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  • Trailblazing director Euzhan Palcy returns for Oscar honor

    Trailblazing director Euzhan Palcy returns for Oscar honor

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    LOS ANGELES — Director Euzhan Palcy has made history more than a few times in her four decades in the movie business.

    She was the first Black woman to direct a film produced by a major studio (MGM’s “A Dry White Season”), the first Black director of any gender to win the César Award in France, the first woman to win a Venice Silver Lion (for “Sugar Cane Alley”), the only woman to direct Marlon Brando and the first Black woman to direct an actor to an Oscar nomination (also Brando). She blazed trails for a generation of Black female filmmakers, from Ava DuVernay and Amma Asante to Regina Hall and Gina Prince-Bythewood, and most of the time it wasn’t easy or fun.

    But she was driven by a conviction that she holds this day: “I was born to make movies.”

    Now after some years away from the business, she is ready, at 64, to get behind the camera again. And what better way to start a comeback than with an Oscar? On Saturday, Palcy will get an honorary statuette at the annual Governor’s Awards gala, in recognition of her contributions to motion pictures. She’s being celebrated alongside Australian director Peter Weir, songwriter Diane Warren and actor Michael J. Fox, who is getting the Jean Hersholt Humanitarian Award, at the untelevised event.

    “I felt like this was the right time for me to show up again,” Palcy, from Paris, told The Associated Press. “I was ready.”

    Palcy was born in Martinique, in the French West Indies, in 1958, and from age 10 had set her sights on filmmaking even though it seemed like no one who was doing it, successfully at least, looked like her. Her imagination was sparked by Marcel Camus’ “Black Orpheus” and the films of Alfred Hitchcock, Fritz Lang and. In the mid-70s, she left for Paris, where she studied at the Sorbonne and got a master’s degree in film from the prestigious Louis-Lumière College. There she was encouraged to keep pursuing filmmaking by François Truffaut.

    But she couldn’t find anyone to give her money to make her first feature, “Sugar Cane Alley,” even after she got an important grant from the French Government that would typically pique the interest of financiers. The film would be an adaptation of Joseph Zobel’s semi-autobiographical novel about Martinique in the 1930s, the Africans working the sugar cane fields and their white owners.

    “I had a degree from the most famous film school in France and it was not enough,” Palcy said. “I was still Black, I was still a woman, and I was still young.”

    Still, she managed to make “Sugar Cane Alley” from nothing and it went on to be a great success, winning the Silver Lion at the Venice Film Festival and a César for best first work. The most important thing to her, though, was that it resonated with the people of Martinique who told her they’d never seen themselves on screen before.

    “Most people point it out that I was a pioneer. They say it doesn’t make you happy? And it’s not that, but it’s hard, it’s hard to be a pioneer. People think it’s a big deal and it’s great, but nothing is there and you pick a road and you pave it. That requires a lot of tenacity, a lot of fight, a lot of struggle, a lot of tears.

    “I love the metaphor of a woman who is pregnant and the pregnancy is so hard on her and it’s difficult to give birth to that baby. Then once she does, she’s exhausted. That’s the way I felt when ‘Sugar Cane Alley’ came out. I couldn’t even enjoy the success of that movie,” she said. “But it made me stronger and even more determined to fight for my stories.”

    Hollywood took notice and the exciting new talent behind the camera. Robert Redford invited her out to do the Sundance Director’s Lab, in 1984, and would be a sounding board as more offers came in. Life, for a moment, was a whirlwind of courting and offers.

    Warner Bros. executive Lucy Fisher flew her to Los Angeles and gave her a grand welcome to try to get her to make a film with them. Palcy asked about adapting “The Color Purple,” though was politely told that Steven Spielberg had already set his sights on that. She decided on “A Dry White Season.” The film almost fell apart, though, when Warner Bros. brass decided after Universal released “Cry Freedom” that two apartheid movies was too many. MGM stepped in to make it.

    Palcy has always been steadfast in her vision. Paul Newman was desperate to be in the film, but she was set on Donald Sutherland. She also convinced Brando, who had been retired for nine years, to take a role. For that, he received his eighth and final Oscar nomination.

    After that, though, Hollywood became a mixed bag. She made “Ruby Bridges” for the Wonderful World of Disney and “The Killing Yard,” a TV film about the Attica Prison riot. But then about a decade ago, she decided she had to leave. She’d heard no, and that Black films don’t sell, a few too many times. And she’d been asked to make a few too many films that didn’t speak to her.

    “I thought, I cannot betray my ideals,” she said. “So I thought I’d go away and put my energy into helping young filmmakers so I didn’t waste my time. I was just waiting for the right time to come back.”

    In the ensuing years, she’d receive many letters and emails from people asking her where she was and why she wasn’t making films. Some of her films have gotten a second life too: “A Dry White Season” got a Criterion restoration and “Ruby Bridges” started streaming on Disney+.

    “My work is not for people from yesterday,” she said. “My work is for people from the new generation.”

    Then earlier this year she had a feeling that the time to come back was now. Soon after, she got an honor in France and 24 hours later got the phone call about the honorary Oscar.

    “I said, ‘My God, what is happening?’ It was worth the sadness and the struggle I had inside me for not being able to do my movies,” she said.

    Now she just hopes that people don’t put her in a box, thinking she’s just a “political filmmaker.”

    “I want to make all kinds of movies,” she said. “I can do any genre.”

    Palcy does want to make one thing clear: Though she is forthright about the struggles and adversity she faced, she wants people to know that she is also a very positive person.

    “It was not a complaint,” she said. “But if they ask me about it, I will be honest.”

    ———

    Follow AP Film Writer Lindsey Bahr on Twitter: www.twitter.com/ldbahr.

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  • Pakistan blocks national release of ‘Joyland,’ a story of sexual liberation | CNN

    Pakistan blocks national release of ‘Joyland,’ a story of sexual liberation | CNN

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    Islamabad, Pakistan
    CNN
     — 

    Pakistan’s government has blocked the nationwide release of “Joyland,” the first Pakistani movie shown at the Cannes Film Festival, just one week before it was due to hit theaters in the South Asian country.

    “Joyland” tells a love story between the youngest son of “a happily patriarchal joint family” and a transgender starlet he meets after secretly joining an erotic dance theater, according to a synopsis on the Cannes Film Festival website.

    In August, the country’s Central Board of Film Censors (CBFC) granted a certificate allowing the movie to be released, but on Friday Pakistan’s Ministry of Information and Broadcasting issued a notice saying it was now “uncertified.”

    The official notice said written complaints had been received that the movie contains “highly objectional material” that does not conform with the “social values and moral standards of our society.”

    The ministry’s notice said cinemas that fall under the CBFC’s jurisdiction cannot show the movie.

    “Joyland” won the Un Certain Regard Jury Prize and the unofficial Queer Palm at Cannes in May. It was then submitted to the Oscars as Pakistan’s official entry for the international feature film award. However, it needs to be in theaters for at least seven days before November 30 to remain in contention for the awards.

    Despite being banned from release in Pakistan, “Joyland” could still qualify in this category if it is “theatrically exhibited outside of the U.S. and its territories for at least seven consecutive days in a commercial motion picture theater for paid admission,” according to the official Academy rules.

    On Tuesday, a close aide to Pakistan’s Prime Minister tweeted that a “high level committee” was assessing the complaints against Joyland and reviewing its ban.

    “The committee will assess the complaints as well as merits to decide on its release in Pakistan,” said adviser Salman Sufi.

    The review comes after the Human Rights Commission of Pakistan released a statement on Sunday, condemning the government’s withdrawal of certification for “Joyland” as “rabidly transphobic” and a violation of the movie producers’ right to freedom of expression.

    “Pakistan’s audiences have the right to decide what they will watch,” the statement said.

    Saim Sadiq, the movie’s director, argued in a post on Instagram that the ministry’s reversal was “absolutely unconstitutional and illegal,” and urged them to reconsider.

    “Return the right of our citizens to be able to watch the film that has made their country’s cinema proud world over,” Sadiq wrote.

    “Our film got seen and certified by all three censor boards in August 2022. The 18th amendment in the Pakistani constitution gives all of provinces the autonomy to make their own decision. Yet the Ministry suddenly caved under pressure from a few extremist factions – who have not seen the film – and made a mockery of our federal censor board by rendering their decision irrelevant.”

    The ban has sparked a public outcry and social media campaign using the hashtag #releasejoyland.

    Rasti Farooq, one of the actresses in the movie, posted on Instagram supporting efforts to have it released.

    “I stand by my film, and everything that it says, with every fibre of my being,” Farooq said.

    Pakistani actor Humayun Saeed, who stars in the fifth season of Netflix series “The Crown,” has also weighed in.

    “Joyland has made Pakistan proud by becoming the first South Asian film to win the Jury Prize at the Cannes Film Festival. It is a story of our people told by our people for our people. Hoping for it to be made accessible to these very people #ReleaseJoyland,” he tweeted.

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  • Jury orders Filmmaker Paul Haggis to pay $7.5M in rape suit

    Jury orders Filmmaker Paul Haggis to pay $7.5M in rape suit

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    NEW YORK — A jury ordered Academy Award-winning filmmaker Paul Haggis Thursday to pay at least $7.5 million to a woman who accused him of rape in one of several #MeToo-era cases that have put Hollywood notables’ behavior on trial this fall. Jurors also plan to award additional punitive damages.

    Veering from sex to red-carpet socializing to Scientology, the civil court trial pitted Haggis, known for writing best picture Oscar winners “Million Dollar Baby” and “Crash,” against Haleigh Breest, a publicist who met him while working at movie premieres in the early 2010s.

    After hugging her lawyers, Breest said she was “very grateful” for the verdict as she left court. In a statement released later, she said she was thankful “that the jury chose to follow the facts — and believed me.”

    Haggis said he was “very disappointed in the results.”

    “I’m going to continue to, with my team, fight to clear my name,” he said as he left the courthouse with his three adult daughters. One had wept on a sister’s shoulder as the verdict was delivered.

    After a screening afterparty in January 2013, Haggis offered Breest a lift home and invited her to his New York apartment for a drink.

    Breest, 36, said Haggis then subjected her to unwanted advances and ultimately compelled her to perform oral sex and raped her despite her entreaties to stop. Haggis, 69, said the publicist was flirtatious and, while sometimes seeming “conflicted,” initiated kisses and oral sex in an entirely consensual interaction. He said he couldn’t recall whether they had intercourse.

    After a day of deliberating, jurors sided with Breest, who said she suffered psychological and professional consequences from her encounter with Haggis. She sued in late 2017.

    While awarding her $7.5 million to compensate for suffering, the jury concluded that punitive damages should also be awarded. Jurors return Monday for more court proceedings to help them decide that amount.

    The verdict came weeks after another civil jury, in the federal courthouse next door, decided that Kevin Spacey didn’t sexually abuse fellow actor and then-teenager Anthony Rapp in 1986. Meanwhile, “That ’70s Show” actor Danny Masterson and former movie magnate Harvey Weinstein are on trial, separately, on criminal rape charges in Los Angeles. Both deny the allegations, and Weinstein is appealing a conviction in New York.

    All four cases followed the #MeToo upwelling of denunciations, disclosures and demands for accountability about sexual misconduct, triggered by October 2017 news reports on decades of allegations about Weinstein.

    Breest, in particular, said she decided to sue Haggis because his public condemnations of Weinstein infuriated her.

    Four other women also testified that they experienced forceful, unwelcome passes — and in one case, rape — by Haggis in separate encounters going back to 1996. None of the four took legal action.

    The Associated Press generally does not identify people who say they have been sexually assaulted unless they come forward publicly, as Breest has done.

    Haggis denied all of the allegations. His defense, meanwhile, introduced jurors to several women — including ex-wife and former longtime “Dallas” cast member Deborah Rennard — who said the screenwriter-director took it in stride when they rebuffed his romantic or sexual overtures.

    During three weeks of testimony, the trial scrutinized text messages that Breest sent to friends about what happened with Haggis, emails between them before and after the night in question, and some differences between their testimony and what they said in early court papers.

    The two sides debated whether Haggis was physically capable of carrying out the alleged attack eight weeks after a spinal surgery. Psychology experts offered dueling perspectives about what one called widespread misconceptions about rape victims’ behavior, such as assumptions that victims would have no subsequent contact with their attackers.

    And jurors heard extensive testimony about the Church of Scientology, the religion founded by science fiction and fantasy author L. Ron Hubbard in the 1950s. Haggis was an adherent for decades before publicly renouncing, and denouncing, Scientology in 2009.

    Through testimony from Haggis and other ex-members, his defense argued that the church set out to discredit him and might have had something to do with the lawsuit.

    No witnesses said they knew that Haggis’ accusers or Breest’s lawyers had Scientology ties, and his lawyers acknowledged that Breest herself does not. Still, Haggis lawyer Priya Chaudhry sought to persuade jurors that there were “the footprints, though maybe not the fingerprints, of Scientology’s involvement here.”

    The church said in a statement that it has no involvement in the matter, arguing that Haggis is trying to shame his accusers with an “absurd and patently false” claim. Breest’s lawyers, Ilann Maazal and Zoe Salzman, have called it “a shameful and unsupported conspiracy theory.”

    The Canadian-born Haggis penned episodes of such well-known series as “Diff’rent Strokes” and “Thirtysomething” in the 1980s. He broke into movies with a splash with “Million Dollar Baby” and “Crash,” which he also directed and co-produced. Each film won the Academy Award for best picture, for 2004 and 2005 respectively, and Haggis also won a screenwriting Oscar for “Crash.”

    His other credits include the screenplays for the James Bond movies “Casino Royale” and “Quantum of Solace.”

    ———

    Associated Press journalist Ted Shaffrey contributed.

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  • Jimmy Kimmel to host 2023 Oscars “after everyone good said ‘no'”

    Jimmy Kimmel to host 2023 Oscars “after everyone good said ‘no’”

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    Academy Awards season is just a few months away. Early next year, “Hollywood’s biggest night” will be hosted — once again — by late-night talk show host Jimmy Kimmel. 

    This will be the “Jimmy Kimmel Live!” host’s third time taking the stage at the Oscars. He hosted the 89th and 90th awards show in 2017 and 2018. The 95th annual awards show will be held on March 12 at the Dolby Theatre in Hollywood.

    “Being invited to host the Oscars for a third time is either a great honor or a trap,” Kimmel said in a press release. “Either way, I am grateful to the Academy for asking me so quickly after everyone good said ‘no.’” 

    Despite his self-deprecating quip, Academy CEO Bill Kramer and President Janet Yang said in the same release he is the “perfect host.” 

    “His love of movies, live TV expertise and ability to connect with our global audiences will create an unforgettable experience for our millions of viewers worldwide,” they said. “With Kimmel, [executive producers and showrunners Glenn] Weiss and [Ricky] Kirshner’s fresh perspective and masterful guidance, the Oscars will celebrate its rich 95-year history, the collaborative nature of moviemaking, and our diverse, dynamic and deeply creative community of filmmakers.” 

    Craig Erwich, president of ABC Entertainment, Hulu and Disney Branded Television Streaming Originals, said Kimmel returning to host is a “dream come true.” 

    “As we see every night on his show, Jimmy can handle anything with both heart and humor,” he said.

    At the last Oscars, Will Smith famously marched on stage and slapped host Chris Rock across the face. The attack occurred after Rock made a joke about Jada Pinkett Smith, calling her “G.I. Jane” in reference to her lack of hair. The actress and wife of Will Smith has lost her hair due to alopecia, an autoimmune disease.  

    “We know that [Kimmel] will deliver the laughs and celebratory moments that define the Oscars,” Erwich said. “We love being the home of Hollywood’s biggest night and can’t wait to toast the success of this year’s cinema and storytelling.” 

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  • ‘The Crown’ returns to blur the line between royals, fiction

    ‘The Crown’ returns to blur the line between royals, fiction

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    LOS ANGELES — When “The Crown” returns Wednesday after a two-year absence, the splintering marriage of Charles and Diana and more woes for Queen Elizabeth II are in the drama’s elegant but intrusive spotlight.

    There’s swirling off-stage drama as well for the Netflix series that began with Elizabeth’s marriage in the late 1940s and, in its fifth season, takes on the British royal family’s turbulent 1990s. The queen famously labeled one stretch her “annus horribilis” — Latin for “horrible year.”

    The safe distance of history is gone in the 10 new episodes set within recent memory for many and whose stories, sight unseen, have been denounced. The death of Queen Elizabeth, 96, in September adds an uneasy dimension: We speculate freely about the famous before and after they’re gone, but is more owed a country’s beloved and longest-serving monarch?

    Among the prominent critics is Judi Dench, an Oscar-winner for her role as Elizabeth I in “Shakespeare in Love.” In a letter to The Times of London, the actor blasted elements of the drama as “cruelly unjust to the individuals and damaging to the institution they represent.”

    She called for each episode to carry a disclaimer labeling it as fiction. It’s a demand that Netflix has heard before and continues to resist, framing the series as drama inspired by historical events. Series creator Peter Morgan was unavailable for comment, Netflix said.

    Dench is not amused by the streaming service’s intransigence.

    “The time has come for Netflix to reconsider — for the sake of a family and a nation so recently bereaved, as a mark of respect to a sovereign who served her people so dutifully for 70 years,” she wrote.

    Her plea followed a rebuke of the series from former Prime Minister John Major, shown in the new season being lobbied by Prince Charles — now King Charles III — to help maneuver the queen’s abdication. A spokesman for Major labeled the scene as false and malicious.

    Cast members including Jonathan Pryce, who plays Elizabeth’s stalwart husband Prince Philip, beg to differ with the series’ detractors.

    “The queen is in no danger from ‘The Crown,’” Pryce told The Associated Press. He said critics are lambasting the new season despite ignorance of it, reminding him of what the British once termed “the Mary Whitehouse effect.”

    Whitehouse had “a huge following and she criticized programs she’d never seen,” he said. “I think a lot of the protests this time, people haven’t seen this series. They don’t know how these issues are treated. I have to say they’re treated with a great deal of integrity and a great deal of sensitivity.”

    Imelda Staunton, stepping in as the latest actor to play Elizabeth, defended the series, its award-winning creator and its viewers.

    “I think it’s underestimating the audience,” Staunton told AP. ”There have been four seasons where people know it’s been written by Peter Morgan and his team of writers.”

    Morgan, writer of the movie “The Queen” and play “The Audience,” both starring the Oscar- and Tony-winning Helen Mirren as Elizabeth II, has made royals a specialty. The recent criticism may suggest his winter of discontent is ahead, but Morgan has it easier than another writer who feasted on the British monarchs as material: William Shakespeare, who dramatized the reigns of seven kings.

    All were in the past, with Shakespeare treading lightly around the rulers of his time, Elizabeth I and James I.

    “We all imagine it being sort of sweetness and light, and we’ve all seen ‘Shakespeare in Love’ and everyone’s sitting around drinking. Actually, it was like Stalinist Russia in many ways,” Shakespearean expert Andrew Dickson said of the rigidly controlled society in which the bard worked circa 1585 to 1613.

    Plays were approved by the master of the revels, a sort of civil servant with the power of censorship, said Dickson, author of “Worlds Elsewhere: Journeys Around Shakespeare’s Globe” and “The Globe Guide to Shakespeare.” Authors could and were imprisoned, or worse, for transgressions, he said.

    “His very few representations of royals recent to his time were pretty flattering, and and early audiences even called them patriotic,” said Harvard teacher-scholar Jeffrey R. Wilson, author of “Shakespeare and Trump” and “Richard III’s Bodies.” Theater in general was viewed as illusory and deceptive, he said.

    “He told this politicized version that was flattering to the powers that were in his time,” Wilson said. It became the “dominant framework for telling English royal history all the way through the 18th and 19th centuries. It’s now called the ‘Tudor myth,’” he said, a reference to the House of Tudor that ruled for more than a century.

    It’s problematic if people similarly begin recounting the Netflix show’s “fictionalized version of history as fact,” he said.

    Lesley Manville, who plays the queen’s sibling Princess Margaret this season, said she defers to those in charge of “The Crown” on whether a disclaimer is or isn’t warranted.

    “For my part, I can only be crystal clear that what I’m doing is a drama,” Manville said. “We’ve never supported it to be anything other than a drama about a real family, a very world famous family.”

    Staunton said she’s grateful that the season addresses a period that was “quite tumultuous, and therefore that creates quite a good drama.” She traced the recent protests about the series directly to the queen’s death.

    “There’s no doubt that if we were releasing the series two years ago there wouldn’t be this amount of sensitivity, which again is absolutely understandable,” Staunton said. She found herself deeply affected by the queen’s death, which she learned of after a day of taping on the show’s sixth season.

    “’Why am I feeling so distraught?’” she recalled asking herself. “But of course I’d been living with her for two and a half years” of preparation and production.

    For Pryce, working on the series has provided a better understanding of the royal family.

    “They’ve always been a part of society and it looks like they’re going to continue for some time,” he said. “I’m looking forward to King Charles’ reign, and seeing what he can do to change things.”

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  • Russians try to subdue Ukrainian towns by seizing mayors

    Russians try to subdue Ukrainian towns by seizing mayors

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    KYIV, Ukraine — Not long after Russian tanks rolled into Ukraine, soldiers broke down the office door of Melitopol Mayor Ivan Fedorov. They put a bag over his head, bundled him into a car and drove him around the southern city for hours, threatening to kill him.

    Fedorov, 34, is one of over 50 local leaders who have been held in Russian captivity since the war began on Feb. 24 in an attempt to subdue cities and towns coming under Moscow’s control. Like many others, he said he was pressured to collaborate with the invaders.

    “The bullying and threats did not stop for a minute. They tried to force me to continue leading the city under the Russian flag, but I refused,” Fedorov told The Associated Press by phone last month in Kyiv. “They didn’t beat me, but day and night, wild screams from the next cell would tell me what was waiting for me.”

    As Russians seized parts of eastern and southern Ukraine, civilian administrators and others, including nuclear power plant workers, say they have been abducted, threatened or beaten to force their cooperation — something that legal and human rights experts say may constitute a war crime.

    Ukrainian and Western historians say the tactic is used when invading forces are unable to subjugate the population.

    This year, as Russian forces sought to tighten their hold on Melitopol, hundreds of residents took to the streets to demand Fedorov’s release. After six days in detention and an intervention from President Volodymyr Zelenskyy, he was exchanged for nine Russian prisoners of war and expelled from the occupied city. A pro-Kremlin figure was installed.

    “The Russians cannot govern the captured cities. They have neither the personnel nor the experience,” Fedorov said. They want to force public officials to work for them because they realize that someone has to “clean the streets and fix up the destroyed houses.”

    The Association of Ukrainian Cities (AUC), a group of local leaders from across Ukraine, said that of the more than 50 abducted officials, including 34 mayors, at least 10 remain captive.

    Russian officials haven’t commented on the allegations. Moscow-backed authorities in eastern Ukraine even launched a criminal investigation into Fedorov on charges of involvement in terrorist activities.

    “Kidnapping the heads of villages, towns and cities, especially in wartime, endangers all residents of a community, because all critical management, provision of basic amenities and important decisions on which the fate of thousands of residents depends are entrusted to the community’s head,” said Kyiv Mayor Vitali Klitschko, head of the AUC.

    In the southern city of Kherson, one of the first seized by Russia and a key target of an unfolding counteroffensive, Mayor Ihor Kolykhaiev tried to stand his ground. He said in April that he would refuse to cooperate with its new, Kremlin-backed overseer.

    Kirill Stremousov, deputy head of the Russian-installed regional administration, repeatedly denounced Kolykhaiev as a “Nazi,” echoing the false Kremlin narrative that its attack on Ukraine was an attempt to “de-Nazify” the country.

    Kolykhaiev continued to supervise Kherson’s public utilities until his arrest on June 28. His whereabouts remain unknown.

    According to the U.N. Human Rights Monitoring Mission in Ukraine, 407 forced disappearances and arbitrary arrests of civilians were recorded in areas seized by Russia in the first six months of the war. Most were civil servants, local councilors, civil society activists and journalists.

    Yulia Gorbunova, a senior researcher at Human Rights Watch, said the abuse “violates international law and may constitute a war crime,” adding that Russian forces’ actions appeared to be aimed at “obtaining information and instilling fear.”

    The U.N. human rights office has warned repeatedly that arbitrary detentions and forced disappearances are among possible war crimes committed in Ukraine.

    Several mayors have been killed, shocking Ukrainian society. Following the discovery of mass burials in areas recaptured by Kyiv, Ukrainian and foreign investigators continue to uncover details of extrajudicial killings of mayors.

    The body of Olga Sukhenko, who headed the village of Motyzhyn, near Kyiv, was found in a mass grave next to those of her husband and son after Russian forces retreated. The village, with a prewar population of about 1,000, is a short drive from Bucha, which saw hundreds of civilians killed under Russian occupation.

    Residents said Sukhenko had refused to cooperate with the Russians. When her body was unearthed on the outskirts of Motyzhyn, her hands were found tied behind her back.

    Mayor Yurii Prylypko of nearby Hostomel was gunned down in March while handing out food and medicine. The prosecutor general’s office later said his body was found rigged with explosives.

    Ukraine’s government has tried to swap captive officials for Russian POWs, but officials complain that Moscow sometimes demands Kyiv release hundreds for each Ukrainian in a position of authority, prolonging negotiations.

    “It’s such a difficult job that any superfluous word can get in the way of our exchange,” said Dmytro Lubinets, Ukraine’s human rights commissioner. “We know the places where prisoners are kept, as well as the appalling conditions in which they are kept.”

    There has been no news about the fate of Ivan Samoydyuk, the deputy mayor of Enerhodar, site of the Zaporizhzhia Nuclear Power Plant. Samoydyuk, abducted in March, has repeatedly been considered for a prisoner swap, but his name was struck off the list each time, Mayor Dmytro Orlov told the AP.

    The 58-year-old deputy mayor was seriously ill when seized, Orlov said, and “we don’t even know if he’s alive.” At best, Samoydyuk is sitting in a basement somewhere “and his life depends on the whim of people with guns,” he added.

    More than 1,000 Enerhodar residents, including dozens of workers at Zaporizhzhia, Europe’s largest nuclear plant, were detained by the Russians at one time or another.

    “The vast majority of those who came out of the Russian cellars speak of brutal beatings and electric shocks,” he said.

    Gorbunova, the HRW senior researcher, said torture “is prohibited under all circumstances under international law, and, when connected to an armed conflict, constitutes a war crime and may also constitute a crime against humanity.”

    Each week brings reports of abductions of officials, engineers, doctors and teachers who won’t cooperate with the Russians.

    Viktor Marunyak, head of the village of Stara Zburivka in the southern Kherson region, is famous for appearing in Roman Bondarchuk’s 2015 documentary “Ukrainian Sheriffs,” an Academy Award contender. The film explores the separatist conflict in eastern Ukraine that began in 2014. While the film didn’t win an Oscar, it cemented Marunyak’s salt-of-the-earth reputation.

    After Russian troops seized Stara Zburivka in spring, Marunyak held pro-Ukrainian rallies and hid some activists in his home. He was eventually taken prisoner.

    “At first, they put (electrical) wires on my thumbs. Then it seemed not enough for them, and they put them on my big toes. And they poured water on my head so it would flow down my back,” he told the AP. “Honestly, I was so beaten up that I didn’t have any impressions from the electric current.”

    After 23 days, Marunyak was “released to die,” he said. Hospitalized for 10 days with pneumonia and nine broken ribs, he finally left for territory controlled by Kyiv.

    History professor Hubertus Jahn of Cambridge University said that from the time of Peter the Great onward, the tactic by imperialist Russia of co-opting locals targeted elites and nobility, with resistance often bringing Siberian exile.

    During World War II, he said, “German SS units operated in a similar way,” by targeting local administrators in order to pressure residents into submission. Jahn called it an obvious strategy “if you don’t have the strength to subordinate a region outright.”

    Historian Ivan Patryliuk of Kyiv’s Taras Shevchenko National University said municipal authorities in Soviet Ukraine often fled before Nazi occupation forces arrived, which “helped avoid mass executions of officials.”

    “The kind of torture and humiliation (of) city leaders that the Russians are now perpetrating … is one of the darkest and most shameful pages of the current war,” Patryliuk said.

    ———

    Hanna Arhirova in Kyiv, Joanna Kozlowska in London, and Jamey Keaten in Geneva, contributed to this report.

    ———

    Follow AP’s coverage of the war in Ukraine at https://apnews.com/hub/russia-ukraine

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  • 2019 Oscars: Black Panther is the first superhero movie to be nominated for an Academy Award; Gets 7 nominations today

    2019 Oscars: Black Panther is the first superhero movie to be nominated for an Academy Award; Gets 7 nominations today

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    Black Panther,” which struck a cultural chord for having a predominantly black cast, is now an Oscar nominee for best picture, making it the first comic book adaptation to be recognized for the category by the Academy. Directed by Ryan Coogler, the film also racked up six other nominations, including best original score and several other technical awards Tuesday. 

    The Marvel hit follows T’Challa (Chadwick Boseman) as he returns home to take his place as leader of the fictional African country Wakanda, following the death of this father. Wakanda is wealthy, technologically advanced and one that has never been colonized.

    The film made its mark for being the first mega-budget movie to feature a black lead character, a black director, black writers and mostly black cast. Fans in Africa also lauded “Black Panther” for its positive portrayal of the continent

    “I remember being young and watching, consumed with pop culture,” Coogler told “CBS This Morning” co-host Gayle King. “What I noticed was none of their worlds like my world. When I was growing up in the East Bay area in Oakland, my family, my friends, everyone was black. What I longed for was stories that looked to be my world.” 


    Director Ryan Coogler discusses blockbuster hit “Black Panther”

    02:49

    Despite sky-high expectations, Coogler said his first priority was to make a good movie. “First things first, it’s got to work as a movie,” he said.

    And that it did. Black Panther is one of the highest-grossing movies of all-time, accumulating $1.3 billion worldwide and plans for a sequel are already underway. 

    Lupita Nyong’o was among the cast members who celebrated the nominations on Twitter.

    But does it actually have a chance to win best picture? CNET’s Richard Trenholm argues it has a legitimate shot.

    “Like BlacKkKlansman and Green Book, it tackles timely and relevant questions of race and prejudice. Where those other films examine the subject through a historical lens, Black Panther looks at the here and now,” Trenholm writes. 

    “So if Academy voters want timely subtext and positive representation as well as a thrilling story and cinematic verve, it’s all there between the punches and one-liners.”

    In addition to best picture, Coogler’s movie was nominated for best costume design, original score, original song, production design, sound edition and sound mixing. 

    The 91st Academy Awards will air live on Sunday, February 24.

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  • Case vs. Paul Haggis joins month of Hollywood #MeToo trials

    Case vs. Paul Haggis joins month of Hollywood #MeToo trials

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    NEW YORK — Jurors got their first look Wednesday at a lawsuit that pits Oscar-winning moviemaker Paul Haggis against a publicist who alleges that he raped her, the latest in a lineup of #MeToo-era trials involving Hollywood figures this fall.

    Opening statements in the civil case against Haggis began Wednesday in a New York state court. The federal court next door is housing a trial in a lawsuit accusing Oscar-winning actor Kevin Spacey of sexual assault. In Los Angeles, former film mogul Harvey Weinstein and “That ’70s Show” actor Danny Masterson are fighting criminal rape charges at separate trials down the hall from each other (Weinstein is already serving a 23-year sentence on a New York conviction). All of the men deny the allegations.

    The confluence of trials is a coincidence, but it makes for something of a #MeToo moment five years after allegations against Weinstein triggered a dam break of sexual misconduct accusations in Hollywood and beyond and catalyzed an ongoing movement to demand accountability.

    “We’re still very early on in this time of reckoning,” said Debra Katz, a Washington-based lawyer who has represented many sexual assault accusers. She isn’t involved in any of the four trials.

    In an unusual turn, both Haggis’ case and Masterson’s also have become forums for scrutinizing the Church of Scientology, though from different perspectives.

    In the case against Haggis, publicist Haleigh Breest claims that the “Crash” and “Million Dollar Baby” screenwriter forced her to perform oral sex and raped her after she reluctantly agreed to a drink in his apartment after a 2013 movie premiere. Haggis maintains that the encounter was consensual.

    Breest never went to police, but soon after the encounter, she gave friends an account of what happened, sending text messages that both her lawyers and Haggis’ attorneys say bolster their case.

    “He was so rough and aggressive. Never, ever again … And I kept saying no,” read one text that her lawyer Zoe Salzman highlighted in her opening statement. She said the encounter shattered Breest emotionally, but that she didn’t go public until after the allegations against Weinstein burst into view in 2017 and Haggis condemned him.

    “The hypocrisy of it made her blood boil,” Salzman said.

    Haggis attorney Priya Chaudhry pointed jurors to other parts of the same text exchange, saying that Breest added “lol” — for “laughing out loud” — when she mentioned performing oral sex, and that she said she wanted to be alone with Haggis again to “see what happens.”

    “I don’t care too much. I just hope I don’t now have enemies” professionally, she wrote, according to Chaudhry. She argued that Breest falsely accused the filmmaker of rape to get a payout.

    “Paul Haggis is relieved that he finally gets his day in court,” Chaudhry said.

    Only Breest is suing Haggis, but jurors will also hear from four other women who told her lawyers that Haggis sexually assaulted them, or attempted to do so, in separate encounters between 1996 and 2015. The jury won’t hear, however, that Italian authorities this summer investigated a sexual assault allegation against him, which he denied.

    “Mr. Haggis used his storytelling skills and his fame to prey on, to manipulate and to attack vulnerable young women in the film industry,” Salzman told jurors. “He doesn’t stop when women say no.”

    Haggis’ attorney argued there’s another explanation for the allegations.

    Promising “circumstantial evidence,” she suggested that Scientologists ginned up Breest’s lawsuit to discredit him after he split with the church and became a prominent detractor.

    The church denies any involvement, and Breest’s lawyers have called the notion a baseless conspiracy theory that lacks proof of any connection between the religion and Haggis’ accusers.

    “Scientology has nothing to do with this case,” Salzman told jurors. The church has said the same.

    Scientology is a system of beliefs, teachings and rituals focused on spiritual betterment. Science fiction and fantasy author L. Ron Hubbard’s 1950 book “Dianetics: The Modern Science of Mental Health” is a foundational text.

    The religion has gained a following among such celebrities as Tom Cruise, John Travolta and Kirstie Alley. But some high-profile members have broken with it, including Haggis, singer Lisa Marie Presley and actor Leah Remini. In a memoir and documentary series, Remini said the church uses manipulative and abusive tactics to indoctrinate followers into putting its goals above all else, and she maintained that it worked to discredit critics who spoke out.

    The church has vociferously disputed the claims.

    Haggis says he was Scientologist for three decades before leaving the church in 2009. He slammed it as “a cult” in a 2011 New Yorker article that later informed a book and an HBO documentary, and he foreshadowed that retribution would come in the form of “a scandal that looks like it has nothing to do with the church.”

    The church has repeatedly said that Haggis lied about its practices to grab the spotlight for himself and his career. The church didn’t respond to a request for comment.

    Masterson’s lawyer, meanwhile, is asking jurors to disregard the actor’s affiliation with Scientology, though prosecutors say the church discouraged two of his three accusers from going to authorities. All three are former members.

    Haggis got his Hollywood start as as TV writer and moved on to movies including “Million Dollar Baby” and “Crash,” which won back-to-back Academy Awards for best picture in the mid-2000s. The Canada-born filmmaker also directed and was a producer of “Crash,” which garnered him and Bobby Moresco the best original screenplay Oscar in 2006.

    In a sworn statement last year, Haggis said his career nosedived and his finances cratered after Breest sued him in 2017.

    The Associated Press does not usually name people alleging sexual assault unless they come forward publicly, as Breest has done. She is seeking unspecified damages.

    ———

    Associated Press writer Deepa Bharath contributed from Los Angeles.

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  • Anne Hathaway reflects on the ‘hate’ she endured after winning her Oscar | CNN

    Anne Hathaway reflects on the ‘hate’ she endured after winning her Oscar | CNN

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    CNN
     — 

    Anne Hathaway chooses to look at the troubling period after her Academy Award win almost a decade ago as an “opportunity” to learn.

    Hathaway, who won a best supporting actress Oscar for her turn in 2012’s “Les Misérables,” spoke at Elle’s Women in Hollywood event on Monday night about the hatred she endured online and in the media leading up to and, particularly, after her win.

    “Ten years ago, I was given an opportunity to look at the language of hatred from a new perspective,” Hathaway said, according to a transcript published by the magazine’s website. “For context – this was a language I had employed with myself since I was 7. And when your self-inflicted pain is suddenly somehow amplified back at you at, say, the full volume of the internet … It’s a thing.”

    Hathaway said her experience made her realize “I had no desire to have anything to do with this line of energy” and “I would no longer create art from this place.”

    “I would no longer hold space for it, live in fear of it, nor speak its language for any reason. To anyone. Including myself,” she said.

    Hathaway won a flood of awards for her performance that year, including a Golden Globe and a BAFTA and was considered a heavy favorite for the Oscar. With her success, however, came harsh criticism.

    “There is a difference between existence and behavior,” Hathaway added. “You can judge behavior. You can forgive behavior, or not. But you do not have the right to judge – and especially not hate – someone for existing. And if you do, you’re not where it’s at.”

    She concluded on a positive note, pointing out how hatred is a learned behavior that can be unlearned and changed.

    “The good news about hate being learned is that whoever learned it can learn,” she said. “There is a brain there. I hope they give themselves a chance to relearn love.”

    Earlier in her speech, the “Devil Wears Prada” actress acknowledged the evening’s other honorees, who included Sigourney Weaver, Ariana DeBose, Sydney Sweeney, Michelle Yeoh, Issa Rae, Zoe Kravitz and Olivia Wilde.

    “Be happy for women. Period,” Hathaway said. “Especially be happy for high-achieving women. Like, it’s not that hard.”

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  • Suit over rape claim against filmmaker Haggis heads to trial

    Suit over rape claim against filmmaker Haggis heads to trial

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    NEW YORK — Opening statements are expected Wednesday in a civil case brought by a publicist who accused Oscar-winning filmmaker Paul Haggis of raping her almost a decade ago.

    Jury selection began Monday in a Manhattan courtroom.

    The lawsuit was filed in 2017 as a wave of sexual misconduct accusations against prominent men was propelling the #MeToo movement to new visibility. At least four other women subsequently alleged that Haggis, a screenwriter known for “Crash” and “Million Dollar Baby,” sexually assaulted them or tried to do so.

    The New York lawsuit centers on publicist Haleigh Breest’s allegation that Haggis offered her a ride home from a movie premiere, invited her to his Manhattan apartment for a drink, rebuffed her suggestion that they go to a public bar instead, and then raped her at the apartment.

    The filmmaker, who declined to comment as he left court Monday, maintains that the encounter was consensual.

    His defense may also feature an allegation of sinister intrigue: His lawyers have suggested that the Church of Scientology engineered false accusations of sexual misdeeds to ruin Haggis, a former longtime member who became an outspoken critic.

    The church has said it had no involvement in the allegations against Haggis, and his accuser’s lawyers have called it “a shameful and unsupported conspiracy theory unworthy of any trial proceeding.”

    But Judge Sabrina Kraus ruled last month that Haggis’ lawyers can bring up Scientology, saying that “the jury is entitled to be informed of any possible motive (the) plaintiff may have and about the church’s efforts to discredit Haggis.”

    No criminal charges were filed in connection with Breest’s accusation. Her lawsuit could mean a financial penalty, but not prison or probation for Haggis if she prevails. She is seeking unspecified damages.

    After the suit was filed in late 2017, three other women told her attorneys and The Associated Press that Haggis had sexually assaulted them or attempted to do so. One said he had raped her. In response, his lawyer said Haggis “didn’t rape anybody.”

    Kraus ruled last month that those three women can also testify as part of Breest’s effort to demonstrate Haggis’ “intent and lack of consent.”

    Jurors won’t be allowed to hear that Haggis was detained for about two weeks at an Italian hotel in June while authorities investigated allegations that he sexually assaulted a woman there. Haggis was in Italy for an arts festival.

    Haggis’ Italian attorney said the filmmaker was innocent, and in early July, a judge released him while prosecutors considered whether to pursue their inquiry. The judge concluded that Haggis hadn’t engaged in “constrictive violent behavior,” according to the newspaper Corriere della Sera.

    The Associated Press does not usually name people alleging sexual assault unless they come forward publicly, as Breest has done.

    The Canadian-born Haggis wrote “Million Dollar Baby” and “Crash,” which won back-to-back Academy Awards for best picture in the mid-2000s. He also directed and was a producer of “Crash,” which garnered him and Bobby Moresco the best original screenplay Oscar in 2006. The next year, Haggis was nominated in the same category for “Letters from Iwo Jima.”

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  • Harvey Weinstein goes on trial in LA, where he once reigned

    Harvey Weinstein goes on trial in LA, where he once reigned

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    LOS ANGELES — Five years after women’s stories about him made the #MeToo movement explode, Harvey Weinstein is going on trial in the city where he once was a colossus at the Oscars.

    Already serving a 23-year sentence for rape and sexual assault in New York, the 70-year-old former movie mogul faces different allegations including several that prosecutors say occurred during a pivotal Oscar week in Los Angeles. Jury selection for an eight-week trial begins Monday.

    Weinstein has been indicted on four counts of rape and seven other sexual assault counts involving five women, who will appear in court as Jane Does to tell their stories. He has pleaded not guilty.

    Four more women will be allowed to take the stand to give accounts of Weinstein sexual assaults that did not lead to charges, but which prosecutors hope will show jurors he had a propensity for committing such acts.

    Starting in the 1990s, Weinstein, through the company Miramax that he ran with his brother, was an innovator in running broad and aggressive campaigns promoting Academy Award nominees. He had unmatched success, pushing films like “Shakespeare in Love” and “The Artist” to best picture wins and becoming among the most thanked men ever during Oscar acceptance speeches.

    Miramax and its successor The Weinstein Co. were based in New York, where Weinstein lived and did business, but that didn’t diminish his presence in Hollywood.

    “He was a creature of New York, but he was also a creature of Los Angeles,” said Kim Masters, editor at large for The Hollywood Reporter and a longtime observer of the movie industry. “He had this huge Golden Globes party that was always well beyond capacity when he was in his heyday. He was the King of Hollywood in New York and LA.”

    It was during Oscars week in 2013, when Jennifer Lawrence would win an Academy Award for the Weinstein Co.’s “Silver Linings Playbook” and Quentin Tarantino would win for writing the company’s “Django Unchained,” that four of the 11 alleged crimes took place.

    Like most of the incidents in the indictments, they happened under the guise of business meetings at luxury hotels in Beverly Hills and Los Angeles, which Weinstein used as his California headquarters and where he could be seen during awards season and throughout the year. He was treated as more than a VIP. At a pre-trial hearing, the chauffeur who drove Weinstein around Los Angeles testified that even he was allowed to take as much as $1,000 in cash in Weinstein’s name from the front desk of the hotel where the mogul was staying.

    By the time stories about him in The New York Times and The New Yorker in October of 2017 brought about his downfall, Weinstein’s power to seemingly will films to win awards had diminished, and his company had fallen into financial trouble.

    “His stature changed, he was no longer the king of Oscar, which was really what made him vulnerable,” Masters said.

    The Los Angeles trial is likely to be far less of a spectacle than the New York proceedings, and not merely because it’s a sequel and Weinstein is already serving a long sentence.

    Foot traffic is sparse and there is no grand entrance at the downtown LA courthouse that’s hosting the trial. Weinstein will not be visible to any media horde or protesters outside as he was in Manhattan, as he’ll be ushered into the courtroom straight from jail — once he’s changed form his prison garb into a suit — across a short hallway where no cameras are allowed that could capture him.

    Only a dozen reporters, including two sketch artists, will be allowed into the small courtroom each day, compared to several dozen in New York.

    Weinstein will also be represented by different lawyers in Los Angeles, Alan Jackson and Mark Werksman. They have expressed worries that the movies may play a role in trial.

    The film “She Said,” which fictionalizes the work of two New York Times reporters and their bombshell stories on Weinstein, is set to be released midway through the trial on Nov. 18.

    Weinstein’s lawyers lost a bid to have the proceedings delayed over the film, with the judge rejecting their argument that publicity surrounding it would prejudice a potential jury against him.

    “This case is unique,” Werksman said at a pretrial hearing. “Mr. Weinstein’s notoriety and his place in our culture at the center of the firestorm which is the #MeToo movement is real, and we’re trying to do everything we can to avoid having a trial when there will be a swirl of adverse publicity toward him,” Werksman said at a pretrial hearing.

    Weinstein’s trial is one of several with #MeToo connections that have begun or are about to begin as the fifth anniversary of the movement’s biggest moment passes, including the rape trial of “That ‘70s Show” actor Danny Masterson just down the hall from Weinstein’s and the New York sexual assault civil trial of Kevin Spacey.

    ———

    Follow AP Entertainment Writer Andrew Dalton on Twitter: twitter.com/andyjamesdalton

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  • ‘RRR’ Launches Oscars Best Picture Campaign

    ‘RRR’ Launches Oscars Best Picture Campaign

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    RRR is monumental. Not just as a foreign film, but as a film in general. For those unfamiliar, RRR is an Indian film which tells the story of two actual historical figures living under British rule. While the characters are real, the film is thoroughly embellished. If it wasn’t, we wouldn’t have some of the insane action scenes, the excellent musical numbers, or the expertly choreographed dance sequences.

    The film has been a hit with both audiences and critics in the United States since its debut earlier in the year, and now the film’s producers are pushing for it to be nominated for Best Picture at the upcoming Academy Awards.

    Despite the absolute spectacle that is RRR, it’s facing some pretty heavy odds. Only one film that wasn’t in English has ever won an Oscar, that being Bong Joon-ho’s tale of class warfare, Parasite. For whatever reason, it seems like Americans really have an issue watching films if they’re required to read subtitles. Maybe it’s oversaturation in the Hollywood market, which means that most people don’t go out of their way to watch foreign films.

    Whatever the outcome at the Academy Awards, RRR is completely worth seeing. If you can’t find it in some local arthouse theater or something like that, your best bet is to hop onto Netflix. It’s currently streaming there, albeit only in a Hindi-language version. Still, it’s better than not seeing the movie at all.

    The Best Movies of 2022 So Far

    Of all the titles released so far this year, here are the ones you have to see.

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    Cody Mcintosh

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  • Exceptional Minds With Autism Have Screen Cred on 3 of 5 VFX Oscar Nominations

    Exceptional Minds With Autism Have Screen Cred on 3 of 5 VFX Oscar Nominations

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    Exceptional Minds visual effects artists on the spectrum earned screen credit for visual cleanup and/or title work on “Star Wars: The Last Jedi,” “Guardians of the Galaxy Vol 2,” and “War for the Planet of the Apes.”

    Exceptional Minds Studio earned screen credit on three of the five Oscar nominated movies in the visual effects category announced by the Academy of Motion Picture Arts and Sciences yesterday.

    Exceptional Minds Studio is the industry’s only working visual effects and animation studio of young professionals on the autism spectrum. Since opening its doors almost four years ago, the small studio has worked on visual effects for more than 50 major motion pictures and/or television series, including “The Good Doctor,” “Game of Thrones,” and “Doctor Strange.”  

    Many of our artists never even dreamed they would be working in this industry.

    Susan Zwerman, Exceptional Minds Studio Executive Producer

    “Star Wars: The Last Jedi,” “Guardians of the Galaxy Vol. 2,” and “War for the Planet of the Apes” are on the studio’s list of more recent visual effects and title work for hire. All three films are up for the visual effects Oscar at the upcoming Academy Awards. “Each film is so deserving of this award. The vfx teams we worked with on each of these movies were beyond professional, and we are so thankful that they gave our artists the opportunity to work with them,” said Exceptional Minds Studio Executive Producer Susan Zwerman.

    “Many of our artists never even dreamed they would be working in this industry,” she added.  “I couldn’t even imagine doing this when I was young,” agreed Patrick Brady, one of the Exceptional Minds vfx artists on the autism spectrum.

    An estimated 90 percent of the autism population is under employed or unemployed, and few training programs exist to prepare young adults with autism for meaningful careers.

    Exceptional Minds Studio contracts out to the entertainment industry for roto & paint, tracker removal, split screen, green screen keying, and compositing as well as end title credit work and 2D animation. It is staffed by graduates of Exceptional Minds, which is the first vocational school of its kind to prepare young men and women on the autism spectrum for careers in visual effects and animation.

    “These young adults are proving that people with autism can not only work meaningful careers, but also thrive in the competitive entertainment industry,” said Exceptional Minds Executive Director Ernie Merlán.

    Autism is the fastest-growing developmental disability in the U.S.

    Contact: Dee McVicker, 602-319-6912 or deemcv@grassrootsco.com

    Source: Exceptional Minds

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