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ur mission includes connecting filmmakers with the industry so we are grateful to our jurists for lending their time and expertise. Audience awards are presented to Best Fiction Feature Film, Best Documentary Feature Film, Best Short Film and Best Web Series. The U. . Fiction Award went to Takeshi Fukunaga for Out of My Hand,which made its North American Premiere at the Festival. The World Fiction Award went to Beata G? deler for Flocken, which made its North American Premiere at the Festival. The Documentary Award went to Mo-Young Jin for My Love, Don? Cross That River,which made its North American Premiere at the Festival. The inaugural Nightfall Award went to Viet Nguyen for Crush the Skull, which had its World Premiere at the Festival. Also newly established this year, the Zeitgeist Award was given to Bradley Kaplan for Stealing Cars,which also had its World Premiere at the Festival. The Audience Award for Best Fiction Feature Film went to POCHA (Manifest Destiny), directed by Michael Dwyer and co-directed by Kaitlin McLaughlin. The Audience Award for Best Documentary Feature Film was a tie, and was given to two films: I Am Thalente, directed by Natalie Johns and Be Here Now, directed by Lilibet Foster. The Award for Best Short Fiction went to Drama, directed by Tian Guan. he Award for Best Short Documentary went to Dolphin Lover, directed by Kareem Tabsch. The Audience Award for Best Short Film went to In Her Place, directed by Kevin Hamedani. The Audience Award for Best Web Series went to The Genderton Project, directed by Anna Martemucci and Victor Quinaz. A number of Special Awards were also given across categories. The Documentary jury awarded a special mention to The Babushkas of Chernobyl, directed by Holly Morris and Anne Bogart. The World Fiction jury awarded special mentions to White Moss, directed by Vladimir Tumaev, and Ayanda and the Mechanic, directed by Sara Blecher.

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Floki tells Ragnar that Aslaug slept with Harbard, and that Harbard is another name for Odin Ragnar does not believe that. Rollo reveals that Athelstan no longer wears his arm band. Ragnar carries Athelstan's body up the side of the mountain for burial, devastated. Ragnar's Viking fleet, also reinforced by the earl Siegfried arrive in Francia. Ragnar shocks the vikings when he decides to leave Floki in charge of the attack. Lagertha, Kalf and Erlendur lead an attack on the city gate meanwhile, Floki, Ragnar, Bjorn and Rollo try to breach the walls from boats on the river. Princess Gisla manages to restore faith in the Frank troops by revealing the Oriflamme. Eventually the defense holds, repelling the Vikings. Ragnar manages to see the city of Paris for a moment but is thrown from the walls he then finds Bjorn badly wounded. With the Vikings still recovering, Ragnar orders another attack. Led by Rollo, Lagertha, and Kalf, they manage to pass the bridge, but they are once again pushed back. Trying to restore his leadership, he secretly meets the Franks; although offered gold and silver, Ragnar doesn't accept. Knowing his end is drawing near, he asks to be baptized, and to be buried inside the city. The Franks pay gold and silver to the Vikings, but they show no sign of leaving. The warriors place Ragnar into a wooden coffin and escort it to the gates of Paris, where they meet the Bishop. The coffin is brought inside the Cathedral to be blessed, but Ragnar suddenly jumps out of the coffin alive. He takes Princess Gisla as a hostage and forces the guards to open the gates, allowing the Vikings to enter the city. Most of the Vikings then set sail for home, but a small party, led by Rollo, remain. While sailing home Ragnar tells Floki that he knows he is Athelstan's killer. The real reason for him wanting to attack Paris is because he wants to kill his brother Rollo, who has betrayed everyone by turning to the Franks.


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Hooper 9 Stealing Candy from a Baby Although we now employ analytical tools that exceed the wildest dreams of our predecessors, it behooves us to remember the simple joys of bygone days. Let us consider, for example, stealing candy from a baby. The intent of this per? ious pastorale is not to indulge nostalgia for a simpler era, but to observe the powerful asymmetry we can so gainfully employ. To steal candy from a baby is proverbially easy, yet the theft does not merely please the thief and dismay the child; parents, siblings, bystanders, the owners of the candy shop, the paramedics summoned when indoor parkour practice goes awry, all share and multiply our iniquitous impact. Efforts to foil our scheme are disproportionately dif? ult: for example, handing out free lollipops to passing infants is unlikely to exert an equal effect. Not only do the asymmetric effects of villainy bene? from network, but our villainy itself bene? s the platform. On the internet, wronged innocents wail online, and their cries attract clicks (which improve the platform’s stock valuation) and viewers (to whom advertising may be displayed). Virtuous peacemakers, in contrast, diminish platform pro? s. Analyzing the crowds gathered at these events may yield useful leads for staf? g malevolent enterprises. Conventional global villainy once entailed a costly array of mad scientists and renegade warlords. These indispensible personnel were dif? ult to manage. Much recruitment and support can now be automated; indeed, minions often appear at our crime scenes and volunteer for service. Nor should we neglect the former costs of maintaining entire districts to serve as vile dens and wretched hives of scum and villainy.


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The making-of documentary, in which you get to see just how much emphasis Coppola put on the costumes, is r ecommended as well. But the down side to excelling in the technical departments is that it shows up the film’s less convincing elements, notably poor Keanu Reeves and a script that veers very close to silly. The deafening silence where we might expect a chorus of “deserves a second look” or “more to it than its reputation suggests” is no doubt the result of several factors, but it may be mostly that even amongst the rogues gallery of the director’s less shiny moments, “Jack” takes the wooden spoon —it’s not even an interesting failure the way other Coppola wrong turns almost invariably are. Indeed, the literalizing of the manchild concept was presumably what attracted Coppola, giving him the opportunity (along with writers James DeMonaco and Gary Nadeau ) to investigate issues of aging and mortality that are obviously recurring concerns for the filmmaker, especially from this period of his career onward. But it’s depressing just how little he does with them, preferring to fall back into a bafflingly anonymous, thuddingly unsubtle family-friendly mode that sits at uncomfortable odds with the story’s darker implications. The ooginess of the sexuality issue is skated over awkwardly, not least by the film skipping forward in time by seven years in just one of its examples of narrative dishonesty, and Coppola seems to actively shy away from anything provocative or insightful (though watching it right now does yield an added frisson of discomfort with Bill Cosby’ s presence as Jack’s wise, avuncular, similarly kid-at-heart tutor). Based on a novel by courtroom drama maestro John Grisham, who was on an absolute tear in the mid 90s with seven adaptations of his works coming out between ’93 and ’98, this is way more mellow than memory serves, to the point of sluggishness. Artistically speaking, Coppola was apparently already all but spent at this stage in the game, and the evidence is right here; everything about this picture just looks plain, ordinary and again anonymous. Without a trace of the audacious character that we’d last seen breathing at least some splendid visual life into “Bram Stoker’s Dracula” (unless you count the film’s titles), this feels more like an assignment than an inspired project. The sense of Coppola treading water trying to maintain his own interest, let alone ours, is inescapable. Matt Damon plays a young zealous lawyer who is determined to bring down a corrupt insurance company while juggling a million other things like studying for the bar exam for half the film, dealing with Danny Devito ’s obnoxious ambulance-chasing partner, or falling for Claire Danes ’ abused wife. There’s a bit too much melodrama going on, and not enough intense courtroom moments comparable to the likes of other Grisham adaptations like “ A Time To Kill. But then, Grisham himself thinks it’s the best film adaptation out of all the others, so maybe the issue is that Coppola stuck too closely to the source material here, which lacks the kind of meat and potential for cinema fireworks worthy of Coppola’s talents. Garnering some of the snarkiest reviews of his career, maybe because of the urge to tear into a fallen idol who dared to turn in something this unabashedly self-indulgent and opaque, “ Youth Without Youth ” was Coppola’s attempt to get back to an earlier ideal of making smaller, more personal films, and yet it is weighted down at every point with the heavy, portentous and occasionally downright confusing impulses of an old man, fearing death and leaving an incomplete legacy. It certainly doesn’t work entirely, and it is without doubt almost shamefully self-absorbed, yet it is also occasionally fascinating and in its sorrowful, yearning moments has more real feeling than Coppola had managed for decades. And there’s often an exuberance to the filmmaking and a daring willingness to be as esoteric and weird as the story demands, which in the context of his filmography is certainly a refreshing if divisive move on from the bland look and feel of his last two features. Not enough can be said though for the brilliant casting of Vincent Gallo in the titular role, the older brother to Alden Ehrenreich ’s Bennie (also quite good). Gallo is an acquired taste, but can anyone argue he has on-camera presence to burn. His slithery, motor-mouthed aggression, wiry frame, and atypical good looks are perfectly in sync with Coppola’s intentions here and coupled with the slick and luscious visual treatment, which switches abruptly to color for some flashbacks and the odd surreal Powell and Pressburger -style ballet sequence, helps make “Tetro” Coppola’s best, most complete work in his twilight period. And perhaps we were also by this stage learning a little what to expect from the ageing filmmaker, or at least what not to: with “Tetro,” Coppola makes the persuasive case that he is not creatively exhausted, but if he has another masterpiece in him, it will not look anything like “The Godfather” and we should all stop holding even him to the impossible standard of his younger self.


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