ОГЛЯД

For 31 years Macedonian-born Sasho Cirovski coach has instilled his passion for excellence into the University of Maryland’s soccer program. The result is success on and off the field. VOA’s Jane Bojadzievski reports. Camera, edit: Larz Lacoma
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During World War II, the basement of Seattle, Washington’s Panama Hotel was where local Japanese Americans stored their belongings before being incarcerated in camps. For the Panama’s current owner, preserving its dark history became her life’s work. Natasha Mozgovaya has the story. (Camera: Natasha Mozgovaya)
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Colombian artist Fernando Botero, who died in September, was known for his plump, colorful and playful portraits of all levels of society – from a Colombian seamstress to crime boss Pablo Escobar to the pope. His ashes will be buried in Italy, but before that his remains made a stop in his native city of Medellin. For VOA, Austin Landis reports from Medellin.
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After several quiet weeks in movie theaters, four films entered wide release over the weekend. “PAW Patrol: The Mighty Movie” came out the top dog, with $23 million in ticket sales, according to studio estimates Sunday.

The performances of all four films – “PAW Patrol: The Mighty Movie,” “Saw X,” “The Creator” and “Dumb Money” – told a familiar story at the box office. What worked? Horror and animated franchises. What didn’t? Originality and comedy.

“PAW Patrol,” from Paramount Pictures and Spin Master, had timing on its side. The film, a sequel to the 2021 “PAW Patrol” movie adapted from the Nickelodeon TV series, was the first family animated movie in theaters since “Teenage Mutant Ninja Turtles: Mutant Mayhem” was released in early August.

The first “PAW Patrol,” released during the pandemic, debuted with $13 million while simultaneously releasing on Paramount+, and its success in both arenas was a contributing factor in leading Nickelodeon chief Brian Robbins to be named head of Paramount. A third “PAW Patrol” movie has already been green-lit.

“Paw Patrol: The Mighty Movie,” which cost $30 million to make, added $23.1 million in overseas sales.

“Saw X,” the tenth release in the long-running horror series, managed to bounce back from a franchise low with an opening weekend of $18 million for Lionsgate. The previous “Saw” movie, 2021’s “Spiral,” starring Chris Rock, debuted with $8.8 million and totaled $23.3 million domestically.

But the 10th “Saw” doubled back on gore and brought back Tobin Bell as the serial killer Jigsaw. It came away with the franchise’s best opening weekend in more than a decade and strong audience scores.

The $13-million production was also the widest “Saw” release yet, playing in 3,262 theaters. Since James Wan’s 2004 original, the “Saw” franchise — the flagship series of so-called torture porn — has made more than $1 billion worldwide.

“The Creator,” an $80 million movie financed by New Regency and distributed by Disney’s 20th Century Studios, was easily the biggest film to launch in theaters over the weekend but struggled to catch on. It grossed a modest $14 million at 3,680 theaters while adding $18.3 million internationally.

The film, directed by Gareth Edwards, stars John David Washington as an undercover operative in an AI-dominated future. “The Creator” drew mostly positive reviews and a B+ CinemaScore from audiences.

Sony Pictures’ “Dumb Money,” expanded nationwide after two weeks of limited release but failed to ignite the kind of populist movement it irreverently dramatizes. The film, directed by Craig Gillespie, came away with a disappointing $3.5 million in 2,837 locations.

“Dumb Money,” starring an ensemble of Paul Dano, Pete Davidson, Seth Rogen, American Ferrera and Anthony Ramos, turns the GameStop stock frenzy into a ripped-from-the-headlines underdog tale of amateur traders rattling Wall Street. While all the weekend’s new releases were hampered by the ongoing SAG-AFTRA strike, “Dumb Money” would have especially benefitted from its cast hitting late-night shows and other promotions.

Made for $30 million, “Dumb Money” wasn’t a massive bet. But it represented the kind of movie – a mid-budget, acclaimed original mostly targeted at adults – that Hollywood seldom makes anymore. As the industry enters an awards season a year after many high-profile contenders (among them “Tár” and “The Fabelmans”) failed to catch on in theaters, the results for “Dumb Money” may be cautionary for films queuing up.

The weekend’s other notable success came from a four-decade-old concert film. The 4K restoration of the Talking Heads concert film “Stop Making Sense” made $1 million on 786 screens, and surely led all movies in the number of dancing moviegoers. The Jonathan Demme film has surpassed $3 million thus far. Indie distributor A24 promised it will “have audiences dancing in the aisles around the world for a very long time to come.”

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.

1. “PAW Patrol: The Mighty Movie,” $23 million.

2. “Saw X,” $18 million.

3. “The Creator,” $14 million.

4. “The Nun II,” $4.7 million.

5. “The Blind,” $4.1 million.

6. “A Haunting in Venice,” $3.8 million.

7. “Dumb Money,” $3.5 million.

8. “The Equalizer,” $2.7 million.

9. “Expend4bles,” $2.5 million.

10. “Barbie,” $1.4 million.
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Syrian writer and veteran government critic Khaled Khalifa has died of cardiac arrest at the age of 59 at his home in Damascus, a close friend told AFP.  

Khalifa, who hailed from Maryamin in northwestern Aleppo province, was celebrated for his novels, television screenplays and newspaper columns, and honored with several of the Arab world’s top literary awards.  

He “died in his home alone in Damascus” on Saturday, said journalist Yaroub Aleesa, who had spent time with the author during his final days. “We called him repeatedly and he didn’t respond. When we went to his home, we found him dead on the sofa.”  

Doctors at the Abbassiyyin Hospital in Damascus said the cause of death was a heart attack.  

Khalifa gained fame as a writer of several popular Syrian TV series in the early 1990s.  

He was known as a staunch opponent of the ruling Baath party and his columns criticizing the authorities.  

But despite his well-known stance, he chose to remain in the country after the 2011 civil war broke out with the repression of protests aimed at the government.  

“I am staying because this is my country,” he said in a 2019 interview. “I was born here, I live here, and I want to die here!”  

His 2006 novel In Praise of Hatred was shortlisted for the International Prize for Arab Fiction — often dubbed the Arab Booker prize — and was translated into six languages.  

The novel recounts the story of a young Syrian woman from Aleppo who escapes her sequestered life by joining a jihadi organization.

In 2013, his novel No Knives in the Kitchens of this City won the Naguib Mahfouz literature prize, Egypt’s top accolade for writers.

It focuses on the lives of Syrians under the rule of the Baath party headed by President Bashar al-Assad.

The writer’s death sparked a wave of condolences on social media from fellow writers and members of Syria’s exiled opposition.

“Goodbye, you kind man,” wrote Syrian writer and academic Salam Kawakibi.

Khalifa was expected to be buried later Sunday in Damascus, though details of the funeral had yet to be disclosed.
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In northern Chile, Teofila Challapa learned to weave surrounded by the hills and sandy roads of the Atacama Desert.

“Spin the threads, girl,” her grandmother told her a half a century ago.

Aymara women like Challapa, now 59, become acquainted with wool threads under blue skies and air so thin that outsiders struggle to breathe. While herding llamas and alpacas through scarce grasslands 11,500 feet above sea level, they create their first textiles.

“We had no clothes or money, so we needed to learn how to dress with our own hands,” said Challapa, sitting next to fluffy alpacas outside her humble home in Cariquima, a town with fewer than 500 inhabitants near the Chile-Bolivia border.

The knowledge of her craft passes on from one generation to another, securing Aymara families’ bond with their land.

Challapa prays before beginning her work: “Mother Earth, give me strength, because you’re the one who will produce, not me.”

Among the 3 million Aymaras who live along the borders of Chile, Perú and Bolivia, the Earth is known as “Pachamama.” Homages and rituals requesting her blessings are intertwined in everyday life.

“I believe in God, but the Earth provides us with everything,” Challapa said.

Pachamama offers Challapa inspiration for her textiles, connections to ancestors and her cultural identity. It provides means for survival, too.

“My animals are my mother,” Challapa said.

Her alpacas and llamas were a source of meat, wool and company during the tough years she spent raising her children as a single mother.

In the neighboring town of Colchane, Efrain Amaru and Maria Choque share their one-floor house with Pepe, an elegant white llama that flirts with visitors.

“To be an artisan, one must have the raw materials,” said Amaru, a 60-year-old descendant of Aymara craftsmen. His parents taught him how to raise camelids that produce the finest wool. “You have to communicate with your animals because they are part of you.”

Ahead of Pachamama Day, on August 1, the couple prepared a ritual honoring Mother Earth. Over a mantle they weaved for the occasion, they placed grains from their crops and pieces of wool — among other objects they are grateful for — and asked for prosperity.

“We make offerings hoping for good seeds and crops, welfare for our animals and rain,” Choque said. “Then we turn to the moon and the stars. Our grandparents told us that those are the souls of our ancestors, who look at us from above.”

Choque learned how to turn wool into thread when she was 6. Without toys to play with, Choque said, she and her peers spent their days watching their elders weave — a demonstration of the craft and how to live fulfilling lives.

Her grandmother was her first teacher. After giving her a sewing needle, she taught Choque how to produce socks and hats. Vests and ponchos came after that.

Once a young disciple masters sewing needles, she moves on to weaving on looms. A few years later, she’ll face her utmost challenge: weaving her own “aksu,” the Aymara’s most precious and traditional garment.

“My aksu is not a suit,” Choque said. “It’s a part of me. When I was little, I wore mine daily, until I had to wear a uniform for school.”

From wool production to fabric making, the entire textile-making process can take up to two years.

Aymara craftswomen shear their animals in October, when the weather is milder. Their llamas keep a few inches of wool to keep them warm and ready for the “floreo.” During this ancient ritual celebrated in February, Aymaras tie wool flowers and pompoms to their camelids identifying them as their property and thanking Pachamama for abundance.

Once the wool is collected and clean, craftswomen manipulate it with the tip of their fingers and pull threads out of it, creating skeins that are mounted on their looms for weaving.

Through the income they made from the sale of their textiles, Aymara women like Challapa and Choque could afford to send their children off to school.

“I thank God because I always told myself: I don’t want them to be like me,” said Marcelina Choque (no relation to Maria), another craftswoman who lives in the town of Pozo Almonte. “This is my only profession. If I don’t sell, I have nothing.”

Progress, though, is bittersweet. “I taught my daughters how to weave just like me, but now that they have other jobs, they don’t weave anymore,” Marcelina Choque said.

Because so many young people move away from their hometowns for study and work, several craftswomen agree their legacy might be in danger. Although they passed on their knowledge to their descendants, there are currently only a handful of young Aymara women who know how to use a loom.

“In rural areas, there is a significant migration of young people, and the population is aging,” said Luis Pizarro, who works at the Agricultural Development Institute of Chile. “Their grandparents are the ones who remain in the territories, so their cultural roots are severed.”

The institute supports rural development for Chilean communities linked to the Aymara culture, according to Pizarro. The goal is to boost camelid farming and craft sales through fairs, an online presence and special events.

On a recent weekend, the institute held a fashion show inside a city shopping center in Iquique, where Teofila Challapa, Maria Choque and other women sold textiles and their daughters modeled their work.

“We try to get daughters and granddaughters of artisans involved in their cultural inheritance,” Pizarro said.

Nayareth Challapa (no relation to Teofila) speaks proudly about her mother, Maria Aranibar, who taught her how to pick the perfect weeds to dye wool.

“The colors of our textiles are related to nature: the earth, the sky, the hills. The land is sacred for us,” the 25-year old said. The work reflects craftswomen’s moods and “the rheas, llamas, flowers and mountains she wants to keep present.”

She, too, moved to a city to attend university, but home is never far from her heart.

“When migrating, many forget their ethnicity and leave their roots behind,” Challapa said. “But my family tries to avoid that. We herd the llamas and raise crops to preserve what my grandfather taught us. If we were to lose that, we would lose him as well.”
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