Nairobi, Kenya — Being the preferred choice of footwear for many, flip-flops – typically made of plastic or rubber – break easily and often aren’t disposed of properly. Therefore, millions of them end up in oceans, waterways, dumpsites, and landfills all over the world. 

Ocean Sole, a Kenya-based company, has found creative and functional ways to reuse the hundreds of thousands of discarded flip-flops that arrive regularly at their warehouse located in Karen, about 45 minutes from Nairobi’s city center.

Joe Mwakiremba has been working for the company for about 10 years. He says the company was “founded on the premise of cleaning our ocean and waterways [while] at the same time employing lots of artists from high-impact communities in Kenya.” 

He told VOA that flip-flops are generally collected from weekly beach cleanups and other places.  

At Ocean Sole, they usually weigh the material and pay collectors about 18 cents per kilogram. Then, to prepare them for carving, they are first hand-washed, one flip-flop at a time.

“The next stage for our smaller and medium-size sculptures, we have a die cut machine that would punch out a template of a giraffe, a lion or a rhino. Those templates are joined together with glue and carved out into that respective animal,” he notes. 

For life-size pieces, the company reuses an additional material. 

“The big piece like this couch I am sitting on, the inside of it is polystyrene. Polystyrene comes from shipping companies; they use it as insulation. When it’s worn out, they toss it away, so we carve out our big-size sculpture like the giraffe behind me using that material and pad it using the flip flops around it,” he expressed.

Using a machine, the pieces are then sanded before being cleaned again and readied for shipment. 

In 2023, the company said it recycled 750,000 flip-flops. This year it aims to recycle one million. 

Florence Auma is an artist who has been working for the company for 14 years. Auma told VOA she had to learn the art of carving from scratch. 

“I came into this company, washing flip-flops. I started with washing, then I started with blocking, then I am the first female carver in this company. Now, I am happy because I have many skills in this company,” she says.

Skills, she says, that have allowed her to be able to carve just about anything — like coasters — and to travel the world to showcase her talent. 

Mwakiremba told us one of the largest pieces the company made was a life-size car for a Honda dealership in the United States. They spent three months on the project, using 2,500 flip flops.

Ocean Sole is now collaborating with a design artist from Uganda who now lives in Finland and founded a studio there, in one of their biggest projects to date.

It’s a project they had planned to work on together in 2019 but had to pause due to the COVID-19 pandemic.

Lincoln Kayiwa – who has used material such as ceramic, granite, wood, and glass — has decided to try something new with flip flops. 

He recently traveled to Kenya to finalize a furniture project to be launched in April during Milan Design Week — Salone del Mobile — in Italy. 

To cook up this kind of project, Kayima told us he wanted to combine different elements, including a unique design concept with a meaningful product combined with his Ugandan and Finnish cultures — and that of Kenyans at Ocean Sole.

“The project itself has 14 pieces; you are just seeing three of them … of course it’s a win-win situation; the more flip-flops are used, that means the more flip-flops are being taken out of the environment. For me that’s the meaning of sustainability,” the Alvar Aalto University graduate said.
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NEW YORK — After a tumultuous movie year marred by strikes and work stoppages, the Academy Awards showered nominations Tuesday on Christopher Nolan’s blockbuster biopic, “Oppenheimer,” which came away with a leading 13 nominations.

Nolan’s three-hour opus, viewed as the best picture frontrunner, received nods for best picture; Nolan’s direction; acting nominations for Cillian Murphy, Robert Downey Jr. and Emily Blunt; and multiple honors for the craft of the J. Robert Oppenheimer drama.

But the year’s biggest hit, “Barbie,” came away with a nominations haul notably less than its partner in Barbenheimer mania. Greta Gerwig’s feminist comedy, with more than $1.4 billion in ticket sales, was nominated for eight awards, including best picture; Ryan Gosling for best supporting actor; and two best-song candidates in “What Was I Made For” and “I’m Just Ken.”

But Gerwig was surprisingly left out of the best director field. Gerwig was nominated for best director in 2018 for her solo directorial debut, “Lady Bird.” At the time, she was just the fifth woman nominated for the award. Since then, Chloé Zhao (“Nomadland”) and Jane Campion (“The Power of the Dog”) have won best director. Before those wins, Kathryn Bigelow (“The Hurt Locker,” in 2010) was the only woman to win the Oscar’s top filmmaking honor.

Both Martin Scorsese’s Osage epic “Killers of the Flower Moon” and Yorgos Lanthimos’ Frankenstein riff “Poor Things” were also widely celebrated. “Poor Things” landed 11 nods, while “Killers of the Moon” was nominated for 10 Oscars.

Lily Gladstone, star of “Killers of the Flower Moon,” became the first Native American nominated for best actress. For the 10th time, Scorsese was nominated for best director. Leonardo DiCaprio, though, was left out of best actor.

The 10 films nominated for best picture were: “Oppenheimer,” “Barbie,” “Poor Things,” “Killers of the Flower Moon,” “The Holdovers,” “Maestro,” “American Fiction,” “Past Lives,” “Anatomy of a Fall” and “The Zone of Interest.”

Lead nominees “Oppenheimer,” “Barbie,” “Poor Things” and “Killers of the Flower Moon” made for a maximalist quartet of Oscar heavyweights. Nolan’s sprawling biopic. Gerwig’s near-musical. Scorsese’s pitch-black Western. Lanthimos’ sumptuously designed fantasy. Each utilized a wide spectrum of cinematic tools to tell big, often disturbing big-screen stories. And each — even Apple’s biggest-budgeted movie yet, “Killers of the Flower Moon” — had robust theatrical releases that saved streaming for months later.

The Associated Press notched its first Oscar nomination in the news organization’s 178-year history with “20 Days in Mariupol,” Mstyslav Chernov’s harrowing chronicle of the besieged Ukrainian city and of the last international journalists left there after the Russia invasion. It was nominated for best documentary, along with “Four Daughters,” “Bobi Wine: The People’s President,” “The Eternal Memory” and “To Kill a Tiger.”

“20 Days” is a joint production between The Associated Press and PBS’ “Frontline.”

The nominees for best international film are: “Society of the Snow,” (Spain); “The Zone of Interest,” (United Kingdom); “The Teachers’ Lounge” (Germany); “Io Capitano” (Italy) ; “Perfect Days” (Japan).

The nominees for best animated film are: “The Boy and the Heron”; “Elemental”; “Nimona”; “Robot Dreams”; “Spider-Man: Across the Spider-Verse.”

Oscar season has reunited “Oppenheimer” with its summer box-office partner, “Barbie.”

Historically, blockbusters have helped fueled Oscar ratings. Though the pile-up of award shows (an after-effect of last year’s strikes ) could be detrimental to the Academy Awards, the Barbenheimer presence could help lift the March 10 telecast on ABC. Jimmy Kimmel is returning as host, with the ceremony moved up an hour, to 7 p.m. Eastern.
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Being the preferred choice of footwear for many, flip-flops — typically made of plastic or rubber — break easily and don’t get disposed of properly. Millions of them, therefore, end up in oceans, waterways, dumpsites and landfills all over the world. A Kenya-based company has found creative and functional ways to reuse them. VOA Nairobi Bureau Chief Mariama Diallo visited their warehouse located in Karen, about 45 minutes from the city center, and has this report. Camera: Amos Wangua
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NEW YORK — Norman Jewison, the acclaimed and versatile Canadian-born director whose Hollywood films ranged from Doris Day comedies and “Moonstruck” to social dramas such as the Oscar-winning “In the Heat of the Night,” has died at age 97. 

Jewison, a three-time Oscar nominee who in 1999 received an Academy Award for lifetime achievement, died “peacefully” Saturday, according to publicist Jeff Sanderson. Additional details were not immediately available. 

Throughout his long career, Jewison combined light entertainment with topical films that appealed to him on a deeply personal level. As Jewison was ending his military service in the Canadian navy during World War II, he hitchhiked through the American South and had a close-up view of Jim Crow segregation. In his autobiography “This Terrible Business Has Been Good to Me,” he noted that racism and injustice became his most common themes. 

“Every time a film deals with racism, many Americans feel uncomfortable,” he wrote. “Yet it has to be confronted. We have to deal with prejudice and injustice or we will never understand what is good and evil, right and wrong; we need to feel how ‘the other’ feels.” 

He drew upon his experiences for 1967’s “In the Heat of the Night,” starring Rod Steiger as a white racist small-town sheriff and Sidney Poitier as a Black detective from Philadelphia trying to help solve a murder and eventually forming a working relationship with the hostile local lawman. 

James Baldwin condemned the film’s “appalling distance from reality,” and thought the director trapped in a fantasy of racial harmony that would only heighten “Black rage and despair.” But The New York Times’ Bosley Crowther was among the critics who found the movie powerful and inspiring and, in a year, featuring such landmarks as “The Graduate” and “Bonnie and Clyde,” Jewison’s production won the Academy Award for best picture while Steiger took home the best actor Oscar. (Jewison lost out for best director to Mike Nichols of “The Graduate”). 

Among those who encouraged Jewison while making “In the Heat of the Night”: Robert F. Kennedy, whom the director met during a ski trip in Sun Valley, Idaho. 

“I told him I made films and he asked what kind I make,” he recalled in a 2011 interview with The Hollywood Reporter. “So I told him that I was working on ‘In the Heat of the Night’ and that it’s about two cops: one a white sheriff from Mississippi and the other a black detective from Philadelphia. I told him it was a film about tolerance. So he listened and nodded and said ‘You know, Norman, timing is everything. In politics, in art, in life itself.’ I never forgot that.” 

He received two other Oscar nominations, for “Fiddler on the Roof” and “Moonstruck,” the beloved romantic comedy for which Cher won an Academy Award for best actress. He also worked on such notable films as the Cold War spoof “The Russians Are Coming, The Russians Are Coming,” the Steve McQueen thriller “The Thomas Crown Affair” and a pair of movies featuring Denzel Washington: the racial drama “A Soldier’s Story” and “The Hurricane,” starring Washington as wrongly imprisoned boxer Rubin “Hurricane” Carter. 

A third project with Washington never made it to production. In the early 1990s, Jewison was set to direct a biography of Malcolm X, but backed out amid protests from Spike Lee and others that a white director shouldn’t make the film. Lee ended up directing. 

Five Jewison films received best Oscar nominations: “In the Heat of the Night,” “The Russians Are Coming, The Russians Are Coming,” “Fiddler on the Roof,” “Moonstruck” and “A Soldier’s Story.” 

Jewison and his wife Margaret Ann Dixon (nicknamed Dixie) had three children, sons Kevin and Michael and daughter Jennifer Ann, who became an actress and appeared in the Jewison films “Agnes of God” and “Best Friends.” The Jewisons were married 51 years, until her death in 2004. He married Lynne St. David in 2010. 

Jewison, honored by Canada in 2003 with a Governor General’s Performing Arts Award, remained close to his home country. When he wasn’t working, he lived on a 200-acre farm near Toronto, where he raised horses and cattle and produced maple syrup. He founded the Canadian Film Centre in 1988 and for years hosted barbecues during the Toronto Film Festival. 

The Toronto-born Jewison began acting at age 6, appearing before Masonic lodge gatherings. After graduating from Victoria College, he went to work for the BBC in London, then returned to Canada and directed programs for the CBC. His work there brought offers from Hollywood, and he quickly earned a reputation as a director of TV musicals, with stars including Judy Garland, Danny Kaye and Harry Belafonte. Jewison shifted to feature films in 1963 with the comedy “40 Pounds of Trouble,” starring Tony Curtis and Suzanne Pleshette. 

The director’s light touch prompted Universal to assign him to a series of comedies, including “The Thrill of It All,” which paired Day with James Garner, and “Send Me No Flowers,” starring Day and Rock Hudson. Wearying of such scripts, Jewison used a loophole in his contract to move to MGM for 1965’s “The Cincinnati Kid,” a drama of the gambling world starring McQueen and Edward G. Robinson. He followed with “The Russians Are Coming, The Russians Are Coming,” which starred Carl Reiner and Eva Marie Saint and was the breakthrough film for Alan Arkin. 

His other films included “F.I.S.T.”, a flop with Sylvester Stallone as a Jimmy Hoffa-style labor leader; “… And Justice for All” (1979), with Al Pacino fighting a crooked judicial system; and “In Country,” featuring Bruce Willis as a Vietnam War veteran. His most recent work, the 2003 thriller “The Statement,” starred Michael Caine and Tilda Swinton and flopped at the box office. 

“I never really became as much a part of the establishment as I wanted to be,” he told The Hollywood Reporter in 2011. “I wanted to be accepted. I wanted people to say ‘that was a great picture.’ I mean I have a big ego like anyone else. I’m no shrinking violet. But I never felt totally accepted — but maybe that’s good.” 
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New York — On a quiet weekend in movie theaters, “Mean Girls” repeated atop the box office with $11.7 million in ticket sales, according to studio estimates Sunday, while a handful of awards contenders sought to make an impact ahead of Oscar nominations Tuesday.

With a dearth of new releases in cinemas, Paramount Pictures’ Tina Fey-scripted musical “Mean Girls” pushed its two-week total past $50 million, along with $16.2 million internationally. So far, it’s outpacing the tally for the 2004 original “Mean Girls.”

Only one new film debuted in wide release: “I.S.S.,” a modestly budgeted sci-fi thriller starring Ariana DeBose. The film, which speculates what would happen aboard the International Space Station if war broke out between the U.S. and Russia, debuted with $3 million on 2,518 screens for Bleecker Street.

Expectations weren’t high for “I.S.S.,” which drew only so-so reviews and was lightly marketed. Audiences also didn’t like it, giving the film a “C-” CinemaScore.

But even for January, historically a low ebb for moviegoing, it was a sparsely attended weekend, with paltry options on the big screen. The top 10 films collectively accounted for just $51.3 million in box office, according to Comscore.

With a similarly thin release schedule on deck for next weekend, it could be the start of a chastening trend for Hollywood in 2024. Due to production delays caused by last year’s strikes, there are significant holes throughout this year’s movie calendar.

The Jason Statham thriller “The Beekeeper,” from Amazon MGM Studios, remained in second place, grossing $8.5 million in its second weekend to bring its total to $31.1 million. Warner Bros. “Wonka,” six weeks into its smash run in theaters, was third, with $6.4 million in ticket sales. It’s taken in $187.2 million domestically.

Also continuing to leg out was Sony Pictures’ “Anyone But You.” The rom-com starring Sydney Sweeney and Glen Powell, crossed $100 million globally in its fifth week of release. It’s the highest grossing R-rated romantic comedy — a genre that has largely migrated to streaming platforms — since 2016’s “Bridget Jones’s Baby.” Domestically, it came in fourth with $5.4 million.

Much of the weekend’s action was in expanding awards contenders.

After a qualifying release in December, Ava DuVernay’s “Origin,” starring Aunjanue Ellis-Taylor as the “Caste” author Isabel Wilkerson, launched in 125 theaters and pulled in $875,000 — a strong start for the acclaimed film.

Yorgos Lanthimos’ dark fantasy “Poor Things,” starring Emma Stone, added 820 theaters and grossed $2 million from 1,400 locations. The Searchlight Pictures release, which won the Golden Globe for best comedy-musical, has earned $33.7 million globally in seven weeks of slowly expanding release.

Cord Jefferson’s “American Fiction,” starring Jeffrey Wright as a frustrated novelist, expanded to 850 screens and pulled in $1.8 million. “American Fiction,” up to $8 million in six weeks, will look for a boost in Tuesday’s Oscar nominations.

Jonathan Glazer’s Auschwitz film “The Zone of Interest” expanded to 82 screens, grossing $447,684 for A24.

But after a strong launch, another awards contender, “The Color Purple,” has quickly fallen off the radar of moviegoers. Though widely acclaimed and with the backing of producers Oprah Winfrey and Steven Spielberg, the Warner Bros. musical has dropped fast in recent weeks. In its fourth week of release, the Blitz Bazawule-directed film starring Fantasia Barrino, Taraji P. Henson and Danielle Brooks, grossed just $720,000. Its domestic total is $59.3 million, below hopes for the $100-million budgeted film.

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

1. “Mean Girls,” $11.7 million.

2. “The Beekeeper,” $8.5 million.

3. “Wonka,” $6.4 million.

4. “Anyone But You,” $5.4 million.

5. “Migration,” $5.3 million.

6. “Aquaman and the Lost Kingdom,” $3.7 million.

7. “I.S.S.,” $3 million.

8. “Night Swim,” $2.7 million.

9. “The Boys in the Boat,” $2.5 million.

10. “Poor Things,” $2 million.
    …

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SEOUL, South Korea — Video footage released by an organization that works with North Korean defectors shows North Korean authorities publicly sentencing two teenagers to 12 years’ hard labor for watching K-pop.

The footage, which shows the two 16-year-olds in Pyongyang convicted of watching South Korean movies and music videos, was released by the South and North Development (SAND) Institute.

Reuters was unable to independently verify the footage, which was first reported by the BBC.

North Korea has for years imposed tough sentences on anyone caught enjoying South Korean entertainment or copying the way South Koreans speak in a war on outside influences since a sweeping new “anti-reactionary thought” law was imposed in 2020.

“Judging from the heavy punishment, it seems that this is to be shown to people across North Korea to warn them. If so, it appears this lifestyle of South Korean culture is prevalent in North Korean society,” said Choi Kyong-hui, president of SAND and Doctor of Political Science at Tokyo University, who defected from North Korea in 2001.

“I think this video was edited around 2022. … What is troublesome for (North Korean leader) Kim Jong Un is that Millennials and Gen Z young people have changed their way of thinking. I think he’s working on turning it back to the North Korean way.”

The video, made by North Korean authorities, shows a large public trial in which the two students in grey scrubs are handcuffed while watched by about 1,000 students in an amphitheater. All the students, including the two 16-year-olds, are wearing face masks, suggesting the footage was shot during the COVID pandemic.

The students were sentenced, according to the video, after being convicted of watching and spreading South Korean movies, music and music videos over three months.

“They were seduced by foreign culture … and ended up ruining their lives,” the narrator states, as the video cut away to young girls being handcuffed and Pyongyang women wearing South Korean fashion and hairstyles.

Reclusive North Korea and the rich, democratic South are technically still at war after their 1950-53 conflict ended in a truce, not a peace treaty, and are divided by a heavily fortified demilitarized zone (DMZ).  
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NEW YORK — New York prosecutors on Friday returned two pieces of art they say were stolen by Nazis from a Jewish performer and collector murdered in the Holocaust.

The artworks were surrendered by museums in Pittsburgh and Ohio, but prosecutors are still fighting in court to recover third artwork by the same artist, Austrian expressionist Egon Schiele, that was seized from a Chicago museum at the same time.

On Friday in Manhattan, the estate of Holocaust victim Fritz Grünbaum accepted Portrait of a Man, which was surrendered by the Carnegie Museum of Art and Girl with Black Hair, surrendered by the Allen Memorial Art Museum at Oberlin College. Prosecutors have collectively valued the two pieces at around $2.5 million.

Ten of Schiele’s works have now been returned to the family, but Russian War Prisoner remains at the Art Institute of Chicago, which maintains that it was legally acquired.

Grünbaum was the son of a Jewish art dealer and law school student who began performing in cabarets in Vienna in 1906. As the Nazis rose to power, he mocked them, once saying on a darkened stage, “I can’t see a thing, not a single thing; I must have stumbled into National Socialist culture.”

In 1938, he was captured by Nazi officials, who created a trail of paperwork. Manhattan prosecutors say they forced him to give power of attorney to his wife, and then forced her to sign away the art — including around 80 Schiele works — to Nazi officials. Some of the art was sold to fund the Nazi war effort, they say. Elizabeth and Fritz Grünbaum died in concentration camps.

Prosecutors say the works reappeared in 1956 in Switzerland, part of a shady art deal with members of the Nazi regime, that led to them being sold in New York galleries.

On Friday, one of Grünbaum’s heirs thanked leaders at Oberlin College and the Carnegie Institute, saying they “did the right thing.”

“This is a victory for justice, and the memory of a brave artist, art collector, and opponent of Fascism,” said Timothy Reif, Grünbaum’s great-grandnephew and a federal judge in New York City, in a statement released by the office of Manhattan District Attorney Alvin Bragg. “As the heirs of Fritz Grünbaum, we are gratified that this man who fought for what was right in his own time continues to make the world fairer.”

A New York judge ruled in 2018 that other two works by Schiele had to be turned over to Grünbaum’s heirs under the Holocaust Expropriated Recovery Act, passed by Congress.

In that case, art dealer Richard Nagy said he was the rightful owner of the works because Grünbaum’s sister-in-law had sold them after his death. But the judge in the case ruled that there was no evidence that Grünbaum had given them to her voluntarily, writing it was “a signature at gunpoint.”

The Art Institute of Chicago, however, disputes that. And it argues that Russian War Prisoner, a pencil and watercolor piece, was legally acquired.

“We have done extensive research on the provenance history of this work and are confident in our lawful ownership of the piece,” said Art Institute of Chicago spokesperson Megan Michienzi.

Michienzi pointed to a prior 2010 ruling from another federal judge that she said “explicitly ruled that the Grünbaum’s Schiele art collection was ‘not looted’ and ‘remained in the Grünbaum family’s possession’ and was sold by Fritz Grünbaum’s sister-in-law.”

Reif and his relatives had been fighting in a separate federal civil court case for the return of the work. The Art Institute of Chicago had the case thrown out in November on technical grounds, successfully arguing that, unlike the Nagy case, the family had missed a lawsuit deadline under the Holocaust Expropriated Recovery Act.

After that case was dismissed, Bragg’s office earlier this month asked a Manhattan court to authorize the return of the artwork.
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SANTA FE, NEW MEXICO — A grand jury indicted Alec Baldwin on Friday on an involuntary manslaughter charge in a 2021 fatal shooting during a rehearsal on a movie set in New Mexico, reviving a dormant case against the actor. 

Special prosecutors brought the case before a grand jury in the city of Santa Fe in New Mexico this week, months after receiving a new analysis of the gun that was used. They declined to answer questions after spending about a day and a half presenting their case to the grand jury. 

Defense attorneys for Baldwin indicated they’ll fight the charge. 

“We look forward to our day in court,” said Luke Nikas and Alex Spiro, defense attorneys for Baldwin, in an email. 

While the proceeding is shrouded in secrecy, two of the witnesses seen at the courthouse included crew members — one who was present when the fatal shot was fired and another who had walked off the set the day before due to safety concerns. 

Baldwin, the lead actor and a co-producer on the Western movie “Rust,” was pointing a gun at cinematographer Halyna Hutchins during a rehearsal on a movie set outside Santa Fe in October 2021 when the gun went off, killing her and wounding director Joel Souza. 

Baldwin has said he pulled back the hammer, but not the trigger, and the gun fired. 

The charge has again put Baldwin in legal trouble and created the possibility of prison time for an actor who has been a TV and movie mainstay for nearly 40 years, with roles in the early blockbuster “The Hunt for Red October,” Martin Scorsese’s “The Departed” and the sitcom “30 Rock.” 

The indictment provides prosecutors with two alternative standards for pursuing an involuntary manslaughter charge against Baldwin in the death of Hutchins. One would be based on negligent use of a firearm, and the other alleges felony misconduct “with the total disregard or indifference for the safety of others.” 

Judges recently agreed to put on hold several civil lawsuits seeking compensation from Baldwin and producers of “Rust” after prosecutors said they would present their case to a grand jury. Plaintiffs in those suits include members of the film crew. 

Los Angeles-based attorney Gloria Allred, who is representing the slain cinematographer’s parents and younger sister in a civil case, said Friday that her clients have been seeking the truth about what happened the day Hutchins was killed and will be looking forward to Baldwin’s trial. 

Neama Rahmani, a former federal prosecutor and president of the West Coast Trial Lawyers firm in Los Angeles, pointed to previous missteps by prosecutors, saying they will need to do more than present ballistics evidence to make a case that Baldwin had a broader responsibility and legal duty when it came to handling the gun on the set. 

Special prosecutors dismissed an involuntary manslaughter charge against Baldwin in April, saying they were informed the gun might have been modified before the shooting and malfunctioned. They later pivoted and began weighing whether to refile a charge against Baldwin after receiving a new analysis of the gun. 

The analysis from experts in ballistics and forensic testing relied on replacement parts to reassemble the gun fired by Baldwin, after parts of the pistol were broken during testing by the FBI. The report examined the gun and markings it left on a spent cartridge to conclude that the trigger had to have been pulled or depressed. 

The analysis led by Lucien Haag of Forensic Science Services in Arizona stated that although Baldwin repeatedly denied pulling the trigger, “given the tests, findings and observations reported here, the trigger had to be pulled or depressed sufficiently to release the fully cocked or retracted hammer of the evidence revolver.” 

The weapons supervisor on the movie set, Hannah Gutierrez-Reed, has pleaded not guilty to involuntary manslaughter and evidence tampering in the case. Her trial is scheduled to begin in February. 

“Rust” assistant director and safety coordinator David Halls pleaded no contest to unsafe handling of a firearm last March and received a suspended sentence of six months of probation. He agreed to cooperate in the investigation of the shooting. 

An earlier FBI report on the agency’s analysis of the gun found that, as is common with firearms of that design, it could go off without pulling the trigger if force was applied to an uncocked hammer, such as by dropping the weapon. 

The only way the testers could get it to fire was by striking the gun with a mallet while the hammer was down and resting on the cartridge, or by pulling the trigger while it was fully cocked. The gun eventually broke during testing. 

The 2021 shooting resulted in a series of civil lawsuits — including wrongful death claims filed by members of Hutchins’ family — centered on accusations that the defendants were lax with safety standards. Baldwin and other defendants have disputed those allegations. 

The Rust Movie Productions company has paid a $100,000 fine to state workplace safety regulators after a scathing narrative of failures in violation of standard industry protocols, including testimony that production managers took limited or no action to address two misfires on set before the fatal shooting. 

The filming of “Rust” resumed last year in Montana under an agreement with the cinematographer’s widower, Matthew Hutchins, that made him an executive producer. 
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Paris — The oldest person ever to win an Oscar, renowned director James Ivory, is still making films at 95, with a documentary about his formative trip to Afghanistan in 1960.

Though American, Ivory is best-known for a string of costume dramas about the repressed emotions of Brits, including Remains of the Day and Howard’s End, both starring Anthony Hopkins, and Room with a View with Daniel Day-Lewis.

In 2017, he reached a new generation with his screenplay for Call Me By Your Name starring Timothee Chalamet as a teenager discovering his sexuality, which won Ivory an Oscar at the age of 89.

But his career began as a student making films about art in Venice and South Asia.

“I was making a film in India, and it was getting hotter and hotter,” he told AFP.

“I couldn’t take it another minute. The backers told me to go to a cooler climate, so I went to Afghanistan. I knew nothing about it, but I went.”

Decades later, his footage from Kabul has been worked into a documentary that shows a peaceful Afghanistan, before the wars and extremism that would drag it into decades of violence.

“(The footage) was amazing from the first reel, very poetic and mysterious,” said Giles Gardner, a long-time collaborator who helped pull the film together after digging the footage out of Ivory’s archives.

“With all we know about Afghanistan, the violence we see on the news, this idea of it as a place of beauty has been erased,” he said.

The resulting film, A Cooler Climate, serves as a sort of origin story for Ivory’s career, since it was immediately after returning from Afghanistan that he met producer Ismael Merchant. They became personally and professionally involved and went on to make more than 40 films together until Merchant’s death in 2005.

By then their names — Merchant Ivory — had become a byword for high-quality period dramas.

Their romantic relationship was never revealed during Merchant’s lifetime as he came from a conservative Indian family.

But Ivory said his own life was largely a breeze. Growing up gay in an Oregon town was fine, even idyllic, he insisted.

“I don’t know why people think I had to escape anything, I was a happy young man,” he said.

Still in good shape for 95, traveling between Europe and the U.S. for screenings of the documentary, he comes across as a man of few regrets, apart from the sadness at losing friends, particularly Merchant and their writing partner, novelist Ruth Prawer Jhabvala.

“I wish they were here every day,” he said. “I love them. I’m a very old man now and have close friends, but I miss them very much.”  
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KUALA LUMPUR, Malaysia — The director and producer of a banned Malaysian film that explores the afterlife were charged Wednesday with offending the religious feelings of others in a rare criminal prosecution of filmmakers, slammed by critics as an attack on freedom of expression.

Mohamad Khairianwar Jailani, the director and co-scriptwriter of Mentega Terbang, and producer Tan Meng Kheng pleaded not guilty to having a “deliberate intention of wounding the religious feelings of others” through the independent, low-budget film. If found guilty, they could face up to a year in jail, a fine or both.

Defense lawyer N. Surendran said the two believe the charge is “unreasonable and unconstitutional” because it violates their right to freedom of expression. “As far as we are concerned, these are groundless charges and we will challenge those charges in court,” he said.

The film, which debuted at a regional film festival in 2021, revolves around a young Muslim girl who explores other religions to figure out where her ailing mother would go when she dies. Scenes that angered Muslims included ones showing the girl desiring to eat pork, which is forbidden in Islam, and pretending to drink holy water, and her father supporting her wish to leave Islam. It also sparked death threats against Khairianwar.

The film was briefly shown on a Hong Kong streaming platform last year before it was removed. The Home Ministry banned the film last September without giving any reason. The two filmmakers filed a suit challenging the government’s decision before they were charged.

Race and religion are sensitive issues in Malaysia. Ethnic Malays account for two-thirds of the country’s 33 million people and must be Muslims, with apostasy considered a sin. There are large ethnic Chinese and Indian minorities that are Buddhist, Hindu and Christian.

Critics say religious conservatism has been on the rise in Malaysia, after an influential Malay-Islam alliance won strong gains in the November 2022 general election.

Human Rights Watch accused Prime Minister Anwar Ibrahim’s government of prosecuting the two filmmakers to win political support from Malays.

“This sort of crude political pandering at the expense of human rights is precisely the sort of thing that Anwar accused previous governments of doing when he was in the opposition — but now he’s hypocritically changed his tune after assuming power, and using the same censorship and persecution,” said the group’s deputy Asia director, Phil Robertson.

“The government should reverse course, uphold human rights principles, immediately direct prosecutors to drop these ludicrous, rights abusing charges, and lift the ban on the film Mentega Terbang,” he said.

The court on Wednesday also forbid the two filmmakers from making statements about the case throughout the trial and ordered them to report to police monthly.

Khairianwar has said this is likely the first time a filmmaker has been criminally charged in the country.

“I am disappointed if this is a way to silence storytellers and concerned that it would make many more storytellers stop telling their stories out of fear of prosecution,” Khairianwar told the online news portal Free Malaysia Today a day before he was charged. 
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In the Western United States, professional bull riders risk serious injury on the back of bulls that can weigh more than 700 kilograms. But eight seconds on a bucking beast can mean thousands of dollars. VOA’s Scott Stearns takes us to the show.
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LOS ANGELES — List of the top winners of the prime-time Emmy Awards.

BEST DRAMA SERIES: “Succession”

BEST COMEDY SERIES: “The Bear”

BEST LIMITED OR ANTHOLOGY SERIES: “Beef”

ACTOR IN A DRAMA SERIES: Kieran Culkin, “Succession”

ACTOR IN A COMEDY SERIES: Jeremy Allen White, “The Bear”

ACTRESS IN A DRAMA SERIES: Sarah Snook, “Succession”

SUPPORTING ACTRESS IN A COMEDY SERIES: Ayo Edebiri, “The Bear”

ACTRESS IN A COMEDY SERIES: Quinta Brunson, “Abbott Elementary”

SUPPORTING ACTRESS IN A DRAMA SERIES: Jennifer Coolidge, “The White Lotus”

SUPPORTING ACTOR IN A DRAMA SERIES: Matthew Macfadyen, “Succession”

SUPPORTING ACTOR IN A COMEDY SERIES: Ebon Moss-Bachrach, “The Bear”

SCRIPTED VARIETY SERIES: “Last Week Tonight With John Oliver”

SUPPORTING ACTRESS IN A LIMITED OR ANTHOLOGY SERIES OR MOVIE: Niecy Nash-Betts, “Dahmer, Monster: The Jeffrey Dahmer Story”

REALITY COMPETITION SERIES: “RuPaul’s Drag Race”

TALK SERIES: “The Daily Show With Trevor Noah”

SUPPORTING ACTOR IN A LIMITED OR ANTHOLOGY SERIES OR MOVIE: Paul Walter Hauser, “Black Bird”

LIVE VARIETY SPECIAL: “Elton John Live: Farewell From Dodger Stadium”

ACTOR IN A LIMITED SERIES OR TV MOVIE: Steven Yeun, “Beef”

ACTRESS IN A LIMITED SERIES OR TV MOVIE: Ali Wong, “Beef”
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LOS ANGELES — “Succession” secured its legacy with its third best drama series award, “The Bear” feasted as the night’s top comedy, and the two shows about squabbling families dominated the acting awards at Monday night’s Emmys.

Historic wins also came for Quinta Brunson of “Abbot Elementary” and Steven Yeun and Ali Wong of “Beef” at the 75th Primetime Emmy Awards in a Martin Luther King Jr. Day ceremony that was finally held four months late after a turbulent year of strikes in Hollywood.

“Succession,” the HBO saga of the dysfunctional generations of a maladjusted media empire, won the top prize for its fourth and final season. It also won best actress in a drama for Sarah Snook and best actor in a drama for Kieran Culkin.

“We all put our all into it and the bar was set so high,” Snook said.

“The Bear,” the FX dramedy about a contentious family and a struggling restaurant at the center of the life of a talented chef, won best comedy series for its first season. It also made a meal of its acting categories, with Jeremy Allen White winning best actor in a comedy, best supporting actress in a comedy for Ayo Edebiri winning best supporting actress, and Ebon Moss-Bachrach taking best supporting actor. All three were first-time nominees.

“This is a show about family and found family and real family,” Edebiri said from the stage as she accepted the first trophy of the night at the Peacock Theater in Los Angeles.

Instead of the usual producer speeches, Matty Matheson, a real-life elite chef who plays a kitchen newbie and repairman on “The Bear,” spoke for the show near the end of the Fox telecast.

“I just love restaurants so much, the good and the bad, we’re broken inside,” Matheson said before getting a long kiss on the mouth from Moss-Bachrach.

Brunson won best actress in a comedy for the show she created, ABC’s “Abbott Elementary,” becoming the first Black woman to win the award in more than 40 years and the first from a network show to win it in more than a decade.

“I am so happy to be able to live my dream and act out comedy,” Brunson said during her acceptance on the Fox telecast, fighting back tears. The writer-actor was among the stars with standout looks on the Emmys’ silver carpet.

“Succession” won six Emmys overall including best supporting actor in a drama for Matthew Macfadyen and best writing in a drama for show creator Jesse Armstrong. The only drama acting category it didn’t win was supporting actress, taken for the second time by Jennifer Coolidge of “The White Lotus.”

“The Bear” won in every category it was nominated for Monday night, and along with the four it had won previously at the Creative Arts Emmys, took 10 overall, the most of any show.

Landmark wins on TV’s big night

“Beef” won best limited series, while Steven Yeun and Ali Wong became the first Asian Americans to win in their categories – Yeun for best actor in a limited series and Wong for best actress. Creator Lee Sung won Emmys for writing and directing. It had eight Emmys overall after three wins at last weekend’s Creative Arts Emmy Awards.

Brunson had won a writing Emmy for “Abbott Elementary,” her mockumentary about a predominantly Black and chronically underfunded grade school in Philadelphia, but this is her first for acting. Isabel Sanford of “The Jeffersons” was the only previous Black woman to win the category in 1981.

The first hour of the show held on Martin Luther King Jr. Day saw three Black women win major awards: Brunson, Edebiri and Niecy Nash-Betts, who won best supporting actress in a limited series for “Dahmer – Monster: The Jeffrey Dahmer Story.”

On the Netflix show, Nash-Betts played a neighbor of the serial killer whose complaints to authorities about his behavior go unheeded.

“I accept this award on behalf of every Black and brown woman who has gone unheard and over-policed,” she said.

“Everybody having fun at the chocolate Emmys tonight?” host Anthony Anderson said during the show. “We are killing it tonight! … This is like MLK Day and Juneteenth all rolled up in one!”

The tweaked awards calendar made for some oddities. Edebiri and White won their Emmy for the show’s first season eight days after after winning Golden Globes for the second season.

Baby talk amid ‘succession’ wins

Culkin outshined the older brother and the father to win the final lead actor Emmy for “Succession.”

He had twice been nominated for best supporting actor for “Succession” without a win. But in the final season, in which his character Roman Roy goes from sideline wisecracker to emotional disaster at the center of the show’s drama, he was put in the lead category and won over castmates Brian Cox, who played his father, and Jeremy Strong, who played his older brother.

He then shifted to his own family, getting big laughs during his speech when he told his wife Jazz Charton that their two young kids weren’t enough. “I want more,” he said. “You said if I won, we could talk about it.”

Snook took her first Emmy in three nominations for “Succession” and her fictional husband Macfadyen won the second Emmy of his career for playing Tom Wambsgans, the son-in-law that began the HBO series as a hanger-on and ended it as the closest thing it had to a victor on “Succession.”

Many tears, and one concerned mother

Emotions ran high from the start of the ceremony. Edebiri and Brunson were both quick to cry as they took the stage, and the first presenter, Christina Applegate, who said in 2021 that she was diagnosed with multiple sclerosis, got a standing ovation as she came out using a cane, helped by Anderson. She struggled to get through the nominees and winner with the tears in her eyes.

Anderson told the nominees at the beginning of the night that instead of having their speeches cut off by music, his mother, actor Doris Hancox, sitting in the audience, would tell them when it was time to move on. But she more often shouted down her son in the running gag.

Older shows return to spotlight

Honoring TV history was the theme at the 75th Emmys. Anderson opened the show on a “Mr. Rogers” set and performed TV theme songs including “Good Times,” and several cast reunions were spread throughout the show.

Cast members including Martin Lawrence and Tisha Campbell from “Martin,” Ted Danson and Rhea Perlman from “Cheers,” and Rob Reiner and Sally Struthers from “All in The Family,” performed short bits from recreations of their sitcom sets before presenting awards.

Tina Fey and Amy Poehler reunited to present an award in the form of their 2001-2005 “Weekend Update” team-up from “Saturday Night Live.”

“We’ve reached the stage in life where we’ll only present awards sitting down,” Fey said.

One notable appearance came from Katherine Heigl, who joined Ellen Pompeo and other former “Grey’s Anatomy” cast mates on a hospital room set after leaving the show, now about to start its 20th season, on not the best terms in 2010.

“Yes, there have been changes over the years,” Heigl said with a wry smile, “But the one constant is the amazing fanbase.”
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