Ben Affleck weighs in on sexual harassment in Hollywood

Ben Affleck
Updated 06 November 2017
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Ben Affleck weighs in on sexual harassment in Hollywood

LONDON: Ben Affleck said the storm of sexual harassment allegations engulfing Hollywood has led him to examine his own behavior.
In an interview Sunday with The Associated Press for the superhero film “Justice League,” Affleck said he is “looking at my own behavior and addressing that and making sure I’m part of the solution.”
After condemning Harvey Weinstein’s actions last month, Affleck was forced to defend his own conduct. He apologized for groping the actress Hilarie Burton on camera in 2003 when she was a host on MTV’s “Total Request Live.” Another video from 2004 showed Affleck pulling Montreal TV host Anne-Marie Losique onto his lap.
Speaking Sunday, Affleck said two things need to happen, that “more women need to be pushed to power” and that sexual harassment has to also be “a men’s issue” where guys call out inappropriate behavior.


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.