Nigerian Ports Authority inaugurates two Tugboats to drive efficiency

The Nigerian Ports Authority has added two ultra modern tugboats to its fleet to boost marine operations and service delivery in the nation’s maritime domain.

The new shipping platforms will further enhance towage capacity for bigger vessels calling into the nation’s seaports.

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

&The Cannes Film Festival and Market

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

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

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

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

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

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

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

Tromsø International Film Festival 

Festival Director: Martha Otte

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

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

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

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

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

Rotterdam International Film Festival 

Festival Director Bero Beyer

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

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

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

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

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

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

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

Gothenburg Film Festival 

Festival Director: Jonas Holmberg

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

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

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

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

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

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

Berlin Film Festival 

Head of the Berlinale: Dieter Kosslick

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

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

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

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

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

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

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

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

Stockfish Film Festival 

Festival Director: Marzibil Snæfríõar Sæmundardóttir

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

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

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

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

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

Bergamo Film Meeting 

Artistic Director: Angelo Signorelli

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

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

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

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

Qumra  

Festival Director: Fatma Al Remaihi

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

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

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

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

Hanaa: We had a long debate.

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

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

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

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

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

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

London Taiwan Film Festival UK

Festival Director: Aephie Huimi

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

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

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

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

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

CPH: DOX 

Festival Head: Tine Fischer

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

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

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

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

Panama Film Festival 

Artistic Director: Diana Sanchez

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

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

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

CineMAS 

Artistic Director Joe Wihl

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

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

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

Cannes 

Festival Director: Thierry Frémaux

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

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

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

Kultur Symposium Weimar

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

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

London Indian Film Festival

Festival Director: Cary Rajinder Sawhney

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

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

Nordic Youth Film Festival

Festival Director: Hermann Greuel

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

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

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

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

Karlovy Vary Film Festival 

Festival Director Karel Och

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

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

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

Locarno Film Festival 

Festival Director: Lili Hinstin

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

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

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

Venice Film Festival 

Festival Director: Alberto Barbera

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

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

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

Toronto Film Festival 2020

Artistic Director and Co-Head: Cameron Bailey

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

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

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

El Gouna Film Festival 

Festival Director: Ihtishal Al Timimi

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

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

Zurich Film Festival 

Artistic Director: Karl Spoerri

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

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

London Film Festival 

Festival Director Tricia Tuttle

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

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

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

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

Lumière Film Festival 

Festival Director: Thierry Frémaux

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

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

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

Red Sea Industry Workshop

Red Sea Festival Director: Mahmoud Sabbagh

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

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

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

Films From the South 

Festival Director: Lasse Skagen

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

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

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

Ajyal 2019 

Festival Director: Fatma Al Remaihi

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

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

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

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The Bolton Bucket List – 40 things you must experience while in the town – Manchester Evening News

There’s loads of things to experience in Bolton – but how many have you actually done?

Steeped in heritage and culture both historical and modern, there’s plenty of offerings for all tastes, whether you’re local or just visiting.

We’ve put together a list of 40 things to tick off in and around Bolton to get you started on your way to experiencing the best of the borough.

Some might seem obvious, others you might never have heard of, but all are entirely worth a mention.

Special thanks to the ‘I belong to Bolton’ Facebook group who helped with their suggestions.

How many can you cross off our ultimate Bolton Bucket List?

Watch Bolton Wanderers play at home

Art Gallery

They may be some way off the heights reached during the Sam Allardyce era, but Bolton is still immensely proud of its football club.

Four time FA Cup winners and one of the founder members of the Football League, Wanderers is a club steeped in history.

Now in League One, times have been tough for the club in recent years – but a visit to the University of Bolton Stadium is something all Boltonians must experience at least once.

Shop until you drop at Middlebrook

The UK’s largest retail and leisure park has plenty of things to do on a day out.

Whether it is taking in the shops, dining at one of the many restaurants, a trip to the cinema or bowling alley, it’s a popular spot for many Boltonians.

Dine at Britain’s best curry house

Benjamin Disraeli

Hot Chilli, in Bromley Cross, scooped the champion of champions award at the Asian Restaurant & Takeaway Awards in October.

The restaurant, which has been open since 2011, specialises in eastern Indian cuisine and boasts an extensive menu for all tastes.

Pull off into paradise

Bolton Museum

When Phoenix Nights, a sitcom set in a working men’s club in Bolton, first aired in the early 2000s it became a major national success and catapulted many of its stars on to bigger and better things.

Bringing us iconic characters such as Brian Potter, Jerry St. Clair and doormen Max and Paddy, the show is still quoted by many to this day.

Fans can actually pay a visit to the Phoenix Club, which is in fact St Gregory’s Social Club in Farnworth, and guided tours are available upon request.

Try a pint at one of the town’s many breweries

Bolton is awash with great breweries at the moment and beer lovers certainly don’t have a shortage of options to choose from.

Two of the finest are Northern Monkey and Bank Top, both of which have opened their own tap rooms in the town, while honourable mentions also go out to Blackedge Brewing Company and Rivington Brewing Company.

Enjoy a hike up the Pike

Bowling

For many families, an Easter hike up Rivington Pike is an annual tradition.

Hundreds of keen walkers clamber up to the summit, which stands at 1,191 feet, where they are rewarded with spectacular views across Bolton and the West Pennine Moors.

But the views are best enjoyed on a quieter day, away from the crowds. It’s an ideal spot to escape from the hustle and bustle of daily life.

Sample local delicacies at Ye Olde Pastie Shoppe

Bolton is blessed with several great bakeries, but a trip to this family-run shop is a must for anyone visiting the town.

Dating back to 1898, Ye Olde Pastie Shoppe has been serving generations of families from its modestly-sized shop on Churchgate.

TripAdvisor users even rate it as the best bakery in Greater Manchester. High praise indeed.

Try the Bolton institution that is Carrs Pasties

Another of Bolton’s finest pasty institutions, Carrs’ products can be found right across the town.

But for the proper experience, you need to visit one of their three shops dotted around the borough.

The family-run bakery counts radio presenter Chris Evans among its admirers; the former Top Gear host has rated their pasties among the finest in the country.

Take part in the Ironman. Or maybe just watch.

Easter

Bolton has played host to the biggest Ironman race in the UK 11 times now.

Thousands of entrants descend on the town’s streets each year to take on a gruelling course involving a 2.4 mile swim, 112 mile bike ride and a marathon.

If you aren’t quite in shape to take part, you could always join the thousands of others who turn out to line the streets and cheer on those who are.

Last year, a 5k night run was introduced on the Friday, while athletic youngsters can also join in an Ironkids event.

Learn about the history of steam

Bolton Steam Museum boasts one of Britain’s largest collection of working steam mill engines.

The volunteer-run museum delves into the area’s industrial heritage through the engines, which powered Bolton’s mills and helped transform it into the town it is today.

Take a stroll around Jumbles Country Park

Extraordinaire

Situated about four miles to the north of the town centre, the woodland trail and reservoir is a popular spot for dog walkers and those out for an afternoon stroll.

A sailing club is also based at the reservoir and hosts regular training days and races.

Boasting picturesque views, there are worse ways to spend a Sunday afternoon than paying a visit to Jumbles.

Shop at Bolton Market

Bolton’s market tradition stretches back hundreds of years to 1251 when the town was granted a charter by King Henry III.

Centuries later, the town’s market continues to thrive, although the range of products on offer has come a long way.

The market moved to its current base in Ashburner Street during the 1930s and boasts hundreds of stalls selling everything from fresh fish to cotton reels.

Try some African cuisine at Nkono

One of Bolton Market’s most popular traders is Nkono, a Cameroonian street food stall.

Finding it is no issue as the voice of its larger life than life owner, Alain Job, can often be heard booming through the indoor market hall as he entertains customers.

Nkono opened back in 2014 and quickly became a hit. With a range of exotic dishes, many of which are accompanied by jollof rice and sweet dumplings, it soon established itself as one of the town’s best eateries.

If you’re feeling especially experimental, why not try one of their goat curries?

Learn about the history of Turton Tower

Henry III

Set in relaxing woodlands on the edge of a popular walking area, the distinctive 15th century English country house has fascinating period rooms displaying a huge collection of decorative woodwork, paintings and furniture – all re-telling the lives of the families who lived there.

Dig for hidden gems at X Records

An institution in the town since the 1980s, this record shop serves as a treasure trove for Bolton’s music lovers.

Head down to its Bridge Street base and get lost in its vast collection of records. You might even find yourself a bargain.

Spend an afternoon with family at Moss Bank Park

Kazer

A sprawling park with a large play area including a sand pit area for children, the park is an ideal destination for a family afternoon out.

While the much-loved children’s zoo and tropical butterfly house are no more, there are plenty of other attractions to keep kids entertained including a mini steam train, crazy golf and fairground rides.

Feed the animals at Smithills Open Farm

Smithills has a wide range of animals from pigs and cows to snakes and owls.

As well as families, large groups of children visit from schools and nurseries with some coming from miles away to say hello, feed and cuddle the animals.

Children get the chance to feed the lambs and there are plenty of other hands on opportunities with snakes and chicks.

The venue also offers tractor rides, on toy ones as well as the real thing, and donkey rides too.

With bouncy castles, a sand pit and adventure playground it’s a popular place for day visits and children’s birthday parties.

Check out the town’s street art

Moss Bank Park

Some spectacular murals have sprouted up around Bolton over the last year or so.

The local artist behind them is Kazer, a joiner by trade who got into graffiti-style art after watching a series of YouTube.

You’ll find some of his eye-catching designs adorning the walls of several of the town’s pubs, including the Sweet Green Tavern, The Greyhound, and The Beer School in Westhoughton.

Enjoy a tour of Smithills Hall

Nkono

Set in restored formal gardens and a 2,000 acre estate leading to the West Pennine Moors, the beautiful old hall is an architectural gem dating back to the 14th century.

Travel in time through medieval, Tudor and Victorian rooms or enjoy the various walks on offer in the splendid surrounding countryside.

Sample a local delicacy at Rice n Three

The phenomenon that is rice and three has spread right across Greater Manchester since its creation at some point in the 1980s.

A base of rice topped with a choice of three curries, it’s affordable, filling and homely, making it the fast food go-to for many.

Rice and three’s origins are uncertain, but Bolton may well lay claim to it.

The Essa family bought the Northern Quarter’s This and That in the 1980s after coming to Manchester from Uganda claim rice and three as their creation.

They later sold the cafe and took the idea to Bolton, where they have since opened two restaurants, in Bradshawgate and Deane Road.

Is it really the original rice and three? Maybe. Is it tasty? Most definitely. It’s affordable too – one meat, two veg and rice costs just £5.00.

Visit the shops at Market Place

one of the founder members

Originally designed and opened in 1855, the Bolton Market Hall was said to be ‘the largest covered market in the kingdom’.

It was reopened as Market Place Shopping Centre by Queen Elizabeth ll in 1988 and has undergone a £25 million refurbishment transforming it into the town centre’s shopping heart.

Some of the biggest high street names can be found there, including Debenhams, Next, H&M and Zara.

Enjoy an evening in The Vaults

Prime Minister

The Vaults dining and leisure venue opened below Market Place back in 2016 and has fast become the go-to socialising spot for many Bolton families.

Based in the renovated Victorian vaults, which are part of the original market halls, several restaurant chains can be found there, including Nandos and Prezzo.

Watch a film at the Light Cinema

One of just a handful across the UK, the town centre venue was opened by independent cinema chain The Light back in 2016.

Dubbed ‘sociable cinema’, the whole experience is a little more laid back than your standard cinema trip, with reclining seats, and you can even have a drink from the bar in there too.

Learn from the top chefs at food and drink festival

Queen

Taking place across the August bank holiday weekend, the annual event is one of the biggest food and drink events in the north west.

Some of the world’s best-known celebrity chefs have appeared at the event to entertain crowds with cookery demos and book signings in recent years, with James Martin even hailing it the best festival of its kind in the UK.

There are markets aplenty too, with the streets around Victoria Square and Le Mans Crescent packed with street food stalls (including Thai, toasties, Polish BBQs, Italian desserts, Green meze, and Yorkshire pudding wraps) and produce to take away with you.

Visit Barrow Bridge

A picturesque model village to the north of Moss Bank Park, Barrow Bridge was created during the Industrial Revolution to house workers at nearby mills.

The cotton mills have long since gone, but the quaint cottages remain. The charming village is a haven of tranquility and is a perfect spot for a Sunday afternoon stroll.

Explore the town’s paranormal activity

Bolton is apparently a hotbed for paranormal activity. 

Ghost Walker Extraordinaire Flecky Bennett offers a number of ghost walks throughout the town, which are part history, part theatre and part paranormal. 

Covering haunted bookshops and pubs, as well as the Bolton Massacre, all the stories you hear are based on real people and actual events.

Unlock the mysteries of Ancient Egypt

retail

Bolton’s connection to Ancient Egypt is little-known, but its collection of treasures is one of the country’s finest.

Bolton Museum’s multi-million pound Egyptology gallery reopened last year following a £3.8 million refurbishment and more than 275,000 have stepped back into the land of the Pharoahs since then.

Rivington Pike

One of the oldest pubs in Britain, Ye Olde Man & Scythe is thought to have been built in Churchgate some time before 1251.

But its place in the town’s history was cemented in 1651 when the Earl of Derby, James Stanley, was executed outside the pub for his part in the Bolton Massacre, which led to the death of 1,600 people.

The royalist spent the final hours of his life in the pub, which his family owned at the time, and it still contains the chair he supposedly sat on before being taken outside to be beheaded.

His spirit is also said to linger in the pub and has seen it named one of the country’s most haunted.

Catch a show at The Albert Halls

Samuel Crompton

Located within Bolton Town Hall, the 670-theatre is a popular spot for families looking to enjoy a pre-Christmas pantomime.

The iconic building is perhaps best known as the setting for Peter Kay’s stand-up DVD, ‘Live At The Bolton Albert Halls’, which was filmed there in 2003.

A recent refurbishment included the addition of a new restaurant run by Michelin-starred chef Paul Heathcote, which has promised to champion ‘proper northern, old-fashioned food’.

Visit Hall i’th’ Wood Museum

Originally built as a half-timbered hall in the 15th century, this handsome building was owned by wealthy yeomen and merchants.

Later rented out, it was home to a young Samuel Crompton whose Spinning Mule invention revolutionised the cotton industry. Links with Crompton remain in its interactive museum.

Take a stroll around Queens Park

street food stalls

Just north east of the town centre, this Victorian park is a peaceful haven away from the hustle and bustle.

For generations, it has been a place where Bolton families have gone to play, relax, have a picnic and feed the ducks.

Opened in 1866 by the Earl of Bradford, it has undergone a £4.3 million refurbishment in recent years.

It now boasts a children’s play area, a cafe, as well a series of grade II listed statues, including one of the former prime minister Benjamin Disraeli.

Spend an idyllic afternoon at Turton and Entwistle Reservoir

Sweet Green Tavern

This breathtaking beautyspot, tucked away down quiet country lanes on the moors north of Bolton, is the perfect spot for an afternoon walk.

A path runs around the edge of the reservoir, while other trails lead off into the surrounding woods.

The reservoir contains almost 3,4 million litres of water and, with along with nearby Wayoh Reservoir, provides about 50% of Bolton’s drinking water.

Grab a scoop at Holden’s Ice Cream

With flavours including Vimto, Uncle Joe’s Mint Balls, Eccles Cake and Manchester Tart, there are plenty of reasons to venture out to Edgworth for a scoop of this home made ice cream.

Known locally for their special family recipe they have been making their ice cream in the same premises since the 1930s.

Rock out at The Alma Inn

This Bradshawgate pub is a haven for lovers of rock, punk and metal music and hosts live gigs every weekend.

The 250-capacity venue is usually crammed with loyal regulars trying to catch the next big upcoming bands.

It’s reputation isn’t a secret, though. In 2015, it was shortlisted as one one of Britain’s best small music venues by music magazine NME.

Catch a show at The Octagon Theatre

Top Gear

The theatre is currently undergoing a major makeover, but is expected to throw open its doors again in the summer.

Dominic Monaghan and Sue Johnston are among the famous names to have trod the boards at the celebrated venue.

A diverse range of events are held throughout the year, ranging from classic and contemporary plays to musicals and festive productions for youngsters.

Fish and chips at Olympus

A popular pre-theatre spot, the town centre chippy is often ranked among Bolton’s best and has been attracting visitors from across the North West for more than 30 years.

The family run restaurant offers great fish and chip meals and has seating for more than 200 people, as well as a takeaway next door.

Tackle Go Ape in Rivington

Explore the forest canopy via a treetop rope course on the outskirts of Bolton.

The Go Ape adventure is a must-go attraction for a thrilling day out.

It’s a hit with adrenaline lovers as they embark on the challenging course featuring 13-metre-high platforms.

So get your trainers on and be prepared for the thrill of your life.

See the sights on a night out in Bradshawgate

Bolton’s nightlife comes in for a fair bit of stick, but it is still a good place to let your hair down.

Many bars and clubs can be found off Bradshawgate, which comes to life as revellers descend on the town centre on a Friday and Saturday evening.

Pay homage to Fred Dibnah

Victoria Square

One of Bolton’s most famous sons, the celebrity steeplejack found national fame through his BBC programmes celebrating Britain’s industrial heritage and the golden age of steam.

Following Fred’s death, his grade II listed former home was converted into a heritage centre so that fans could see his tools and machinery.

It closed in 2018 and the property is currently up for auction, but Fred’s legacy is still preserved in his hometown where a statue of him takes pride of place in the town centre.

Marvel at Le Mans Crescent

Art Gallery

The jewel in Bolton town centre’s crown, Le Mans Crescent is an architectural triumph on par with anywhere else in the North West

The grade II listed crescent is currently home to Bolton Museum, Art Gallery, Central Library and Aquarium, while plans are afoot to transform the former magistrates’ court into a luxury boutique hotel.

In recent years it has also proved a popular filming location for television dramas, including Peaky Blinders and Bancroft.

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

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

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

Article 4 specifies that:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Maryam Sanda to Appeal Death Sentence

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•Justice was served, says co-convener of BBOG

Alex Enumah and Udora Orizu in Abuja

Mrs. Maryam Sanda, who was on Monday sentenced to death by hanging for killing her husband, will appeal the judgment, a member of his legal team has told THISDAY.
Justice Yusuf Halilu of the High Court of the Federal Capital Territory (FCT) had given her the maximum sentence for killing her husband, Mr. Bilyaminu Bello.

However, some women and civil rights activists have condemned the death penalty, describing it as unacceptable.
But another activist and co-convener of #BringBackOurGirls (BBOG) movement, Mrs. Aisha Yesufu, welcomed the death penalty, saying that it was not only an adequate punishment but also that justice had been served in the case.

The federal government had arraigned her on a two-count charge bordering on murder.
In the judgment delivered, the trial judge held that there was circumstantial evidence coupled with the defendant’s testimony and statement to the police that she “fatally” stabbed her husband to death in Abuja on November 19, 2017.
The judge while stating that the offence for which the defendant was convicted was based on Section 221 of the Penal Code imposed the maximum sentence.

“It has been said that thou shall not kill. Whoever kills in cold blood shall die in cold blood,” the judge said, adding: “Maryam Sanda should reap what she has sown. It is blood for blood.”
However, reacting to the judgment yesterday, one of the lawyers, who spoke off the record, said they would go on appeal against the judgment.

“She has a constitutional right of appeal and definitely she has to exercise it,” he said, adding: “We will definitely appeal the judgment.”
Sanda killed her husband on November 19, 2017, through multiple stabbing.
She was arraigned alongside three other persons, including her mother and brother.
However, the others were discharged because the prosecution was unable to link them to the charges.
The late Bello is a son of a former national chairman of the Peoples Democratic Party (PDP), Alhaji Haliru Bello.

Activists Condemn Death Penalty

Some women and civil rights activists have condemned the death penalty given to Sanda, describing it as unacceptable.
In a WhatsApp conversation with THISDAY, an activist and Director of Women Advocates Research and Documentation Centre, Mrs. Abiola Akiyode-Afolabi, condemned the court’s ruling.

Though she agreed that anyone found guilty of such conduct should be punished, she said death penalty was condemnable.
She said: “It’s a very unfortunate situation, killing of a spouse whether a man or woman is condemnable and anyone found guilty of such conduct should be punished, as deterrence.

The society should have zero tolerance to gender-based violence. “However, death penalty is condemnable. I think maximum sentence in this instance is not the option given the background of the offence. The society should shift from the culture of death penalty; it is no longer acceptable, it has not served the purpose it was meant in the society.”

Corroborating Akiyode-Afolabi’s comment, human rights lawyer and Director of Citizens Advocacy for Social and Economic Rights (CASER), Mr. Frank Tietie, said Sanda should not have been given the maximum punishment.

Tietie in a phone conversation with THISDAY hinged his claim on the possibility of defendant being mentally unstable during the time the crime was committed and the defence team not doing enough to explore all the possible defences available to the woman.
He added that Nigeria must move beyond being a retentionist country in these modern times and realise that death penalty does not solve problems.

According to him, “Mental incapacity is something that should have been brought to the court and with the use of expert witness to prove that she’s not mentally capable of organising herself in such a state of frustration.

“Firstly, for someone to want to kill her husband is an expression of abnormality; it’s not quite natural. I suspect that her mental health was something to be questioned, which should have been brought before the court. If to argue that the woman did not do it, it’s a different thing but to say that she did it, her mind set was not in control of her mental faculty as at the time she did it because of the marital trauma she must have been exposed to which was prolonged and eventually led to pent-up anger and she was also left unattended to by relatives and friends.”

He expressed optimism that Sanda has a window for appeal both at the Court of Appeal and Supreme Court.
He said: “It’s my hope that some new pieces of evidence will be introduced.

“Even by law, death penalty is barbaric; Oscar Pistorius wasn’t given maximum sentence not to talk about this kind of culpable homicide that was done based on crime of passion. What led her to committing those crimes should have been brought to the court.”
But activist and co-convener of #BringBackOurGirls, Yesufu, believed that justice was served.

She, however, tasked the judiciary to also apply the same energy in ensuring that everyone gets justice regardless of one’s status or gender.

She said: “For me basically the case is simple. Maryam Sanda was found guilty of killing her husband and of course justice has been served. My take out from this is that if the Nigerian judiciary system can be very strict in ensuring that people get justice, a lot of things that happen in Nigeria, we wouldn’t see them happening.

“People won’t have any reason to take the laws into their hands and feel that they can do anything and get away with it. No matter who you are, you have to pay for your crimes no matter your gender, age or status. It’s all a tragic ending for the families involved but it’s what it is, justice has been served.”

The post Maryam Sanda to Appeal Death Sentence appeared first on THISDAYLIVE.

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Abdication, divorces and death: a century of UK royal crises

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The announcement Saturday that Prince Harry and his wife Meghan are to give up their titles and stop receiving public funds is only the latest instalment in a royal soap opera that has gripped Britain and the world.

– Love over country –
The 1936 abdication of Edward VIII 326 days into his reign remains the biggest scandal in modern royal history and caused a worldwide sensation.

Britain’s brief king provoked a constitutional crisis when he stepped down in order to marry the twice-divorced US socialite Wallis Simpson.

The union was deemed impossible while Edward was monarch and head of the Church of England, which at the time refused to remarry divorcees while their former spouse was still alive.

Edward was the first monarch in the 1,000-year history of the British Crown to give up his throne of his own free will.

His brother King George VI replaced him on the throne, and Edward — who married Simpson in 1937 — was subsequently ostracised by the rest of the Windsor family until the late 1960s.

He died in 1972.

– Margaret’s heartbreak –
Queen Elizabeth II’s fun-loving younger sister, Princess Margaret, also sparked a firestorm with her choice for marriage.

In 1952, the then-22-year-old began a romance with her late father’s divorced equerry, former Royal Air Force officer Peter Townsend.

The couple’s wish to marry prompted a battle between the government and the public — which was seen to be sympathetic to the union — with the queen caught in the middle.

READ ALSO: Minister tasks Nigerians on patriotism, commitment to nation-building

Margaret was eventually persuaded to abandon the relationship, under the threat of losing her royal position, and instead married photographer Antony Armstrong-Jones in 1960.

They divorced in 1978.

– A horrible year –
The queen memorably described 1992 as an “annus horribilis” after three of her children’s marriages crumbled.

Heir to the throne Prince Charles’ split from Princess Diana after 11 years of marriage caused a media sensation.

The princess then rocked the monarchy by leaking shocking details of palace life to author Andrew Morton for his 1992 book “Diana: Her True Story – In Her Own Words”.

Around the same time the queen’s second son Prince Andrew separated from wife Sarah Ferguson, whom he had married six years earlier.

Meanwhile, Princess Anne, the reigning monarch’s only daughter, finalised her divorce from first husband Mark Phillips following their separation in 1989.

– Diana’s death –
The popular princess died in a high-speed car crash in a Paris tunnel in August 1997.

For the next week leading up to her spectacular funeral, Britain was plunged into an unprecedented outpouring of grief which shook the monarchy.

Anger had soon mounted at the silence of senior royals holed up in Balmoral in Scotland, where the queen, Diana’s ex-husband Charles, and their two children, William, 15, and Harry, 12, were holidaying over the summer.

Newspapers, furious that the Union Jack flag was not flying at half-mast over Buckingham Palace, called on the queen to address her subjects.

Within days she had paid homage to her former daughter-in-law in a televised speech for only the second time in her reign. She also publicly bowed before Diana’s coffin.

– Prince Andrew scandal –
Prince Andrew has been dogged by allegations he had sex with one of the then-teenage victims of deceased US sex offender Jeffrey Epstein.

The prince often referred to as the queen’s “favourite son”, attempted to clear his name in a BBC interview in November but it backfired spectacularly.

He looked stiff and unapologetic in a performance that one public relations consultant said was akin to “watching a man in quicksand”.

The prince promptly promised to “step back from public duties” a few days later but remains under pressure to cooperate with United States authorities still investigating the Epstein case.

VANGUARD

The post Abdication, divorces and death: a century of UK royal crises appeared first on Vanguard News.

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Nigerians React As Oyedepo Sacks Church Officials For Stealing Millions

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David Oyedepo
David Oyedepo

Mixed reactions have trailed the decision of David Oyedepo, presiding bishop of the Winner’s Chapel, to sack some church officials for allegedly looting the church’s treasury.

Oyedepo, who during an empowerment summit organized for the church’s ordained workers on Saturday, said some “very high up officials,” including accountants, turned themselves into a network of fraudsters — the very vices they were “trusted to prevent.”

He said, “We had no choice but to dismiss them. You can imagine top church officials engaging in doubling figures and other dubious practices. After we dismissed them, we discovered more fraud. ”

“Those who should discover the fraud were the ones involved in it. One of them refused to confess until the last minute. Can you imagine accountants perpetrating fraud in the house of God?

“Don’t employ them, don’t sympathize. Whoever sympathizes with the wicked is wicked himself. Don’t sympathize with any perpetrator of fraud, otherwise, you are a partaker of the evil act.”

This statement has stirred mixed reaction from many Nigerians on Twitter, as they have taken to the platform to either bash or defend the cleric over his decision.

Read Also: Oyedepo Fumes As Highly Placed Church Officials Steal Millions

See some reactions below

I see nothing wrong with Oyedepo dismissing those thieves that stole from God 🙏🏼 but asking others not to employ them is totally wrong, even God forgives who is Oyedepo not to. And besides those private Jets and luxury life style was not handed over to him directly from heaven 🚶🏼‍♂️

— Warlord (@BalogunGambari) January 12, 2020

“Don’t employ them and don’t sympathise with them. Whoever sympathises with the wicked is wicked himself.” – Bishop Oyedepo on church members who stole church money.

But same person has “sympathised” with the wicked and wanted Nigerians to “employ” him.

What has changed? 🤔

— Musa Ahmed (@Kempez2017) January 11, 2020

There are real prophets and there are fake prophets.. For sure.

I can’t say which oyedepo belongs to..
But y’all that derive joy in jumping into every pastor bant, you think you’re “woke”, you think you’re the modern day “3wise men” all in one body. 👇🏾👇🏾👇🏾

— captain steam 👨🚀 (@nielo_2wit) January 12, 2020

Many People Especially The So Called “Born Again” Claim They Don’t Believe In Karma But It’s Clearly Playing Out To Business Man Oyedepo,

When He’s Dinning With Looters, Wailing & Supporting Them He Didn’t Know Looting Shall Be His Portion Too,

SHIOR! pic.twitter.com/YlfWqPprAG

— Iké Nná (@IKENNA_____) January 12, 2020

But How Come The God Of Oyedepo That Gives Him All The Visions And Prophecies That He Always Shouts Didn’t Show Him When The Officials Were Looting His Church Treasury?

Is This Not A Confirmation That This Oyedepo Man Is Just A Business Man?

God Cannot Allow Such To His Own! pic.twitter.com/8qp95qot0G

— Iké Nná (@IKENNA_____) January 12, 2020

So a church treasury was looted and bishop oyedepo dismissed thoes that were involved, so one fool said he should have seen it in a vision before it happened….

Well he should have but he still caught them so we move 💪.

— Australia visa specialist 💯 🇦🇺 (@Haryurlar1) January 12, 2020

The church officials stole millions and the pastor sacked them. Where is the forgiveness once preached and visionary of Christ Jesus advocacy? By their fruits ye shall know them, Oyedepo isn’t different from end time pastors. After una go say nah pastor matter e no concern me 😡

— Ijaw Damsel 🚣🏽‍♀️ (@Dabobelemabo) January 12, 2020

I’m not concerned on why Bishop David Oyedepo is trending…
I’m concerned as to why @OfficialAPCNg Bots and handles, APC sympathizers are the ones launching these attacks…

Is Oyedepo contesting elections or has he hammer Buhari recently? 🤔🤔🤔

— The Puppeteer * (@AkporCharles) January 12, 2020

The post Nigerians React As Oyedepo Sacks Church Officials For Stealing Millions appeared first on Information Nigeria.

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Will there be a draft? Young people worry after military strike | Honolulu Star-Advertiser

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For decades, American men over the age of 18 have gone through the ritual of registering with the government in case of a military draft. In recent years, this action has felt more like going through the motions, simply checking a box.

But today, after a U.S. drone strike in Iraq killed Iran’s top security and intelligence commander, prompting concerns about the possibility of a new war in the Middle East, that oft-forgotten paperwork became a reason for spiking anxiety among many Americans.

“World War III” started trending on social media. Young men suddenly recalled registering after their 18th birthdays, many having done so while applying for college financial aid. One Twitter user posted that he had blocked the account of the U.S. Army, with the (faulty) reasoning that: “They can’t draft you if they can’t see you.”

Interest was so high that it apparently crashed the website for the Selective Service System, the independent government agency that maintains a database of Americans eligible for a potential draft. “Due to the spread of misinformation, our website is experiencing high traffic volumes at this time,” the agency said on Twitter, adding, “We appreciate your patience.”

Here is an explanation of the current military system and what it would take to enact a draft in modern times.

Is there going to be a military draft?

The United States first conscripted soldiers during the Civil War and continued to use the draft in some form on and off through the Vietnam War, said Jennifer Mittelstadt, a professor of history at Rutgers University who has studied the military.

But there has been no conscription since 1973, when the draft was abolished after opposition to fighting in Vietnam. “There was huge support for ending the draft across the political spectrum,” Mittelstadt said.

The modern-day military is now an all-volunteer force, with about 1.2 million active-duty troops.

To change that, Congress would have to pass a law reinstating the draft, and the president would have to sign it, actions that would likely require broad political support.

What is the draft age?

All men from 18 to 25 years old are required to register with the Selective Service System. Many young men check a box to register when getting a driver’s license. Others sign up when applying for federal student aid to attend college.

But just because you have registered does not mean you will be drafted. “Right now, registering for selective service really means nothing about the likelihood of you serving in the current military,” Mittelstadt said.

Joe Heck, chairman of the National Commission on Military, National and Public Service, a committee created by Congress to evaluate the Selective Service System, put it this way: “Registration is ongoing. A draft would require an act of Congress.”

What are the consequences if you don’t register?

If you do not register for Selective Service as a young man, you can be subject to lifetime penalties. For example, men who did not register cannot receive federal financial aid, and they cannot work for the federal government, Heck said.

To check if you have registered, visit the Selective Service System’s website (once it is up and running again).

Can women be drafted?

No.

Historically, only men have been eligible for the draft. But the question of whether to register women has gained traction in recent years, as women have taken on broader roles within the military.

In 2015, the Pentagon opened up all combat jobs to women. Last year, a federal judge in Houston ruled that excluding women from the draft was unconstitutional.

As part of its work, the National Commission on Military, National and Public Service is considering whether to expand the registration requirement to include women. The group’s final report, on that and other issues, is expected to be released in March.

Are there arguments for reinstating the draft?

In the 1860s, mobs of mostly foreign-born white workers took to the streets in New York City to protest conscription during the Civil War, burning down buildings and inciting violent attacks against black residents.

A century later, burning draft cards became a symbol of protest against the war in Vietnam.

“I think it’s fair to say that the draft has never been wildly popular,” Mittelstadt said.

But she said there were arguments in favor of a modern-day draft, including the potential to make the military more representative of society. The current all-volunteer force is more likely to recruit people from the working class, she said, with higher percentages of nonwhite Americans serving in uniform.

“I don’t know what it means in a democracy that you let some people fight your wars and everybody is not responsible,” she said. “American citizens are not implicated in the consequences — bodily human life, economically — of war, and they should be.”

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Omo Sexy remakes Nollywood, music industry into money machine | P.M. News

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Omotola Jalade Ekeinde

Omotola Jalade-Ekeinde is trying to reorganise Nollywood and Nigeria’s music industry to become a money making machine for all the stakeholders as she staged an entertainment fair TEFFEST. Will she succeed?

International Business Times zeroes in on her effort in this feature by AFP:

Fake eyelashes fluttered, bespoke suits were on display and slick music videos played at the inaugural edition of The Entertainment Fair and Festival in Nigeria’s economic hub Lagos in late November.

But behind the glitter, the reality of the film and music sectors in Africa’s most populous nation can often be far less glamorous: wages are low, there are no social protections and copyright law is rarely enforced.

That comes despite the country boasting the second most productive film industry in the world and some of Africa’s biggest pop stars.

Hits by singers like Burna Boy, Wizkid and Davido play non-stop on stations across the continent and Nollywood churns out some 2,500 movies each year.

Despite the successes, revenues from Nigeria’s entertainment and media sector in 2018 lagged well behind that of the continent’s other leading economic powerhouse South Africa at $4.5 billion compared to $9.1 billion, PwC said.

That difference is not down to output or demand as Nigeria produces more, exports more and has a domestic market of some 200 million people, four times bigger than South Africa.

Instead industry insiders insist it is a problem of organisation.

South Africa has better systems for ensuring royalty payments for artists, stronger legal protections and more modern facilities such as film studios, concert venues and cinemas.

In a bid to help remedy the issues facing the industry, veteran Nollywood star Omotola Jalade-Ekeinde came up with the first entertainment business fair, known as TEFFEST.

It is aimed at bringing together actors, singers, producers, insurers, lawyers and managers to better organise the sector.

“The entertainment industry has grown without structures, without a roof,” Jalade-Ekeinde, nicknamed “Omo Sexy”, told AFP.

“For decades, we were not taken seriously and the big corporation companies didn’t consider us.”

The situation has changed as the industry has grown and now companies like Netflix are looking to step up their involvement in Nollywood and international labels attempting to tap Afropop stars.

“We produced, we grew, we became something suddenly and now the corporate world is trying to understand how we work and how they can deal with us,” Jalade-Ekeinde, AKA “the Queen of Nollywood”, said.

But the problems riddling the industry means it is often difficult to invest.

“There is nothing to celebrate here,” said Efe Omoregbe, manager of singer 2Face and former board member of the Copyright Society of Nigeria (COSON), which was dissolved by the government due to an internal conflict.

“We should be fixing and addressing major structural issues (…) We live in a culture of abuse when it comes to copyrights.”

PwC estimates that 80 percent of the pirate CDs globally can be found in Nigeria and singer Brymo says that in almost 20 years performing he has never received any money from his songs playing on local radio stations.

“Internationally, we make money through digital distribution platforms that have taken over rapidly, but locally it’s mostly with gigs or endorsement deals,” he said.

Lawyer Simeon Okoduwa said he tries to insist on artists signing a contract with producers before working with them.

“Too many film shoots or recordings are still done based on promises and handshakes,” he said.

This is an issue that leading actor Michelle Dede knows only too well.

The star always demands a written contract before starting her next film — and says the largest production companies now do offer written contracts as standard.

“Before producers thought I was being pretentious,” she said.

Despite the improvements she still decries the lack of protections for performers or a minimum wage for actors and others involved in the industry such as make-up artists, cameramen and technicians.

Nollywood is a vast employer in Nigeria — with some estimates saying it offers jobs to one million people — but much of that is very precarious.

“We make more money on building a brand than acting,” said Dede.

“But I shouldn’t be focusing on how many likes I get on Instagram, I should be working on my roles.”

Despite the drawbacks, the entertainment industry is still a major draw in a country where almost half the population live in extreme poverty.

But Dede said she still has no regret of leaving her job in marketing in London to launch herself in Nollywood.

“Nothing makes me happier than acting,” she said.

“Even though the pay is not good, there is no way I would give up on that.”

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DG wades into ‘NYSC, Anglican church property’ rift

Emma Elekwa, Onitsha

The face-off between the National Youths Service Corps (NYSC) in Anambra state and the Anglican Diocese on property ownership has been resolved following intervention of the Director General of the scheme, Brig. Gen. Shuaibu Ibrahim.

The State Coordinator, Kehinde Aremu disclosed this on Monday while fielding questions from newsmen at the swearing ceremony of the 2019 Batch ‘C’ stream 2 corps members at the Umuawulu/Mbaukwu permanent orientation camp.

The NYSC and the church had been at loggerhead over the ownership of property at the Progressive Secondary School, Umunya, owned by the church but served as a temporary camp until its relocation last October.

The scheme, ahead of its relocation, had requested for the release of the property, including 1,000 units of mattresses, 600 units of double bunk beds, assorted furniture items, 12 water tanks, kitchen utensils, large changeover switch, among other items.

But the church, through its supervisory priest, Rev. Canon Marcel Emeh, reportedly insisted the bishop must give directive before the property could be moved.

But the State coordinator, at the event Monday, said the lingering matter had been resolved following the meeting of the Director General with the Bishop of the Diocese during his visit to the state.

“You know our DG was here in camp on Sunday. He met with the church leadership and the matter was amicably resolved.

“As a peace loving man, our DG said we should leave the property for them. We’ve resolved to make do with what we have and buy more if need be.” he said.

Read Also; NYSC has mutual respect for all religions – DG NYSC

Aremu disclosed that a total of 1051 prospective corps members, including 482 males and 569 females were registered in the camp, adding that they had displayed uncommon sense of patriotism and discipline to authorities.

Earlier, the State governor, Willie Obiano assured his administration’s continued support to the NYSC including making life comfortable for the corps members and staff of the Scheme.

Obiano, represented by the head of Service, Harry Uduh, announced the donation of N10millon for augmentation of the camp feeding for the corps members.

He also expressed confidence that the conducive atmosphere provided in the new camp would offer the corps members the desired motivation to equip themselves for the execution of the 3-weeks exercise.

“You are the first batch to use this Ultra-modern permanent orientation camp. This makes your group a unique one. I charge you to use the facilities judiciously,” he added.

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