Yemeni Halloween party ‘suicide bomber’ fined in Malaysia

A person in costume waits at a barricade with police officers for the New York City Halloween parade in New York City, NY, US on October 31, 2017. (File photo by Reuters)
Updated 17 November 2017
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Yemeni Halloween party ‘suicide bomber’ fined in Malaysia

KUALA LUMPUR: A Yemeni man who dressed as a hooded suicide bomber for a Halloween party has been fined in Malaysia for causing a public nuisance, his lawyer said Friday.
Amjad Jalal Ahmed Al-Dahan wore a fake beard and a cardboard belt with two empty water bottles taped to it.
He also had on a white robe with a scarf wrapped around his head at the party in an apartment complex in Petaling Jaya, a city next to Kuala Lumpur.
Al-Dahan, 34, pleaded guilty and was fined 400 ringgit ($100), the maximum fine for the offense, his lawyer Saraswathy Devi told AFP.
Largely Muslim Malaysia has arrested hundreds of suspected militants in recent years, including several people connected to the Abu Sayyaf group operating in the southern Philippines.
Southeast Asian countries including Malaysia have been on alert after Filipino militants backed by foreign fighters and waving the black Islamic State (IS) group flag seized the southern Philippine city of Marawi in May.
The Philippine government and security analysts said the attack on Marawi is part of an IS plan to establish a caliphate in Southeast Asia.


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.