‘Continuity: Art + Film’ at the National Gallery of Jamaica Sunday

On Sunday, the National Gallery of Jamaica (NGJ) will be hosting Continuity: Art + Film, as part of programming for the recently opened exhibition, ‘Continuity’. The film screening will begin at 1:30 p.m. during the NGJ’s regular Sunday opening hours at 12 Ocean Boulevard, Kingston.
Continuity: Art + Film will feature a selection of experimental art films by Jamaican artists Deborah Anzinger, K. Khalfani Ra and Oneika Russell, as well as the documentary film They Call Me Barrington, a film about late Jamaican artist Barrington Watson, by filmmaker Lennie Little-White.
The screenings will be followed by discussion segments moderated by NGJ Acting Assistant Curator, Shawna-Lee Tai, and Chief Curator, O’Neil Lawrence. The panels will feature artists Anzinger, Ra and Russell, along with international creative economy expert and former film commissioner of Jamaica, Renee Robinson.
The NGJ aims to expand viewers’ experience of the ongoing ‘Continuity’ exhibition, with an exploration of the making of Jamaican art films. It is hoped that the audience will be entertained, as well as gain information about the value of Jamaican art films as resources for understanding Jamaican artists and their practice.
Admission to Continuity: Art + Film is free to the public; doors will be open from 10 a.m. to 4 p.m. Audiences should be aware that the film They Call Me Barrington will be rated PG13 for this event; viewer discretion is advised.

Reps panel applaud Wike, Tamuno on recovery of Abuja film village plot

The House of Representatives Committee on the Federal Capital Territory (FCT) have applauded the FCT Minister, Nyesom Wike over the recovery of the Abuja film village situated in Kusaki-Yanga district of the city.
The committee led by Hon. Aliyu Muktar Betara also poured encomium on the Group Managing Director of Abuja Investment Company Limited (AICL), Dr. Moreen Tamuno on her role in the management of the FCT assets.
Tamuno’ explained that Wike has ordered an inter Ministerial Committee to come up with the report to secure the parameters of the 4000 hectares expanse of land and see what AICL could achieve there.
She said: “We heard the story of Abuja Film Village, even before I became the Group Managing Director, but suffice me to say that for 24 years nobody went to see where is this place. But when I assumed office all I was hearing was don’t go there, they kidnap and all of that.
“But we were able to weather the storm to get to the point in Guzaki. We have about 3,000 hectares of land there, which is being encumbered already, we heard mining is taking place there.
“We are working with FCT, fortunately, I did a memo to the Minister which he has approved graciously and set up an Inter-Ministerial Committee to know where our boundaries are. I saw miners on the plot, but I must admit it was a tough place to go to.”
While noting that the entertainment industry is a thriving sector, she explained that AICL has met some Stakeholders including Actors Guild who are already partnering with the company, to stimulate the economy and create employment.
She noted that the company which was established over 30 years ago has metamorphosed into a Holding Company which is an investment arm of FCT and a Limited Liability Company, hence not in the Federal Government budget.
While presenting her scorecard and strategy adopted in the turnaround of AICL to the Committee, Tamuno disclosed that AICL only manages the District markets not the entire markets across the territory.
According to her, Wuse Markets is owned 90 percent by the individuals who bought the shops while AICL owns 10 percent.
“For example, Wuse market is owned 90 percent by the owners, we own 10 percent. What Abuja Management does for Wuse market is to manage the facility there through the toll taking which they do collect on our behalf and then they manage the facilities, they manage the refuse collections and they also work with the market association.”
She noted that AICL cannot increase prices like other privately owned markets across the territory, noting that the prices adopted by AICL are controlled by the government.
She added that the Company is also managing part of the leakages envisaged such as monitoring this system of fare collection which was initially collected manually.
This, according to her, will help to tackle the menace of revenue leakages and help to pay dividends to FCTA coffers.
While responding to questions on Abuja Properties, she noted that AICL is saddled with the responsibility of owning properties.
“Before I got here, apart from two regimes of el-Rufai and Moddibo, Abuja Property was dealing directly with the Minister. So, we did not have control over what Abuja Property does suffice me to say. But with the incoming of the new Minister, he has streamlined the system so that all of these people will have a direct reporting line.
“So, what they do or what they are meant to do is to manage estates, different cadres of estates for the Middle Class, for the High Class and different kinds of people and also declare profits and pay dividends which has never been done. But in the last discussion last month, because of the new process that has been set up, they are committed to making sure that they will do this year, to declare dividend to AICL.”
On Abuja Transport scheme, she noted that: “the Abuja AMMCO has been a little epileptic. Because as we speak I think they have only about 84 buses and then most of the buses are not working. Before I came, I heard they were to be sold out but on our finding, we found out that the calibre of buses we have ASHOK were very strong bus and there was no need to sell, we would see how we could use some of them to repair others and have them running.
“So, they’ve not been able to break even, there are some epileptic problems that we are looking at to see how we can help them.”
According to her, the two administrations ago set up other subsidiaries that are supposed to work under AICL namely Power Launch which is a Leasing Company, Abuja Urban Mass Transit Company, Abuja Property Development and Abuja Market.
She added that AICL also has other subsidiaries namely Aso Savings, Abuja Tech Village where AICL owns 20 percent equity, and 6 percent with Abuja Intercontinental Hotel formerly known as Sheraton Hotel. She, however, noted that during the meeting held with the Hotel’s management, the Hotel has recapitalized and gone PLC, thereby AICL share has reduced to 3 percent.
While noting that AICL is still in talks with Abuja Intercontinental Hotel since 3 percent is not sufficient to be on the board of the Hotel because it’s a nominal shareholder and could only go to General Meetings, efforts are ongoing to improve the system to regularize the percentages of investment.
She noted that efforts are also being made to ensure that the company’s staff are well motivated by embarking on a lot of capacity building and to drive them to ensure that we return dividends to owners which is FCT.
Tamuno who assured that the present AICL under her watch cannot afford to “leave FCT the way it was,” disclosed that her team has developed a “revolution in AICL.
“If you’ve ever been to the office before my resumption and you come now, from the gate you would know that there’s a change.
“We are building bridges, we are looking at how to reposition AICL and making progress. We’ve not had it good, thank God for the responsive Minister who listens and who’s ready to work to recapitalize. We have the muscle to weather what we are faced with.”
While thanking the lawmakers for the support and trust reposed in her team, Dr. Tamuno said: “Thank you Mr. Chairman for this opportunity to be able to tell you what Abuja Investment is all about but I want to reassure you that as your Junior Colleague, you can be sure that coupled with the fact that women want to do what we have to do, so we can sleep well. I will be able to do the needful and make cintei to FCT and of course to the renewed hope agenda of Mr. President, that I will do.”
Speaking after the AICL Group Managing Director’s presentation, Hon. Betara said: “As discussed with the Committee, you see a lot of members not you, before coming into Abuja Investment, but for us with the discussion we did to your previous team I told you, I was disappointed. Now I realize why the Minister of FCT is bringing in new hands into FCT.
“We know you, with the little time you came in, revenue has come up and we hope you’re not coming down.
“And I will advise that anybody that you’re not ready to work with should be removed so that you can work well. The Committee is ready to support you and support FCT in general.”
On his part, Hon. Timilehin Adelegbe (APC-Ondo) who showered encomium on the new AICL management team led by Mrs. Tamuno said: “I met her when she was an Ambassador to Jamaica. I think in the whole Pacific she transformed Jamaica she’s very aggressive.
“So, when she was reeling out her achievements I think we have just seen little. What we need as a House is to encourage her and also urge her to do a holistic audit of staff who may be dragging you back which is very very important.”
On his part, Hon. Kanice More (APC-Imo), who applauded President Bola Tinubu for being gender sensitive in the appointment of women into critical sector of the economy, underscored the need to encourage the AICL Group Managing Director to achieve more fears.
He said: “I thank His Excellency Bola Ahmed Tinubu for demonstration of gender sensitivity, inclusivity and friendliness in appointing a Lady, a Woman and she has demonstrated her capacity. I took time to study her, and I’ve listened to her, she started new, we should equally encourage her and I strongly believe that with more encouragement she will do more; and of course, to whom more is given, more is expected.”
Also speaking, Hon. Regina Akume (APC-Benue) said: “Madam, I want to thank you, before it used to be if it is not my problem and it’s not my business, it’s government’s business, it’s not my business, that’s the spirit I’m seeing in here.
“And I want to advise you all, that as long as you do not take property seriously, you cannot even make your own business because what a man sows he reaps.
“So, please government is for all of us. If you’re put there to do something, I know women are good managers, yes we women are good managers. So put all the broken pieces together and make us proud. That’s what I’m asking of you because there’s so much there that you can do. There’s so much laxity and it’s not right. The Chairman has said it, he met with you all, he will support them. But you must make him proud.”
While applauding the achievements recorded so far under the leadership of the FCT Minister, Hon. Betara said: “You have a Minister that’s a Lawyer, maybe that’s why you guys have improved.
“You guys need to improve. He doesn’t tolerate laxity and if it is with law, he knows everything. So, for the Committee, if there’s anything we will require from you before we start the oversight, we are going to write you.”

‘Raayan’ box office Day 1: Dhanush’s movie earns Rs 12.50 crore amid clash with ‘Deadpool & Wolverine’

Raayan box office collection day 1: Dhanush’s 50th film, Raayan, had a strong start at the box office this Friday. According to early estimates from industry tracker Sacnilk, the Tamil-language action-thriller film, which the actor wrote and directed, made more than Rs 12 crore on its first release day. Dhanush’s second directorial endeavour, Raayan, stars SJ Suryah, Prakash Raj, and Sundeep Kishan in supporting parts. Trade analyst Ramesh Bala posted, “#Raayan debuts at No.2 just behind #DeadpoolAndWolverine in UAE, Singapore and Malaysia (sic).”Also Read: Triptii Dimri looks RED HOT as she drops pictures in sequined backless gown

#Raayan debuts at No.2 jus behind #DeadpoolAndWolverine in UAE 🇦🇪, Singapore 🇸🇬 and Malaysia 🇲🇾
— Ramesh Bala (@rameshlaus) July 27, 2024

According to Sacnilk, the film made Rs 12.5 crore on its opening day, with Rs 11 crore coming from the Tamil version and Rs 1.5 crore from the Telugu version. Raayan has topped Dhanush’s previous film, Karnan (Rs 10.4 crore), making it the star’s greatest opening day. Raayan had an overall Tamil occupancy rate of 58.65%, with almost 79.99% theatre occupancy at night. The film had high occupancy in Chennai (72%), Puducherry (74.75%), Mumbai (61%), Bengaluru (40.75%), and Delhi-NCR (20%). 

#Raayan [4/5] : Starts as a simple story.. A twist in the middle, makes the story complicated.. @dhanushkraja has neatly executed this action emotional thriller.. 🔥Fantastic acting too..Unpredictable twists and turns make it a Winner! 👍
— Ramesh Bala (@rameshlaus) July 26, 2024

The film had an overall occupancy rate of only 7.1% in Hindi-speaking areas. Pune had the largest theatre occupancy in Hindi (18.67%), with 43 performances, followed by Lucknow (11%) with 7 shows, Jaipur (10.33%), and Chandigarh (10%). According to Sacnilk, there was 0% occupancy for morning concerts in Kolkata, Jaipur, Chandigarh, Bhopal, and Lucknow.

Also Read: Vishal Pandey, Shivani Kumar OUT from Bigg Boss OTT 3?Raayan, which centres on a fast-food restaurant owner’s revenge quest against a thug, received mixed reviews upon its release. The film, which was first announced in January of last year, was initially set to be released on June 13.

The film was filtered with a ‘A’ rating and lasts two hours and 25 minutes. The cast includes Dhanush, SJ Suryah, Sundeep Kishan, Kalidas Jayaram, Aparna Balamurali, Dushara Vijayan, Prakash Raj, and Selvaraghavan. AR Rahman created the soundtrack for ‘Raayan’, while Om Prakash cinematographed and Prasanna GK edited it. The film was released on July 26. 
Last Updated Jul 27, 2024, 11:54 AM IST Latest VideosFollow Us:Download App:

Best Of: ‘Wicked’ Director Jon M. Chu / Stunt Performer-Turned-Filmmaker David Leitch

Jon M. Chu, the director of Crazy Rich Asians and In the Heights is now directing the film adaptation of the broadway musical Wicked. We’ll talk about making movies, and being raised by immigrant parents who owned a Chinese restaurant in Silicon Valley.Also, we hear from stunt performer-turned-director David Leitch. He directed the film The Fall Guy, starring Ryan Gosling as a stuntman. Ken Tucker continues his series of great albums turning 50 this year with an album by Roxy Music.

‘The dream is to be a rockstar novelist who wins awards and has his work translated into movies’

Local chiropractor turned writer to have story broadcast on BBC Radio Ulster. He speaks to Aine Toner about finding the words
Mark Mullan. Credit: Steven McCauleyAine TonerToday at 09:00Today a Belfast chiropractor will have one of his stories voiced by the star of an Oscar-winning film on BBC Radio Ulster.Seamus O’Hara, who starred in An Irish Goodbye, will voice Mark Mullan’s Swimming Lessons for Butterflies at 1.30pm.

‘Hello, Love, Again’ begins filming in Canada

July 27 2024By AARON BRENNT EUSEBIOHello, Love, Again, the sequel to the blockbuster 2019 movie Hello, Love, Goodbye, has begun taping in Canada.

In a post on Instagram, GMA Pictures shared a photo of the movie’s clapperboard.

“Hello, Day 1 in Canada!” the caption read.

Kathryn Bernado already flew to Canada a few days before. On Instagram, the Kapamilya actress gave an update to her fans about their upcoming movie.

She wrote in the caption, “A little update from Canada…”

In Hello, Love, Goodbye, OFWs named Ethan (Alden Richards) and Joy (Kathryn) met each other in Hong Kong, where the former works as a bartender while the latter is a domestic helper. Although they started dating, their love didn’t blossom as Joy already set her sights on becoming a nurse in Canada.

Meanwhile, in Hello, Love, Again, Ethan and Joy reunite in Canada after five years of a long-distance relationship.

Directed by Cathy Garcia-Sampana, Hello, Love, Again comes to cinemas on November 13.

‘Hello, Love, Again’: Alden Richards and Kathryn Bernardo, excited andhappy about their movie reunion

The best films set in Paris

The Paris Olympics are being held at the very time of year when the City of Light is least desirable as a destination, as all those inhabitants who vacate the city in August for their summer getaways well know. Cole Porter might have recommended Paris when it sizzles, but when it sweats? An acquired taste. Sometimes the city is best enjoyed from a distance – via the Olympics coverage if you wish, or the surfeit of films that have made Paris a veritable capital of cinema.Like any tourist, there’s no shame in starting with the obvious: Parisians may roll their eyes at the airbrushed Montmartre in Jean-Pierre Jeunet’s Amélie (2001), but this gaudy romantic bonbon still has its winsome charms. It’s only a shade less artificial than the Hollywoodised musical visions of the city in the 1950s. Gigi, Vincente Minnelli’s absurdly lavish take on Colette’s slender coming-of-age novella (currently unavailable to stream in the UK), used more location shooting than the same director’s An American in Paris, shot almost entirely on LA backlots, though both are delicious faux-French fancies. Ditto Audrey Hepburn swanning around Paris in Stanley Donen’s Funny Face, though it’s at least more Gallic-chic in spirit.View image in fullscreenThe French had countered such romanticisation with films such as Marcel Carné’s splendid 1945 Les Enfants du paradis (BFI Player), which captured the decay and the bohemian allure of Paris’s 19th-century theatrical scene with grime under its nails – helped by being shot under wartime conditions. The new-wave film-makers of the 1950s and 60s, however, redesigned Paris in the public imagination. François Truffaut’s The 400 Blows offered an on-the-fly sense of everyday working-class living in the city, while Agnès Varda’s spry character study Cléo from 5 to 7 caught the same era’s Left Bank street life with jagged, jazzy aplomb. Jean-Luc Godard gave the city sex and danger in Breathless, visited the Louvre with youthful exuberance in Bande à part (BFI Player), and made it over as a futuristic sci-fi dystopia in Alphaville, using the city’s existing streetscapes and modernist architecture.View image in fullscreenIn the 1970s, Bernardo Bertolucci’s Last Tango in Paris (Sky Store) stripped the city of romance but left the eroticism, making it a site of desolate loneliness. A year later, Jacques Rivette restored its adult-playground whimsy in his surrealist maze Céline and Julie Go Boating (BFI Player). Les Amants du Pont-Neuf (1991; Amazon), Leos Carax’s exquisite romance between two homeless dreamers, captured the iridescent splendour and gutter-level grit that coexist even in the city’s prettified centre. Four years later, Matthieu Kassovitz’s groundbreaking, still-jolting La Haine showed viewers the wildly different urban geography of the city’s neglected, immigrant-populated suburbs. In 2019, Ladj Ly’s fevered, pointedly titled Les Misérables offered a still-damning view of Parisian banlieue strife.View image in fullscreenNon-French film-makers continue to show Paris at its dreamiest, whether in Baz Luhrmann’s glorious vision of a Las Vegas-ified belle époque in Moulin Rouge!, the fairytale kitsch of Martin Scorsese’s Hugo, or the animated Pixar-postcard views of kids’ favourite Ratatouille. (If you want a cartoon Paris with more grain and texture, seek out Sylvain Chomet’s loopy, sepia-tinged romp Belleville Rendezvous instead.) Richard Linklater’s sun-dappled lovers’ stroll Before Sunset treats the pavements of Paris with a little more respectful authenticity, though is as much a feat of touristic wish-fulfilment as the twinkly fashion fable Mrs Harris Goes to Paris. And while Tom Cruise kicking, jumping and biking his way around the city in Mission: Impossible – Fallout made Paris a rare all-action obstacle course, recent Netflix horror phenomenon Under Paris – Giant sharks! In the Seine! Why not? – proved that the French can take outrageously far-fetched liberties with their capital too.All titles widely available to rent unless specified.New to streamingView image in fullscreenMountain Queen: The Summits of Lhakpa Sherpa (Netflix)
Documentarian Lucy Walker offers a candid, engaging portrait of Lhakpa Sherpa, the first Nepali woman to scale Mount Everest, reclaiming an area of study dominated by male outsiders.Love Lies Bleeding Rose Glass’s sensational second feature rejects the tight discipline of her debut, Saint Maud. It’s an 80s-set queer neo-noir fizzing with sex, grisly excess and delicious bad taste.

George Clooney, Brad Pitt, Daniel Craig, Angelina Jolie, Monica Bellucci among others to sail into Venice Film Fest

Venice, the city on water, may be an engineering marvel whose construction on lagoons and canals began in the fifth century. But actually, its fame came sailing after Shakespeare wrote his gripping play in 1596-7. The Merchant of Venice was romantic and intriguing, capturing hearts and catapulting the city to wondrous heights.
Interestingly, today Venice is not so much known for its Rialto Bridge, Saint Marks Square, or the gondolas as it is for its film festival, which runs every autumn. This year, the 81st edition will begin rolling on 28 August. And a carnival-like atmosphere will prevail for the 11 days of the festival, held on the island of Lido, just across the lagoon from mainland Venice.
Dozens of boats would bring in celebrities from around the world. A press report says that Lady Gaga, Joaquin Phoenix, Julianne Moore, Tilda Swinton, Angelina Jolie, Daniel Craig, Adrien Brody, Felicity Jones, Cate Blanchett, George Clooney, Brad Pitt, Monica Bellucci, Michael Keaton and Jenna Ortega will be among the talents who will walk the red carpet to showcase their movies. These have for some years now used the festival as a springboard for the Oscar campaigns. It is right to presume that the Academy Awards season begins with the Lido.

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Review: ‘Deadpool & Wolverine’ has humor in every square inch of this film

Born sometime in the late 2010s and fueled by jabs on Instagram, Entertainment Tonight or anywhere Ryan Reynolds has a microphone, his now-renowned faux-feud with Aussie actor Hugh Jackman is finally getting the Hollywood treatment. It’s called “Deadpool & Wolverine,” but, you know, a rose by any other name and all that. The title — generic, simplistic and otherwise mundane — could have been given any number of other monikers. “Not Another Marvel Movie” is perhaps the one that best sums up the third film in this begrudging franchise, an obnoxious pastiche that spends the majority of its efforts roasting the personal lives of the actors behind the characters, taunting 20th Century Fox for its 2019 Disney merger or else slinging in high-profile cameos to distract from its frustratingly asinine plot.And attributing a plot to this film was not meant to be a compliment. The action that ensues is wholly dictated by one-line zingers and punches, both physical and verbal. A 5-minute YouTube video would have sufficed, but instead, we are subjected to two hours of flashy, slow-motion fight sequences set to ironic tracks like *NSYNC’s “Bye Bye Bye” or Madonna’s “Like a Prayer.” Do we hate these scenes? Not at all. There is humor in every square inch of this film, even if it is often blood-spurting, graphic and violent, a saving grace for its box office viability.Because it’s tradition that a review gives a summary of the film’s plot, here’s the dead-brained, spoiler-free premise of “Deadpool & Wolverine.” Deadpool a.k.a. civilian Wade Wilson has hung up his ne’er-do-welling for a regular life as a used car salesman until a team from the Time Variance Authority — a special forces unit MCU fans will recognize from the Disney+ show “Loki” — tries to stop him from resurrecting the notorious, blades-in-fingers X-Men patriot Wolverine (Jackman). He most definitively perished at the end of his last stand-alone movie “Logan,” which was a critical success and was even nominated for Best Original Screenplay at the Academy Awards. Don’t expect Oscar-worthy anything here. Wolverine in Wade’s universe is most certainly dead; we learn this in the film’s opener, which finds Deadpool in the first shoot-’em-up sequence set to the boy band song previously mentioned. It’s a banger way to open a film, but the song and dance doesn’t end there. There is an argument to be made that “Deadpool & Wolverine” is actually a jukebox musical in Creep’s clothing. Wade finds another Wolverine from a different universe. Yes, we are still using the over-wrought MCU multiverse as a tool for plot development. The superhero Odd Couple are dragged into The Void, a Mad Max rip-off desert wasteland that will surely have you wishing you were seeing “Furiosa” instead. This was the point in the screening that tipped this film into spoof territory for me; only because it is directed by Shawn Levy and because it has genuinely funny moments did “Deadpool” not lose me in The Void, as well. There, they encounter Cassandra Nova (Emma Corrin), the unknown twin sister of Charles Xavier, who rules the land of misfit boys with a tight telepathic and telekinetic fist.For a third time, Reynolds revives the character that set his career on fire, and while he is still as charming as ever, he doesn’t have to work nearly as hard to squeeze out laughs from his audience. The formula has been set, and his task in this film seems to be clear from the outset: make as many insider jokes about MCU/Disney/Reynolds/Jackman as can fit in 120 minutes. His target demographic is super-hero fanboys and girls and pretty much no one else. Don’t get the Paul Rudd joke? You probably don’t belong in the theater. Don’t recognize that character from a previous superhero flop? Simply, get out.Luckily, “Deadpool” has a mirror and uses it to reflect and remain self-referential throughout the film. Thanks to its writers, including Reynolds, it knows this film is a love letter to fans who understand references to the Marvel universe both off-screen and on, who will whoop and cheer at the appearance of an Avenger and who can see the regurgitated cliches in plot coming from a mile away. If it wasn’t clear enough, Deadpool, the character, points out everything the audience may be thinking, a common device used by the bullied to prevent further persecution. You think this time-travel plot is banal? We know, and we’ll tell you first. Multiverse Deadpools fighting one another in a battle sequence for no good reason? Yes, yes, we know this is a page straight out of “Dr. Strange,” and you will like it anyway.As the premise dives even deeper into who-really-cares territory, the action ramps up. Deadpool fights Wolverine. They both fight Cassandra Nova. The TVA is an ever-present foe with faceless and otherwise unimposing combatants, and eventually, there actually are a legion of other-universe Deadpools to contend with. As much as it is entertaining to watch Reynolds-as-Deadpool tear into himself and everyone in his line of sight, there is something missing. And no, it’s not at least one of the Chrises. In terms of critiquing this film, it’s unclear if this review has fulfilled that job. I can’t believe I’m typing this, but “Deadpool & Wolverine” contains too many multitudes to properly pin down. It does have one thing going for it. Like the two films before it, the dialogue and humor are appealing in their own brand of chaotic irreverence. The violence and action we’ve come to expect are also present, as is a killer soundtrack. Where it loses this viewer, and likely many of you, is its forgettable journey, one that could have had the makings of an Avenger but instead has us hoping this is Endgame for Wade Wilson. It’s like a one-night stand. It was fun while it lasted, but I probably won’t think about it ever again.”Deadpool & Wolverine” is in theaters now.