Russian court rules against Aeroflot over female crew size demands

Aeroflot flight attendant Yevgeniya Magurina shows her uniform during an interview with the Associated Press in Lobnya, outside Moscow, on August 3, 2017. A Moscow court has ruled in favor of Magurina who claimed that Russia's flagship airline Aeroflot discriminated against her based on appearance.. (AP Photo/Alexander Zemlianichenko)
Updated 06 September 2017
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Russian court rules against Aeroflot over female crew size demands

MOSCOW: A Russian court ruled Wednesday that the flagship carrier Aeroflot could not enforce demands over body sizes for female flight attendants, siding with two attendants who had filed a discrimination case against the airline.
The Moscow City Court said a rule specifying that female crew members should wear uniforms only up to size 48 could “not be applied” and ordered the company to pay token damages.
The two attendants, Yevgeniya Magurina and Irina Yerusalimskaya, sued the airline for alleged discrimination after they claimed they were shifted from long-distance to domestic routes because of their size.
The court awarded each of the women compensation for lost wages and 5,000 rubles ($87, 73 euros) in moral damages.
It did not rule explicitly however that Aeroflot was guilty of discrimination, leading the company to say it was “satisfied” by the ruling.
“The court objectively established that there was no discriminatory element in the actions of Aeroflot,” the company told the TASS news agency.
“The company does not infringe on the rights of workers due to age, gender, race or any other characteristic.”
The airline said it would make a decision on changing its internal guidelines after studying the court’s ruling, TASS said.
The ruling came after local courts initially rejected the complaints from the flight attendants.


Pressures and pains that tear a couple apart

A still from the film.
Updated 19 July 2018
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Pressures and pains that tear a couple apart

DENVER: Like a gallery wall-sized enlargement of a microscopic image, “Scenes from a Marriage” is all about size, space and perspective.
Directed by Ingmar Bergman — whose birth centenary was marked this week — at 281 minutes long, its unwieldly length presents an intimidating canvas, yet the claustrophobic intimacy of its gaze is unprecedented: The two leads are alone in nearly every scene, many of which play out for more than a half-hour at a time.
Premiered in 1973, the work is technically a TV mini-series, but such is its legend that theaters continue to program its nearly five-hour arc in its entirety. A three-hour cinematic edit was prepared for US theater consumption a year later (it won the Golden Globe Award for Best Foreign Language Film, but was ruled ineligible for the corresponding Oscar).
Not a lot a happens but, then again, everything does. Shot over four months on a shoestring budget, its six chapters punctuate the period of a decade. The audience are voyeurs, dropped amid the precious and pivotal moments which may not make up a life, but come to define it.
We meet the affluent Swedish couple Marianne and Johan — played by regular screen collaborators Liv Ullmann and Erland Josephson, both of whom clocked at least 10 Bergman credits — gloating about ten years’ happy marriage to a visiting reporter. This opening magazine photoshoot is the only time we see their two children on camera, and inevitably the image projected is as glossy, reflective and disposable as the paper it will be printed on.
The pressures, pains and communication breakdowns which tear this unsuited pair apart are sadly familiar. The series was blamed for a spike in European divorce rates. It may be difficult to survive the piece liking either lead, but impossible not to emerge sharing deep pathos with them both. Sadly, much of the script is said to be drawn from Bergman’s real-life off-screen relationship with Ullmann.
It’s a hideously humane, surgical close-up likely to leave even the happiest couple groping into the ether on their way out of the cinema.