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.

Related posts

Mums have their say on the best hospitals to give birth at in the North East – see how yours fared – Chronicle Live

Thank you for subscribingWe have more newslettersShow meSee ourprivacy notice

Two North East hospitals have been voted among the best places in England to give birth as the region once again outperformed the rest of the country in a survey of new mothers.

The annual maternity services poll – which asked 17,151 women about their experiences of pregnancy and birth – found an improvement in the standard of care offered to new mothers on NHS wards nationally.

The poll, from the Care Quality Commission (CQC), showed many women saying positive things about their care during pregnancy and birth, but a poorer experience of care postnatally.

Results published on Tuesday, January 28, showed that a fifth of new mothers were not told how to access help if their mental health were to decline after giving birth and more than one in 10 (12%) were not warned about any changes they might experience to their mental health after having their baby.

Read More

Sunderland Royal Hospital was the best performing nationally with the most positive responses to the survey (88%) when compared to all other trusts and a national average of 78%.

And the Newcastle upon Tyne upon Tyne Hospitals NHS Trust, which runs the Royal Victoria Infirmary, was the only trust to be rated ‘better than expected’ in all three main categories – labour and birth, staff during labour and birth, and care in hospital after the birth.

Gateshead, Northumbria Healthcare (which covers Northumberland and North Tyneside) and County Durham and Darlington trusts scored ‘about the same’ as other trusts overall.

There was no data available for South Tyneside due to the size of the maternity unit.

The poll was among women who gave birth in February 2019.

Sunderland Royal Hospital

High-scoring categories for City Hospitals Sunderland included 9.8/10 of women saying they were treated with respect and dignity during labour and birth and 9.8/10 who said they were spoken to during labour in a way they could understand.

Newcastle’s highest scoring categories for the Royal Victoria Infirmary were also ‘respect and dignity’ (9.8/10) and partners being involved as much as they wanted (9.8/10).

The Northumbria Healthcare NHS Foundation Trust, which runs the Northumbria Specialist Emergency Care Hospital in Cramlington, scored 9.7/10 for partners being as involved as they wanted and for clear communication.

QE Gateshead scored 9.9/10 for partner involvement and 9.3/10 for both skin to skin contact after birth, and the cleanliness of the ward.

County Durham and Darlington were rated ‘better’ than other trusts in the country for confidence and trust in staff (9.5/10) and receiving the information and explanations they needed after the birth (8.6/10).

Read More

Stella Wilson, directorate manager for women’s services, at Newcastle Hospitals, said: “We’re delighted to see such wonderful feedback from the National Maternity Survey.

“Patient feedback is one of the best ways for us to measure the quality of our maternity services and in addition to these fantastic results and through our Maternity Voices Partnership, we actively seek the views of all women across Newcastle who have been in our care.”

Sheila Ford, head of midwifery at South Tyneside and Sunderland NHS Foundation Trust, said: “To be rated nationally as the best performing Trust in the whole country is absolutely fantastic news for the team and shows that local mams are receiving the very best maternity care right here in Sunderland.

“This is testament to the hard work of our maternity team and shows the level of care, dedication and compassion that our staff show to all of the families who choose to deliver with us and I am extremely proud to be part of such a wonderful team.

“There are, of course, areas where we must improve further and we will be looking at the results in detail, alongside other sources of feedback to the Trust, to make sure we continue to listen, learn and continue to develop the very best maternity services for local women in our area.”

Lesley Heelbeck head of midwifery at Gateshead Health said: “In Gateshead we have a really enthusiastic and committed team so it’s good to see such positive ratings from the CQC. Mothers and families are central to developing the services here at Gateshead so we’re always looking at ways we can improve.

“We’ve developed our maternity voices partnerships so that we can talk to local people and listen to their views more closely. Because we’re a smaller unit we aim to provide much more personal and individual care to everyone who comes here to give birth.

“We want as many local people as possible to come here and start their family with us and we aim to improve even further in the future.”

A spokesperson for County Durham and Darlington NHS Foundation Trust, said: “Pregnancy, labour and childbirth are one of the most important experiences women have and we’re delighted to have received this excellent feedback from women in the care of our maternity services.

Northumbria Specialist Emergency Care Hospital, in Cramlington, Northumberland

“In particular, we’re proud that in six categories our score was higher than for most trusts across the country.

“These include the number of women who said they had confidence and trust in those caring for them during labour and birth and the number of women who said their decisions about how they wanted to feed their baby were respected.

“We’re also delighted that we scored above the national average for the number of women reporting that a midwife or health visitor asked them about their mental health.”

Jenna Wall, head of midwifery at Northumbria Healthcare NHS Foundation Trust, said: “Providing our families with the best possible experience while having a baby with us is one of our top priorities and we welcome the feedback from the national maternity survey.

“We are pleased that during labour and birth women felt they were communicated with in a way they could understand, they were treated with respect and dignity and they had confidence and trust in the staff caring for them.

“It is also great that we have scored highly on facilitating skin to skin contact with the baby shortly after birth, involving partners and enabling them to stay as long as they want at our Northumbria hospital.

“These results are testament to our hard-working teams and I’d like to thank them for the dedication and compassion they show to women and their partners at this special time.

“We will, however, continually strive to do even better for our families and further improve the care during and after the birth of a baby.”

See how your trust scored here and how it compared nationally to other trusts:

City Hospitals Sunderland (South Tyneside & Sunderland)

Labour and birth – 9.2/10 – About the same

Staff – 9.3/10 – Better

Care in hospital after the birth – 9.0/10 – Better

County Durham and Darlington NHS Foundation Trust

Labour and birth – 8.9/10 – About the same

Staff – 8.8/10 – About the same

Care in hospital after the birth – 7.6/10 – About the same

Gateshead Health NHS Foundation Trust

Labour and birth – 8.8/10 – About the same

Staff – 8.6/10 – About the same

Care in hospital after the birth – 7.8/10 – About the same

Northumbria Healthcare NHS Foundation Trust

Labour and birth – 8.9/10 – About the same

Staff – 8.8/10 – About the same

Care in hospital after the birth – 7.8/10 – About the same

The Newcastle upon Tyne Hospitals NHS Foundation Trust

Labour and birth – 9.4/10 – Better

Staff – 9.3/10 – Better

Care in hospital after the birth – 8.5/10 – Better

Related posts

Wrongful Death Suit Against Cabell Sheriff Stays In Mason County | Huntington News

Judge R. Craig Tatterson on June 13 denied a motion to transfer a wrongful death suit against Charles N. “Chuck” Zerkle filed by the estate of Mike Carter from Mason to Cabell Circuit Court.  The ruling came in the form of a letter, and following an April 22 hearing.

The letter gave no detailed explanation for denying the motion. 

According to initial media reports, Carter, 88, died following a collision with Zerkle just before 8 a.m. on Sunday, July 29, 2018 along W. Va. Route 2 in Lesage.  An initial investigation by West Virginia State Police found Carter caused the collision when he failed to obey a stop sign at intersection of Ohio River Rd. and Sanns Dr.

However, the suit filed by Jeffrey W. Carter, administrator of Mike Carter’s estate, places Zerkle at fault.  In his complaint filed Jan. 23, 2019, Carter maintains Zerkle was driving a 2018 GMC Sierra north on Ohio River Rd.“at a high rate of speed in excess of the posted speed limit,” when he struck the elder Carter in a 2002 Ford F-150 pick-up truck while attempting to turn south. 

Additionally, Carter alleges at the time of the collision, Zerkle “was working as an officer, agent and/or employee of …Z&Z Enterprises, Inc. in the course of job related activities.”  Named as a co-defendant in the suit, Z&Z Enterprises in the parent company of  Apple Grove Market, a grocery/convenience store Zerkle owns with his wife, Sandra. 

In the motion filed March 7, Camille E. Shora, with the McLean, Va. law firm of Wilson, Elser, Moskowitz, Eldelman & Dicker, said the suit is in the wrong venue as the accident, and fatality occurred in Cabell, and not Mason, County  Also, though admitting Zerkle is the owner of Z&Z Enterprises, he was not “‘on the clock'” that morning.

In an affidavit attached to the motion, Zerkle avers he “was driving from my home in Cabell county to cut the grass at a property in Mason County.”  The location of the property is not specified.

Since Tatterson’s ruling, the sides have exchanged discovery requests.  Letisha R. Bika with the Charleston law firm of Farmer, Cline and Campbell represents the Carter estate.

No trial date is set. 

Mason Circuit Court, case number 19-C-6

Related posts

Facing ‘certain death’, boy in US with vaping injury gets double lung transplant, United States News & Top Stories – The Straits Times

person

NEW YORK (NYTIMES) – A 17-year-old boy whose lungs were irreversibly damaged by vaping received a double-lung transplant at the Henry Ford Hospital in Detroit, a life-saving measure taken when a patient’s own lungs are diseased or damaged beyond repair and there is no other hope of survival, doctors said on Tuesday (Nov 12).

Without the transplant, performed last month, the patient “would have faced certain death”, Dr Hassan Nemeh, who led the surgical team, said during a news conference at the hospital.

The patient’s lungs were scarred, stiffened, pocked with dead spots and extremely inflamed, he said.

On a CT scan before the surgery, the patient’s chest appeared almost empty, as if the lungs had vanished. Normal lungs look dark on imaging because they are full of air; the patient’s were not visible because they were not working. There was no air.

“What I saw in his lungs is like nothing I’ve seen before, and I’ve been doing lung transplants for 20 years,” Dr Nemeh said. He added, “This is an evil I haven’t faced before.”

The patient is recovering well and is up and about now, but still in the hospital. His name is being withheld to protect his privacy, but he and his family wanted to release information about his case in the hope that it might persuade other people to quit vaping or never start, hospital officials said.

A doctor at the briefing read a statement from the family, which said, in part: “We asked Henry Ford doctors to share that the horrific life-threatening effects of vaping are very real! Our family could never have imagined being at the centre of the largest adolescent public health crisis to face our country in decades.

“Within a very short period of time, our lives have been forever changed. He has gone from the typical life of a perfectly healthy 16-year-old athlete – attending high school, hanging out with friends, sailing and playing video games – to waking up intubated and with two new lungs, facing a long and painful recovery process as he struggles to regain his strength and mobility, which has been severely impacted.”

The doctors declined to say what products the patient had been vaping, how long he had been doing it or how often.

Related Story

About 86 per cent of the patients with lung injuries in this outbreak had vaped THC, the chemical in marijuana that makes people high.

The case is the first transplant reported in the nationwide outbreak of vaping-related lung injuries, and it highlights the severity of an illness that, as of Nov 5, had sickened 2,051 people and killed 40.

Researchers have described the lung damage from vaping as chemical burns, similar to the injuries in people who have inhaled toxic fumes in industrial accidents, or in soldiers attacked with mustard gas in World War I.

The patient was first admitted to a different hospital on Sept 6 with what was thought to be pneumonia. His condition worsened and he was placed on a ventilator on Sept 12. He continued to deteriorate.

On Sept 17, he was transferred to a second hospital, where he was connected to a machine that delivers oxygen directly to the bloodstream.

His health continued to decline, and in early October, he was transferred to Henry Ford Hospital, where he was put on the waiting list for a lung transplant. A national organisation sets the criteria for eligibility, not individual hospitals. Several factors quickly pushed him to the to top of the list, Dr Nemeh said: He was a child, the lung damage was irreversible and he would die without the transplant.

The surgery was performed on Oct 15. The doctors said they could not reveal any information about the source except to say that the donor had been healthy.

Health officials investigating the outbreak described a major advance last week: Researchers found a “very strong culprit”, a form of vitamin E, in the lungs of patients who had the vaping illness. The substance, vitamin E acetate, is sometimes used by illicit sellers to “cut” or dilute THC and increase profits.

Finding the chemical in the lungs meshed with earlier investigations that had already found it in vaping products.

The vitamin compound is thick and sticky. Precisely how it might damage the lungs is not yet known, and health authorities say it is still possible that other chemicals added to vaping fluids may also contribute to lung disease.

The doctors in Detroit did not say whether vitamin E acetate had been found in the patient’s lungs.

“We’re going to see more of this,” said Dr Mangala Narasimhan, a lung specialist at Long Island Jewish Medical Centre and Northwell Health’s regional director of critical care, who has treated several severe cases of the illness.

“We definitely see some patients who have such severe lung damage, we are thinking that some of it might not be completely reversible.”

None of her patients have needed transplants. In general, lungs for transplantation are difficult to obtain, she said.

“A huge number of patients die waiting.”

About 2,500 lung transplants were performed in the US in 2018, compared with more than 21,000 kidney transplants.

Related posts

Will X Factor Celebrity improve the show’s ratings?

It’s the time of year again where your TV guide fills up with more late-night entertainment.

ITV’s The X Factor used to dominate the weekend ratings with its sometimes harsh auditions and names like Beyonce and Rihanna at the live finals.

But over the years, the show’s figures have dropped to less than half of what they were in 2010.

The first episode of the celebrity edition aired on Saturday, with 4.71 million viewers.

The X Factor reached peak viewing figures in 2010 when, according to the Broadcasters’ Audience Research Board (BARB), episodes averaged more than 14 million viewers in the UK.

Last year’s series, won by Dalton Harris, averaged roughly six million viewers, so last night’s figures of five million aren’t a great start for the series.

The format is simple, celebrities who are already known by the public, but not for singing, compete to impress judges Simon Cowell, Nicole Scherzinger and Louis Walsh.

The line-up caters to a range of ages, including everyone from Love Island stars and social media influencers, to broadcast journalist Martin Bashir.

newsSpeaking last week at the show’s launch on Thursday, original judge Louis Walsh told Radio 1 Newsbeat: “It needed something different.
This is a whole new chapter and I think it’s the future for X Factor.”

 

The first episode, showing auditions in front of various music producers and writers in Simon’s garden in Malibu, received mixed responses online.

The format is far from the small, minimally designed audition room with an X on the floor from early series’, but the judges haven’t changed much.

Reality star Megan McKenna told Newsbeat: “I was so happy when I found out it was judged by Simon, Nicole and Louis because they’re the originals.

“I’ve watched the show growing up my entire life, so singing in front of them was one of the best moments of my whole life.”

BBCDermot O’Leary will once again host the series and be the contestants’ general shoulder to cry on.

He said: “It may well be that we uncover this incredible singer, it may well be that it doesn’t fly – but it’s definitely worth the risk.

“Whether we can find a recording artist with these celebrities – probably not! As long as we can put on a good entertainment show, that’s what matters.”

Nicole agreed that the show was more about providing entertainment, saying: “We still get pretty great ratings, all we can do it put on the best show we can, and hopefully we can entertain the people who are watching.”

Related posts

This is the California prison where Felicity Huffman wants to spend her 14-day sentence

Felicity Huffman: This is the California prison where the actress wants to spend her 14-day sentence - CNN

(CNN)Now that Felicity Huffman has been sentenced to 14 days in prison for her role in a massive college admissions scam, attention has turned to where she’ll spend her time behind bars.

The Bureau of Prisons (BOP) has the final authority to decide where Huffman will serve time when she reports to the bureau in six weeks, on October 25.
As an inmate at Federal Correctional Institution Dublin, the “Desperate Housewives” actresswould have to don khaki clothing with her name and inmate number. She’d have to make her bed by 6:30 a.m. — except on weekends and holidays, when inmates can sleep in and have their bed made by 10 a.m. — according to an inmate orientation handbook posted on the prison website.
    But there are some comforts. For example, inmates at FCI Dublin can sunbathe on the weekends, but they have to wear a shirt and shorts, the handbook says.
    news
    Inmates can watch the lobby television until 8:45 p.m. during the week, or until 11:45 p.m. on the weekends. Each month they are allowed to spend up to $320 at the commissary.
    Huffman, who was accused of spending $15,000 to have the scam’s mastermind boost her daughter’s SAT scores, was the first of more than 30 parents charged in the scam to be sentenced. She had pleaded guilty to conspiracy to commit mail fraud and honest services mail fraud.
    As part of her sentence, Huffman will also have to serve one year of probation, pay a $30,000 fine and perform 250 hours of community service. It’s not immediately known how she will perform her community service.
    FCI Dublin previously housed Sara Jane Moore, who attempted to assassinate President Gerald Ford in 1975, and Autumn Jackson, who was convicted of trying to extort Bill Cosby for $40 million. Jackson’s conviction was later overturned, 14 months into a 26-month sentence.
    The BOP takes a number of factors into consideration when assigning an inmate to a facility, it said in a statement.
    “These factors include the level of security and supervision the inmate requires, medical and programming needs, and other considerations including proximity to an individual’s release residence or court hearings,” the agency said.

    Huffman ‘deeply ashamed,’ she says

    More than 50 people — parents, coaches, test administrator and conspirators — were charged in the scandal, in which prosecutors said mastermind William “Rick” Singer either facilitated cheating on standardized tests or bribed college coaches to give students an advantage in the admissions process.
    Of those charged, more than 30 are parents, accused of conspiring with Singer. More than a dozen of them have pleaded guilty to conspiracy to commit fraud, like Huffman.
    Huffman, along with the actress Lori Loughlin, was among the most high-profile parents swept up in the scandal, dubbed “Varsity Blues.”
    On Friday, with about a dozen loved ones in court to show their support, Huffman apologized to the judge, her daughters and husband, actor William H. Macy.
    us
    “I am deeply ashamed of what I have done,” she said. “At the end of the day I had a choice to make. I could have said, ‘no.'”
    Prosecutors had suggested Huffman spend one month in prison and pay a $20,000 fine.
    Assistant US Attorney Eric Rosen cited a letter Huffman submitted to the judge last week, in which Huffman said she participated in the scheme in an effort to give her daughter “a fair shot.”
    “With all due respect to the defendant,” Rosen said, “welcome to parenthood.”
    “Most parents have the moral compass and integrity not to step over the line,” he said. “The defendant did not.”
      In a written statement released to the media, Huffman also apologized to “the students who work hard every day to get into college, and to their parents who make tremendous sacrifices supporting their children.”
      “There are no excuses or justifications for my actions,” she said. “Period.”

      Related posts

      Jia Tolentino: I like to write about instincts that are in some way good and in some way dangerous’

      Hailed as the Joan Didion of our times informed, funny and fearless the New Yorkers Jia Tolentino is making sense of the world one essay at a time

      books

      Until recently, one of New Yorker staff writer Jia Tolentinos best-kept secrets was that she spent the summer of her 16th year filming a reality show called Girls v Boys: Puerto Rico. A cheerleader then, she got permission from her school, which was situated in the middle of a Texan megachurch so large they called it the Repentagon, by telling them shed be a light for Jesus, but on television. An essayist who explores what its like to live right now, no now, remains, at 30, rebellious and contradictory in ticklish ways.

      For example, a person of the old world might not expect, when meeting the best young essayist in the world, to find her in denim cut-offs scrolling Instagram behind a Brooklyn caf. They might not expect a woman who grew up an evangelical Christian to write a piece that links the weightless grace of coming up on ecstasy to that of kneeling in church, in words like epiphany and glory. They might not expect a piece about the challenging year she spent in Kyrgyzstan to be headlined: I Joined the Peace Corps to Keep From Becoming an Asshole. She treats all her subjects (recent essays include anti-abortion propaganda and the internet trend of fans begging celebrities to kill them) with equal care and precision, and such academic tenderness that the reader barely notices their mind being changed after reading her interview with a woman whod had a late-term abortion, she received emails from pro-lifers rethinking their stance; hers are essays that talk to young women about old problems and old men about young memes. And they might not expect, in our interview of an hour-and-a-half, for the Joan Didion of our time (New York Magazine) to use the word like 1,035 times.

      She has left her dog at home, which is sad. Luna is the size of eight dogs and appears often in her stories as comic relief. Usually, Tolentino works with Luna at her feet and talks to her as she picks her way through the rubble of an idea. She knows what she wants to write about when, I feel some sort of chemistry with the subject. The bar for me is when its interesting enough that I would talk about it on my own time. One example is womens optimisation, the project of getting better at being a woman which, in her new book Trick Mirror she investigates through chopped salad, her previous job at feminist website Jezebel, very expensive leggings, and Virgils Aeneid.

      To read it as a person like me, brought up on girl power and the slogans of mainstream feminism, is to be stimulated and awakened to the small domestic truths of life. I like to write about modern instincts that are in some way good. And also in some way dangerous. She explores millennial issues with two hands, because, Maybe this things totally ridiculous, but also, secretly important. I enjoy those extremes.

      Its easy to write about things as you wish they were, wrote Zadie Smith of Trick Mirror. Its much harder to think for yourself, with the minimum of self-delusion. Its even harder to achieve at a moment like this, when our thoughts are subject to unprecedented manipulation, monetisation and surveillance. One way Tolentino manages this is by offering one idea, then cracking it open to reveal a series of alternative ideas, Russian doll-like within. Her work, Smith added, filled me with hope.

      Yep. And not just because of the kindness with which she approaches ideas, especially ideas we are used to seeing framed in black and white, but because the subjects she writes about today are the same subjects she once blogged about at Jezebel. What were once niche, womens magazine themes pop stars, beauty products, sex and rage are now, in the New Yorker, mainstream, and recognised as valid topics for study. This is not the old world any more.

      Jia
      Ive had the same personality since I was three years old. Really independent. Really social. But, also, really combative: Jia Tolentino. Photograph: Allison Michael Orenstein/The Observer

      A lot of the book is about the thing versus the representation of the thing, she explains. For instance, love versus the representation of it in a wedding. In the essay I Thee Dread, she writes that despite having been invited, with her long-term boyfriend, to 46 weddings in nine years, her apathy towards them has grown. How much harder, she asks, would it be for straight women to accept the reality of marriage if they were not first presented with the fantasy of the wedding?

      She remains fixated on the thing versus its representation, which means promoting (representing) her book (the thing) has become increasingly difficult. A hardback book feels awkward to her she likes to describe herself as just a blogger. Shes been blogging since she was 10 (Im going insane! I literally am addicted to the web! she wrote on her Angelfire site in 1999), but the just is sly her education in journalism at Jezebel was invaluable: a unique chance to learn how to fuck up on the internet. We would see these great waves of disapproval and anger and morality. With an uncommon amount of freedom to negotiate it. She thrives on such tensions.

      It wasnt just to keep from becoming an asshole that she joined the Peace Corps in 2010, it was to test her limits. I wanted to be in the middle of nowhere and go nuts and see what its like. Tolentino arrived inKyrgyzstan just as the government was overthrown. She was evacuated. She got active tuberculosis. Kyrgyzstan is a place where bride kidnapping still happens; she was sexually harassed by her host father she was sexually harassed a lot, in part, she thinks, because with her Filipino parentage she happens to look Kyrgyz. Every day I was seesawing between extremes of transcendent lonely happiness and crushing despair.

      Kyrgyzstan borders China, Uzbekistan and Afghanistan. And the feel is very strange. Like, I had no running water in my village, but they sold cookies shaped like iPhones. Nothing made sense, you know? The cookies feel like some kind of metaphor for her work, the meeting of fast and slow, a mind that has been brought up online turning its lens inward, to analyse the internet itself she is particularly fascinating when writing about the online performance of identity, analysing the ways she has benefited from, for instance, the internets sticky focus on opinion. But my brain moves slower and shes already run ahead. I think thats one thing that growing up in the church did to me I love being uncomfortable. It is so… interesting.

      In 2016 she wrote an essay called How Empowerment Became Something for Women to Buy. I hated that word, she shudders, yet at the same time, I knew my entire career was possible because feminism was marketable now.

      How does she feel about becoming part of the feminism industry? I think about it a lot. If something is more fun to represent than to experience, then you should avoid it. Its the same way with the feminism marketplace: if something is more commodified than it is true, you should avoid it. Some amount of bullshit is endemic and inevitable, and I participate in it, and I benefit from it. The way I resolve it is to make myself uncomfortable enough to be aware of what is only bullshit.

      You know what annoys her? Books about badass women in history. She groans very loudly. The whole girlboss realm, actually. Anything that is treating the magnification of a personal brand, or the acquisition of wealth as the ultimate prize, is just fully out the window. The way those books treat little girls as if theyre generic? I get sent so many self-help books that are about like, perfectly imperfect, badass feminists that dont give a fuck, but then the fuck is bleeped out? You know what I mean?

      The thing is, we have more freedom available to us than ever before, and yet theres a cartoon-like image of what that looks like as if all women want to do is to be on stage wearing a bold matching suit and a strong lip shouting AM I RIGHT? She screeches this at a high pitch and a stranger jumps. Shouting: A guy called me baby on the street, but Im not a baby! and everyones like, YASSSS

      What I havent mentioned, among earlier descriptions of Tolentinos essays, is that they are extremely funny, partly because she characterises herself affectionately as a sort of dummy stoner, leading with fizzy enthusiasm, rather than her Yale-earned learnedness. It seems like were shrinking towards a lowest common denominator of what the ideal feminist is. And the things that I like, maybe, are the things that dont have this feeling of sameness and oneness.

      The idea of the problem with oneness is something she elaborates on when discussing #MeToo. The thing that bothered me about it, was how this totally accidental hashtag design has shaped our understanding of an incredibly important moment. The problem with the metoo hashtag was that it said, to express solidarity with someone, you need to meet them at the point of maximum shared vulnerability. The internet flattened it, and erased the important differences in these womens lives. Which seemed to be both well intentioned, and also, a misuse of our new freedoms.

      One of which is the right to be heard. People are like, Womens voices are silenced. Which might be true. And at the same time, is less true. For example, Christine Blasey Ford she was absolutely listened to and still dismissed. I want the discussion to meet the exact situation, which is changing so quickly. Its not simply, Women are silenced it is something possibly much worse. I take a drink of water. We both do.

      The work of explaining complicated problems in a tumultuous time is wearying. Last week, I was really down. I forgot that I get stressed out when I write about sexual assault. She had written about the latest rape accusations against Trump. Its like when you wake up after getting drunk, and youre like, Wow, Im not hungover. And then at 5pm youre like, Im dead. It comes around the back and shakes you. In a recent interview, she was asked, Do you feel defeated? She was shocked. The reporter was like, Well, you dont propose any solutions to things. But I often feel that knowledge is useless. I dont write with the hope of making an impact, because the world is too confusing right now. But that actually makes me feel free in writing you just try your best. And I think that needs to be the philosophy I adopt about life in general. To that reporter she wanted to explain that its possible to write an argument without neatly tying it up with a simple conclusion. She smiles her cheerleader smile again, twinkling with contradiction. I hate the obligatory epilogue.

      Recently, Tolentino watched Girls v Boys: Puerto Rico for the first time. I found it agonising. But also comforting, because I was the same. Having stumbled upon the audition at a local mall, she writes of the chance encounter: I like this story better than the alternative, and equally accurate one, which is that Ive always felt that I was special and acted accordingly. Its true that I ended up on reality TV by chance. Its also true that I signed up enthusiastically, felt almost fated to do it.

      Watching the show, she realised, she tells me, that to be on reality TV, you must have a fixity. Ive had the same personality since I was three. Really independent. Really social. But, also, really combative. Like all iconic reality contestants, shes not here to make friends. When she got back in touch with fellow contestants, one remembers her as contradictory, even under the blaze of the cameras. You were like, he told her, I dont want to get famous for this bullshit. I want to get famous for writing a book.

      Trick Mirror by Jia Tolentino (4th Estate, 14.99) is out now. Buy it for 13.19 at guardianbookshop.com

      Related posts