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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Boris Johnson pays tribute to railway ticket office worker Belly Mujinga after ‘tragic’ death | London Evening Standard

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Prime Minister Boris Johnson has paid tribute to a railway ticket office worker who died with coronavirus after being spat at while on duty.

Belly Mujinga, 47, was on the station concourse in March when a member of the public claiming to have Covid-19 spat and coughed at her and a colleague, the Transport Salaried Staffs Association (TSSA) said.

Within days of the assault, both women fell ill with the virus and Ms Mujinga, who has an 11-year-old daughter, died in hospital in Barnet 11 days after the attack on April 5.

Speaking during Prime Minister’s Questions on Wednesday, Mr Johnson described the death of Belly Mujinga as “tragic”.

He said: “The fact that she was abused for doing her job is utterly appalling.

“My thoughts, and I’m sure the thoughts of the whole House, are with her family.”

The Prime Minister described the death as ‘tragic’ (Sky News)

A police investigation is under way, launched more than a month after 47-year-old Ms Mujinga and a colleague were attacked by a man claiming to be infected with Covid-19 on the concourse at the London transport terminal on March 22.

Ms Mujinga, a mother to an 11-year-old daughter, was said to have told her bosses at Govia Thameslink Railway about the incident, but police were not called at the time. 

Speaking on Good Morning Britain today, Ms Mujinga’s cousin, Agnes Ntumbas said the mum-of-one was a “lovely woman, happy and caring”.

“It’s disgusting. How could a human being react in that way to another human? It’s insane – it’s not right,” said Ms Ntumba

Ms Mujinga moved to the UK in 2000 from The Democratic Republic of Congo (PA)

Piers Morgan condemned the attack saying: “I would say tragedy but it’s worse than that, this seems to be a murder. That’s murder to me.”

He added: “It’s one of the most sickening stories I can remember from this entire crisis.”

It has not been confirmed that the spitting incident is directly linked to Ms Mujinga contracting the virus.

However, TSSA has reported the incident to the Railways Inspectorate, the safety arm of the Office for Road and Rail (ORR), for investigation and is taking legal advice on the situation.

Belly Mujinga was a caring and lovely woman, says her cousin

As of Wednesday morning, a fundraising page set up for Ms Mujinga’s family has raised £11,075, surpassing its initial target of £1,000.

Transport Secretary Grant Shapps said around 50 transport workers have died during the crisis.

He told BBC Breakfast: “My heart goes out to Belly’s family. Nobody should be spat at. This is not a question of PPE, it’s just disgusting and I know that the British Transport Police are investigating.

“So very, very sad, her death and indeed the deaths of around 50 transport workers is something I take particularly seriously.”

Read more

A BTP spokesman said: “British Transport Police have now launched an investigation into a report of two members of rail staff being spat at while working at London Victoria station on 22nd March.

“One of the victims, a 47-year-old woman, very sadly died in hospital on April 5th. Enquiries are ongoing, they added.

Anyone who has any information is asked to contact BTP by texting 61016 or calling 0800 40 50 40 quoting reference 359 of 11/05/20.

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Illinois woman mauled to death by her French Bulldog: police

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An Illinois woman was likely viciously mauled to death inside her home by her own pet French Bulldog, according to authorities.

Lisa Urso, 52, was found dead at her home in Ingleside, located in the northern part of the state about 60 miles from both Chicago and Milwaukee in opposite directions.

Officers who responded to the scene after 4:43 p.m. Saturday found her mutilated body on the back porch, Fox Lake Police Chief Jimmy Lee said.

An autopsy confirmed she died from injuries sustained when her pet French Bulldog attacked her. The coroner’s office said the attack began inside the home but Urso managed to make it out to the porch, where she died, the Chicago Sun-Times reported.

This 2011 Facebook photos shows Lisa Urso with one of her French Bulldogs.

“You don’t really think about it happening with a smaller dog breed but we forget animals can be powerful,” Lake County Coroner Dr. Howard Cooper told WGN. “This animal has a lot of jaw strength.”

The French Bulldog that fatally attacked Urso was a rescue and had previously been used to fight, Cooper said.

That animal, as well as a second French Bulldog and a Border Collie, were removed from the home and are in the custody of Lake County Animal Care and Control.

Cooper said most of the bite marks were not on the woman’s neck, but, instead, on her legs and arms.

“Some on her torso as well. Just a lot of bites. A lot of scratching,” he said. “I hate to say it but unfortunately it was a vicious attack.”

An investigation is ongoing. Chief Lee said there were signs of a struggle within the home. Blood was found on at least one other dog. It was unclear if her other pets were involved or intervened.

“We have been in close contact with Ms. Urso’s family and our deepest condolences go out to them during this difficult time,” Cooper said in a statement, according to the Sun-Times. “This is truly a tragedy.”

Police said that the woman was supposed to meet up with co-workers Saturday. When she didn’t show, they came to check on her.

Urso lived with her boyfriend, who was not at home at the time of the fatal attack. He himself had been attacked by the same French Bulldog last month, and the animal was taken away, Lee said. Urso had gone to the Lake County Animal Care and Control to retrieve the dog, which was returned to her, the Daily Herald reported.

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‘We will celebrate her’: Tributes paid to popular and passionate Walsall nurse after coronavirus death | Express & Star

Emotional tributes are pouring in for Walsall Manor Hospital staff nurse Areema Nasreen after her death aged 36.

Areema, who had three children, died in intensive care at the hospital where she had worked for 17 years in the early hours of Friday morning.

She had been on a ventilator after initially becoming unwell when she contracted Covid-19 in late March.

But in news that has devastated her many friends and family, Areema is now believed to be the youngest health worker to die in the UK after contracting the virus.

Walsall Healthcare Trust today paid tribute to “one of its family”, while the director of the Royal College of Nursing described Areema as “a leading figure in the West Midlands nursing community.”

“Today, we lost one of our family,” Chief Executive of Walsall Healthcare NHS Trust Richard Beeken said.

“We would like to pay tribute to Areema Nasreen who sadly passed away in the early hours of this morning . Any death is devastating but losing one of our own is beyond words.

“Areema was extremely committed to her role as a staff nurse on the Acute Medical Unit at Manor Hospital.

“She was professional, passionate nurse who started at the trust as a housekeeper in 2003 before working hard to gain her nursing qualification in January 2019.

“Her dedication to her role and her popularity amongst her colleagues is obvious to see with the outpouring of grief and concern we are seeing around the organisation and on social media.

“We will do everything that we can in coming days and weeks to support those that need it.

“Her vocation in nursing was clear for all to see and she always said that she was so blessed to have the role of a nurse which she absolutely loved because she wanted to feel like ‘she could want to make a difference’ – and you did, Areema, you will be very sadly missed.

On behalf of the Royal College of Nursing I want to extend my deepest sympathies to Areema Nasreen’s family. To lose anyone to this terrible virus is a tragedy, to lose a nurse like Areema is particularly difficult.

— Mike Adams RN (@MikeAdamsRCN)

“We would, on behalf of the trust like to pass our deepest condolences to Areema’s family, loved ones and colleagues who loved her dearly, our thoughts are with you all at this very sad time.

“We will be opening a book of condolence later on our website.

The final tweet Areema posted, on March 9, included a photo of a letter she received confirming her offer of employment at Walsall Manor in 2003.

“17 years on Allhamdulillah still going love my journey at Walsall Healthcare Trust,” Areema wrote.

Sending sincerest condolences to the family, friends and colleagues at Walsall Manor Hospital of Areema Nasreen who died at just 36, of this awful virus.

Another example of the heroism and dedication of NHS staff, making the ultimate sacrifice.

Rest in peace Areema ❤️ pic.twitter.com/fURfeiIzGE

— Stan Collymore (@StanCollymore)

Meanwhile numerous tributes have been paid online by friends, colleagues, family members and people who never knew Areema but wanted to thank her for her service.

Among those paying tribute were Royal College of Nursing Director Mike Adams, who said: “On behalf of the Royal College of Nursing I want to extend my deepest sympathies to Areema Nasreen’s family.

“To lose anyone to this terrible virus is a tragedy, to lose a nurse like Areema is particularly difficult.

“She was admired for her dedication to those she cared for, and as an RCN West Midlands Cultural Ambassador, she will be remembered and celebrated as a leading figure in the West Midlands nursing community.

“Admired for her dedication to those in her care, and as an RCN West Midlands Cultural Ambassador, she will be remembered and celebrated as a leading figure in the West Midlands nursing community.”

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Christchurch mosque attacks: Gunman pleads guilty to murder, attempted murder and terrorism | Stuff.co.nz

The man accused of the Christchurch mosque attacks has entered shock guilty pleas, bringing relief to survivors and victims’ families.

Amid extraordinary coronavirus lockdown restrictions, Brenton Tarrant, 29, appeared via video-link in the High Court at Christchurch on Thursday morning and admitted 51 charges of murder, 40 charges of attempted murder and a charge of engaging in a terrorist act.

He’d previously pleaded not guilty to all the charges and was scheduled to stand trial on June 2.

GEORGE HEARD/STUFF
Fifty-one people died as a result of the March 15, 2019 attack.

Tarrant, who wore a grey prisoner sweater, was largely silent and emotionless throughout the hearing. He sat alone in a white room with a grey door at Auckland Prison, Paremoremo, where he’s held in maximum security.

The terrorist’s lawyers, Shane Tait and Jonathan Hudson, appeared via video-link from another court room.

Brenton Tarrant pleads guilty to murder, attempted murder and terrorism via AVL in the Christchurch High Court.

The names of all 51 people killed were read to Tarrant, before he was asked how he pleaded to the murder charges.

He replied: “Yes, guilty.”

The same process was followed for the attempted murder charges.

JOHN KIRK-ANDERSON/STUFF
Terrorist Brenton Tarrant pictured at his first court appearance, the day after the mosque shootings.

Justice Cameron Mander remanded Tarrant in custody, but has not yet set a date for sentencing, when the summary of facts would be made public.

Few people knew of the special hearing, which was only scheduled late Wednesday, on the eve of an unprecedented nationwide lockdown to prevent the spread of the Covid-19 coronavirus.

Six New Zealand journalists attended. Also in court were the imams from both targeted mosques. An-nur (Al Noor) imam Gamal Fouda was visibly upset as the guilty pleas were entered.

JOSEPH JOHNSON/STUFF
Mustafa Boztas still has a fragment of a bullet inside him.

The hearing concluded at 10.30am, but the judge suppressed the outcome for an hour to allow victims, who were unaware of the hearing, to be notified.

The decision to hold the hearing amid the national state of emergency was not made lightly.

Earlier in the week Tarrant indicated to counsel that he might change his pleas. A formal request was made on Wednesday that the matter be brought before the court.

DAVID WALKER/STUFF
Omar Abdel-Ghany, whose father Ahmed Gamal Eldin Abdel-Ghany was killed at Masjid An-Nur.

Mander said both the Crown and defence asked to have the hearing expedited, despite the severe health restrictions.

The courts were considered an essential public service that was able to deal with “priority proceedings without compromising people’s health”.

The judge said he felt the court had the capacity to safely hear the matter by limiting the number of people in court. In total, 17 people were present.

Prime Minister Jacinda Ardern reflects on the last year following the Christchurch mosque shootings.

It was regrettable the Covid-19 restrictions prevented victims from attending, he said, but the imams had been asked to be present to bear witness to the proceedings.

“It was my assessment that taking the defendant’s pleas at this time was the appropriate course in the circumstances,” Mander said.

“The entry of guilty pleas represents a very significant step towards bringing finality to this criminal proceeding, and I considered the need to take the opportunity to progress the matter was particularly acute coming as it has at a time when the risk of further delay as a result of Covid-19 was looming as realistic possibility.”

Mander said the defendant would not be sentenced before the court returned to normal operations.

The defendant had been remanded to a nominal date of May 1. It was hoped a sentencing date would be confirmed in the interim.

“It is fully anticipated that all who wish to attend court for the sentencing hearing will be able to do so in person.”  

On March 15 last year, Tarrant drove from his Dunedin home to Christchurch with an arsenal of guns and ammunition he’d amassed since moving from Australia to New Zealand in 2017.

The white supremacist entered Masjid An-nur (also known as the Al Noor Mosque) on Deans Ave as Friday prayers were beginning, about 1.40pm, and opened fire – killing and wounding dozens of people.

He then drove across town to the Linwood Mosque where he continued his shooting spree.

Tarrant was arrested a short time later after his car, a gold Subaru Outback, was rammed off the road by two police officers on Brougham St as he tried to make his way to a third target, though to be a mosque in Ashburton, where he planned to carry out another attack.

When police searched the vehicle they found several guns and petrol bombs.

NZ’S WORST MASS SHOOTING

In total, 51 people were killed in the terrorist attack, the worst mass shooting by an individual in New Zealand history.

Tarrant was the first person to be charged under NZ’s Terrorism Suppression Act 2002.

Omar Abdel-Ghany, whose father Ahmed Gamal Eldin Abdel-Ghany was killed at Masjid An-Nur, said he could not understand what caused Tarrant to change his plea.

“I’m both shocked and relieved. Shocked at the sudden change in plea, relieved that my family and I, along with other victims won’t have to relive it all through the courts.”

Muslim Association of Canterbury spokesman Tony Green said his immediate reaction was one of enormous relief and great gratitude.

“I think the victims will feel a huge weight has been lifted from their shoulders. Our position has always been to let justice take its course, but a trial would have put a lot of pressure on our families. If you look at the anguish caused by the trial of Grace Millane’s killer you can see how bad it would be for 51 families.”

Mustafa Boztas, who lay on the ground inside the Masjid An-nur with a bullet in his leg, pretending to be dead, said from Turkey he always knew Tarrant would be found guilty. 

“I feel he basically played with our minds and emotionally upset us more for no reason.”

Boztas said he would have stayed in the country instead of going overseas if he’d known Tarrant was going to plead guilty. 

“While it can’t undo the damage it has brought upon our community and country, it gives me hope that this help bring not only justice but some closure to those touched by this event.

“To the families, I hope this brings you peace, and a sense that love can conquer hate. While this closes the criminal proceedings for the shootings, please know there is still a long way to go in recovery for some of us, so thank you for your continued support.”

Yasir Amin, whose father 67-year-old Muhammad Amin Nasir was shot in the back by the gunman shooting from his car, said the guilty pleas were good news.

“It’s good to avoid a trial because we would be reminded of everything, every day of the six week trial. We’ve avoided that mental torture and we’re not in a situation where the outcome is not 100 per cent sure.”

Nasir was to undergo another operation on Monday but the operation was postponed due to Covid-19 measures. He had spent two months in hospital after the shootings and had another 20-day stay in December.

“He is now doing well. He goes for walks and eats well.”

Just about every organ in his father’s body except his heart had been damaged by the shotgun pellets, Amin said.

Nasir was shot about 200 metres from the mosque on Deans Ave. The gunman drove past Amin and his father, who were walking to the mosque along the footpath, when he aimed a shotgun at them from his car. Both ran for their lives but Nasir was shot. Their plight was captured by a motel CCTV camera. 

‘HE’S GOT TO PAY THE TIME’

Tarrant’s grandmother, Marie Fitzgerald, had no idea about the plea until called by Stuff.

“I feel sorry he did the crime, but he’s got to pay the time now.”

She declined to comment further.

Victim Support chief executive Kevin Tso said support was ongoing for hundreds of victims who still need help coping with the trauma of the event and rebuilding their lives.

“We’re pleased victims no longer have to face the trauma of the trial.”

The victims had shown remarkable courage and resilience in the face of a heart-breaking, shocking and senseless tragedy, Tso said.

“They have our utmost respect and promise that we will be here for them for as long as they need us.”

Police Commissioner Mike Bush said the pleas were a “significant milestone in respect of one of our darkest days”.

“I want to acknowledge the victims, their families and the community of Christchurch – the many lives that were changed forever. They have inspired all of us to be a kind and more tolerant community.”

Prime Minister Jacinda Ardern said it would provide some relief to the many people whose lives were “shattered” on March 15.

“These guilty pleas and conviction bring accountability for what happened and also save the families who lost loved ones, those who were injured, and other witnesses, the ordeal of a trial,” she said.

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Brit man, 24, plummets to his death off a cliff during night out in French ski resort

A BRITISH man has died in the French Alps after a night out with friends.

The 24-year-old’s body was discovered yesterday afternoon at the foot of a cliff after he was reported missing at 5am.

The British man died after a fall near the resort of Brides les Bains, Savoie, French Alps,
The British man died after a fall near the resort of Brides les Bains, Savoie, French Alps,
Alamy

Police believe he fell off a cliff after getting lost on his way back to his accommodation after a night in the pub.

The man, who has not been named, was staying in Brides-les-Bains, near the ski resorts of Courchevel and Méribel.

His body was discovered near Les Allues where he had been socialising for the night.

A search involving police, firefighters and mountain rescue equipped with dogs was launched and continued throughout yesterday.

His body was spotted by a helicopter crew at 4.50pm, almost 12 hours after he was reported missing.

‘FELL WHILE WALKING HOME AFTER NIGHT OUT’

A spokesman for Albertville police said: “Unfortunately the body of a man was discovered yesterday after a big search. 

“He was most probably the victim of a fall.

“We believe he was walking back from Les Allues to his accommodation in Brides-les-Bains. He departed with some other people but they became separated. 

“He was reported missing in the early hours. He was discovered not far from Les Allues. It appears he had not walked that far.

“We have no further information. An investigation into the death of the man has been opened and this will determine how he died and how far he fell. We can give no further details.

“Currently we have little information about him and are trying to establish if he was a season worker or a tourist.”

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The three-mile walk between Les Allues and Brides-Les-Bains takes about an hour-and-a-half. In the early hours of Thursday the temperature was minus three degrees celsius. 

Brides-les-Bains is directly linked by a cable-car to the famous resort of Méribel, popular with British skiers. The town was an Olympic Village for the 1992 Winter Olympics based in Albertville. 

The tragedy comes just weeks after British doctor William Reid, 25, fell to his death in the French ski resort of Avoriaz.

William, from Edinburgh, was on the fifth day of a New Year holiday with his girlfriend and his family. 

They had just enjoyed lunch and were making their way back to their accommodation. His family said he took a wrong turn and fell. Medics battled in vain to try and save him.

For the latest news on this story keep checking back at Sun Online.

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Download our fantastic, new and improved free App for the best ever Sun Online experience. For iPhone click here, for Android click here. 

Like us on Facebook at  and follow us from our main Twitter account at @TheSun.

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Fake Military Personnel hack Female lover to Death in Yola

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Amos Yau

Residents of Bachure in Jimeta-Yola, Adamawa state capital were again thrown into mourning and despair a 23-year-old, Patience Amos Ya’u was reported to have been hacked to death by her boyfriend during a scuffle that ensued while they were alone in a room.

She was said to have been hacked by her boyfriend, Ali Mohammed Wakil whom they were always seeing together and parading himself as military personnel.

The gruesome murder of the girl threw the family, relations, friends, and staff of the Adamawa Press Limited, Publishers of The Scope newspaper, Yola where the father of the deceased works as Chief driver into agony.

Sources say that Patience who was newly recruited Army Officer could not be part of the training because of the tragedy which struck.

Some sources alleged that the boyfriend who claimed to be military personnel serving with 68 Reference Hospital Yaba in Lagos state may be a dismissed officer and only impersonating the military.

Another source at Damilu, where the incident occurred said that they heard the deceased and her boyfriend in the room, but could not categorically explain the circumstances that led to the killing of Patience.

‘’ Residents became more suspicious when we could not see the lady for good three days, and what worried us more was the terrible odor emitting from their room,’’ said a resident who doesn’t want to be mentioned.

According to this resident, ‘’what  compounded the situation was how the door of the room was locked from the outside, a development which compelled people  to forcefully open the window of the room only to discover the body of the female lover at the stage of decomposition.’’

The discovery of the dead body attracted a crowd who later proceeded to the palace of the ward head before the matter was finally reported to the police.

A family source who confided to newsmen said that they saw the suspect near the residence of the father of the deceased, strolling and enjoying his normal life at the time when the girl was declared missing.

‘’ In fact, at the time that the police officers who went to inform the father of the victim about the incident, the suspect was also sighted near the house of the father of the victim,’’ female resident added.

Narrating how the incident happened, the father of the deceased, Amos Ya’u, explained that his daughter left his house on the fateful  Saturday to plait her hair but could not come back again despite her assurance to them that she was on her way back home.

He said that they had called her on phone on that fateful evening, but she told them that she will be coming back home and waited but could not see her.

According to him, they called her line later on Sunday but it was not going through, and that since that day, they had not seen her until four days later when a police officer came and informed him of her death, a situation he could not believe it.

But when contacted, the Spokesman of the State Police Command, DSP, Suleiman Nguroje, confirmed the killing of Patience.

Nguroje said that when the matter was reported to the command, the Commissioner of Police directed that the suspect is apprehended and that their men were able to arrest the suspect.

He stated that the suspect is now cooling his heels at the Criminal Investigation Department and that he has been assisting them with relevant information that led to the murder of the girl, adding that the police are doing everything possible to gather both human and material evidence.

He further that the suspect who identified himself as Ali Mohammed Wakil, a military officer serving at Reference Hospital Yaba in Lagos state Nigeria.

recalls that only last week  Maxwell Nashan, a young reporter with Federal Radio Corporation of Nigeria (FRCN) F.M station,  Fombina FM in Yola, was hacked to death in the bush on the outskirt of Vunokilan, in  Girei local government area of the state.

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READ IN FULL: Parktown Boys’ High School releases statement following death of pupil at orientation camp

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Parktown Boys’ High School have released a statement outlining its version on the turn of events at a Grade 8 orientation camp where a 13-year-old pupil died.

Enoch Mpianzi’s body was found on Friday after he went missing during a water activity at the camp.

He was last seen on Wednesday when a makeshift raft he and other boys were on, overturned on the Crocodile River.

In a statement posted in the school’s Facebook Page, the school said the camp was aimed at introducing the new Parktonians to one another and creating an environment that focused on teamwork and achieving of common goals through various activities.

Here is the full, unedited statement:

The Parktown Boys’ High School Grade 8 Orientation Camp took place at Nyathi Bush and River Break in the North West Province. The Grade 8 group arrived at camp on Wednesday the 15th of January. The camp is aimed at introducing new Parktonians to each other and creating an environment which focuses on team work and the achieving of common goals through various activities offered at the camp.

The school’s Headboy, Deputy Headboy and SEC members along with 7 staff members were also present on the camp along with the Headmaster, Malcolm Williams and a Senior Child Development and Protection Consultant, Luke Lamprecht.

In the afternoon the boys were involved in a water activity that was supervised by trained camp facilitators. After the activity there was a hike and supper, followed by a sleep out in the veld.

ALSO READ | Parktown Boys’ High tragedy: Gauteng Education Department launches own investigation

Late on Thursday morning, it became apparent that a boy had gone missing from the camp. Internal emergency procedures were immediately instituted by camp management, staff and members of the community. The Headmaster contacted the father to alert him to staff concerns.

At 15h20 the Headmaster again contacted the father to confirm that all efforts to locate Enock had failed and shortly thereafter transport was arranged to take the family to the venue. Two trained counsellors from the school accompanied the family.

By this time the SAPS Emergency Services had already been called, including the Search and Rescue unit who at the point assumed control of the search.

On Thursday evening the decision was made to curtail all camp activities for the Friday and return the boys to school following breakfast and a briefing by the Headmaster and the Senior Child Development and Protection Consultant.

At 11h00 on Friday the school was informed of the tragic news that the body of Enock Mpianzi had been found by SAPS Search and Rescue personnel.

The Staff, Learners, SGB, and the Parktonian Alumni express their deepest sympathy to the Mpianzi family following this tragic loss. The school community remains in a state of shock and counselling support has been implemented.The Alumni of the school have committed to support the family where possible.

Further details will be communicated once more information becomes available.

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Slaves, nannies, and maids: Oscars value women of colour – in subservient roles | Film | The Guardian

For Oscar voters, what makes a great performance has disturbingly narrow criteria for non-white performers. The observation that people of colour are only ever recognised for playing slaves and criminals, that their stories are only ever seen as important when they deal with tragedy and suffering, does not strictly belong to the unenlightened past. This week’s Oscar nominations prove that such judgments are planted firmly in the present.

The kinds of roles being written for people of colour over the past decade have begun to expand to encompass a wider range of experiences. Just recently we were graced with the luminous Jennifer Lopez as savvy stripper Ramona in Hustlers; newcomer Nora Lum (Awkwafina) as the conflicted granddaughter of a dying matriarch in The Farewell; Lupita Nyong’o in a remarkable two-in-one turn in Jordan Peele’s Us. This all goes without mentioning the incredible performances that never quite picked up steam: Alfre Woodard in Clemency, for instance, or Song Kang-Ho in Parasite. But never mind the fertile pickings. This year the Academy has nominated one person of colour – Cynthia Erivo as Harriet Tubman in Harriet. This outcome is dismaying, partly because it falls neatly into a familiar pattern: a person of colour performing a racially specific form of suffering, the outlier in a sea of white nominees.

Erivo’s nomination for Harriet, a film that received middling reviews, is not a preposterous decision. Actors are often recognised for individual work that might stand out in an otherwise mediocre film (take Renée Zellweger in Judy). I’m not bothered by the quality of Erivo’s performance. There are far more egregious entries on that front, with the likes of Charlize Theron for Bombshell, or Scarlet Johansson for Jojo Rabbit, reaping nods (have the Oscars ever been a legitimate meritocracy?). Far more worrisome is what Erivo’s nomination suggests about the way Academy voters evaluate performers of colour, who seem to be the most visible, and taken the most seriously, within the trappings of white pity.

That voters overlooked a performance like Nyong’o’s in Us, a chilling interpretation of two sides of the same self, is telling. It doesn’t matter that this performance matches, if not surpasses entirely that of Joaquin Phoenix’s in Joker, even though both actors play, with tremendous physical commitment, psychologically tormented characters in genre films. Instead, the Academy prefers the Nyong’o who starred in 12 Years a Slave (2013), a film in which she is a slave, raped and humiliated. For these efforts, so difficult for the conscience to ignore, she was awarded best supporting actress.

In the last decade, only 14 women of colour were among the 100 women nominated by the Academy for the best actress and best supporting actress awards. There were even fewer men of colour (nine out of 100). That the same types of roles – slaves, nannies, and maids – continue to be the magic ticket to the red carpet, feels particularly ugly considering the range of parts played by white nominees. This year, for instance, the characters of Erivo’s fellow best actress nominees include a Fox newswoman, an icon of classic Hollywood, an aspiring young writer, and a hopeful divorcee. In 2019, Yalitza Aparicio was nominated for her performance in Alfonso Cuarón’s Roma. Aparicio is one of the few Latin American actresses to receive the honour, joining Adriana Barraza as a deported nanny in Babel, and Catalina Sandino Moreno as a drug mule in Maria Full of Grace.




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As moving as these performances are, these films leave a bitter taste as they reaffirm tired conceptions of Latin American women. Aparicio plays a housemaid silently enduring racism and neglect, which recalls another Academy favourite – Tate Taylor’s The Help (2011), which stars Octavia Spencer and Viola Davis as resilient maids, as well! Such slim parameters betray the desire, perhaps even the need by Oscar voters, for a particularly cheap form of pathos, one that simplifies and minimises the experiences of non-white people by placing them on the margins or in the past. Those performances that don’t square with this mould are often considered too “light,” too niche, or too subversive for the Academy, all of which indicates the incredible myopia of its voting body and the thinly veiled racism that guides it.

Perhaps hoping for a consistently diverse pool of Oscar nominees is blind optimism; the more time passes, the anomalous triumphs of films such as Barry Jenkins’ Moonlight, feel like a fever dream. By opening up its membership to more women and people of colour, and enlisting diverse talent such as John Cho, Issa Rae, and Tiffany Haddish to present its nominations, the Academy has attempted to create an image of inclusivity. But given this year’s batch of nominees, that commitment has proven to be both superficial and a bad joke.

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Tragedy! Pastor stabs wife to death, kills himself during church service (Video) | Theinfong

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Worshippers were left in shock after their pastor stabbed his wife to death before committing suicide during a Sunday church service in Mombasa, Kenya.

Elijah Misiko, an assistant pastor with the Ground for God’s Gospel Church in Mombasa, left his front-row seat and approached his wife, senior pastor Ann Mughoi, on the pulpit and stabbed her with one of the knives he’d hidden in an envelope, police said eyewitnesses told them.

“He walked up to his wife while the church was praying as if he wanted to whisper something to her,” Mombasa sub-county police commander Julius Kiragu said. “Then he took one of the knives and stabbed her (wife) two times. He believed she was dead. He then stabbed himself three times in the stomach and slit his throat.”

Misiko died instantly from his stab wounds and Mughoi died at a local hospital a few hours later, police said.

The couple had been engaged in a long-running feud over the ownership and leadership of the church, Julius Kiragu told CNN.

Back in 2017, Misiko was detained by the police in Mombasa after his wife alleged he planned to kill her. The following day, he was released after police said they found the accusations untrue.

The couple, which had four children, had lived apart since the dispute began two years ago, police said.

“She had been trying to stay away from the husband since the dispute over the ownership of the church began,” Kiragu told CNN. “They had even reported the matter to church leaders but they were unable to resolve the dispute.”

Misiko left a 17-page suicide note in which he accused Mughoi of changing ownership of the church, which he said the couple founded, to her name alone, police said.

A pastor in Mombasa County stunned faithful when he slit his own throat and died after stabbing his wife several times during a service on Sunday. pic.twitter.com/pWmmLL5S5e

— Daily Nation (@dailynation) January 5, 2020

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