Love and Other Scandals

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The son purchased The New York Evening Enquirer in , changed the title to The National Enquirer, and began publishing the paper as a tabloid trafficking in scandal and gore. This superb documentary by Suhaib Gasmelbari follows the story of a quartet of African filmmakers, who in April had formed the Sudanese Film Group to give their industry more independence from a restrictive government.

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But in June of that year, a deadly military coup installed an Islamist-backed regime that virtually eradicated all creative aspirations and society-led organizations such as theirs. By , some restrictions were lifted and the men, who had scattered all over the world, soon after returned to their homeland to re-establish the group and help resurrect the lost art of cinema in Sudan.

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With unfaltering artistry, Mr. Gasmelbari captures the essence of what it means to be a cinephile, to have such a love for this art form that it resides in your bones, in your dreams, and daily life. Prior to the coup, Sudan was home to more than 60 cinemas, including 16 in Khartoum that often screened films from Hollywood and Bollywood. Today, just three decaying cinemas operate in the capital. But the men are determined to resurrect the once-grand movie house in the center of their city and we follow them as they battle endless bureaucratic hurdles and impenetrable permit requirements.

They find humor in the situation, too, noting that long before they will be granted a permit to install a projector, at least two new mosques will have been built.

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As her words hang in the humid air, Mr. Others are less uncertain. He shrugs. Suddenly despondent, he adds this postscript.

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In a world riven by violence and displacement, disparate lives can collide with unexpected consequences. When Dan Hugo Weaving , a celebrated war photographer just back from Iraq, is interviewed on a radio program about an upcoming retrospective of his photographs, Sebastian Andrew Luri , after listening to the interview, tracks Dan down and asks him to photograph his community choir.

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As their friendship develops, Sebastian asks Dan not to include those images in his exhibition. The performances are riveting and nuanced, especially that of Mr. Luri, a first-time actor who was driving a garbage truck in Melbourne when he auditioned for the role. Ben Lawrence, the director and co-writer, artfully paces the action and the revelations.

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Filipinos are not weak! Around 10 million Filipinos, many of whom are maids, are part of a the global work force, sent all over the world into domestic service, often to support their children back home. The director effectively plays fly on the wall at a training facility, where young women receive rigorous and extensive instruction in what to expect in their new workplaces, which sadly includes every aspect of abuse, including sexual. May I bus it out?

On occasion, the camera leaves the training center and we get a glimpse of the sheer scale of the O. It makes the D. It is a truth universally acknowledged that a single man in possession of a good fortune must be in want of a wife. Had Jane Austin been around during the s, the golden age of the romantic comedy film genre, she would have surely added this to her famous sentence: And that wife must be white, straight, middle-class, college-educated, beautiful, funny, able to drink like a fish, preferably have a non-white L.

For that, according to the British filmmaker and musician Elizabeth Sankey, is how this loved and loathed film genre has portrayed women from the dawn of the talkies to the present. Her unease will surely be shared by many, as she narrates over a fascinating montage of clips from hundreds of romantic comedies through history, forcing us to grapple with our memories of these often saccharine films with bizarre premises, almost always featuring females seeking salvation by men, and all the excuses we made for having loved them.

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Astutely, Ms. Sankey points out the disturbing fact that this genre is dominated by women — on the screen, behind the camera, and in the audience. But, by no means, does she imply that the rom-com genre is over in our new woke state. In fact, she offers a few smart thoughts to ensure a happy and everlasting future. The director, Sandra Kogut, lets the story meander, at times a bit too leisurely, but her preference for ellipsis over explanation keeps the viewer engaged.

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And the fate of the universe hangs on all these other storylines coming together. Even that random little thing in Chapter Two turned out to play a part. Linden resides near Boston with her husband and two children. She has also received starred reviews in Publishers Weekly and Booklist. From Wikipedia, the free encyclopedia.

Caroline Linden. Official Website of Caroline Linden. Retrieved June 19, Fresh Fiction. Caroline Linden". USA Today. Archived from the original on 9 January Retrieved 23 May Namespaces Article Talk.