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Venice Faces Russia, Israel Discourse
Artists on the festival circuit are navigating the political minefields of the world, with wars still going on in the Middle East and Ukraine and global turbulence increasing.
Wim Wenders, the jury president at the Berlin Film Festival held in February this year, was criticized for telling the media that directors “should stay out of politics”, as he answered questions about Israel and Palestine. Wenders was criticized harshly for his statement. Arundhati Roi, an author, left the festival out of anger. Berlin’s artistic directors, Tricia and Tuttle, were forced to make a statement in response to the storm of media that threatened the festival.
The petition signed by thousands of professionals in the film industry, including Javier Bardem, Mark Ruffalo, and Ken Loach, was aimed at criticizing the growing ideological influence of Vincent Bollore. Bollore is the right-wing billionaire who owns Canal+, France’s largest investor in films and the majority owner of the pay-TV giant. The audience booed both the StudioCanal and Canal+ logos in films that were financed by the two companies.
After Cannes, the political debate veered to a heated discussion over AI’s use in films. Demi Moore, a jury member at Cannes Film Festival, urged film industry professionals to work together and to protect themselves from artificial intelligence. She said that “AI has arrived” and that to combat it would be to lose a war. Her comments created an internet firestorm.
How will Venice be affected by the political turmoil that has roiled Berlin and Cannes?
Even before the festival began, political discourse about Russia and Israel dominated the Lido. The Venice Biennale Foundation (which also organizes the festival) was criticised for the Biennale Art Exhibition in April because it allowed Russia and Israel the opportunity to stage shows at their pavilions. Pietrangelo buttafuoco, the Biennale’s president, is trading blows now with the European Commission. The Commission has withdrawn $2.3 million from the foundation’s funding, saying that European taxpayers money should “protect democratic values” as an EU spokeswoman told Variety.
Buttafuoco refused to give an interview for this article. Buttafuoco criticized Brussels’ double standards during a press conference held in Venice, Italy on July. He said, “They’re pulling $2.3M in funding from Biennale and giving Vladimir Putin $5.9B [in contracts for liquefied gas] within six months.” Buttafuoco claims that the Biennale, by law, is an “area of coexistence and cultural exchange” open to the entire world.
Venice Film Festival artistic director Alberto Barbera agrees. He says that if we received an excellent submission from Russia we would only have considered the quality of film. Barbera describes this year’s Venice selection as “the most politically charged in recent times.”
The festival lineup was announced by Barbera on the 23rd of July. He said that the choices “reflect major contemporary issues, such as wars and Palestine, immigration, climate change, growing social tensions, and shrinking freedom spaces for opponents of different regimes”. Aptly “Ink” will be the opening film, which reveals how British tabloid The Sun fueled Rupert Murdoch’s rise to become a right-wing media mogul. It is produced by Bollore’s StudioCanal. It is produced by StudioCanal, which is controlled by Bollore.
The four-hour movie contains “real revelations” that the audience will take notice of.
There are also the Iranian dramas of Ali Asgari, “A Bit of Light” and “Citizen Osama” by Palestinian director Ahmed Hassouna. In both films, a Palestinian photographer tries to balance his roles of father and reporter while trying capture the horrific realities of Gaza’s war.
The deep crisis in Russia will be a prominent theme in many Venice films. One of them is Julia Loktev’s “My Undesirable Friends Part II –Exile,” which tracks independent Russian journalists as they travel across 13 different countries and navigate forced exile. Laura Poitras’ documentary “They’re Here” is about the ills of the United States in the age Donald Trump. It’s about the protests against the ICE raids which resulted in 4,000 arrested and two deadly shootings.
Israel remains a hot topic on festival circuits. Amos Gitai is an Israeli filmmaker who has explored the Israeli-Palestinian Conflict from both sides. He says that he feels grateful for being included in Venice at a time when Cannes had no Israeli films. He says, “We were very touched when the decision was made immediately and without hesitation.”
Gitai is presenting “The Road to Jericho,” a film that revisits the legacy and assassination of Israeli prime minister Yitzhak Rabin, killed in 1995 after signing the historic Oslo Accords by a Jewish right-wing extremist.
The Venice Competition has added “NAZA”, a hotly debated documentary by “No Other Land’s” directors Yuval Abrah and Rachel Szor, to its lineup. It’s sure to stir up a lot of political debate.
According to the official synopsis, the documentary, shot in the nighttime on Tel Aviv’s rooftops, “shows the detailed systems that Israel uses to kill Palestinian civilians by mass murder” according its official description.
Like most other festivals, Venice’s films don’t directly deal with politics. Jonathan Rutter of Premier Public Relations in the U.K. says that even with these titles there’s a risk “politics could start to overshadow” the film. The media is more focused on soundbites and headlines these days.
Italian distributor Andrea Romero agrees. I Wonder Pictures, the I Wonder Pictures label that he runs in the Lido, will be launching five films at the Lido including “Primetime”, the popular thriller starring Robert Pattinson. He says it’s crucial that actors and directors take political positions when they are competent with the appropriate words. It is civil and responsible for actors or directors to refuse public comments about issues they are not confident about or do not feel comfortable with verbally.
Alexander Payne’s response to the question of his position on the Gaza humanitarian crisis last year was, “Quite honestly, I am not prepared for this question.” “I’m here for judging and to talk about cinema.”
Payne did not receive any criticism at the start of the festival, but when it ended, journalists were furious that the jury had decided to give the Golden Lion award to Jim Jarmusch’s family drama “Father Mother Sister Brother” instead of Kaouther Ben Hania’s Gaza-set film “The Voice of Hind Rajab”, which was expected to win the top prize after receiving a 22-minute long standing ovation. This is the longest stand-up ovation of the entire fest. Payne replied, “As jurors, we cherish both films equally for their own reasons.” Il Sole 24 Ore, an Italian newspaper, criticized him for his “lack of courage” in awarding a Lion to Gaza.
Barbera emerged unscathed from last year’s polemics at the Lido, while Berlin’s Tuttle was on the brink of losing her job by the German Government, who funds 40% of this event. He says that the festival is like other Biennale-style events in being a place for dialogue between creatives and artists, and free from political influence.
Venice will also bring out strong emotions in the AI debate. The Venice film festival is the first to feature a film made with AI. “Be Brave”, a 90 minute portrait of Renzo Roso, the founder of Diesel, was directed by Francesco Carrozzini.
Barbera, when she announced the inclusion of this film in the festival, said: “I would like to invite everyone to consider how AI can be used to open new creative opportunities for filmmakers.” This is a provocative, yet simple statement in light of the current heated AI debate. It’s up to festivals to address this issue, and to go beyond the preconceived notions that dominate today’s conversation.
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7 College Football teams rising or falling after Week 1, including LSU, Clemson, and more
It’s the first week of college football.
Four teams are trending upwards, while three others are trending downwards.
LSU is on the rise
Weather delays meant that college football fans were forced to wait longer to see Lane Kiffin make his LSU debut.
The debut was not disappointing.
Kiffin’s Tigers thrashed Clemson 51-10 and looked dominating on both sides. Transfer quarterback Sam Leavitt, who had an interception early on, went on to throw 230 yards for a touchdown, while also rushing 113 yards with two other scores, and the offense dominated the Clemson defense by a score of 309 yards. The Tigers’ offense was stifled and Dabo Swinney turned to Tait Reynolds, the freshman quarterback, earlier than expected.
Kiffin worked on his jump-shot at one point before an extra-point try:
This game may have revealed more about Clemson, but it also was the LSU fan’s dream.
They did not have any former NFL players Dae’Quan Wright or Zxavian harris in uniform.
Trending down: Clemson
What on earth was that?
Dabo Swinney stepped into the transfer market this offseason and brought in more transfers than any other program in history.
Swinney didn’t address one particular position. The coaching staff chose to give the quarterback’s position to Christopher Vizzina who was Cade Klubnik’s backup last year.
Vizzina was under pressure all night and threw an interception six. The offense only gained 145 yards. Swinney had to turn to Tait Reynolds as the freshman quarterback, who did not provide much spark. He went 4-of-6 and gained just 22 yards.
Tigers are no strangers to bouncing back after a bad start. Georgia, the SEC’s first opponent in 2024, also thrashed that team 34-3 to start off the season. The team recovered to win the ACC championship game and earn a place in the College Football Playoff.
However, the team that we saw Saturday night looks nothing alike. There is nothing.
Indiana Trending Up
Curt Cignetti, who had just won Indiana’s national championship for the first time, tried to rebuild his team in this offseason.
The biggest question was, how would the Raiders replace Fernando Mendoza? Could transfer Josh Hoover step in to fill the shoes of the Heisman-winning quarterback who is now playing for the Raiders and Las Vegas? In order to do this, Hoover would have to reduce the number of interceptions he throws. He threw 11 last year and 13 the previous season at TCU.
So far, so good.
Hoover completed 13-of-16 pass attempts for 231 yard and four touchdowns without interception in Indiana’s 52-16 victory over North Texas. He also showed his toughness, as he took a punch to the face before rebounding and throwing a touchdown to Charlie Becker.
After the match, he spoke about this moment:
Mendoza’s fourth-down, tough touchdown against Miami during the national championship was arguably the most important moment in Indiana’s season of 2025. Mendoza was tough all year, not only in his Big Ten Championship Game win against Ohio State, but also in his big hits against Iowa and Iowa against Iowa, which he discussed with me before the NFL Draft in 2026.
Hoover understands his assignment.
Trending down: Oklahoma State
The months of anticipation surrounding the arrival of Eric Morris, and the transfers that he had brought from North Texas including quarterback Drew Mestemaker shattered on the scorching hot field of Tulsa, on Saturday.
Oklahoma State’s left tackle Jacob Sexton was injured on its first drive. The Cowboys, who were played on fourth-down at the end that possession – a common theme in the game on Saturday – never got their offense going and lost 24-10 to Golden Hurricane.
Cowboys was a 14-point favorite.
Oklahoma State had a 2-of-6 record on fourth downs versus Tulsa. Next week, Oregon will be in Stillwater.
Miami Trending:
It was against Stanford.
What we saw in Darian Mensah, and Malachi toney should terrify not only the rest of ACC but all college football.
In his Miami debut the Duke transfer played a game of his career, completing 27-of-30 pass attempts for 401 yard and five touchdowns. Toney caught three of them, and he caught 12 total passes for 234 yards.
In that game, both players broke school records. Toney’s 234 yards of receiving yardage set a new record, while the Hurricanes’ three touchdowns tied their single-game mark. Even scarier, what is it? In the second, he caught only two passes.
One touchdown was, of course.
Mensah set records in Miami for most yards and touchdowns passing.
Mario Cristobal, Miami’s coach said: “His skillset really fit what we do.” His ability to understand concepts, read the field, and continue to improve is truly impressive. “The sky’s the limits.”
That should again terrify everyone else in the country.
Trending down: Florida State
On Monday, the jokes were flying on social media.
Florida State was to kick off the first week’s college football at 7:30 pm. Due to an outage in Doak Campbell stadium, the game didn’t start until 9:00 pm, without lights or scoreboards, nor any replay reviews.
It was a bizarre game, but let’s now talk about why Florida State lost it.
Opta Stats reports that SMU won the game 27-24 despite having a turnover ratio of minus three or less, more penalties than the opponent team, lower rushing yardage, shorter time in possession, and missed field goal.
The jokes grew more and more joking about the buyout due to head coach Mike Norvell. FSU avoided paying their electrical bills in order to save up money. Norvell is already under pressure to perform, and a defeat of this magnitude will only make things worse for him.
After a week off, they will travel to Tuscaloosa and take on Alabama.
Trending up: Massachusetts
Last but not least, let’s talk about Massachusetts. They started the week off with an incredible upset over Rutgers.
Minutemen, who were underdogs by 29.5 points against Rutgers in the power conference, won, arguably, the most important win for the program since it claimed the FCS championship in 1998. Virginia Tech’s transfer Pop Watson, who was a 29.5-point underdog to Rutgers in the game against them, won by a score of 19-22 for 197 yard and 3 touchdowns. This is as many successful throws as incompletes.
The Minutemen had a record of 26-134 going into the game with Rutgers on Thursday.
They were 29.5-point underdogs.
Football in college. College football is the best.
Fashion
Umpire Doug Eddings apologizes to Cardinals pitcher Hansel Rincon after MLB reportedly reprimanded him for telling rookie to straighten crooked cap
On Saturday, Doug Eddings apologized for his advice to Hancel Rincon of the St. Louis Cardinals to fix the tilted top on Friday during the Cardinals’ 7-6 victory over Colorado Rockies.
According to Ken Rosenthal of The Athletic, Major League Baseball reportedly told the umpire that his reprimanding Rincon was inappropriate.
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Eddings’ directive to Rincon caused a stir, and Cardinals Manager Oliver Marmol was ejected for his argument over the incident.
Rincon apologized to Derrick Goold, St. Louis Post Dispatch reporter Derrick Goold via Kleininger Teran (the team’s bullpen catcher) and the St. Louis Post Dispatch. He also wished me luck in my future career as a major-leaguer.
According to Owen Perkins of MLB.com, the rookie told Eddings: “Don’t worry. It’s not personal. Everything stays here.”
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This incident occurred in the sixth inning during Friday’s major league debut of Rincon. Eddings, while the rookie pitcher was pitching against Colorado’s Cole Carrigg called timeout. He then appeared to instruct Rincon to adjust the brim on his cap through Cardinals’ catcher Leo Bernal.
Rincon already had given up a Triple to TJ Rumfield, and also thrown a Wild pitch which allowed the Rockies’ first baseman score. After Eddings stopped the game, Rincon threw down the middle of his strike zone a fastball at 96 mph that Carrigg blasted off the wall to right center field.
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Justin Bruihl replaced Rincon after he allowed Connor Norby to single. In 1/3 of an inch, he allowed three runs. Marmol was thrown out of the game for arguing with Eddings as Bruihl warm up.
Eddings informed reporters after the game that Rockies’ catcher Hunter Goodman had raised the question of Rincon’s cap and asked if it was allowed to be worn in this way. Rincon did not break any MLB rules, according to the umpire. Goodman, however, denied having said anything.
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Thomas Harding of MLB.com reported that Goodman stated, “I have never mentioned the hat.” It doesn’t really matter who is pitching. It doesn’t matter how the pitcher wears his hat. I am trying to figure out how the ball will come out and what my role is in the box. “I’m not concerned about the appearance of his hat.”
Eddings spoke to Marmol, Rockies Manager Warren Schaeffer and Rincon before Saturday’s match, in which St. Louis was defeated 10-7. He also made sure that he talked with Rincon when the Cardinals were walking to the bullpen. It is reported that this happened after MLB informed Eddings he had gone too far in telling Rincon to adjust his cap.
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Rosenthal says it’s unclear whether MLB will discipline Eddings further for this incident.
In protest, many Cardinals players turned their brims to the left during batting practice. As did many Rockies players during the game, they continued to wear their caps with a crooked brim. In solidarity, several Cardinals behind the home plate as well as radio announcer John Rooney wore their hats with a crooked edge.
Rincon stated, “I was very impressed by the support I received from my teammates.” It’s obvious that when we work together as a group like this, our performance will be better.
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Rincon pitched again in the game on Saturday, giving up four runs and hitting two in an inning. The rookie’s 47.25 ERA is not just a statement of style, but also a reflection of his short MLB career. The Cardinals announced Sunday that he was demoted to Triple-A Memphis.
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F1 Italian GP: Antonelli stuns from 19th on the grid to win home race
Kimi Antonelli, the Formula 1 World Championship leader, has won the Italian Grand Prix after coming in 19th place on the grid and beating Mercedes teammate George Russell.
Max Verstappen beat the McLaren on the podium in an exciting display of battery-powered yo-yo race. Antonelli, who had a penalty for the grid and pitted mid-race, scythed through the pack and defeated the longtime leader Russell.
It was a big blow to the tifosi filled grandstands. Lewis Hamilton tried to pass his teammate Charles Leclerc on the inside of Turn 1’s tight chicane. Leclerc pushed Hamilton wide as the Briton exited, and Hamilton dropped six places to 10th.
Race control noted the incident, but at the end of Lap 2, Leclerc was involved in a massive crash as he tried to avoid Oscar Piastri of McLaren. Leclerc took off at high speeds and skated over the gravel before veering into the wall. He escaped uninjured but brought out the red for extensive barrier repairs.
Russell was able to overtake Gasly earlier in the lap. This ensured that the Mercedes driver will start from the pole position. Verstappen, Franco Colapinto, and Piastri were pushed down to fourth and fifth.
Under the red flag all drivers received a free change of tyres, but Verstappen was the only driver to choose mediums over hards. Russell took the lead over Gasly after an extra lap was completed for Yuki Tasunoda’s out-of-position. Colapinto then passed Verstappen for third in the second Alpine. Colapinto was pushed to the back of the field after Verstappen retaliated by a signature move on the outside corner of the second chicane.
Hamilton was in the middle of a melee with Piastri and Racing Bulls Arvid Lindblad, as they fought Norris, whose teammate he was, behind them. Antonelli, who had a fast start to the race, took advantage of this fight and sped up to sixth place with a pass over Norris on the main straight.
Andrea Kimi Antonelli, Mercedes
Steven Tee via Getty Images
Verstappen passed Gasly for second on lap 7. This further weakened Alpine’s chances of Gasly winning the race. The Frenchman lost his third place to Hamilton three laps after that. He was also unable to hold Piastri or Antonelli back as Gasly dropped down to sixth.
The idea was to give Russell an easy path to the victory by clearing Gasly fast. However, on a day where slipstreaming played a key role, Verstappen was relentless and the Mercedes driver was forced to come under constant pressure. They traded the lead twice more on the 12th and 15th laps.
Antonelli, who started 19th out of two Mercedes drivers, quickly became the driver more likely to win the race. Antonelli, the third car in a group of three, was two seconds back of the leader. He had already eliminated Hamilton and Piastri.
Russell and Verstappen’s battle allowed Antonelli, who was battling for second with the Red Bull driver on lap 16, to quickly close on their lead fight. Antonelli needed only one pass to take the lead from Russell, taking control at Turn 1 on Lap 18.
Russell retook the lead twice on laps 22 and 23, with battery level dictating speed. The young Italian was grumpy when the pitwall suggested that the yoyo race be stopped and a distance built to Verstappen. However, he eventually agreed and tucked behind Russell to conserve his medium-tyres.
After Lance Stroll’s Aston Martin came to a stop, Antonelli and Verstappen used the virtual safety vehicle to switch from their old rubber to the new. They finished sixth and seventh respectively, only 15 seconds back of Russell who was still on his hard rubber at the finish.
Verstappen was able to catch up to Antonelli on lap 37, after he had passed Hamilton, then Piastri, to take second. He still has 16 laps left to reduce the gap of nine seconds to his teammate.
George Russell Mercedes
Clive Mason/Getty Images
Antonelli caught Russell quickly but was not able to do so in the beginning, because the Briton had escaped action after a possible yellow flag violation. Russell’s hard rubber tyres began to show signs of wear at the end, which allowed Antonelli close the gap on lap 47.
Russell cut Turn 2 to try and keep Antonelli in his rear. The Italian also went off, slipping through the gravel trap outside and allowing Russell the lead.
Antonelli, not satisfied with the Turn 1 fight, tried to repeat the tour on the next day but chose a straighter pass between Lesmo 2 Variante Ascari.
The young driver, who is 19 years old, held on to his lead all the way through the race and won his native race for the second time. Verstappen and Russell were both on the podium. Russell finished a disappointing second.
Norris finished fourth ahead of Piastri, with Hamilton finishing sixth on medium-worn tyres. Gasly, who started on pole position, finished seventh, ahead of Lindblad, Colapinto and the Racing Bulls second car, driven by Tsunoda.
Antonelli, the first Italian to win the Monza race for 60 years, has extended his lead in the championship by seven points. He now leads Russell by 66 in the Spanish Grand Prix in Madrid next weekend.
F1 Italian GP – Race results
RACE
Stats
Cl Driver Number Laps time Interval km/h Pits Points retirement Chassis engine 1 A. Antonelli 12 53
–
225 Mercedes Mercedes Russell Mercedes 63
+3.857
3.857
3.857 1 18 Mercedes Mercedes 3 M. Verstappen Red Bull Racing 3 53
+14.718
14.718
Red Bull Red Bull Red Bull Red Bull Red Bull Red Bull Red Bull Red Bull Red Bull Red Bull Red Bull Red Bull Red Bull Red Bull Red Bull Redbull 4 L. Norris McLaren
+19.056
19.056
4.338 1 12 McLaren Mercedes 5 O. Piastri McLaren 81 53
+19.253
19.253
0.197 1 10 McLaren Mercedes 6 L. Hamilton Ferrari 44 53
+24.655
24.655
5.402 8 Ferrari Ferrari P. Gasly Alpine 10. 53
+27.351
27.351
2.696 Alpine Mercedes 8 A. Lindblad Racing Bulls 42 53
+45.136
45.136
17 785 1 4 RB Red Bull F. Colapinto Alpine 53
+47.353
47.353
2.217 1 2 Alpine Mercedes 10 Y. Tsunoda Racing Bulls 22 53
+58.187
58.187
10.834 1 1 RB Red Bull 11 G. Bortoleto Audi 5 53
+1’05.187
1’05.187
7.000 1 Audi Audi 12 N. Hulkenberg Audi 27 53
+1’06.187
1’06.187
1.000 2 Audi Audi 13 C. Sainz Williams 55 53
+1’14.117
1’14.117
7 930 2 Williams Mercedes 14 L. Lawson Red Bull Racing 53
+1’15.609
1’15.609
1.492 Red Bull Red Bull 15 O. Bearman Haas F1 Team 8753
+1’18.958
1’18.958
3.349 1 Haas Ferrari 16 E. Ocon Haas F1 Team 31 52
One lap
2 Haas Ferrari 17 A. Albon Williams 23 52
One lap
2 Williams Mercedes 18 S. Perez Cadillac F1 Team 11 52
One lap
2 Cadillac Ferrari 19 V. Bottas Cadillac F1 Team 77 51
Two laps
2 Cadillac Ferrari dnf L. Stroll Aston Martin Racing 18 26 1 Retirement Aston Martin Honda dnf F. Alonso Aston Martin Racing 14 23 2 Retirement Aston Martin Honda dnf C. Leclerc Ferrari 16 1 Accident Ferrari Ferrari
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Another Masterpiece from Director Lee Chang-dong
The film “Possible love” is a novelistic masterpiece from Lee Chang-dong, the most literary director of modern cinema (and a fiction writer himself). It may be dedicated to Krzysztof Kieslowski and “Dekalog 10”, but it’s not a remake. This film was conceived independently and then bundled together during pre-production with Asghar Fahadi’s terrible “Parallel Tales,” which premiered at Cannes in this year. It shares no similarities with Kieslowski series’ final episode, except for the commandment of the Bible that Lee plays on the screen right at the beginning: “Thou shall not covet.”
Even then, evidence for this instruction is elusive. This sprawling drama follows two couples brought together through the violent suppression a strike by workers at a large Korean metals plant. Who exactly is the object of desire?
The film’s female characters are easy to grasp on the surface. Ye-ji, a casually wealthy dilettante with pale skin that glows as lustrously as her perfect bob in “Parasite”, is a first-time filmmaker who hopes to create a documentary on South Korea’s declining labor conditions, with an emphasis on recent protests at SP Heavy Industries. Ye-ji pitches the project before a grant-making board, but it’s assumed that her husband Sang-woo is the one who has funded the majority of the funding and given her all the creative freedom.
The other side is the implosive and taciturn Ho-seok (“Peppermint Candy” star Sul Kyung-gu), who has been a shell of himself since being injured during the crackdown that ended the ensuing strike. She hopes to help him process his trauma by participating in Ye-ji’s documentary. Her taciturn, implosive Ho -seok (Sul Kyung-gu, from “Peppermint Candy”), who was one of the “dead,” who lost their job and purpose during the SP mass layoffs two years earlier, has become a shell since his injury in the crackdown which ended the subsequent strike. Mi-ok is hoping that Ye-ji’s documentary will allow him to deal with his trauma and stop shuffle around like a maniac. He might be able to become more of a present father for their son Cheol – whose abject incompetence is expressed best by his current lackluster performance at Taekwondo.
The matrix of desire that is at play in Lee and Oh Jungmi’s nuanced screenplay, however, remains elusive until the film’s final velvet punch. Mi-ok is envious of Ye-ji and her designer bags, but there’s also an undercurrent of sexual tension whenever Mi-ok and Sang-woo are alone. This charge eventually ignites a memorable pre-dawn scene on a beach at the end. It would be unhelpfully simplistic to say that Mi-ok is jealous of Ye-ji’s hyper-affluent best friend.
Lee loves to make us angry at the one percent. The movie’s jagged screenplay, which was inspired by a similar event at a Korean giant company over a decade ago, is most blatant when it pokes fun at the way Ye-ji bungles her way into Mi-ok and Ho’seok blue-collar lives. The privileged documentarian, who wants to watch the factory workers, stands out as a Maybach in a monastery. She is angry at not being able to switch back to the lower financial rungs despite having grown up in a poor town.
Lee uses a variety of devious ways to use the visual gag where an intimate scene is filmed and Ye-ji can be seen hiding behind a corner in a camera. She is right to want to show how the owners of businesses are automating their business to keep their wealth. But she fails to see the condescending way she insults her subjects.
While Lee’s “Burning” was more monumental, this story is built on a single instance of horrific violence, rather than building up to it. His latest film also alternates between long dialogue scenes and indelible visual moments. It’s difficult for Lee’s comparatively restrained domestic saga, to compete with Jeon Jong Seo’s Sunset Dance along the DMZ. However, Lee still has the ability to create spectacle from thin air – for injecting something as mundane as a simple car ride or a dip in the sea with a high degree of silence pathos. The film “Possible love” is a symphony showcasing the striated social abrasion. Every gesture, every comment and each detail serve to sharpen the odd geometry which brings the characters closer while also deepening the rifts that ultimately separate them.
In a few judiciously chosen moments, this geometry can be expressed in an eerie way. Sang woo has an old whistle in his living room of the summer palace. The “house fairies” (a non-verbal groundskeeper that Sang woo played with as a child) are conditioned to run whenever he blows it. The distance between characters in this film is mostly conveyed through subtle, yet powerful, gestures. For example, Sang-woo’s confident posture and Mi-ok’s wavy, brittle hair are both indicative of the character’s inner struggles. Ye-ji documents his pain with a casual air.
After “Possible Love”, which spends its last hour in Sang-woo’s summer house, Lee’s attention to the bodies of his characters and their clothing pays off – enormously. (“This looks like a home from a book I’ve never read!” Mi-ok exclaims during dinner. The movie’s exploration of power and freedom takes on a physical aspect after a drunken night at karaoke, and some early morning strolls by the beach of Sang-woo’s mansion.
The film “Possible love” is brilliant, if not unnerving. It takes great pleasure in balancing the odds between two couples. But these shifty indulgences have too much reality for them to be a wish-fulfillment. It’s not naive to think that the “poor” character will ever be able to achieve equality with their rich counterparts, and it’s also not patronizing to imply that being exploited is somehow a noble act. Ho-seok, however, is not an innocent victim. He is a deeply broken man who is utterly frustrated by a system designed to oppress him. Lee’s interest is more in expressing his suffering than in solving it.
It is not rooted in false optimism or wanton desperation that “Possible love” has the power to stay in your mind long after you’ve seen it. Lee’s film within a film uses the construct of a movie to reflect the moral values of work through the lens of how much people earn.
Ye-ji, who is working as a second-hand documentarian to achieve her goal of becoming a narrative film maker (“Imagining is my hobby”, is not exactly what one would want to hear about someone directing a movie on their life), is the victim of the smoothness of life. She has had to “method-act” to be able to approach her subjects to shoot real footage. She uses a parody to mock the invisible work she noticed for the first time on a visit to a Qattari luxury hotel. But she cannot see Mi-ok or Ho-seok unless they are fabricated for the camera.
Sang-woo, on the other hand, is so frictionless in his work that he’s able to buy and sell whole companies while drinking a latte. His marriage with Ye-ji also feels as if it were laminated. The couple snipes at each other passively in small bursts to avoid getting dirt on their bedsheets. They also relegate their latent desire to blind spots created by rich people so they can’t see beyond themselves.
Mi-ok, on the other hand, has no option but to face the difficulties that they have faced and want things so desperately they cannot forget the hard work they have put in to each other. They can’t pretend to be anything else, so they live their lives based on a potential love. Their history is imperfect and clumsy, and they have tenuous financial prospects in the future. But, because of the perfectly modulated, flashbacks, they won’t need to covet anything that this world offers for free. Mi-ok, Ho-seok felt that the moon only shone for them in the evenings. The final scenes of this beautifully shaded and gently shattering drama celebrate the freedom the two give each other.
Grade: A
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Umpire Doug Eddings apologizes to Cardinals pitcher Hansel Rincon for telling him to straighten crooked cap
On Saturday, Doug Eddings apologized for his advice to Hancel Rincon of the St. Louis Cardinals to fix the tilted top on Friday during the Cardinals’ 7-6 victory over Colorado Rockies.
Eddings’ directive to Rincon was the cause of a stir that led Cardinals manager Oliver Marmol to be ejected for disputing what happened.
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Rincon apologized to Derrick Goold, St. Louis Post Dispatch reporter Derrick Goold via Kleininger Teran (the team’s bullpen catcher) and the St. Louis Post Dispatch. He also wished me luck in my future career as a major-leaguer.
According to Owen Perkins of MLB.com, the rookie told Eddings: “Don’t worry. It’s not personal. Everything stays here.”
This incident occurred in the sixth inning during Friday’s major league debut of Rincon. Eddings, while the rookie pitcher was pitching against Colorado’s Cole Carrigg called timeout. He then appeared to instruct Rincon to adjust the brim on his cap through Cardinals catcher Leo Bernal.
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Rincon already had given up a Triple to TJ Rumfield, and also thrown a Wild pitch which allowed the Rockies’ first baseman score. After Eddings stopped the game, Rincon threw down the middle of his strike zone a fastball at 96 mph that Carrigg blasted off the wall to right center field.
Justin Bruihl replaced Rincon after he allowed Connor Norby to single. In 1/3 of an inch, he allowed three runs. Marmol was thrown out of the game for arguing with Eddings as Bruihl warm up.
Eddings informed reporters after the game that Rockies’ catcher Hunter Goodman had raised the question of Rincon’s cap and asked if it was allowed to be worn in this way. Rincon did not break any MLB rules, according to the umpire. Goodman, however, denied having said anything.
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Thomas Harding of MLB.com reported that Goodman stated, “I have never mentioned the hat.” It doesn’t really matter who is pitching. It doesn’t matter how the pitcher wears his hat. I am trying to figure out how the ball will come out and what my role is in the box. “I’m not concerned about the appearance of his hat.”
Eddings spoke to Marmol, the Rockies’ manager Warren Schaeffer and Rincon before the game on Saturday, in which St. Louis was defeated 10-7. He also made sure to talk to Rincon when the Cardinals were walking to their bullpen.
In protest, many Cardinals players turned their brims to the left during batting practice. As did many Rockies players during the game, they continued to wear their crooked caps. In solidarity, several Cardinals behind the home plate as well as radio announcer John Rooney wore their caps crooked.
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Rincon stated, “I was very impressed by the support I received from my teammates.” It’s obvious that when we work together as a group like this, our performance is going to be better.
Rincon pitched again in the game on Saturday, giving up four runs and hitting two in an inning. The rookie’s two MLB appearances have seen him achieve a 47.25 ERA.
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