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Day: 26 August 2024

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“Emilia Pérez” by Jacques Audiard, a musical and crazy fairy tale that enchants the cinema

“Emilia Pérez” by Jacques Audiard, a musical and crazy fairy tale that enchants the cinema

Culture

Culture “Emilia Pérez” by Jacques Audiard, a musical and crazy fairy tale that enchants the cinema

It’s the cinema release of the week. The film starring Selena Gomez, Zoe Saldana and Karla Sofia Gascón is in theaters, three months after the Cannes Film Festival.

Culture Jacques Audiard's
PAGE 114 – WHY NOT PRODUCTIONS – PATHÉ FILMS – FRANCE 2 CINÉMA – SAINT LAURENT PRODUCTIONS – Shanna Besson Jacques Audiard’s “Emilia Pérez” is released in theaters on Wednesday, August 21.

PAGE 114 – WHY NOT PRODUCTIONS – PATHÉ FILMS – FRANCE 2 CINÉMA – SAINT LAURENT PRODUCTIONS – Shanna Besson

Jacques Audiard’s “Emilia Pérez” is released in theaters on Wednesday, August 21.

CINEMA – Jacques Audiard is back. After Deepan or The Olympicshere is Emilia Pereza cinematic UFO mixing a tale of transition, drug war and tragic love stories which is, in addition, a catchy musical comedy. The feature film, led by a trio of mesmerizing women (Zoe Saldana, Karla Sofia Gascón, and Selena Gomez), is pure enchantment. It has been in theaters since August 21.

It’s hard to know where Jacques Audiard got this fabulous idea from. On paper, the bet is crazy. The film follows the destiny of Rita (Zoe Saldana), a lawyer who is bored stiff in her mediocre firm. Her life changes the day Manitas, the leader of the most powerful cartel in Mexico, asks her to help him complete his gender transition and then disappears, abandoning his wife Jessi (Selena Gomez) and his children. Manitas becomes Emilia Pérez (Karla Sofia Gascón) and radically changes her life, before her past comes back to haunt her.

Audiard’s genius is to have made this already powerful story into a musical comedy. And the fate of Emilia Perez into a modern-day fairy tale.

Because without a doubt, Emilia Perez has (almost) everything of a fairy tale. The change that the heroine has been waiting for all her life and for which she is ready to sacrifice everything opens the doors to a new life. To achieve this, she can count on the help of an ally, almost a good fairy. And what would this new life be without love so that this woman can finally feel like herself?

A true invitation to introspection, Emilia Perez is also a fable about redemption. By changing gender, life and identity, the heroine makes the greatest of changes, one that is invisible to everyone except her friend Rita and her family: she becomes a good person.

A lively musical comedy

If you’re totally allergic to musicals and the first few notes of a sung sequence in a movie give you hives, you won’t necessarily be as excited as we are about this completely crazy project. If, on the other hand, you whistle Grease or Chicago in the shower, you will enjoy yourself.

Culture Zoe Saldana in Jacques Audiard's
Copyright PAGE 114 – WHY NOT PRODUCTIONS – PATHÉ FILMS – FRANCE 2 CINÉMA – SAINT LAURENT PRODUCTIONS – Shanna Besson Zoe Saldana in Jacques Audiard’s “Emilia Perez.”

Copyright PAGE 114 – WHY NOT PRODUCTIONS – PATHÉ FILMS – FRANCE 2 CINÉMA – SAINT LAURENT PRODUCTIONS – Shanna Besson

Zoe Saldana in Jacques Audiard’s “Emilia Perez.”

Emilia Perez is a very varied musical comedy. Melancholic ballads, love songs, more rock and rap songs blend harmoniously, all tinged with catchy Mexican sounds. We challenge you not to shed a tear during « Papa » or not dancing when Selena Gomez launches into wild steps in her pajamas.

The songs are so successful thanks to the lyrics and choreography of formidable precision, but also thanks to the quartet that performs them. Zoe Saldana, Selena Gomez, Adriana Paz and Karla Sofia Gascón sing “for real” and double their interpretation with a game that borders on perfection. A fact that did not escape the jury of the Cannes Film Festival, since they won the prize for best actress together.

Culture Selena Gomez stars in Jacques Audiard's
PAGE 114 – WHY NOT PRODUCTIONS – PATHÉ FILMS – FRANCE 2 CINÉMA – SAINT LAURENT PRODUCTIONS – Shanna Besson Selena Gomez stars in Jacques Audiard’s “Emilia Perez.”

PAGE 114 – WHY NOT PRODUCTIONS – PATHÉ FILMS – FRANCE 2 CINÉMA – SAINT LAURENT PRODUCTIONS – Shanna Besson

Selena Gomez stars in Jacques Audiard’s “Emilia Perez.”

Zoe Saldana plays one of her first leading roles here, but certainly not her last. Selena Gomez demonstrates once again (after Only Murders in the Building) that she is much more than a former Disney Channel child star. And Spanish actress Karla Sofia Gascón radiates the entire film with her presence. With Emilia PerezJacques Audiard proves once again that you don’t need a magic wand to be a true enchanter.

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Rail shutdown ends, but ripple effects mean lost revenues and a bruised reputation

Rail shutdown ends, but ripple effects mean lost revenues and a bruised reputation

The full financial impact of the rail stoppage remains unclear, but agriculture, forestry and manufacturing were among the hardest-hit sectors

Author of the article:

The Canadian Press

The Canadian Press

Christopher Reynolds

Published Aug 25, 2024Last updated 17 hours ago4 minute read

Rail cars
A stock photo of rail cars. Photo by DARRYL DYCK /THE CANADIAN PRESS

The end of the shutdown at Canada’s two major railways came too late for the workers at Conifex Timber.

Some 250 employees felt the impact when the company cut the operating schedule in half at its sawmill in Mackenzie, B.C., starting Monday — the day the work stoppage on the tracks wraps up.

Despite the briefness of the rail standstill, Conifex’s reduction to one shift per day from two will last “for the foreseeable future,” said chief operating officer Andrew McLellan last week.

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“It could be some time before our shipment levels normalize,” said Ken Shields, chairman and CEO at Conifex, in a phone interview.

Industries across the country are feeling the pain of a shutdown that fell far short of catastrophic levels, but whose ripple effects continue to play out in lost revenues and customers and a bruised national reputation.

The unprecedented halt that kicked off Thursday at Canadian National Railway Co. and Canadian Pacific Kansas City Ltd. is slated to end first thing Monday, following a Saturday decision from the federal labour board which ordered the companies and their workers to resume operations.

While the full financial impact of the stoppage remains unclear, Moody’s warned it could cost the Canadian economy $341 million per day. Agriculture, forestry and manufacturing were among the hardest-hit sectors, the credit rating agency said.

Fertilizer Canada, which represents fertilizer producers and distributors, said its members have lost tens of millions of dollars due to the standstill. The industry was among the first to be affected by a phased wind-down at both railways that began roughly two weeks ago, as the companies sought to avoid stranding products such as ammonia and other dangerous goods as well as meat and medicine on the tracks.

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“Disruptions cost us millions and millions of dollars a day in lost revenue,” said industry group CEO Karen Proud.

Canadians from coast to coast may not be immune to the ripple effects, either.

“These costs that go into the system, they go one way — and that goes to the consumer,” she said.

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The greatest fallout from the stoppage may be a faltering belief abroad in Canada as a dependable place to do business, Proud said, noting the deadlock marked the latest in a string of labour disruptions over the past 18 months.

“My U.S. folks that were up here were really kind of astounded as to the fact that this could even happen in this country.”

Saturday’s ruling from the Canada Industrial Relations Board imposes binding arbitration on all involved parties following the stoppage that paralyzed freight shipments and snarled commutes across the country.

The board’s decision dropped two days after Labour Minister Steven MacKinnon directed the arm’s-length tribunal to begin the arbitration process, saying the parties were at an impasse in contract talks and Canadian businesses and trade relationships were at stake.

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The Teamsters union has vowed to appeal the ruling in court.

Like the shutdown, the ramp-up will be drawn out, with Canadian Pacific saying a full recovery will likely take “several weeks.”

“This isn’t like a model train set down in the basement that you just flick a switch and it starts running again. It takes a while for things to get moving,” said Matthew Holmes, in charge of policy and government relations at the Canadian Chamber of Commerce.

“There will be a long tail here.”

The ripple effects could include lost customers — which was part of the fallout from the 13-day strike by 7,400 B.C. dockworkers last summer.

“We’ve already seen lost relationships coming from the U.S. and overseas, where they were shipping to our ports. Some of that business didn’t come back,” Holmes said in a phone interview.

Last year saw the most days of labour disruption since 1986, he said. Workers along the St. Lawrence Seaway, school support staff in Nova Scotia, federal government employees in various locations and, briefly, WestJet pilots all took job action in 2023. And more labour strife may be on the horizon, as Air Canada pilots and Montreal longshore workers face off against their employers.

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Industry players have called for reforms to avert labour deadlocks in critical sectors.

Fertilizer Canada’s Karen Proud called for updates to the Canada Labour Code, such as mandatory “pre-negotiation” around binding arbitration terms as a way to streamline the process.

Minimum term lengths for contracts and more cooling-off periods would also help avoid rail shutdowns “every couple of years,” she said.

Canadian Pacific workers hit the picket lines in 2022, 2015 and 2012. Canadian National employees last went on strike in 2019, and remained out for eight days.

Proud also said more products should be deemed essential goods, which would see them continue to move even during a work stoppage.

Earlier this month, the Canada Industrial Relations Board ruled that a rail shutdown would pose no “serious danger” to public health or safety, opening the gate to a full-fledged strike or lockout.

Canadian Pacific lifted its lockout after the labour board’s decision Saturday evening, but employees declined CPKC’s request to return to work for Sunday. Their strike will cease at 12 a.m. Monday, in line with the tribunal’s ruling.

CN, whose workers issued a 72-hour strike notice Friday after the company lifted its own lockout the day before, are already back on the job to carry out the complicated process of revving up operations across 32,000 kilometres of track.

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‘Brat’ Kamala or ‘dragon mother’ Pelosi? This meme machine is a risky strategy in a high-stakes election | Nesrine Malik

‘Brat’ Kamala or ‘dragon mother’ Pelosi? This meme machine is a risky strategy in a high-stakes election | Nesrine Malik

If you’re not across much of popular culture, the US election may require some interpretation. The Democratic National Convention has been an exercise in creating a theatrical cast drawn from celebrity, music and drama. Take, for instance, Nancy Pelosi, the “Mother of Dragons” – a main character in Game of Thrones – as she was introduced at the DNC. A dragon tamer who was also introduced as “brat before brat was brat” (a buzzy reference to the musician Charli xcx’s album of the same name, which denotes a confident, nonchalantly rebellious woman). Kamala Harris herself was anointed as “brat” the moment that Joe Biden stepped down, but already Harris’s mother – who had Indian heritage and raised Harris as a single parent – has been declared the uberbrat, more brat than even her daughter.

If all that’s too obscure, perhaps Taylor Swift is a more familiar touchstone. Commentators have suggested that Swift’s boyfriend, the NFL player Travis Kelce, has much in common with vice-presidential candidate and Harris running mate Tim Walz, and more broadly with the “wife guys” of the DNC – all of whom are men who, while confident in their masculinity, are not ashamed to talk up their wives and girlfriends and take a back seat. Harris has captured this loose amalgamation of cinematic performance and cultural zeitgeist by delivering liberals what they sorely need: a “Beyoncé moment”. She is experiencing her “Renaissance”, according to the New York Times columnist Charles M Blow – a reference to the spectacular pyrotechnic tour that elevated Beyoncé to pop icon status. The rumour that Beyoncé herself was appearing as a surprise guest at the DNC drew much speculation, as if her presence alone would bless the campaign and ordain its political legitimacy.

Meme, celebrity and cultural symbolism have become the language not only of political performance but also of political analysis and media coverage. The worlds of social media and politics have fully converged, producing a sort of extended entertainment event. Harris’s transformation itself, within days, from a relatively low-impact and low-presence vice-president to the juggernaut she has become has involved a hectic re-scripting. Only a year after she assumed vice-presidential office, the question was “where did it go wrong” for Harris. She was “hobbled in the public consciousness”. Early last year, the New York Times reported that “even some Democrats whom her own advisers referred reporters to for supportive quotes confided privately that they had lost hope in her”.

Her rapid rehabilitation into the Beyoncé of politics stems in part from panic. For a moment, it looked as though Biden really was going to dig his heels in and refuse to step aside – which would have delivered a definite win to Donald Trump. Then the assassination attempt on Trump gave him his own narrative boost, which through meme, music and online reaction similarly coalesced to frame Trump as a potent winner against a frail incumbent. Harris emerged when it seemed as though all might be lost. The plot didn’t twist so much as it was forcefully twisted, offering up Harris as a fusion of feelgood cultural references and memeable content.

This all feels symptomatic both of liberals’ political anxieties and their pandering to changing habits of political consumption. With every election, new generations come online and older generations receive more of their news as internet content which cycles through the political sphere. For opinion-makers for whom Barack Obama’s presidency turned into the nightmare of Trump, this fevered rehabilitation of Harris feels like an urgent duty. The chance of another Obama era is within touching distance so long as they make Harris happen. With that comes a tendency to focus on their precious outcome with a zeal that leaves little space for scrutinising their candidate (Labour sceptics before the last general election may relate), and the infantilisation of a public that cannot be trusted in a cutthroat media market where political lives are increasingly determined by clips and fragments. “The survivalist in me,” says Blow, as opposed to the journalist, believes that Harris should continue not to give interviews in case one bad answer overshadows 10 good ones.

These tendencies have also been accelerated by the real prospect of a second Trump term and the omnipresent shadow he has cast since 2016. Since his first election, a rightwing movement whose power lies in nastiness and loathing has grown under Trump’s dominion. Democrats may be hoping the alternative to this darkness lies in presenting Harris as the “president of joy”, as Bill Clinton recently called her.

But feed people feelings alone and they will also respond in the same way, captive only as long as the energy can be maintained, and as long as the other side doesn’t catch a good wind that sends the story in another direction. Feelings are fickle and images are fragile. Rather than building a durable movement, the result is vibe fare aimed at dopamine-addicted consumers who could be swayed either way.

The adherence to sensation rather than substance may seem sensible if you’re assuming that the electorate cannot be relied on to make decisions based on detail and scrutiny – and if you believe the safest denominator that binds voters in a divided nation is to present them with a politics that neither draws on their material realities nor articulates a clear vision of a better future, but rather taps into their status as consumers of rousing spectacle. It seems like a high-risk strategy in a high-stakes election, one in which the Democrats may come to find out that the voter is unpredictable, capricious, and unswayed by party lines or political convention. Or in a word, “brat”.

  • Nesrine Malik is a Guardian columnist

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