Why Rape Is On The High In Nigeria – Emotions Doctor

Many people have been calling out their rapists on social media, top celebrities like D’banj, Peruzzi, Uti Nwachukwu have been called out.

Treating #Rape and Sexual Harrasment as an #HotTopic on #YourViewTVC, Emotions Doctor, Oyinkansola Alabi, joined us on the show to discuss this RAPE topic that has continued to be an issue of concern.

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This content was originally published here.

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Continuous Sexual Harassment Cases In Nigeria

Your View June 4, 2020 (Full Episode)

So yesterday, we started a discussion about the lady who was reportedly continually sexually harassed in a public transport all the way from Abuja to Akure, Emotions Doctor, Oyinkansola Alabi and Lawyer, Liborous Oshoma joined in the conversation

Watch TVC on GOTV Ch. 27, StarTimes Ch. 121, PLAY TV Ch. 801, UHF Ch. 49

Subscribe to TVC: https://bit.ly/2PWLUir

Watch TVC Live: https://bit.ly/1nms2zw

Check out TVC website: http://tvcentertainment.tv

Follow TVC on social media: @TVCconnect

Like TVC on Facebook: https://www.facebook.com/tvcconnect

Follow TVC on Twitter: https://twitter.com/tvcconnect

Follow TVC on Instagram: http://instagram.com/tvcconnect

More videos from the TVC network: http://Youtube.com/tvcentertainment.tv

This content was originally published here.

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Elephant death in Kerala after postmortem cracker filled pineapple explodes in her mouth | India News – India TV

elephant in kerala,kerala elephant died,elephant died,elephant died in kerala,elephant died in keral
Image Source : FACEBOOK/ MOHAN KRISHNAN

Kerala: Pregnant Elephant couldn’t eat or drink for two weeks before her death, says post-mortem report

Kerala: Pregnant Elephant couldn’t eat or drink for two weeks before her death, says post-mortem report

Kerala Pregnant Elephant death: The pregnant wild elephant in Kerala, who died following firecrackers burst in her mouth appears to have had an agonising death. Apart from painful burns due to firecrackers the elephant also had to suffer starvation for weeks. Such a fate, when she was pregnant, indeed drove her towards a death no living being should endure.

In a postmortem carried out on the pregnant elephant’s body, it has come to light that she could not eat or drink anything for nearly two weeks before her death.

The postmortem report confirms that “major” wounds and injuries were caused in the oral cavity (mouth) of the pregnant elephant as a result of the explosive blast of the firecrackers.

“This has resulted in excruciating pain and distress in the region and prevented the animal from taking food and water for nearly two weeks,” said the postmortem report.

The postmortem report notes “drowning, followed by inhalation of water leading to lung failure” as the immediate cause of death of the female elephant. 

The elephant was found dead in Velliyar river in Palakkad District of Kerala. Her jaw was broken and she sustained other injuries. As it emerged that the pregnant elephant got injured after eating a pineapple filled with firecrackers that burst in her mouth, emotions and anger poured in on social media. It is still being ascertained whether the pineapple was fed to the elephant on purpose by the locals or the elephant ate the fruit that was laid as a trap for other animals creating nuisance in the local area.

Meanwhile, Kerala Chief Minister Pinarayi Vijayan has promised strict action against the offenders. “The forest department is probing the case and the culprits won’t be spared,” he said today. Vijayan also said that he was “saddened by the fact some used this tragedy to unleash a hate campaign.” 

ALSO READ | Kerala Elephant Murder: What we know so far

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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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Mosque offered as Covid-19 quarantine facility in Pune | SabrangIndia

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Azam CampusImage Courtesy:painamdar.in

Over the last few decades P A Inamdar has artfully juggled multiple roles as an educationist, legal luminary, social worker, builder and much more. As President of the Maharashtra Cosmopolitan Education Society that runs a host of educational institutions at Pune’s sprawling Azam Campus, Inamdar has created educational infrastructure that at present empowers 27,000 students including 14,000 who hail from economically backward families living in low-income neighbourhoods.

Now, Inamdar has offered 9,000 sq ft. of space on the first floor of a mosque located in the Azam Campus as a quarantine facility. In an exclusive interview to SabrangIndia, he explained his motivations and hopes:

What prompted you to offer the space in the mosque as a Covid-19 quarantine facility?

Ultimately all religions and all religious places are meant for human beings. No religion teaches discrimination, especially when a human life is in danger. Now is the time to put into practice what religion teaches us. Now is the time to act. If we are not able to apply religious principles now and help our fellow human beings, then when will we?

What are the facilities you are offering?

We are offering a hall that measures 9,000 sq ft. It is located on the first floor of the mosque. I have already spoken to the Municipal Commissioner. They will arrange for the doctors and the police. They had originally asked for about 40 beds, but we are offering them 100 beds. All arrangements are being made in compliance with social distancing measures. If they can arrange for lunch and dinner that is fine. Otherwise, we can also offer them food.

Is it true that you are also trying to arrange for 10 more similar facilities in mosques across the city?

I have already spoken to them (mosque authorities). It is important that we offer as much help as possible. What is the meaning of religion if we cannot help our fellow human beings?

We have seen various instances of Muslims being targeted and accused of spreading the Covid-19 pandemic. Do you think your efforts will help send out a positive message on behalf of the community?

See, politicians often play with people’s emotions as it is easier to do that instead of actually solving their problems. That is how they get votes. But that should not stop us from setting a good example in whatever way we can. Our organisation has already helped distribute food and rations worth Rs 30 lakhs to people living in Pune’s slums and low-income neighbourhoods. We did this with full cooperation of the police. Now with this space we have another opportunity to offer our service to humanity, so we are doing it. This is not the time to make speeches or hold meetings. This is the time to act.

Do you think our education system has failed to root out communalism or is that a much deeper problem?

The educational gap between the haves and have-nots is thousands of years old. The higher classes and castes have always benefitted more. But luckily, we are now able to bridge the gap gradually with technology. When more people will be on the same platform, we can expect real development. There are 27,000 students studying on my campus and 14,000 of them some from the slums. But we teach them all about technology and they are now making computers and cell phones.

Additionally, it is also the responsibility of religious leaders to speak out in wake of hate crimes. We always hear the activists and intellectuals speak, but why are the religious leaders silent? No religion supports lynching. Therefore, everyone, whether a Maulana or a Shankaracharya, should come out and condemn it.

What is your message to your fellow Indians in this holy month of Ramzan?

It is very important that when it comes to religion, we don’t limit ourselves to just learning about philosophy, but instead put that philosophy into practice and help our fellow human beings. We can’t leave religion in temples and mosques. We must make it a part of our daily conduct and serve humanity, because that is what all religions teach us.

Azam CampusImage Courtesy:painamdar.in

Over the last few decades P A Inamdar has artfully juggled multiple roles as an educationist, legal luminary, social worker, builder and much more. As President of the Maharashtra Cosmopolitan Education Society that runs a host of educational institutions at Pune’s sprawling Azam Campus, Inamdar has created educational infrastructure that at present empowers 27,000 students including 14,000 who hail from economically backward families living in low-income neighbourhoods.

Now, Inamdar has offered 9,000 sq ft. of space on the first floor of a mosque located in the Azam Campus as a quarantine facility. In an exclusive interview to SabrangIndia, he explained his motivations and hopes:

What prompted you to offer the space in the mosque as a Covid-19 quarantine facility?

Ultimately all religions and all religious places are meant for human beings. No religion teaches discrimination, especially when a human life is in danger. Now is the time to put into practice what religion teaches us. Now is the time to act. If we are not able to apply religious principles now and help our fellow human beings, then when will we?

What are the facilities you are offering?

We are offering a hall that measures 9,000 sq ft. It is located on the first floor of the mosque. I have already spoken to the Municipal Commissioner. They will arrange for the doctors and the police. They had originally asked for about 40 beds, but we are offering them 100 beds. All arrangements are being made in compliance with social distancing measures. If they can arrange for lunch and dinner that is fine. Otherwise, we can also offer them food.

Is it true that you are also trying to arrange for 10 more similar facilities in mosques across the city?

I have already spoken to them (mosque authorities). It is important that we offer as much help as possible. What is the meaning of religion if we cannot help our fellow human beings?

We have seen various instances of Muslims being targeted and accused of spreading the Covid-19 pandemic. Do you think your efforts will help send out a positive message on behalf of the community?

See, politicians often play with people’s emotions as it is easier to do that instead of actually solving their problems. That is how they get votes. But that should not stop us from setting a good example in whatever way we can. Our organisation has already helped distribute food and rations worth Rs 30 lakhs to people living in Pune’s slums and low-income neighbourhoods. We did this with full cooperation of the police. Now with this space we have another opportunity to offer our service to humanity, so we are doing it. This is not the time to make speeches or hold meetings. This is the time to act.

Do you think our education system has failed to root out communalism or is that a much deeper problem?

The educational gap between the haves and have-nots is thousands of years old. The higher classes and castes have always benefitted more. But luckily, we are now able to bridge the gap gradually with technology. When more people will be on the same platform, we can expect real development. There are 27,000 students studying on my campus and 14,000 of them some from the slums. But we teach them all about technology and they are now making computers and cell phones.

Additionally, it is also the responsibility of religious leaders to speak out in wake of hate crimes. We always hear the activists and intellectuals speak, but why are the religious leaders silent? No religion supports lynching. Therefore, everyone, whether a Maulana or a Shankaracharya, should come out and condemn it.

What is your message to your fellow Indians in this holy month of Ramzan?

It is very important that when it comes to religion, we don’t limit ourselves to just learning about philosophy, but instead put that philosophy into practice and help our fellow human beings. We can’t leave religion in temples and mosques. We must make it a part of our daily conduct and serve humanity, because that is what all religions teach us.

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The World’s First Batman Themed Restaurant Is Coming To London In The Spring – Sick Chirpse

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People are gearing up to be obsessed with Batman all over again in preparation for Robert Pattinson’s new movie next year and Wonderland Restaurants have decided to cash in on this by opening up the world’s first Batman themed restaurant in London this spring.

Featured Image VIA

The frankly quite enormous complex will be located inside the Crown Estate’s Grade 2 listed building on Brewer Street in Piccadilly Circus and will feature five different themed restaurants and three different bars, including The Iceberg Lounge – a bar inspired by The Penguin that features cocktails, live entertainment and an international menu – a Harley Quinn inspired restaurant and an Old Gotham City speakeasy that will serve cocktails and sharing platters. Diners can expect to spend about £45 for a meal which isn’t too bad considering it’s in London and one of these hip new immersive experiences that everyone seems to be interested in.

Here’s what Wonderland Restaurants founder James Bulmer had to say about his new venture:

Trends in our sector are moving towards fun, immersive and experiential dining and our aim is to demonstrate this on a grand scale with exceptional food and drink to match.

I am still a child at heart, inspired by the greatest stories and storytellers.

For me, great food experiences are about unlocking guests’ emotions and creating edible memories.

I mean that isn’t really telling us much about the Batman restaurant but I suppose it gives us some idea of his mentality or whatever. Probably gonna have to wait to hear some reviews/see some actual pictures before I decide whether or not I want to check it out. Could see some losers getting addicted to it though because there’s gonna be so many different places to visit there, it would take you like a whole week of going every day to do it properly. That’s a lot of time you could be spending there.

For more of the same, check out Robert Pattinson’s new Batman costume. Looks awesome.

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Persecution of Muslims in China and India Reveals Important Facts About Religion and Geopolitics

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India, China and Myanmar are three Asian countries currently engrossed in carrying out physical and cultural genocides on their Muslim populations. While the plight of Rohingya Muslims and Uighur Muslims is well known, the recent introduction of a new law expressly aimed at dispossessing Muslims of Indian citizenship has alerted many to the reality that India’s ruling BJP government sees itself as Hindu first and foremost.

Questions such as “Why aren’t the rich Arab countries saying anything?” have come up, with the implicit inference that Muslim-dominated countries are supposed to stick up for Muslims everywhere in the world. Others have pointed out that despite suffering oppression in some parts of the world, Muslims are also responsible for brutal acts of oppression against other minority groups elsewhere, which allegedly negates the sufferings of the prior group.

In this article, I will pick through these questions and viewpoints with a goal of isolating some useful truths about how religion, geopolitics and human nature constantly interplay and produce much of the world around us.

Oppression is a Matter of Perspective

Which religion is the most oppressed? I like to troll my Christian friends with the image below whenever the topic comes up about some religion or the other allegedly imposing its will at their expense.

The truth is however, that this image could apply to just about every religion on earth. As a general rule of thumb, the only limiting factor on whether or not a religion functions as an oppressive tyranny in a particular jurisdiction is the proportion of the population that practises it there. Similarly, the only thing stopping any religion from being an oppressed and downtrodden identity is whether it is a small enough minority for that to be possible.

While Muslims in India, Myanmar and China are going through untold degrees of horror because of their religious identities, Muslims in places like Bangladesh, Indonesia, Afghanistan, Malaysia and Northern Nigeria are simultaneously visiting very similar horrors on Bah’ai, Shia Muslims, Christians, Budhists and other minorities in those areas. It turns out that the mere fact of belonging to a religious identity does not in fact, confer unrestricted global victimhood.

This point is important because it disproves the notion held by every major religion that its adherents follow a single set of standards and do things in the manner of a global “brotherhood.” In reality, Islam according to a Rohingya Muslim hiding from the Burmese military, and the same religion according to an itinerant herder in Kogi State bear almost no similarity to each other save for the most basic tenets. Environmental factors in fact have a bigger influence on how religions are practised than their own holy books. 

The current antics of India’s ruling BJP and its Hindu fundamentalist support base provide an important case in point as to how this works. Looking at the evolution of Hinduism from a passive philosophy into an openly militant ideology gives an important insight into how religion is in fact, a thoroughly contrived and amorphous set of ideas that can be changed, adjusted, aligned and revised at a moment’s notice in justification of anything at all. 

Hinduism traditionally sees itself as a religion of thoughtful, considered spirituality as against the angry dogmas of its Abrahamic neighbours, but something interesting is happening. Some argue that it started in the days of Gandhi, and some ascribe it to current Prime Minister Nanendra Modi, but whoever started it is a side note. The key point to note is that based on political factors, i.e anticolonial senitment against the British and anti-Muslim sentiment fueled by India’s national rivalry with Pakistan, Hinduism has somehow been coopted into the narrative of a jingoistic, monotheistic, mono-ethnic state which is  historical nonsense.

India has always been a pointedly pluralistic society, and in fact the geographical area now known as “India” does not even cover the geographical area of the India of antiquity. That India was a place of Hindus, Budhists, Muslims, Zoroastrians and everything in between. Hinduism never saw a problem with pluralism because Hinduism itself is a very plural religion – it has at least 13 major deities. The conversion of the Hindu identity into a political identity movement is a recent and contrived phenomenon first exploited by Gandhi as a means of opposing British colonialism, and now by Modi to oppose the Pakistanis/Muslims – it is a historical falsity.

The creation of Hindu fundamentalist movements like the RSS (which PM Modi belongs to) is something done in response to environmental factors. Spectacles like the RSS march below are evidence of yet another religion undergoing constant and ongoing evolution into whatever suits its purposes.

Something similar happened when medieval Europe turned into colonial Europe and European Christianity transitioned into a peaceful and pacifist ideology after centuries of being a bloodthirsty doctrine. The environmental factors that created the Crusades, the Spanish Inquisition, book burnings and witch hunts went away with the introduction of an industrial society, and thus the religion too transitioned.

In plain English, what all this means is that nobody actually practises a religion in the pure sense they imagine they do. Everyone who subscribes to a religion merely practises a version of it that is subject to the culture and circumstances of their environment and era. This is directly connected to the next major insight raised by these events.

Geopolitics is all About Self-Interest…Everyone Gets it Except Africa

While anti-Muslim violence has continued apace for years in China, Mynammar and India, the question has often been asked: “Why are the wealthy Arab nations not saying anything?” There is a perception that since the Arabian peninsula is the birthplace of Islam and Arabs – particularly Saudis – are viewed as the global gatekeepers of the faith, they must be at the forefront of promoting the interests of Muslims worldwide.

To many, the fabulous wealth and international influence that Saudi Arabia, Kuwait, Qatar and the UAE enjoy, in addition to the presence of two of Islam’s holiest cities – Mecca and Meddinah – in Saudi Arabia, means that they have a responsibility to speak for the global Muslim Ummah and stand up for them when they are unfairly targeted and mistreated. Unfortunately for such people, the wealthy nations of the Arab Gulf region tend to respond to such questions with little more than an irritated silence – and with good reason.

To begin with, these countries are not democracies led by the wishes of their almost uniformly Muslim populations. They are autocracies led by royal families who came to power in the colonially-influenced 20th century scramble for power and influence. Saudi Arabia, which houses Islam’s holiest sites, is named after the House of Saud, its royal family which came into power in its current form at the turn of the 19th century. The priority of the regimes in these countries first and foremost is self-preservation.

Self-preservation means that before throwing their significant diplomatic and economic weight behind any attempt to help out fellow Muslims, the first consideration is how doing so will benefit them. India for example, is a country that has close diplomatic ties with the UAE, and supplies most of their cheap labour for construction and low-skilled functions. India has even coordinated with UAE special forces to repatriate the dissident Princess Latika when she made an audacious escape attempt in 2018.

What does the UAE stand to gain if it napalms its diplomatic relationship with India by criticising Modi’s blatantly anti-Muslim policy direction? It might win a few brownie points with Islamic hardliners and possibly buy some goodwill among poor Muslims in South Asia, but how much is that worth? The regime and nation’s self-interest is best served by looking the other way, so that is exactly what they will do.

The Saudis make a similar calculation. At a time when they are investing heavily in military hardware to keep up with their eternal rivals Turkey and Iran, and simultaneously preparing for the end of oil by liberalising their society and economy, does it pay them to jump into an issue in India that does not particularly affect them? As the status of their diplomatic relationship with the U.S. remains unclear following the Jamal Khasshoggi incident, are they going to risk pissing off the Chinese because of Uighur Muslims?

In fact self-interest like that mentioned here is the basis of the considerations that underpin all international relations. Well I say “all,” but what I really meant to say was “all except African countries.” It is only African countries that take diplomatic decisions based on little more than flimsy emotions and feelings of religious affinity. Gambia for example, has dragged Myanmar before the UN and filed a genocide case against it on behalf of the Rohingya Muslims.

This would be commendable and great were it not that Gambia itself is hardly a human rights luminary, and generally has little business fighting an Asian battle when its own worse African battles lie unfought. The only thing Gambia stands to gain from fighting a diplomatic war that the rest of the world seems unwilling to touch is the temporary goodwill of a few Muslims in Asia and around the world – goodwill that cannot translate into something tangible for it.

To coin an aphorism from social media lingo, you could call it ”diplomatic clout chasing.’

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CATTLE DECAPITATION – Death Atlas – HEAVY Magazine – Music, Interviews, Reviews, Podcasts, Shop, News and more…

Captivating, confronting, engaging, excruciating but most of all honestly extreme. Exactly as it should be! This is a brief introduction of feelings and emotions that gripped me intensely the first time, plus all ensuing times I’ve listened to Cattle Decapitation’s 2019 masterpiece and easily my album of the year so far, Death Atlas.

Absolutely never a band to shy away from confronting their audience, it has always been Cattle Decapitation’s intent to be unrelenting and unrepentant in their extreme metal mastery. They have never made apologies within their bleak yet truthful message over the course of their past two albums, Monolith Of Inhumanity [2012] and The Anthropocene Extinction [2015] of the plight of the world and our destructive patterns and habits as a pathetic human plague destined for extinction. 

Death Atlas opens with the prologue “Anthropogenic- End Transmission”. A monologue draped by a soundscape of desolation. A fog of despair lures us into the foreshadowing world of Death Atlas as seen through the lens of Cattle Decapitation…And then the magnificently catastrophic “The Geocide” drops like a nuclear bomb on the senses, clearly setting the bleak scene yet malevolent pace at which Cattle Decap wish to, as a means of sonic visualisation, deliver their uplifting message of human extinction. “The Geocide” is the perfect opener to slate the thirst of Cattle Decapitation fans and a deathly sigh of relief shall emanate from your parched throats as you are decimated with familiar territory.

“Be Still Our Bleeding Hearts” is a pummeling fuck machine of emotion! Clearly at the beginning of the track there is nothing but hatred , yet early on there is an ebb and flow of musical brilliance and dichotomy within the band that sees them battling one another to cohesively bind eachother forming a perfect incoherent tragedy. So the song is aptly titled “Be Still Our Bleeding Hearts”. A third of the way in, the chorus kicks in and here we hear vocalist Travis Ryan’s first stunning attempt at clean extreme vocal clarity with decipherable lyrics to paint a picture of what is presented before us. 

The addition of a second guitarist in Belisario Dimuzio, complimenting Josh Elmore, adds a new found songwriting element expanding the ability of more pronounced and accentuated razor slicing clarity and lead breaks rarely touched on on previous Cattle outings. The songs are harsher and thicker (courtesy of new bass player Olivier Pinard) in dimension and scope which, thanks to the incredible production capabilities of long time Cattle producer Dave Otero who has managed to produce one of the best death metal albums for this decade. 

“Vulturous” rumbles in like an imminent, destructive tsunami. Slow and full of groove it pulses with murky intent before the arrival of a wall of noise and armageddon  is erected to sand blast our ears with scathing hate. The groove that follows the previous moments is nothing short of incredible.  “Vulturous” is a song in chapters that engulfs the listeners in many emotions that is hard to honestly decipher at such an early point within the album. Following is the brief intermission of catastrophic memories of Death Atlas so far, “The Great Dying”, is a dialogue of themes we’ve already heard and are without question not done with yet. The female reader is un-subtly framed by thick choking sounds swirling around her as she warns of more unrelenting chaos to follow. Which bleeds into the first glimpse we got of Death Atlas nearly three months ago – “One Day Closer To The End Of The World”. Classic Cattle Decap! A galloping tirade of brilliant malevolence. Whilst there seems to be nothing but enormous tragedy as the main protagonist of Death Atlas, this album is Ryan’s first where he truly utilises his singing talent for the first time. And it seems as though he finds it as a means to promise albeit fruitless. You can truly get a firm grip on why Travis is without question one of the best, most gifted and diverse metal vocalists on the planet. His voice paints a myriad of pictures and emotions it is so easy to get lost in the images depicted and visualised thanks to his medium of choice. 

Out of “One Day Closer To The End Of The World” into our second unearthing of what you’ll hear on Death Atlas was “Bring Back The Plague”. Summoning the rage and clarity before us, this track embodies the album title’s true nature. No mincing words or apologies for lack of discretion. This track epitomises all that Cattle Decapitation are! Intelligent, thought provoking and unapologetic!

 An album full of idealistic hope – Negative optimism or nihilistic positivity, Death Atlas runs through a universe of unachievable hope via tales of our race’s unrepentant and destructive tendencies upon our planet and own lives regardless of our best laid plans to right the wrongs we have willingly adopted as a standard method of self-imposed annihilation. As Travis Ryan has stated recently on his thoughts of Death Atlas, we need look no further than the last twenty minutes of the album to hear their best yet bleakest work. I’ve given you enough detail as to how undeniably and simply perfect Death Atlas is. Your task is to now delve into its extreme brilliance and emerge on the other side forewarned and well equipped to make a difference.

Simply, if the five members of Cattle Decapitation were the last men living on this planet, it will be because they exemplify and harnessed the will through every extremity the world inflicts upon itself and they were chosen to write the soundtrack and script to the demise of the population they graciously loved but we’re forced to mourn due to complacency and self disregard!

Whilst Monolith of Inhumanity and The Anthropocene extinction were both incredible feats of extreme metal leading Cattle Decapitation up to this point, it is undoubtedly obvious underneath all their foreboding and tragic notions contained therein were precursors to what is heard within Death Atlas. Make no mistake that as we metal fans near the end of this decade and closer to our end, Death Atlas is a superbly crafted, perfect album delivered by Travis, Josh, David, Belisario and Olivier which will for many years to come be Cattle Decapitation’s shining light disguised as a tragic legacy.

Death Atlas, courtesy of Metal Blade is out on Black Friday – November 29th and can be pre-ordered here

DON’T MISS CATTLE DECAPITATION’S 2020 AUSTRALIAN TOUR

THURSDAY 13TH FEBRUARY – THE BRIGHTSIDE BRISBANE

FRIDAY 14TH FEBRUARY – THE FACTORY THEATRE, SYDNEY

SATURDAY 15TH FEBRUARY – CAMBRIDGE HOTEL, NEWCASTLE

SUNDAY 16TH FEBRUARY – THE BASEMENT CANBERRA

WEDNESDAY 19TH FEBRUARY – MAX WATT’S MELBOURNE

THURSDAY 20TH FEBRUARY -PELLY BAR, FRANKSTON

FRIDAY 21ST FEBRUARY – ENIGMA BAR, ADELAIDE

SATURDAY 22ND FEBRUARY – AMPLIFIER BAR, PERTH

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Prince Harry Cried For The Sweetest Reason Tuesday Night

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Prince Harry wore his emotions on his sleeve Tuesday night during the Duke and Duchess of Sussex’s appearance at the annual WellChild Awards in London. 

The royal dad gave a speech at the awards, which pay tribute to sick children as well as their caregivers, and spoke about knowing he and Meghan were secretly pregnant at the same awards last year, prior to making the announcement public. 

“Last year, when my wife and I attended, we knew we were expecting our first child,” Harry said as his voice slightly started to break.

“No one else did at the time, but we did. And I remember…” the prince started to say, before he got emotional and stepped away from the mic. As fellow presenter Gaby Roslin reached out to comfort the duke, the crowd began clapping as he collected himself. 

Prince Harry reacts next to television presenter Gaby Roslin as he delivers a speech during the WellChild Awards Ceremony reception in London on Oct. 15. 

“I remember squeezing Meghan’s hand so tight during the awards, both of us thinking what it would be like to be parents one day,” he said, after beginning his speech again. “And more so, what it would be like to do everything we could to protect and help our child should they be born with immediate challenges or become unwell over time.” 

“And now ― as parents ― being here and speaking to all of you pulls at my heartstrings in a way I could have never understood until I had a child of my own,” he said. 

Harry and Meghan Markle welcomed their son, Archie Harrison Mountbatten-Windsor, in May. 

At the awards on Tuesday night, the two confirmed that their little one indeed has red hair, just like dad, during a conversation with Angela Sunderland and her daughter Milly, 11, at the awards. 

“Meghan said he has and Harry said he definitely [has], you can see it in his eyebrows,” the mother said, according to the Mirror.

“Harry said he’d had no hair for five months, but Meghan told him she had taken him to the playgroup and she said there were other children there with the same amount of hair or even less,” she added.

We’ll have to keep an eye(brow) out. 

Little Archie visits the Desmond & Leah Tutu Legacy Foundation in Cape Town, South Africa, on Sept. 25.

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