Gary Stewart, Veteran Industry Executive With Rhino and Apple, Dies at 62 | Movement Music Box

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Like the film’s split-screen sequence, the scene where Imran watches his son on a surveillance camera underlies how De Palma no doubt wanted to make a film that considers the similarities between manufactured genre narratives and the true-life videos that proliferate on YouTube, and how our steady consumption of both is working to increasingly blur the line between fiction and nonfiction. But Domino goes through its motions too quickly for its imagery to convey the irrepressible force of provocation. And as a result, it’s more than a little easy to peg Martin as a double for De Palma, a cynic using a foreign country and actors to accomplish his ends, only to see the zealous motives of such accomplices—in De Palma’s case the film’s Danish producers—fuck him over, forcing him to go home while rolling his eyes.

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Started in the wake of MacCaig’s death in 2008, The Image You Missed is composed of archival footage shot by MacCaig and finds Foreman exploring a variety of connections in their relationship—or, rather, the lack of one. Foreman traces a portrait of his father, who never seemed to have the time to make it from Paris to Dublin to visit him, from all this footage: a train bridge MacCaig once rode over, a character named Dónal from one of his unproduced screenplays, similarities between Foreman’s childhood movies and MacCaig’s own, a relative’s footage of Northern Irish cities taken at the same time MacCaig was on the ground filming.

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In a cramped apartment, a family of four are sent into a panic when the WiFi network they’ve been pirating goes offline. Ki-jung (Park So-dam) and her brother, Ki-woo (Choi Woo-shik), scurry about as their father, Ki-taek (Song Kang-ho), instructs them to try holding their phones up to the ceiling, and to stand in every nook and cranny of their home until they find a new connection. All the while, Moon-gwang (Lee Jung-eun) bemoans her husband’s laziness and prods him to find work. But it’s Ki-woo who pulls his family out of their impoverished life, when he gets an opportunity to tutor Da-hye (Jung Ziso), daughter of the rich Park family.

Ani DiFranco The name Ani DiFranco (it’s pronounced Ah-knee, not Annie) may not mean much to heterosexuals or anyone under the age of 30, but this singer-songwriter was a big deal back in the 1990s and early 2000s. In addition to providing the soundtrack for legions of young queer womxn (née lesbians), DiFranco has lived a remarkable life herself, from emancipating from her family as a teenager to creating her own music label and coming of age at a time when it really wasn’t cool to be queer. She’ll talk about her life—and maybe read from her new memoir, No Walls and the Recurring Dream—when she comes to town, but there will be no musical performance. The good news: If you want to revisit the ’90s, all 21 of her studio albums are available on Spotify. KATIE HERZOG

As of December 31, 2018, we had 569,354,053 outstanding common shares (excluding treasury shares), with no par value per share, and 1,119,339,723 outstanding preferred shares (excluding treasury shares), with no par value per share. Our shareholders’ equity amounted to R$71.6 billion as presented in our audited financial statements prepared in accordance with IFRS.

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Eleven players beating out intricate grooves surrounded on every side by polymorphous, alien scenes of nature is a freight train for the senses. Full immersion in a busy world of plant and insect life is the ideal setting to visit a body of work whose sounds, visuals, and ideas seem to suggest some powerful elder god in an act of terraforming. What sets Björk records apart from their peers is the inventive interplay between electronic and acoustic sounds. “Pagan Poetry,” from the Grammy-nominated Vespertine, wears its music-box melody and hissing, programmed drums so comfortably that the line starts to blur. Utopia opener “Arisen My Senses” pairs bird calls, harp notes, and blissed-out synths seamlessly enough to demolish questions about genre. Simply put, Björk makes Björk music. It’s fitting for a catalogue that doesn’t much sound like anything else to generate a live show that doesn’t look like anything else.

Nick Powell, Best Sound Design of a Play, The Ferryman“This is a great surprise and amazing to receive this nomination in my favourite city. It feels like the culmination of an epic journey with this epic play – well over two years since we first started. It’s been an honour to bring the banshees’ wails to Broadway, and a privilege to be in the company of the other nominees.”

Early in Brian De Palma’s Domino, Christian (Nikolaj Coster-Waldau) wakes at daybreak and tries to roll out of the arms of his lover. The camera peers down at the detective and ever so slowly zooms in on his bed. Soon it becomes apparent that the camera isn’t even interested in the happy couple, but the gun set off to the side. Here as much as ever, De Palma has fun flexing his formal acumen, building a foundation of suspense with the camera and its subject, portending how Christian, once he manages to get his clothes on, will forget to pack heat, setting into motion a, yes, domino-like chain of mishaps.