Category: Новини

CANNES, France — While Donald Trump’s hush money trial entered its sixth week in New York, an origin story for the Republican presidential candidate premiered at the Cannes Film Festival on Monday, unveiling a scathing portrait of the former president in the 1980s. 

“The Apprentice,” directed by the Iranian Danish filmmaker Ali Abbasi, stars Sebastian Stan as Trump. The central relationship of the movie is between Trump and Roy Cohn (Jeremy Strong), the defense attorney who was chief counsel to Joseph McCarthy’s 1950s Senate investigations. 

Cohn is depicted as a longtime mentor to Trump, coaching him in the ruthlessness of New York City politics and business. Early on, Cohn aided the Trump Organization when it was being sued by the federal government for racial discrimination in housing. 

“The Apprentice,” which is labeled as inspired by true events, portrays Trump’s dealings with Cohn as a Faustian bargain that guided his rise as a businessman and, later, as a politician. Stan’s Trump is initially a more naive real-estate striver, soon transformed by Cohn’s education. 

The film notably contains a scene depicting Trump raping his wife, Ivana Trump (played by Maria Bakalova). In Ivana Trump’s 1990 divorce deposition, she stated that Trump raped her. Trump denied the allegation and Ivana Trump later said she didn’t mean it literally, but rather that she had felt violated. 

That scene and others make “The Apprentice” a potentially explosive big-screen drama in the midst of the U.S. presidential election. The film is for sale in Cannes, so it doesn’t yet have a release date. 

Variety on Monday reported alleged behind-the-scenes drama surrounding “The Apprentice.” Citing anonymous sources, the trade publication reported that billionaire Dan Snyder, the former owner of the Washington Commanders and an investor in “The Apprentice,” has pressured the filmmakers to edit the film over its portrayal of Trump. Snyder previously donated to Trump’s presidential campaign. 

Neither representatives for the film nor Snyder could immediately be reached for comment. 

In the press notes for the film, Abbasi, whose previous film “Holy Spider” depicts a female journalist investigating a serial killer in Iran, said he didn’t set out to make “a History Channel episode.” 

“This is not a biopic of Donald Trump,” said Abbasi. “We’re not interested in every detail of his life going from A to Z. We’re interested in telling a very specific story through his relationship with Roy and Roy’s relationship with him.” 

Regardless of its political impact, “The Apprentice” is likely to be much discussed as a potential awards contender. The film, shot in a gritty 1980’s aesthetic, returns Strong to a New York landscape of money and power a year following the conclusion of HBO’s “Succession.” Strong, who’s currently performing on Broadway in “An Enemy of the People,” didn’t attend the Cannes premiere Monday. 

“The Apprentice” is playing in competition in Cannes, making it eligible for the festival’s top award, the Palme d’Or. At Cannes, filmmakers and casts hold press conferences the day after a movie’s premiere. “The Apprentice” press conference will be Tuesday.
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Cannes, France — Filmmakers Nada Riyadh and Ayman El Amir spent so much time following an all-girl theatre troupe in a remote Egyptian village that at one point someone tried to sell them a house.

“He thought we were always there so we might as well live there,” Riyadh told AFP after the premiere of their documentary at the Cannes Film Festival.

“The Brink of Dreams” follows a group of teenage girls in rural southern Egypt over four years, between rehearsals, as they navigate the tough decisions that will determine their adulthood.

Majda dreams of studying theatre in Cairo, Monika wants to become a famous singer and Haidi is being pursued by the hottest guy in the village.

In their feminist street performances, they boldly rail against the patriarchy, challenging members of the crowd on issues such as self-fulfillment and early marriage.

But soon life takes over and the teenagers from Egypt’s Coptic Christian minority find themselves confronted with these concepts for real.

The camera discreetly captures conversations in the family shop, between a father and daughter, or two lovers, as neighbors and animals go about their daily lives.

“In the beginning there was a lot of people always looking at the camera. Everybody was self-conscious,” said Riyadh.

But “once the trust had been built between them and us, we had that chance to blend in.”

Riyadh said the documentary, which is screening in a sidebar section of the festival, was driven by her and co-director Amin discovering the troupe in 2017.

The film “is intentionally feminist in every way but I think it was also dictated by what this inspiring group of women was already doing,” she said.

It’s “mind-blowing because they’re demanding answers about very important things and opening a dialogue with everybody in their community.”

Co-director Amin said the main challenge was editing down 100 hours of footage to tell this coming-of-age tale and convey a seldom seen side of Egypt.

“Most mainstream films in Egypt tell stories about living in gated compounds and shopping in malls,” Amin said.

“It’s very rare to see stories that take place in the south outside of Cairo or Alexandria and see girls like those girls on screen.”

The documentary has a French distributor, but the filmmakers also hope to show the film widely in Egypt, including in the rural south.

Until then, six of the actors in the film got to attend the Cannes premiere, after a last-minute rush to get them their first passports and visas on time.

Monika, the aspiring singer, has two children now. But on the red carpet, the DJ played the catchy song that she made with a popular Egyptian producer called Molotof for the film’s final credits.
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Anaheim, California — Disneyland performers who help bring Mickey Mouse, Cinderella and other beloved characters to life at the Southern California resort chose to unionize following a three-day vote culminating Saturday.

The Actors’ Equity Association labor union said in a statement Saturday that cast members for the parades and characters departments at Disney’s theme parks near Los Angeles voted by a wide margin for the union to become the bargaining agent for the group of roughly 1,700 workers.

An association website tracking the balloting among cast members indicated passage by 78.7% (953 votes) in favor and 21.3% (258 votes) opposed.

“They say that Disneyland is ‘the place where dreams come true,’ and for the Disney Cast Members who have worked to organize a union, their dream came true today,” Actors’ Equity Association President Kate Shindle said in a statement Saturday night.

Shindle called the workers the “front lines” of the Disneyland guest experience. The association and cast members will discuss improvements to health and safety, wages, benefits, working conditions and job security before meeting with Walt Disney Company representatives about negotiating the staff priorities into a contract, she said.

The union already represents theatrical performers at Disney’s Florida parks.

Barring any election challenges, the regional director of the National Labor Relations Board will certify the results within a week, the association said.

The NLRB did not immediately respond to an email from The Associated Press seeking confirmation or additional information about the vote.

The election took place on Wednesday, Thursday and Saturday in Anaheim, California, after workers earlier this year filed cards to form the unit called “Magic United.”

Parade and character workers who promoted unionizing said they love helping to create a magical experience at Disneyland but grew concerned when they were asked to resume hugging visitors after returning to work during the coronavirus pandemic. They said they also suffer injuries from complex costumes and erratic schedules.

Most of the more than 35,000 workers at the Disneyland Resort, including cleaning crews, pyrotechnic specialists and security staff, are already in labor unions. The resort includes Disneyland, the Walt Disney Co.’s oldest theme park, Disney California Adventure and the shopping and entertainment district Downtown Disney in Anaheim.

In recent years, Disney has faced allegations of not paying its Southern California workers, who face exorbitant housing costs and often commute long distances or cram into small homes, a livable wage. Parade performers and character actors earn a base pay of $24.15 an hour, up from $20 before January, with premiums for different roles.

Union membership has been on a decadeslong decline in the United States, but organizations have seen growing public support in recent years during high-profile contract negotiations involving Hollywood studios and Las Vegas hotels. The NLRB, which protects workers’ right to organize, reported more than 2,500 filings for union representation during the 2023 fiscal year, which was the highest number in eight years.

The effort to organize character and parade performers in California came more than 40 years after those who play Mickey, Goofy and Donald Duck in Florida were organized by the International Brotherhood of Teamsters, a union traditionally known to represent transportation workers.

At that time, the Florida performers complained about filthy costumes and abuse from guests, including children who would kick the shins of Disney villains such as Captain Hook.
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RIO DE JANEIRO — A 20-minute drive separates the historic Maracana Stadium from the Complexo do Alemao, the biggest complex of favelas in Rio de Janeiro and one of the most impoverished and violent.

One of its residents, 15-year-old football player Kaylane Alves dos Santos, hopes her powerful shots and impressive dribbles will allow her to cover that short distance to the stadium in three years to play for Brazil’s national team in the final of the 2027 Women’s World Cup.

That chance, once remote, became more realistic Friday when FIFA members voted to make Brazil the first Latin American country to host the Women’s World Cup.

Local organizers have suggested that both the opening match and the final are likely to be played at the 78,000-seat Maracana Stadium that staged the final matches of the 1950 and the 2014 men’s football World Cups.

Teenager dos Santos knows the hurdles for her to ever play for Brazil remain enormous — in 2027 or later. She doesn’t have a professional club to play for, she only trains twice a week, and her nutrition is not the best due to limited food choices in the favela.

Most importantly, she often can’t leave home to play when police and drug dealers shoot at each other in Complexo do Alemao.

Still, she is excited and hopeful about Brazil hosting the Women’s World Cup, resulting in a big boost to her confidence.

“We have a dream (of playing for Brazil in the Women’s World Cup), and if we have that chance it will be the best thing in the world,” dos Santos told The Associated Press this week after a training session in the Complexo do Alemao.

She and about 70 other young women in the Bola de Ouro project train on an artificial grass pitch in a safe region of the 3-square kilometers long community.

If not on the pitch, Dos Santos and her teammates will be happy enough just to attend games of a tournament they could only dream of watching up close until FIFA members voted for Brazil over the Germany-Netherlands-Belgium joint bid. The Women’s World Cup was played for the first time in 1991 and will have its 10th edition in 2027.

A five-time champion in men’s football, more than any other country, Brazil has yet to win its first Women’s World Cup trophy. By then, it is unlikely superstar Marta, aged 38, will be in the roster. Dos Santos and thousands of young female footballers who have overcome sexism to take up the sport are keen to get inspiration from the six-time FIFA player of the year award winner and write their own history on home soil.

As many female footballers experience in Brazil, dos Santos and her teenage teammates rarely play without boys on their teams. Until recently, they also had to share the pitch with 5-year-old girls, which didn’t allow the older players to train as hard as they would like.

“(The Women’s World Cup in Brazil) makes us focus even more in trying to get better. We need to be able to play in this,” said 16-year-old Kamilly Alves dos Santos, Kaylane’s sister and also a player on the team. “We need to keep training, sharing our things.”

Their team, which has already faced academy sides of big local clubs like Botafogo, is trained by two city activists who once tried to become players themselves.

Diogo Chaves, 38, and Webert Machado, 37, work hard to get some of their players to the Women’s World Cup in Brazil, but if that’s not possible they will be happy by keeping them in school.

Their nonprofit group is funded solely by donations.

“At first, basically, the children wanted to eat. But now we have all of this,” said Chaves, adding that the project began three years ago. “We believe they can get to the national team. But our biggest challenge is opportunity. There’s little for children from here, not only for the girls.”

Machado said the two coaches “are not here to fool anyone” and do not believe all the young women they train will become professionals.

“What we want from them is for they to be honest people, we all need to have our character,” Machado said. “We want to play and make them become nurses, doctors, firefighters, some profession in the future.”

The two dos Santos sisters, as do many of their teammates, believe that reaching the Women’s World Cup as Complexo do Alemao residents is possible. Brazil has more than 100 professional women’s football teams, with other players living in favelas, too.

But it won’t be easy.

“Sometimes I have to cancel appointments because of shootings, because there’s barricades on fire,” she said. “Sometimes police tell us to go back home, they say we can’t come down and point their guns to me, to my mother,” said Kamilly.

Her sister hopes the pair will overcome the violence, against the odds.

“I want to earn my living in football, fulfill all dreams,” Kaylane says. “And I want to leave the Complexo do Alemao. I want to make it happen.” 
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DJENNE, Mali — Kola Bah used to earn a living as a tour guide in Mali’s historic city of Djenné, once a center of Islamic learning known for the sprawling mud-brick mosque that has been on the UNESCO World Heritage in Danger list since 2016.

The Grand Mosque of Djenné — the world’s largest mud-brick building — used to draw tens of thousands of tourists to central Mali every year. Now it’s threatened by conflict between jihadi rebels, government forces and other groups.

Bah says his income was enough to support his family, which now numbers nine children, and to pay for a small herd of cattle. But these days, few visitors come to the city, and he has been largely out of work. When he needs cash, he sells some of his cattle.

Speaking to The Associated Press outside his home in Djenné’s old town, Bah said locals believed the crisis would come to an end eventually, and that business would pick up as before.

“But the more time passed, the more this dream proved illusory,” he said. “Things are really difficult now.”

Djenné is one of the oldest towns in sub-Saharan Africa and served as a market center and an important link in the trans-Saharan gold trade. Almost 2,000 of its traditional houses still survive in the old town.

The Grand Mosque, built in 1907 on the site of an older mosque dating back to the 13th century, is re-plastered every year by local residents in a ritual that brings together the entire city. The towering, earth-colored structure requires a new layer of mud before the rainy season starts, or it would fall into disrepair.

Women are responsible for carrying water from the nearby river to mix with clay and rice hulls to make the mud used to plaster the mosque. Adding the new layer of mud is a job reserved for men. The joyful ritual is a source of pride for a city that has fallen on hard times, uniting people of all ages.

Bamouyi Trao Traoré, one of Djenné’s lead masons, says they work as a team from the very start. This year’s replastering took place earlier this month.

“Each one of us goes to a certain spot to supervise,” he said. “This is how we do it until the whole thing is done. We organize ourselves, we supervise the younger ones.”

Mali’s conflict erupted following a coup in 2012 that created a power vacuum, allowing jihadi groups to seize control of key northern cities. A French-led military operation pushed them out of the urban centers the following year, but the success was short-lived.

The jihadis regrouped and launched relentless attacks on the Malian military, as well as the United Nations, French and regional forces in the country. The militants proclaimed allegiance to al-Qaida and the Islamic State group.

Sidi Keita, the director of Mali’s national tourism agency in the capital of Bamako, says the drop in tourism was sharp following the violence.

“It was really a popular destination,” he said, describing tens of thousands of visitors a year and adding that today, tourists are “virtually absent from Mali.”

Despite being one of Africa’s top gold producers, Mali ranks among the least developed nations in the world, with almost half of its 22 million people living below the national poverty line. With the tourism industry all but gone, there are ever fewer means for Malians to make a living.

Anger and frustration over what many Malians call “the crisis” is rising. The country also saw two more coups since 2020, during a wave of political instability in West and Central Africa.

Col. Assimi Goita, who took charge in Mali after a second coup in 2021, expelled French forces the following year, and turned to Russia’s mercenary units for security assistance. He also ordered the U.N. to ended its 10-year peacekeeping mission in Mali the following year.

Goita has promised to beat back the armed groups, but the U.N. and other analysts say the government is rapidly losing ground to militants. With Mali’s dire economic situation getting worse, Goita’s ruling junta ordered all political activities to stop last month, and the following day barred the media from reporting on political activities.

Moussa Moriba Diakité, head of Djenne’s cultural mission which strives to preserve the city’s heritage, said there are other challenges beyond security — including illegal excavations and trash disposal in the city.

The mission is trying to promote the message that security isn’t as bad is it seems, he said, and also get more young people involved in the replastering ritual, to help the new generation recognize its importance.

“It’s not easy to get people to understand the benefits of preserving cultural heritage right away,” he said. 
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London — Film director Mohammad Rasoulof made an “exhausting and extremely dangerous” walk across a mountainous borderland to avoid being jailed in Iran on national security charges, he told The Guardian newspaper. 

Rasoulof said Monday he had fled Iran after a court sentenced him to eight years in jail, of which five were due to be served, over his new film “The Seed of the Sacred Fig.” 

The leading Iranian filmmaker, often a target of the country’s authorities, told The Guardian in an interview published Friday that he had found shelter in Germany and was hopeful he could attend the film’s Cannes premiere next week. 

The film tells the story of a judge’s struggles amid political unrest in Tehran. 

Rasoulof told the U.K. newspaper that he had “no choice” but to leave, although he expects to return home “quite soon.” 

“My mission is to be able to convey the narratives of what is going on in Iran and the situation in which we are stuck as Iranians,” said Rasoulof. 

“This is something that I cannot do in prison. 

“I have in mind the idea that I’ll be back quite soon, but I think that’s the case of all the Iranians who have left the country,” he said. 

Rasoulof has already served two terms in Iranian jails over previous films and had his passport withdrawn in 2017. 

Having decided to leave, Rasoulof told the newspaper he cut all communications via mobile phones and computers and made his way by foot on a secret route to a border crossing.  

“It was a several-hour long, exhausting and extremely dangerous walk that I had to do with a guide,” he said. 

After staying in a safe house, he contacted German authorities who provided him with papers that enabled him to travel to Europe. 
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