of Montenegro and for which is found to have been built or obtained from public resources of the state or have been in state ownership until 1 December 1918, as the cultural heritage of Montenegro, shall be the property of the state. Religious facilities for which if found to have been built on the territory of Montenegro from joint investments of the citizens until 1 December 1918, shall be the property of the state.”

The law caused an outrage among the members of the Orthodox Church
in Montenegro. Let me sketch some of the background which will, hopefully,
render the current crisis more intelligible.

There are four Orthodox dioceses (belonging to the Serbian
Orthodox Church, i.e. Patriarchate of Peć) whose territory is fully or in part
located on the territory of Montenegro. The Orthodox Church (i.e. these four dioceses)
is, by far, the largest religious organization in the country.

The majority of both the clergy and laity view the new legislation as a purposeful targeting of the Church by the Government. They interpret Article 16, § 1 as specifically crafted against the Orthodox Church, as the above-mentioned dioceses in Montenegro belong to the Serbian Orthodox Church. However, the Article 52 appears to be a much more serious threat. Many these churches and monasteries are centuries old, predating even the formation of the modern state of Montenegro. If enacted, Article 52 could lead to the confiscation of Church property and its sacral objects.

Why would the government do this? Why would it go against the Church,
in a country where a significant majority of the population considers itself
Orthodox? This is where things get complicated.

Arguably the chief political authority in Montenegro, over the
past three decades, has been Milo Đukanović. He assumed the office of prime
minister in 1991, and has been in power ever since, performing the roles of
prime minister and president interchangeably (with a couple of years of break,
2006-2008, and 2010-2012). This style of rule brings to mind rulers in other
parts of Europe who have de facto been chief figures in the political
life of their countries for long periods of time, regardless of the name of the
office they would hold in a given moment. Not all long-lasting autocrats are
the same though: There are those who “we” (in the West) do not like very much,
since they refuse to obey us (branded as “evil autocrats”), and there are “our
kind of guys,” who are submissive enough to the Western political and economic
centers (branded as “democratic rulers”). Milo Đukanović, of course, belongs to
the latter group. During his pontificate the country joined the NATO alliance (in
2017), and he has successfully resisted a stronger Russian influence in the
country.

Đukanović, once upon a time, was loyal to Serbian president
Slobodan Milošević, and his allies in Montenegro. However, he switched sides just
in time, and his chief project became an independent Montenegro (proclaimed in
2006) and close cooperation with Western governments, military, and
multinational corporations. This where problems with the Serbian Orthodox
Church in Montenegro begin, in particular with the most prominent figure of
Montenegrin religious life—Metropolitan Amfilohije (Radović). At times partners,
at other times in conflict, this turbulent relationship between the politician
and the metropolitan has ended up, as of now, in an open battle.

Đukanović’s vision of independent Montenegro and the new
Montenegrin identity also includes the vision of an autocephalous (“self-governed”)
“Montenegrin church” which would be loyal (some would suggest obedient as a much better word choice) to the State (i.e., his regime). Amfilohije and
other bishops do not seem to share the same vision. For them, there is no conflict
between an “authentic” Montenegrin identity and Serbian identity, and therefore
no problem with the Orthodox Church in Montenegro being part of the Serbian
Orthodox Church. (Nota bene, many figures and structures within the Serbian
Orthodox Church are by no means innocent in the political games that have been
played in the region, particularly when it comes to Serbian nationalism and the
policies of various autocrats from Belgrade, but that is a topic for another analysis.)

To foster a new Montenegrin identity, Đukanović’s regime started
to promote “Montenegrin Orthodox Church” as an “autocephalous” organization,
headed by the colorful figure of Miraš Dedejić. According to some sources, Dedejić
used to be an admirer of Slobodan Milošević and his policies. He had also been a
priest of the Ecumenical Patriarchate until he was excommunicated by Patriarch
Bartholomew. This organization is not recognized by any of the canonical
Orthodox Churches. Even Đukanović’s support has not been full or unconditional.
One is tempted to say that its purpose has primarily been to put pressure on Amfilohije
to follow the “right path.”  

This is how one can understand the recent actions, at least in one
of their complex and intertwined dimensions: Just as the Ukrainian political
leadership was advancing the (formerly) uncanonical church structures and their
autocephaly in the hope that it would strengthen Ukrainian national identity, as
well as the political elite who championed the project, Montenegrin leadership
might hope that promoting one group, which would be loyal to one political
project and obedient to the political authorities (Amfilohije has not proven
himself in that role), would lead to the recognition of autocephaly of that
group, with same or similar political results. Probably working out of these
hopes, the regime has, then, threatened the confiscation of Church property of
the “disloyal” Church, which is quietly accepted (if not blessed) by the
Western political centers. The trade seems straight-forward, based on a
widely-practiced strategy: “We” (political/economic centers in the West) will
turn a blind eye to violence, undemocratic policies, the autocratic style of
rule, breach of various rights, and so forth, and “you” (local political
elites) will ensure that the (military, economic, political) interests of those
centers are protected and advanced locally.

An obstacle in the case of Montenegro (unlike in the case of
Ukraine) is the fact that the Ecumenical Patriarchate does not seem willing to intervene
to support the formation of a new autocephalous Church, which would advance the
local national identity, being closely connected to the State. Not yet at least,
and not with Miraš’s team as a new autocephalous
church. It seems that there is awareness that right now there are no credible
candidates in Montenegro who would be willing to lead a potential autocephalous
church, neither there is popular support for such project.

For those less familiar with Orthodox ecclesiology, it is worth noting that in Orthodoxy there is no equivalent role to the one of the Roman pontiff. Orthodox ecclesiology has advanced the principle of conciliarity instead of the (universal) primacy of power of one ecclesiastical/imperial center. This does not mean, of course, that there have been no attempts of ecclesiastical seats to assume such power. Indeed, just as the seat of Rome infused the universalist aspirations to power into the emptied shell of the Western (Roman) Empire, so the bishops of “New Rome” (Constantinople) have occasionally aspired to assume both universal ecclesial, and even political authority (at times when the Empire was weakened). This universalism is reflected also in the title of the bishop/patriarch of Constantinople – “Ecumenical” – as the authority of this episcopal seat, as well as the authority of the (Roman) emperor, should ideally stretch over the entire oikoumene (inhabited world). What one can see, based on the recent actions of the Ecumenical Patriarchate, is the (renewed) aspiration to usurp a position within the Orthodox world which would be, in some aspects at least, comparable to the position which the Roman pontiff gradually acquired in the West. This, predictably, provokes a lot of criticism.

The entire episode can thus be understood as yet another example of how the whole concept of autocephaly, the way it is generally understood and practiced in “Orthodox countries” nowadays, is highly problematic. If autocephaly is understood as something “naturally” linked to national/ethnic identities (and/or nation states), it is both theologically unacceptable and very harmful to the body of the Church in long term. Serious Orthodox ecclesiology does not operate with the concept of “national Churches,” although it has been widely (and mistakenly) used both in the public discourse and, sometimes, in academia. Local Churches (i.e. dioceses) are organized as administrative regional ecclesiastical unites, that gather the faithful of a certain territory (for the sake of serving the Liturgy) regardless of their ethnicity, nationality, gender, class, race, etc. The predominant culture or customs have always been embraced in the Orthodox tradition, leaving a trace on how the service is conducted, which language is spoken, etc. However, the identity of the Church is not derived from the ethnic, national or other identities of the majority population of a certain territory, but from the Eucharist as the icon of the Kingdom of God. This is why an autocephalous Church makes sense as a self-governing administrative organization of dioceses of a certain region, having one of the local bishops as their own “head” (having the title of metropolitan, archbishop, pope or patriarch), but not as a “national” institution, or a Church of certain ethnic group (which, following Orthodox ecclesiology, amounts to nothing less than a heresy).

In practice, however, just as local ecclesiastical and political
elites are eager to exploit the (seriously flawed) understanding of autocephaly
as “national institutions,” for the sake of their own power struggles, so is
the Ecumenical Patriarchate. (Neo)imperial policies of ecclesiastical centers
(in this case of Phanar) can thus be very similar to the (neo)imperial policies
of States; both try to manipulate local nationalisms to their own advantage.
Therefore, if they serve the (neo)imperial agendas of “New Rome,” local
nationalisms and local “national” churches will be blessed. If they don’t,
local nationalisms and their cravings for autocephaly will be condemned in the
name of (neo)imperial “universalisms.”

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McConnell blasted for letting trial run past SOTU; even Chris Wallace calls Dems ‘petty’ and ‘spiteful’ for it

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Because of pressure mostly from Senate Democrats but also from some of his colleagues, Senate Majority Leader Mitch McConnell agreed late Friday to postpone President Donald Trump’s acquittal vote until next Wednesday.

The decision provoked frustration in some, though for different reasons.

Here is the McConnell-Schumer Senate deal which extends impeachment to next Wednesday. Story first reported by @OANN pic.twitter.com/b2pKhBma2i

— Jack Posobiec🇺🇸 (@JackPosobiec) February 1, 2020

Chris Wallace, one of Fox News’ most vocal Democrats, responded by blasting the Democrats for being so “petty” and “spiteful.” The remarks came after fellow FNC contributor Dana Perino opined about the Democrats’ motivation for pushing for a delay.

“I think one of the things that the Democrats want, and I don’t know why they think this would be helpful, is to be able to have the headline say, ‘An impeached president gives State of the Union,’” she said.

The president’s SOTU address is scheduled for Tuesday, a day before Trump is to be formally acquitted.

“I think it is so petty on the part of the Democrats and spiteful,” Wallace promptly chimed in. “End this. Land the plane!”


(Source: Fox News)

Others aimed their criticism at McConnell instead, including Fox Business Network host Lou Dobbs and frequent FBN guest Ed Rollins, the co-chairman of the Donald Trump Great America PAC.

“Why in the world would the majority leader agree to run this thing through the state of the union address?” Dobbs asked in exasperation late Friday.

“He won, and the bottom line is that he should have shut it down tonight. And who cares if it’s in the middle fo the night? The whole thing is in the middle of the night,” Rollins replied.

“So what’s the profit in him doing this?” Dobbs pressed.

“There’s not,” Rollins replied. “There’s a danger to it because you have another whole weekend of the co-conspirators — The New York Times — leaking more Bolton stories and raising more hell. He’ll be on all the talk shows.”

Listen:


(Source: Fox Business Network)

Shortly before the Senate began the process of voting on whether or not to allow witnesses to testify in the president’s trial, the Times dropped yet another Bolton “bombshell.”

This one alleged that the “president asked his national security adviser last spring in front of other senior advisers to pave the way for a meeting between Rudolph Giuliani and Ukraine’s new leader.”

Within an hour of the “bombshell” dropping, the Democrat impeachment managers began making closing arguments that reportedly contained quotes from that very story.

“[T]he House managers begin their closing arguments, and guess what? They’ve got charts, they got graphs, they got quotes from the New York Times leak!” conservative radio show host Rush Limbaugh noted at the time.

“It’s the playbook, and it is now so obvious, it’s become a joke. Every senator in that room knows exactly what’s going on here. We’re listening to closing arguments that are a coordinated, last-gasp, hail Mary for witnesses or what have you, that the New York Times found somebody to leak ’em something else from the manuscript of Bolton’s book.”

Dovetailing back to Dobbs, he shared his concerns on Twitter, as did other notable conservatives.

Look:

Why in the world would Senate Majority Leader McConnell allow this Radical Dem assault on @realDonaldTrump and the nation to run through the State of the Union and go on Wednesday when he could wrap it up tonight or at least tomorrow? #MAGA #AmericaFirst #Dobbs

— Lou Dobbs (@LouDobbs) January 31, 2020

Get the vote done Tuesday.

Exonerate the President BEFORE the State of the Union Address Tuesday so America can officially and symbolically turn the page from this duplicitous impeachment.

Tuesday night needs to be @realdonaldtrump‘s. https://t.co/koYyhxOQOv

— JD Rucker (@JDRucker) February 1, 2020

Why is McConnell pushing this now to Wednesday?

— Jeremy Frankel (@FrankelJeremy) January 31, 2020

Someone needs to ask all those ‘muh Cocaine Mitch’ people why McConnell is cutting deals with Schumer to extend the impeachment trial. Weird!

— Jack Posobiec🇺🇸 (@JackPosobiec) January 31, 2020

Reports have emerged suggesting that “Cocaine Mitch” may have delayed the acquittal vote for his own personal benefit.

“A joint fundraising committee allied with Senate Majority Leader Mitch McConnell (R-Ky.) is hosting a fundraiser in the Miami area over Super Bowl weekend,” The Hill has confirmed.

“McConnell for Majority Leader, a joint fundraising committee, has scheduled a fundraiser at 4 p.m. Saturday at a ‘South Beach Miami Location Provided Upon RSVP,’ according to an invite obtained by The Hill.”

While it’s not clear whether the majority leader will attend the event, some have speculated that his scheduled presence at the event would certainly explain his inexplicable decision to delay the president’s acquittal vote.

So is this why McConnell didn’t force a vote tonight or tomorrow? Cause that would be bad https://t.co/n19AMOVDYg

— jim manley (@jamespmanley) February 1, 2020

To be fair, however, the president himself reportedly signed off on the delay.

“Before agreeing to the delay, Senate Majority Leader Mitch McConnell (R-Ky.) phoned Trump to get the president’s approval, according to a source familiar with the conversation. Trump then signed off on the decision,” Politico reported.

It’s not clear what the strategy here is, though knowing the president, there is indeed most likely some sort of strategy at play.

Senior Staff Writer

V. Saxena is a staff writer for BizPac Review with a decade of experience as a professional writer, and a lifetime of experience as an avid news junkie. He holds a degree in computer technology from Purdue University.

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CPAC chair: Mitt Romney ‘NOT invited’ to upcoming event after Senator votes for witnesses

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Republican Sen. Mitt Romney’s decision to side with Democrats and vote for witnesses in the impeachment trial earned him much criticism and now a dis-invitation.

The Utah lawmaker was “formally not invited” to attend this year’s Conservative Political Action Conference, referred to as CPAC, after his stunt in a Senate vote Friday when he voted in favor of hearing from witnesses in President Trump’s impeachment trial.

“The ‘extreme conservative’ and Junior Senator from the great state of Utah, @SenatorRomney is formally NOT invited to #CPAC2020,” American Conservative Union Chairman Matt Schlapp said in a mocking tweet on Friday.

The conservative conference scheduled for the end of the month will feature Trump as the keynote speaker.

BREAKING: The “extreme conservative” and Junior Senator from the great state of Utah, @SenatorRomney is formally NOT invited to #CPAC2020. pic.twitter.com/f35tYy73V1

— Matt Schlapp (@mschlapp) January 31, 2020

Romney and Sen. Susan Collins of Maine were the only Republicans who voted with Democrats on Friday in the failed attempt to allow additional witnesses to be heard in the trial. The final vote of 51-49 shot down a weeks-long Democratic effort to hear witnesses, such as former national security adviser John Bolton and others, and set the stage for a final vote to acquit the president next week.

Sen. Lamar Alexander of Tennessee and Lisa Murkowski of Alaska were ultimately the swing GOP votes, sticking with the party and voting against the effort while Democrats began to discredit the process as a “sham.” Romney, who is not up for reelection until 2024, was roundly condemned for bucking the party though some, like Utah’s Republican senior Senator Mike Lee did come to his defense.

Mitt Romney is a good friend and an excellent Senator. We have disagreed about a lot in this trial. But he has my respect for the thoughtfulness, integrity, and guts he has shown throughout this process. Utah and the Senate are lucky to have him.

— Mike Lee (@SenMikeLee) January 31, 2020

Lee is a frequent CPAC attendee as is Romney who has spoken at the annual conservative gathering in the past, including in 2013, following his 2012 failed presidential bid. It was not clear if the former Massachusetts governor was even planning to attend this year’s event which will include Diamond and Silk, Candace Owens and California Rep. Devin Nunes as speakers as well as conservative commentator Mark Levin, and Brexit leader Nigel Farage.

CPAC and Schlapp were slammed by some Twitter users for the rebuke of Romney and display of “cancel culture” politics.

— Chris Hayes (@chrislhayes) January 31, 2020

oh what a calamity how will Mitt ever be able to carry on https://t.co/7vsYOPzEuh

— George Conway (@gtconway3d) January 31, 2020

— Matthew Yglesias (@mattyglesias) January 31, 2020

CPAC has turned into an alt right clown show. I’m sure Mitt could care less.

— Marylou Culkar (@MarylouCulkar6) February 1, 2020

But many others on Twitter were happy to see the Utah senator get called out.

I am so disappointed in Romney. What a traitor and I don’t use that loosely. Trump supported him completely in his bid for the senate. Romney has done everything to betray Trump. I never would have believed it but there it is.

— Chuck Woolery (@chuckwoolery) January 26, 2020

— Sara A. Carter (@SaraCarterDC) February 1, 2020

Epic Burn. 🔥🤣

I am going to CPAC because my dreams became memes.

And I didn’t betray the president 40 times.

— Carpe Donktum🔹 (@CarpeDonktum) January 31, 2020

Good riddance… It’s about time Mitt Romney be held accountable for his actions.

Not sure why he’d want to be at #CPAC anyway, he’s no longer a conservative. https://t.co/KtXVM1tWZY

— Jason Lewis (@LewisForMN) February 1, 2020

Good! He’s NOT a Republican!

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Originally from New York, Powers graduated from New York University and eventually made her way to sunny South Florida where she has been writing for the BizPacReview team since 2015.

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Facebook keeps policy protecting political ads | ABS-CBN News

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Facebook logos are seen on a screen in this picture illustration taken Dec. 2, 2019. Johanna Geron, Reuters/file

SAN FRANCISCO — Defying pressure from Congress, Facebook said on Thursday that it would continue to allow political campaigns to use the site to target advertisements to particular slices of the electorate and that it would not police the truthfulness of the messages sent out.

The stance put Facebook, the most important digital platform for political ads, at odds with some of the other large tech companies, which have begun to put new limits on political ads.

Facebook’s decision, telegraphed in recent months by executives, is likely to harden criticism of the company heading into this year’s presidential election.

Political advertising cuts to the heart of Facebook’s outsize role in society, and the company has found itself squeezed between liberal critics, who want it to do a better job of policing its various social media platforms, and conservatives, who say their views are being unfairly muzzled.

The issue has raised important questions regarding how heavy a hand technology companies like Facebook — which also owns Instagram and the messaging app WhatsApp — and Google should exert when deciding what types of political content they will and will not permit.

By maintaining a status quo, Facebook executives are essentially saying they are doing the best they can without government guidance and see little benefit to the company or the public in changing.

In a blog post, a company official echoed Facebook’s earlier calls for lawmakers to set firm rules.

“In the absence of regulation, Facebook and other companies are left to design their own policies,” Rob Leathern, Facebook’s director of product management overseeing the advertising integrity division, said in the post. “We have based ours on the principle that people should be able to hear from those who wish to lead them, warts and all, and that what they say should be scrutinized and debated in public.”

Other social media companies have decided otherwise, and some had hoped Facebook would quietly follow their lead. In late October, Twitter’s chief executive, Jack Dorsey, banned all political advertising from his network, citing the challenges that novel digital systems present to civic discourse. Google quickly followed suit with limits on political ads across some of its properties, though narrower in scope.

Reaction to Facebook’s policy broke down largely along party lines.

The Trump campaign, which has been highly critical of any attempts by technology companies to regulate political advertising and has already spent more than $27 million on the platform, largely supported Facebook’s decision not to interfere in targeting ads or to set fact-checking standards.

“Our ads are always accurate so it’s good that Facebook won’t limit political messages because it encourages more Americans to be involved in the process,” said Tim Murtaugh, a spokesman for the Trump campaign. “This is much better than the approaches from Twitter and Google, which will lead to voter suppression.”

Democratic presidential candidates and outside groups decried the decision.

“Facebook is paying for its own glowing fake news coverage, so it’s not surprising they’re standing their ground on letting political figures lie to you,” Sen. Elizabeth Warren said on Twitter.

Warren, who has been among the most critical of Facebook and regularly calls for major tech companies to be broken up, reiterated her stance that the social media company should face tougher policies.

The Biden campaign was similarly critical. The campaign has confronted Facebook over an ad run by President Donald Trump’s campaign that attacked Joe Biden’s record on Ukraine.

“Donald Trump’s campaign can (and will) still lie in political ads,” Bill Russo, the deputy communications director for Biden, said in a statement. “Facebook can (and will) still profit off it. Today’s announcement is more window dressing around their decision to allow paid misinformation.”

But many Democratic groups willing to criticize Facebook had to walk a fine line; they have pushed for more regulation when it comes to fact-checking political ads, but they have been adamantly opposed to any changes to the ad-targeting features.

On Thursday, some Democratic outside groups welcomed Facebook’s decision not to limit micro-targeting, but still thought the policy fell short.

“These changes read to us mostly as a cover for not making the change that is most vital: ensuring politicians are not allowed to use Facebook as a tool to lie to and manipulate voters,” said Madeline Kriger, who oversees digital ad buying at Priorities USA, a Democratic super PAC.

Other groups, however, said Facebook had been more thoughtful about political ads than its industry peers.

“Facebook opted against limiting ad targeting, because doing so would have unnecessarily restricted a valuable tool that campaigns of all sizes rely on for fundraising, registering voters, building crowds and organizing volunteers,” said Tara McGowan, chief executive of Acronym, a non-profit group that works on voter organization and progressive causes.

Facebook has played down the business opportunity in political ads, saying the vast majority of its revenue came from commercial, not political, ads. But lawmakers have noted that Facebook ads could be a focal point of Trump’s campaign as well as those of top Democrats.

Facebook’s hands-off ad policy has already allowed for misleading advertisements. In October, a Facebook ad from the Trump campaign made false accusations about Biden and his son, Hunter Biden. The ad quickly went viral and was viewed by millions. After the Biden campaign asked Facebook to take down the ad, the company refused.

“Our approach is grounded in Facebook’s fundamental belief in free expression, respect for the democratic process and the belief that, in mature democracies with a free press, political speech is already arguably the most scrutinized speech there is,” Facebook’s head of global elections policy, Katie Harbath, wrote in the letter to the Biden campaign.

In an attempt to provoke Facebook, Warren’s presidential campaign ran an ad falsely claiming that the company’s chief executive, Mark Zuckerberg, was backing the reelection of Trump. Facebook did not take the ad down.

Criticism seemed to stiffen Zuckerberg’s resolve. Company officials said he and Sheryl Sandberg, Facebook’s president, had ultimately made the decision to stand firm.

In a strongly worded speech at Georgetown University in October, Zuckerberg said he believed in the power of unfettered speech, including in paid advertising, and did not want to be in the position to police what politicians could and could not say to constituents. Facebook’s users, he said, should be allowed to make those decisions for themselves.

“People having the power to express themselves at scale is a new kind of force in the world — a Fifth Estate alongside the other power structures of society,” he said.

Facebook officials have repeatedly said significant changes to its rules for political or issue ads could harm the ability of smaller, less well-funded organizations to raise money and organize across the network.

Instead of overhauling its policies, Facebook has made small tweaks. Leathern said Facebook would add greater transparency features to its library of political advertising in the coming months, a resource for journalists and outside researchers to scrutinize the types of ads run by the campaigns.

Facebook also will add a feature that allows users to see fewer campaign and political issue ads in their news feeds, something the company has said many users have requested.

There was considerable debate inside Facebook about whether it should change. Late last year, hundreds of employees supported an internal memo that called on Zuckerberg to limit the abilities of Facebook’s political advertising products.

On Dec. 30, Andrew Bosworth, the head of Facebook’s virtual and augmented reality division, wrote on his internal Facebook page that, as a liberal, he found himself wanting to use the social network’s powerful platform against Trump.

But Bosworth said that even though keeping the current policies in place “very well may lead to” Trump’s reelection, it was the right decision. Dozens of Facebook employees pushed back on Bosworth’s conclusions, arguing in the comments section below his post that politicians should be held to the same standard that applies to other Facebook users.

For now, Facebook appears willing to risk disinformation in support of unfettered speech.

“Ultimately, we don’t think decisions about political ads should be made by private companies,” Leathern said. “Frankly, we believe the sooner Facebook and other companies are subject to democratically accountable rules on this, the better.”

2020 The New York Times Company

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Bye Bye AOC? Democrat Socialist Ocasio-Cortez Could Lose House Seat After New Census ⋆ Conservative Firing Line

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Based on the latest census projections, New York State may lose one congressional district, and Alexandria Ocasio-Cortez fears the district that goes away will be hers.

The horror. 😉 A0C Fears Losing Seat Due to 2020 Census.

The Potential Loss of A0C’s District Highlights Why Democrats Fumed Over Trump’s Proposed 2020 Census Changes https://t.co/7xQu3sdo4K

— Junkyard Dogs (@baileyjer) January 1, 2020

Nothing is official yet. The Census Bureau will announce the final count in December 2020, and the congressional districts will be updated for the 2022 elections.

Party leadership is not happy with AOC, which is why her district is in danger.

As we reported in January of 2019, Congressional Democrats were growing sick and tired of Alexandria Ocasio-Cortez’s antics, especially her use of Twitter to attack other Democrats and to get what she wants from the caucus.

Even some progressives who admire AOC, as she’s nicknamed, told Politico that they worry she’s not using her notoriety effectively.

“She needs to decide: Does she want to be an effective legislator or just continue being a Twitter star?” said one House Democrat who’s in lockstep with Ocasio Cortez’s ideology. “There’s a difference between being an activist and a lawmaker in Congress.

In  July, AOC used the race card against Speaker Nancy Pelosi. Responding to criticism from the speaker, she told WAPO:

“When these comments first started, I kind of thought that she was keeping the progressive flank at more of an arm’s distance in order to protect more moderate members, which I understood. But the persistent singling out … it got to a point where it was just outright disrespectful … the explicit singling out of newly elected women of color,” she told The Post.

AOC appears to suggest that Pelosi is targeting her because Pelosi wants her to get death threats: “It’s singling out 4 individuals, and knowing the media environment that we’re operating in, knowing the amount of death threats that we get …. I think it’s just worth asking why” pic.twitter.com/cueiQi9XC8

— Ryan Saavedra (@RealSaavedra) July 11, 2019

When one adds the fact that in her first election she primaried and beat Democratic Caucus Chair Joe Crowley, who was seen as Nancy Pelosi’s heir apparent to the fact that she’s attacked the party leadership as much as the other party, it’s understandable why AOC fears being left without a district in 2022

There is something that may hold party leadership back from gerrymandering  Alexandria Ocasio-Cortez’s congressional district out of existence. In 2022 Chuck Schumer will have to run for re-election. If she is left without a congressional district, AOC may attempt to primary Schumer. And who knows? Schumer is very powerful, but NY is VERY liberal, and a Democratic Socialist like AOC may be their cup of tea.

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