‘First We Bombed New Mexico’ depicts resilience in the face of inhumanity

 ‘First We Bombed New Mexico’ depicts resilience in the face of inhumanity
On July 16, 1945 – before the US Army dropped atomic bombs on the Japanese cities of Hiroshima and Nagasaki — they detonated their first ever nuclear device approximately 60 miles north of White Sands National Park in the state of New Mexico. (US Department of Defense)
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Updated 11 January 2024
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 ‘First We Bombed New Mexico’ depicts resilience in the face of inhumanity

 ‘First We Bombed New Mexico’ depicts resilience in the face of inhumanity

CHENNAI: Man’s inhumanity toward other men is well documented yet every now and then there comes along a story that will shock and dismay audiences. “First We Bombed New Mexico” details one such story in a documentary produced and directed by Lois Lipman.

The film, which screened at the Palm Springs International Film Festival on Monday, explores the weeks before the US’s use of two atomic bombs in Japan.

On July 16, 1945 – just a few weeks before the US Army dropped atomic bombs on the Japanese cities of Hiroshima and Nagasaki — they detonated their first ever nuclear device approximately 60 miles north of White Sands National Park in the state of New Mexico.

The army did not inform the surrounding inhabitants about the dangers of radiation and for 75 years, men, women and children fell ill, suffered and died.

The 95-minute documentary details New Mexico-born Hispanic cancer survivor Tina Cordova’s movement seeking compensation for the victims, who have suffered from cancer and a high infant mortality rate for generations.

For many, this documentary serves as an introduction to the incident, which has not seen anywhere near the level of international awareness as the bombs dropped in Japan. 

Through Lipman's work, we become privy to the fact American physicians had warned General Leslie Groves — who directed the Manhattan Project, a top secret research project that developed the atomic bomb during World War II — that the Trinity explosion would be catastrophic and urged that residents be quickly moved out of the region. This did not happen, nor did the US government provide any medical information or aid after the detonation.

Although victims of the Nevada Cold War nuclear tests, held between 1951 and 1992, have been eligible for compensation since 1990, those in New Mexico had been ignored. This documentary does a solid job at  exposing the apparent racial discrimination at play. 

Expertly woven into the narrative are comments by respected nuclear experts including MIT professor and author Kate Brown – who quips that efforts to be compensated by the government are “a bit like the fox guarding the henhouse.”

“First We Bombed New Mexico” is compelling and is truly a great example of man's resilience against lies and hypocrisy.


Tilda Swinton wears Maison Alaia as protesters interrupt film screening

Tilda Swinton wears Maison Alaia as protesters interrupt film screening
Updated 06 October 2024
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Tilda Swinton wears Maison Alaia as protesters interrupt film screening

Tilda Swinton wears Maison Alaia as protesters interrupt film screening

DUBAI: British actress Tilda Swinton wore an all-black ensemble from Maison Alaia on the red carpet at the New York Film Festival screening of her film “The Room Next Door.”

The simple design from the label, which was founded by late Tunisian couturier Azzedine Alaia, featured a black sweater and skirt, which Swinton paired with bright red heels.

According to a report by Deadline, the post-screening Q&A for “The Room Next Door” was interrupted by protesters chanting in support of Palestine as well as Lebanon, the recent target of Israeli airstrikes.

A spokesperson told Deadline: “Two individuals held a banner and shouted slogans in the theater during the Q&A following the NYFF screening of Pedro Almodovar’s film ‘The Room Next Door.’ They were peacefully escorted out.”

The protest reportedly drew some applause, along with some shouts calling for them to “go away.” Director Almodovar gave the group a chance to be heard as he and Swinton helped diffuse the situation.

“The Room Next Door” is Spanish filmmaker Almodovar’s first English-language movie. The picture won the Golden Lion at its Venice Film Festival world premiere as well as the Brian Award for Almodovar.

Swinton described the protest as “a dignifying thing for this festival,” adding: “These interruptions are uncomfortable, but they’re necessary, and it is relevant to our film. Syria is the room next door, Beirut, Gaza. Pedro’s film asks us not to look away.”


REVIEW: ‘Wolfs’ boasts A-list double trouble with Clooney and Pitt

REVIEW: ‘Wolfs’ boasts A-list double trouble with Clooney and Pitt
Updated 03 October 2024
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REVIEW: ‘Wolfs’ boasts A-list double trouble with Clooney and Pitt

REVIEW: ‘Wolfs’ boasts A-list double trouble with Clooney and Pitt

LONDON: The opening 30 minutes of Apple TV’s new (grammatically irritating) comedy thriller “Wolfs” is that rarest, most wonderful of things — a beautifully shot showcase of two phenomenal actors demonstrating that they are at the very top of their game.

George Clooney and Brad Pitt play two unnamed fixers called to the hotel room of a prominent district attorney whose hookup winds up dead. Though both prefer to work alone, the two contractors agree to set aside their differences to finish the job. But when the supposedly dead teenager turns out to be, well, not so dead, the two fixers must traipse across New York to clean up the rapidly spiraling mess.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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With both Clooney and Pitt willing to make fun of their own advancing years — it’s an ongoing bit that both are trying to hide their various aches and pains — director Jon Watts (recently the helmer of the Marvel “Spider-Man” movies and co-creator of Disney’s upcoming Star Wars show “Skeleton Crew”) sticks to a formula that works: namely putting the two rival fixers in a series of exasperating situations that will force them to begrudgingly like each other.

The ‘buddy comedy’ middle third of “Wolfs” is actually the least satisfying, particularly after the extremely funny opening act wherein the two professionals try to ‘out-cool’ one another. There are a few jokes that don’t land, a couple of plot points that fall off a cliff, and a grating riff on the two fixers insisting they’re not partners that we can all see through.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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But a tight, clever final third boasts set pieces which are efficiently restrained (this is no “John Wick” movie), an interesting final twist, and Clooney and Pitt really leaning into that “Oceans”-level chemistry. “Wolfs” is a snappy, smart thriller and, with a sequel reportedly on the way, will thankfully not be the last we see of this new take on an old partnership.


Dutch Moroccan DJ and producer R3hab promises Saudi gig

Dutch Moroccan DJ and producer R3hab promises Saudi gig
Updated 01 October 2024
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Dutch Moroccan DJ and producer R3hab promises Saudi gig

Dutch Moroccan DJ and producer R3hab promises Saudi gig

DUBAI: Dutch Moroccan DJ and record producer R3hab plans to return to Saudi Arabia before the end of the year, he told Arab News, hot on the heels of a busy six-month period during which he has hit the decks in Finland, China, Spain and beyond.

The DJ, who took to the stage at the E-Sports World Cup in Riyadh alongside Wiz Khalifa this summer, said in an interview with Arab News. “I’ve been to Riyadh many times, the energy of the city is unique. I really love performing in Saudi Arabia, the crowd energy is something else,” he said.

Asked if his Saudi fans will get to see him again soon, R3hab said: “All I can say is I’ll be back in Saudi before the end of the year and I can’t wait to play all the unreleased music I’ve been working on in the last months.”

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by R3HAB (@r3hab)

R3hab’s love story with the Kingdom does not end there. He shot a music video for his track “Run Till Dark” at the historic city of AlUla.

“The ‘Run Till Dark’ shoot was exceptional. AlUla has so much history and we shot in some amazing locations. One that I won’t forget is Gharameel — this is a stunning desert reserve with beautiful natural stone pillars unlike anywhere else in the world. We were lucky to be the first film featuring this incredible site,” he said.

Last month, R3hab released two singles, each a collaborative effort.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by R3HAB (@r3hab)

On his track “Gozalo” with Deorro, he said: “It’s been 10 years since Deorro and I produced our hit ‘Flashlight.’ We thought it’s time to get in the studio together again and combine his Latin influence with my energetic vision.”

And on his more recent release, “All Night,” a collaboration with Sophie and the Giants, he praised the artist’s vocal talent and shed light on the track’s pop influences.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by R3HAB (@r3hab)

“Sophie’s voice stands out and I wanted to work with her on a record since I heard ‘Hypnotized.’ ‘All Night’ is a party anthem to keep us all dancing towards the end of the summer, it has a retro influence with a dance-pop touch.”

The second half of the year has been as busy as the first for the jet-setting producer with appearances at Dreambeach Festival (Spain), WKND Festival (Finland), Unseen Festival (Thailand), Smukfest (Denmark), Ministry of Sound (UK), Mysteryland (The Netherlands), EDC China and the Mega DJ Festival (South Korea).

“Touring can get very intense, so I take special care to recover, exercise and eat well on tour. The motivation is simple — the people. Connecting with the crowd every time I go on stage is a very rewarding feeling and my main drive,” he said.


London plays host to rousing ‘Marvels of Saudi Orchestra’ performance

London plays host to rousing ‘Marvels of Saudi Orchestra’ performance
Updated 29 September 2024
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London plays host to rousing ‘Marvels of Saudi Orchestra’ performance

London plays host to rousing ‘Marvels of Saudi Orchestra’ performance
  • With unique Saudi flair, the performers showcased a rich repertoire that intertwined Saudi and British musical traditions

LONDON: The Saudi National Orchestra and Choir, in partnership with the UK’s Royal Philharmonic Orchestra, delivered a rousing performance at London’s Central Hall Westminster on Saturday night as part of the “Marvels of Saudi Orchestra” concert tour.

With unique Saudi flair, the performers showcased a rich repertoire that intertwined Saudi and British musical traditions.

In his opening remark, the CEO of the Saudi Music Commission, Paul Pacifico, said: “The Kingdom of Saudi Arabia is in the midst of an unprecedented program of social, cultural and economic transformation under Vision 2030.

“Music has a very special role to play in that transformation,” he continued. “Music’s ability to develop skills and to provide platforms for cultural and artistic expressions, as well as routes to sustainable economic development and social mobility, is at the heart of our work in the Saudi Music Commission.”

He added: “Through this concert, we strive to present some of the most iconic Saudi songs to a global audience, while inspiring the audience back home, who can take pride in seeing this music performed on one of the great stages of the world for the first time.”

English mezzo-soprano Sarah Connolly also performed a song in Arabic — from the first-ever Saudi opera, “Zarqa Al-Yamama” — which had its world premiere in Riyadh this year.

Pacifico expressed hope that the event would promote cultural exchange and strengthen human connections, highlighting that “for that reason, coming to this venue is especially resonant.

“It was in this very room on the 10th of January, 1946, that the first meeting took place at the United Nations General Assembly,” He explained. “Then and now, our aim is to bring people from different cultures together to foster greater mutual understanding.”

The first segment of the two-hour concert boasted arrangements by the Saudi National Orchestra led by maestro Reaab Ahmed and accompanied by dance performances. The repertoire included iconic Saudi singer Mohammed Abdu’s “Ana Min Hal-Ard,” “Hna Talabna Allah,” “Ismahili Ya Al-Gharam,” and Adele’s hit “Rolling in the Deep” to name a few.

British maestro Benjamin Pope and Connolly of the Royal Philharmonic Orchestra performed the second part of the program. It featured “Crown Imperial,” “Pomp and Circumstance March No. 4,” “Zadok the Priest,” and a scene from the opera “Zarqa Al-Yamama.”

The evening concluded with a medley of Saudi tunes and Rashed Almajed’s hit “Ashiginak,” conducted by Hany Farahat.


REVIEW: ‘His Three Daughters’ is a gloriously bumpy ride

REVIEW: ‘His Three Daughters’ is a gloriously bumpy ride
Updated 28 September 2024
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REVIEW: ‘His Three Daughters’ is a gloriously bumpy ride

REVIEW: ‘His Three Daughters’ is a gloriously bumpy ride
  • Though it starts off on the pretentious side, this New York City-set drama comes good in the end

LONDON: Viewers beware: the first two thirds of Netflix’s “His Three Daughters” is a Very Serious Film full of Very Serious Acting from a trio of Very Gifted Actors.

This tense, claustrophobic family drama tells the story of Katie, Christina and Rachel — played by Carrie Coon, Elizabeth Olsen and Natasha Lyonne, respectively — who return to the family home to look after their ailing father during his last days, butting heads on everything from groceries to life choices.

And writer-director Azazel Jacobs wants us all to know just how Very Serious it all is — so he has his cast speak and move like very accomplished thespians straight out of a critically lauded stage play.

So we learn all about the three women and their relationships with each other, and their father, from wildly gesticulated one-sided phone conversations, impassioned exposition dumps, and spectacularly articulate jibes they launch at one another.

“His Three Daughters” is on Netflix. (Supplied)

But it is the last third of the movie, when the three women must deal with the inevitable, that this goes from being a Very Serious Film to an actually great one.

Coon, Olsen and Lyonne all lean into the slightly caricatured roles they have established thus far, and all of a sudden, “His Three Daughters” becomes a sweet, heartbreaking, bitterly acerbic and wonderfully nuanced examination of an ever-shifting family dynamic that is more layered and relatable than the first hour of runtime ever hinted at.

Coon and Olsen make for good extremist foils — they sit at differing ends of the sister spectrum, one serious and efficient, the other laidback and irritatingly holistic.

But it is Lyonne’s Rachel who really makes the final act sing, bursting with approachable spikiness and disarming wit, all while visibly trying to keep it together while her world falls apart.

Jacobs has opted to shoot the movie on film, in a real location, both of which give “His Three Daughters” a visceral, lived-in feel that only adds to that sense of claustrophobic, sinking dread that their father’s life is coming to an end.

Forgive this movie its overwrought first hour and settle in for a final act that is as good as anything else that has been released this year.