Kim Kardashian christens her children in Armenia

The US reality television star Kim Kardashian on Monday baptised her children during a visit to her ancestral homeland Armenia. (AFP)
Updated 07 October 2019

Kim Kardashian christens her children in Armenia

  • US reality television star Kim Kardashian baptised her children during a visit to her ancestral homeland Armenia
  • She was accompanied by her four children and sister Kourtney Kardashian

ECHMIADZIN, Armenia: US reality television star Kim Kardashian baptised her children on Monday during a visit to her ancestral homeland Armenia.
Kardashian wore a tight-fitting beige dress and stopped to take pouting selfies with local fans as she left Holy Echmiadzin, the Caucasus nation’s main cathedral.
She was accompanied by her four children — aged four months to six years — and sister Kourtney Kardashian, according to an AFP photographer. Her husband, rapper Kanye West, was not present.
The visit was the star’s first to the nation since a 2015 trip marking the centenary of mass killings of Armenians that saw her husband give a chaotic, impromptu concert in capital Yerevan.
Armenia says an estimated 1.5 million ethnic Armenians were killed by Ottoman forces in what it calls a genocide — a term rejected by Turkey, which puts the death toll at 500,000, blaming it on World War I raging at the time and starvation.
Kardashian is due to give a speech on Tuesday at the World Congress on Information Technology (WCIT), which is being held in Armenia.
WCIT is organized by the World Information Technology & Services Alliance, a consortium of ICT associations from 83 countries, representing 90 percent of the industry, according to the congress’s website.
Kardashian’s Armenian ancestors on her father’s side emigrated to the United States from an area that now lies in Turkey.
Armenia was the first country in the world to adopt Christianity as an official religion, in the fourth century.


‘It Must Be Heaven’: Elia Suleiman’s sardonic take on the world

Suleiman, who plays the lead role as himself, explores identity, nationality and belonging. (Supplied)
Updated 23 October 2019

‘It Must Be Heaven’: Elia Suleiman’s sardonic take on the world

MUMBAI: Elia Suleiman’s “It Must Be Heaven,” which was screened at the Mumbai Film Festival, is pure cinema. Like his earlier works, here too the Palestinian director uses wit, sarcasm and minimalism, this time to present a series of vignettes that are funny but also a powerful lambast of the world we live in. Suleiman, who plays the lead role as himself, explores identity, nationality and belonging.

He says people worldwide now live in fear amid global geopolitical tensions. Today, checkpoints are just about everywhere: In airports, shopping malls, cinemas, highways — the list is endless.

“It Must Be Heaven” was screened at the Mumbai Film Festival. (Supplied) 

Suleiman’s earlier features, such as “Chronicle of a Disappearance” and “Divine Intervention,” showed us everyday life in the occupied Palestinian territories. This time, it is Paris and New York. 

The first scene is hilarious, with a bishop trying to enter a church with his followers. The gatekeeper on the other side of the heavy wooden door is probably too intoxicated and refuses to let the priest in, leading to a comical situation. Suleiman’s life in Nazareth is filled with such incidents — snippets that have been strung together to tell us of tension in society. Neighbors turn out to be selfish, and only generous when they know they are being watched. 

The Palestinian director uses wit, sarcasm and minimalism, to present a series of vignettes that are funny but also a powerful lambast of the world we live in. (Supplied)

In Paris, the cafes along the grand boulevards, and the young women who pass by, are typical of France’s capital. But a cut to Bastille Day, with tanks rolling by in a show of strength, jolts us back to harsh reality. In New York, Suleiman’s cab driver is excited at driving a Palestinian. 

The film has an interesting way of storytelling. The scenes begin as observational shots, but the camera quickly changes positions to show Suleiman watching from the other side of the room or a street. The camera then returns to where it first stood, and this back-and-forth movement is delightfully engaging.

The framing is so perfect, and the colors so bright and beautiful, that each scene looks magical. And as the director looks on at all this with his usual deadpan expression, a sardonic twitch at the corner of his mouth, we know all this is but illusion. There is bitter truth ahead!