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One night last month, near the end of the Chicago International Film Festival, a particularly long line of moviegoers snaked down Southport Avenue by the Music Box Theatre. The hot ticket? This fall’s hottest ticket, in fact, all over the international festival circuit? Well, it’s a 215-minute drama about a fictional Hungarian Jewish architect who emigrates to America in 1947 after surviving the Holocaust. The film’s title, “The Brutalist,” references several things, firstly a post-World War II design imperative made of stern concrete, steel, and a collision of poetry and functionality. Director and co-writer Brady Corbet, who wrote “The Brutalist” with his filmmaker wife, Mona Fastvold, explores brutalism in other forms as well, including love, envy, capitalist economics and how the promise of America eludes someone like the visionary architect László Tóth, played by Adrien Brody. Corbet, now 36 and a good bet for Oscar nominations this coming January, says his unfashionable sprawl of a picture, being distributed by A24, is also about the “strange relationship between artist and patron, and art and commerce.” It co-stars Felicity Jones as the visionary architect’s wife, Erzsébet, trapped in Eastern Europe after the war with their niece for an agonizingly long time. Guy Pearce portrays the imperious Philadelphia blueblood who hires Tóth, a near-invisible figure in his adopted country, to design a monumental public building known as the Institute in rural Pennsylvania. The project becomes an obsession, then a breaking point and then something else. Corbet’s project, which took the better part of a decade to come together after falling apart more than once, felt like that, too. Spanning five decades and filmed in Hungary and Italy, “The Brutalist” looks like a well-spent $50 million project. In actuality, it was made for a mere $10 million, with Corbet and cinematographer Lol Crawley shooting on film, largely in the VistaVision process. The filmmaker said at the Chicago festival screening: “Who woulda thunk that for screening after screening over the last couple of months, people stood in line around the block to get into a three-and-a-half-hour movie about a mid-century designer?” He lives in Brooklyn, New York, with Fastvold and their daughter. Our conversation has been edited for clarity and length. Q: Putting together an independent movie, keeping it on track, getting it made: not easy, as you told the Music Box audience last night. Money is inevitably going to be part of the story of “The Brutalist,” since you had only so much to make a far-flung historical epic. A: Yeah, that’s right. In relation to my earlier features, “The Childhood of a Leader” had a $3 million budget. The budget for “Vox Lux” was right around $10 million, same as “The Brutalist,” although the actual production budget for “Vox Lux” was about $4.5 million. Which is to say: All the money on top of that was going to all the wrong places. For a lot of reasons, when my wife and I finished the screenplay for “The Brutalist,” we ruled out scouting locations in Philadelphia or anywhere in the northeastern United States. We needed to (film) somewhere with a lot less red tape. My wife’s previous film, “The World to Come,” she made in Romania; we shot “Childhood of a Leader” in Hungary. For “The Brutalist” we initially landed on Poland, but this was early on in COVID and Poland shut its borders the week our crew was arriving for pre-production. When we finally got things up and running again with a different iteration of the cast (the original ensemble was to star Joel Edgerton, Marion Cotillard and Mark Rylance), after nine months, the movie fell apart again because Russia’s invasion of Ukraine. We couldn’t get any of the banks to cash-flow the tax credit (for location shooting in Poland). It’s completely stable now, but at that time the banks were nervous about whether the war would be contained to Ukraine or not. And then we finally got it up and running in Budapest, Hungary. Q: That’s a long time. A: Every filmmaker I know suffers from some form of post-traumatic stress (laughs). It sounds funny but it’s true. At every level. On the level of independent cinema, you’re just so damn poor. You’re not making any money, and yet from nose to tail, at minimum, a movie always takes a couple of years. With bigger projects, you might have a little more personal security but a lot less creative security with so many more cooks in the kitchen. Either route you choose, it can be an arduous and painful one. Whether you’re making a movie for a million dollars, or $10 million, or $100 million, it’s still “millions of dollars.” And if you’re concerned about the lives and livelihoods of the people working with you, it’s especially stressful. People are constantly calling you: “Is it happening? Are we starting? Should I take this other job or not?” And you have 250 people who need that answer from you. Every iteration of the project, I always thought we were really about to start in a week, two weeks. It’s just very challenging interpersonally. It’s an imposition for everyone in your life. And then there’s the imposition of screening a movie that’s three-and-a-half-hours long for film festivals, where it’s difficult to find that kind of real estate on the schedule. So essentially, making a movie means constantly apologizing. Q: At what point in your acting career did you take a strong interest in what was going on behind the camera? A: I was making short films when I was 11, 12 years old. The first thing I ever made more properly, I guess, was a short film I made when I was 18, “Protect You + Me,” shot by (cinematographer) Darius Khondji. It was supposed to be part of a triptych of films, and I went to Paris for the two films that followed it. And then all the financing fell through. But that first one screened at the London film festival, and won a prize at Sundance, and I was making music videos and other stuff by then. Q: You’ve written a lot of screenplays with your wife. How many? A: Probably 25. We work a lot for other people, too. I think we’ve done six together for our own projects. Sometimes I’ll start something at night and my wife will finish in the morning. Sometimes we work very closely together, talking and typing together. It’s always different. Right now I’m writing a lot on the road, and my wife is editing her film, which is a musical we wrote, “Ann Lee,” about the founder of the Shakers. I’m working on my next movie now, which spans a lot of time, like “The Brutalist,” with a lot of locations. And I need to make sure we can do it for not a lot of money, because it’s just not possible to have a lot of money and total autonomy. For me making a movie is like cooking. If everyone starts coming in and throwing a dash of this or that in the pot, it won’t work out. A continuity of vision is what I look for when I read a novel. Same with watching a film. A lot of stuff out there today, appropriately referred to as “content,” has more in common with a pair of Nikes than it does with narrative cinema. Q: Yeah, I can’t imagine a lot of Hollywood executives who’d sign off on “The Brutalist.” A: Well, even with our terrific producing team, I mean, everyone was up for a three-hour movie but we were sort of pushing it with three-and-a-half (laughs). I figured, worst-case scenario, it opens on a streamer. Not what I had in mind, but people watch stuff that’s eight, 12 hours long all the time. They get a cold, they watch four seasons of “Succession.” (A24 is releasing the film in theaters, gradually.) It was important for all of us to try to capture an entire century’s worth of thinking about design with “The Brutalist.” For me, making something means expressing a feeling I have about our history. I’ve described my films as poetic films about politics, that go to places politics alone cannot reach. It’s one thing to say something like “history repeats itself.” It’s another thing to make people see that, and feel it. I really want viewers to engage with the past, and the trauma of that history can be uncomfortable, or dusty, or dry. But if you can make it something vital, and tangible, the way great professors can do for their students, that’s my definition of success. “The Brutalist” opens in New York and Los Angeles on Dec. 20. The Chicago release is Jan. 10, 2025. Michael Phillips is a Tribune critic.Shai Gilgeous-Alexander scored 35 points to help the Oklahoma City Thunder run their winning streak to 11 games with a 130-106 home victory over the Memphis Grizzlies on Sunday. The loss snapped the Grizzlies' two-game winning streak and was just their fourth in 18 games. The Thunder had a season-high 35 assists, led by eight from Jalen Williams. Without Ja Morant, who sustained a sprained AC joint in his right shoulder in Friday's win over New Orleans, and several other key players, Memphis didn't have an answer for the Western Conference-leading Thunder. The Grizzlies also were without Zach Edey (concussion) and Brandon Clarke (right knee soreness). While Memphis was without plenty of production, Oklahoma City's Luguentz Dort and Cason Wallace returned after missing Saturday's win in Charlotte. Playing on the second night of a back-to-back, Oklahoma City missed its first five shots and had two turnovers in the first three minutes before Gilgeous-Alexander got going. After falling behind 9-0, Oklahoma City took over. Gilgeous-Alexander made his first six shots, extending into the second quarter, and the Thunder led by as much as 29 in the first half. Gilgeous-Alexander kept his foot on the pedal deep into the second half, even with the game well under control. In the final seconds of the third quarter, Gilgeous-Alexander jogged to halfcourt, crossing with about three seconds left. Then Gilgeous-Alexander blew past Luke Kennard to get to the bucket, finishing with a scooping layup as Grizzlies center Jaren Jackson Jr. stepped his direction too late to contest the shot. It was Gilgeous-Alexander's 17th game with at least 30 points this season. Gilgeous-Alexander finished 14 of 19 from the floor -- 13 of 14 inside the arc -- as Oklahoma City outscored Memphis in the paint 56-36 for the game. Oklahoma City scored 33 points off Memphis' 21 turnovers. The Grizzlies shot a season-low 38.1 percent from the floor, with starters Jaylen Wells and Jackson combining to shoot just 5 of 29. Desmond Bane led Memphis with 22 points. Six other Oklahoma City scorers joined Gilgeous-Alexander in double figures, including 17 points off the bench from Ajay Mitchell and 16 from Aaron Wiggins. This article first appeared on Field Level Media and was syndicated with permission.

The Golden State Warriors handed the Phoenix Suns another loss on Saturday, thanks to the brilliance of Jonathan Kuminga. Kuminga scored another 30 points off the bench to help the club win and raise their Western Conference record to 16–15. Kuminga had 34 points, nine rebounds and three assists to end the night. It was the perfect help for Stephen Curry , who had 22 points, six rebounds and six assists. Although the two players scored the majority of the points, other players also made offensive contributions. All-Star forward Draymond Green played almost 35 minutes and had 16 points, eight rebounds and seven assists. After their win, Green told reporters he’s encouraged his teammates to do everything to win. Despite starting at center for most of the 2024–25 NBA season, the four-time champion pointed out that he has been playing out of position from the beginning of the season. “We gotta do what we gotta do to win games, whatever it looks like,” Green said. “For me, coming into this season, I’ll be honest. I didn’t want to play a ton of fives. It’s hard. But — and it was working we were 12-3 or whatever we were and it was working. When it’s not working, you have to look at what works. If that’s me at the five, like I said, I don’t love it for entire games at this point. But I love to win and more importantly, I hate to lose.” He also encouraged the rest of the team to perform at their best to help the team to win. “That’s what it looks like... We gotta win games or,I told the guys, we’re all gonna get traded out of here so we gotta win some games.” Draymond Green: “We gotta win games or, I told the guys, we’re all gonna get traded.” (via @anthonyVslater ) pic.twitter.com/KBlkS2Otjy — Legion Hoops (@LegionHoops) December 29, 2024 Golden State Warriors spoke about his second 30-point explosion off the bench Kuminga tied his career-high on back-to-back nights for the Golden State Warriors. After their game against the Suns, the youngster spoke about his mentality in the game that allowed him to dominate. “It’s all about just focusing and locking in making those free throws,” Kuminga added. “And I feel like I was shooting well [with] free throws throughout my workout and stuff. Then, when I get to the game, something changed. And I didn’t know what it was. But [Wiggins] was one of the people who helped me. There was a year when I was really struggling [with] shooting free throws.” Kuminga has started 10 games this season. However, the Golden State Warriors have benefitted from him coming off the bench. He’s averaging 16.7 points, 4.9 rebounds and 2.1 assists in 29 games this year. This article first appeared on Hardwood Heroics and was syndicated with permission.( MENAFN - Caribbean News Global) SAN FRANCISCO, USA – Maury Blackman, a seasoned entrepreneur and advocate for high-growth technology ecosystems, has released a compelling article urging US policymakers to reform the H-1B visa program. Blackman, who has led transformative companies in the civic-tech and market intelligence sectors, warns that America's ability to compete globally is at risk without a strategic overhaul of its skilled immigration policies. In his article, Why Reforming the H-1B Visa Program Is Critical for America's Future , Blackman highlights the critical role skilled immigrants play in fueling America's innovation economy. He draws from personal experience, recounting how his own business was significantly impacted when an engineer with advanced degrees from MIT and Stanford had to leave the country due to visa restrictions. “Every year, we educate the best and brightest minds from around the world at our top universities, only to send them packing when they're ready to contribute to our economy,” Blackman writes.“This isn't just bad policy – it's economic malpractice.” The article underscores the urgent need to reform the H-1B visa program, including eliminating arbitrary caps, replacing the lottery system with a merit-based approach, and providing a clear pathway to permanent residency for individuals with advanced technical degrees. Blackman emphasizes that skilled immigrants don't just fill jobs – they create them, launching businesses and driving technological breakthroughs that benefit the broader economy. “Skilled immigration is not just about fairness to immigrants – it's about securing America's future,” Blackman says.“If someone graduates from a top university with a Ph.D. in artificial intelligence or biotechnology, we should be doing everything in our power to keep them here, not send them home to compete against us.” Blackman also calls for bipartisan cooperation on this issue, noting that H-1B visa reform is a rare opportunity for Democrats and Republicans to come together for the good of the country. “This is one area where I hope Democrats and the Trump administration can work together,” he adds.“It would be a huge win for our economy, our innovation leadership, and our future as a global powerhouse.” As a respected voice in the tech and investment communities, Blackman's advocacy for H-1B reform is expected to resonate with industry leaders, policymakers, and anyone invested in America's economic growth. – Maury Blackman has led high-growth technology companies for more than 25 years, including as CEO of Accela and Premise Data. Recognized as a Northern California Entrepreneur of the Year by Ernst & Young, Blackman is an active investor and advisor to technology firms and the managing director of Pierpoint Ventures. The post Why reforming the H-1B Visa program is critical for America's future appeared first on Caribbean News Global . MENAFN29122024000232011072ID1109040093 Legal Disclaimer: MENAFN provides the information “as is” without warranty of any kind. We do not accept any responsibility or liability for the accuracy, content, images, videos, licenses, completeness, legality, or reliability of the information contained in this article. If you have any complaints or copyright issues related to this article, kindly contact the provider above.

The owners of a Colorado funeral home who let nearly 190 bodies decay in a room-temperature building and gave grieving families fake ashes pleaded guilty on Friday to corpse abuse. Jon and Carie Hallford, who own the Return to Nature Funeral Home, began storing bodies in a decrepit building near Colorado Springs as far back as 2019 and gave families dry concrete in place of cremated remains, according to the charges. The grim discovery last year upended families’ grieving processes. Plea deals reached between the defendants and prosecutors call for Jon Hallford to receive a 20-year prison sentence and Carie Hallford to receive 15 to 20 years in prison. Over the years, the Hallfords spent extravagantly, prosecutors say. They used customers’ money and nearly $900,000 in pandemic relief funds to buy laser body sculpting, fancy cars, trips to Las Vegas and Florida, $31,000 in cryptocurrency and other luxury items, according to court records. Last month, the Hallfords pleaded guilty to federal fraud charges in an agreement in which they acknowledged defrauding customers and the federal government. Under the agreement, prosecutors could request sentences of up to 15 years in prison for the couple. Even as the couple lived large, prosecutors said the bodies at their funeral home were decomposing. “The bodies were laying on the ground, stacked on shelves, left on gurneys, stacked on top of each other or just piled in rooms,” prosecutor Rachael Powell said. She said the family members of the bodies that were discovered “have been intensely and forever outraged.” The Hallfords each pleaded guilty to 191 counts of corpse abuse for the bodies found decaying and two instances where the wrong bodies were buried. They also agreed to pay restitution, with the amount yet to be determined. Additional charges of theft, forgery and money laundering would be dismissed under the agreements. Crystina Page’s son, David, died in 2019 and his body languished in the funeral home’s building until last year. “He laid in the corner of an inoperable fridge, dumped out of his body bag with rats and maggots eating his face for four years,” Page said outside the courtroom after the hearing. “Now every moment that I think of my son, I’m having to think of Jon and Carie, and that’s not going away.” Sentencing was set for April 18. Six people with objections to the plea agreements had asked prior to Friday’s hearing to address the court. They considered the length of the sentences under the plea deal insufficient given the Hallfords’ conduct, prosecutors said. Judge Eric Bentley said they would get a chance to speak prior to the sentencings. If the judge rejects the plea agreement, the Hallfords would be able to withdraw their guilty pleas and go to trial. Carie Hallford told the judge that while she didn’t visit the building as much as Jon, “I knew how bad it was and chose to do nothing about it.” At the close of Friday’s hearing, Bentley revoked a bond that had allowed Carie Hallford to remain free while the case was pending. She was handcuffed in the courtroom while family members of the deceased applauded. Jon Hallford already was in custody, and was in an orange jumpsuit and handcuffed for the hearing. Last month, the Hallfords pleaded guilty to federal fraud charges in an agreement in which they acknowledged defrauding customers and the federal government. Jon Hallford is represented by the public defenders office, which does not comment on cases. Carie Hallford’s attorney, Michael Stuzynski, declined to comment. Over four years, customers of Return to Nature spread what they thought were their loves ones’ ashes in meaningful locations, sometimes a plane’s flight away. Others carried their urns on cross-country road trips or held them tight at home. The bodies, which prosecutors say were improperly stored, were discovered last year when neighbors reported a stench coming from a building in the small town of Penrose, southwest of Colorado Springs. Authorities found bodies too decayed for visual identification. The building was so toxic that responders had to wear hazmat gear and could remain inside only for brief periods. The discovery of the bodies at Return to Nature prompted state legislators to strengthen what had been among the laxest funeral home regulations in the country. Unlike most states, Colorado didn’t require routine inspections of funeral homes or credentials for the businesses’ operators. This year, lawmakers brought Colorado’s regulations up to par with most other states, largely with support from the funeral home industry. ___ Bedayn is a corps member for the Associated Press/Report for America Statehouse News Initiative. Report for America is a nonprofit national service program that places journalists in local newsrooms to report on undercovered issues. Stocks closed higher on Wall Street as the market posted The owners of a Colorado funeral home who let nearly The Supreme Court on Friday stepped into a major legal Oil company Phillips 66 has been federally indicted in connectionNone