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Spirit Award Nominations Spotlight Indie Films in would like of a lift

Oscar contenders such as ‘Uncut Gems,’ ‘Clemency’ and ‘The Lighthouse’ will face off against frontrunners such as ‘Marriage Story,’ while A-listers like Jennifer Lopez share categories with breakouts like Lauren ‘LoLo’ Spencer.
Film Independent’s Spirit Awards nominating committee clearly tried to give as many worthy films as possible a taste of the spotlight in the nominations for the 35th annual Spirit Awards that were announced on Thursday morning, while prioritizing films that truly needed a boost.

The Spirit Awards honor the year’s best achievements for U.S. films made within a budget of $22.5 million.

It was a big day for indie studio A24, which led with 18 noms, including a field-leading five each for Benny Safdie and Josh Safdie’s Uncut Gems and Robert Eggers’ The Lighthouse.

Noah Baumbach’s critically praised Marriage Story, which Netflix is pushing as hard as any indie is being pushed this season, was nominated for only two awards, but they are biggies: best feature and best screenplay. And the low tally is not because the nominating committee didn’t like it, but because they found a way to show how much they liked it without having to deprive other films of more needed recognition: giving it the Robert Altman Award, which celebrates a director, cast and casting director, while also taking those individuals — among them Adam Driver, Scarlett Johansson, Alan Alda and Laura Dern — out of competition. I would imagine that all parties are pleased about that.

Apart from Marriage Story, Uncut Gems and Chinonye Chukwu’s Clemency (Neon) are the only films to receive both feature and screenplay noms. The other feature nominees are The Farewell (A24) and A Hidden Life (Fox Searchlight), both very much on-the-bubble best picture Oscar contenders; and the other screenplay nominees are To Dust (Good Deed), which was written by Jason Begue and Shawn Snyder, and High Flying Bird (Netflix), penned by Tarell Alvin McCraney, both Oscar long shots.

Alma Har’el’s Honey Boy (Amazon) landed four nods but disappointingly missed out on a feature nom. Har’el was nominated for directing, and the film’s two principal stars, Shia LaBeouf and Noah Jupe, were both nominated in the supporting category. LaBeouf is continuing to build momentum towards an Oscar nom, which would cap a remarkable comeback. But perhaps we have been underestimating Jupe’s prospects — the 14-year-old Brit very capably carries a large part of a film that many clearly love.

The Honey Boy duo is joined in the supporting male category by The Lighthouse’s Willem Dafoe, an indie darling who may well be headed toward his third Oscar nomination in three years, plus Jonathan Majors for The Last Black Man in San Francisco (A24), a wonderful little film which probably needed a better showing on Thursday to remain even in the Oscar mix, and Wendell Pierce for Burning Cane (Array).

Kirill Mikhanovsky’s Give Me Liberty (Music Box) landed a very impressive four nominations, thanks largely to a grassroots campaign being mounted by the boutique PR firm Robertson Taylor Partners, including one in the supporting female race acknowledging the excellent work of Lauren ‘LoLo’ Spencer, who plays a young woman with ALS on an unusually crazy day. (The actress has ALS in real life as well.)

Spencer is joined in the category by The Farewell’s ‘Nai Nai,’ Zhao Shuzhen, a veteran Chinese actress who is chugging along towards what would be a feel-good Oscar nom; Oscar winner Octavia Spencer for Luce (Neon); Taylor Russell, a breakout from Waves (A24), which otherwise performed disappointingly with the nom-com; and the wild-card in the group, Jennifer Lopez for Hustlers (STX), who does not generally hang in indie circles, but who is undeniably amazing in this role and is probably en route to an Oscar nomination, at least.

Hustlers was also nominated for best director (Lorene Scafaria) — she and Har’el will compete against the Safdies, Eggers and Luce’s Julius Onah — and best cinematography, a show of considerable strength for a film that was on few pundits’ awards radar prior to breaking out at the Toronto International Film Festival.

Speaking of people not usually associated with indies, Adam Sandler’s turn in Uncut Gems impressed the nom-com enough to land a best male lead nom, which keeps him very much in the mix of a hotly contested best actor Oscar race. He is joined in the category by Robert Pattinson for The Lighthouse, Kelvin Harrison, Jr. for Luce, Matthias Schoenaerts for The Mustang (Focus) and Chris Galust for Give Me Liberty, all much longer shots for Academy recognition.


Renee Zellweger was always a slam-dunk female lead nominee for Judy. She is joined by two genuinely on-the-bubble contenders, Clemency’s Alfre Woodard and Elisabeth Moss for Her Smell (Gunpower & Sky), plus three others from much lower-profile films, for whom this will almost certainly be the highlight of the season: Mary Kay Place for Diane (IFC), Karen Allen for Colewell (still seeking U.S. distribution) and Hong Chau for Driveways (still seeking U.S. distribution).

And then there is the international feature category. Film Independent voters nominated the Oscar entries from South Korea (Neon’s Oscar frontrunner Parasite), France (Amazon’s Les Miserables), Brazil (Amazon’s Invisible Life) and Peru (Wolfe Releasing’s Retablo), plus another film from France (Neon’s Portrait of a Lady on Fire) and the U.K. (A24’s The Souvenir) — but did not invite Jojo Rabbit, The Two Popes or any other English-language films which were actually eligible in that category.


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‘The Cave’ Filmmakers Offer Update of Director Feras Fayyad’s Visa Struggles

The two-time Oscar nominee was detained in Copenhagen by immigration police this week and handled with “unnecessary force.”
Feras Fayyad, the two-time Academy Award nominee behind Last Men in Aleppo and The Cave, has yet to be able to secure an extended U.S. visa — despite his recent Oscar nomination for best documentary and multiple other awards.

The Cave, distributed by National Geographic Documentary Films in the U.S., has earned the Syrian filmmaker universal acclaim, so has visa struggles have not gone unnoticed. This week alone, the TV Academy and the International Documentary Association were among the entertainment organizations that implored the State Department to grant Fayyad entry.

Still, efforts to get him to the U.S. have been unsuccessful. The Cave producer Sigrid Dyekjaer offered an update on his efforts during a Friday panel for The Cave at the Television Critics Association, saying that Fayyad had been detained by immigration police.

“Things escalated two nights ago when I got a phone call at 12.30 a.m,” said Dyekjaer. “Feras had been detained on his way into Copenhagen by immigration police. I rushed to the airport. Feras told me the police used unnecessary force in detaining him. The past month has been a lot for a man who has been imprisoned and tortured in Syria.”

Dyekjaer went on to say that Fayyad plans to go back to the U.S. Embassy in Copenhagen early next week to resume his efforts. She listed off a number of other entertainment organizations that have made petitions on his behalf.

Read the full statement below:

We were hoping that Feras Fayyad could be here with us today.

As has been widely reported, in December Feras was denied an extended U.S. visa by the U.S. Embassy in Copenhagen and has missed several industry events, including the IDA Awards and Cinema Eye Awards.

He has had quite the ordeal these past weeks.

While waiting on the U.S. Embassy in Copenhagen to grant him another appointment, Feras received news that his aunt’s house was bombed and his parents’ and childhood home was in the line of fire in Syria.

As the oldest of 10, he feels a great responsibility for his siblings and his parents. So, instead of continuing to wait on the embassy, Feras went to Turkey to be as close to his family as possible and help in any way he could.

The past few weeks for Feras have been filled with a lot of fear. A lot of anger. A lot of anxiety.

He remained in Turkey until two days ago, when we had positive indications the embassy was willing to revisit his case.

Feeling his family is out of immediate danger for now, Feras decided to return to Denmark.

However, things escalated two nights ago when I got a phone call at 12.30 a.m. Feras had been detained on his way into Copenhagen by immigration police.

I rushed to the airport. Feras told me the police used unnecessary force in detaining him. The past month has been a lot for a man who has been imprisoned and tortured in Syria, and whose family is under threat and has siblings spread all over Europe.

Feras was distraught, exhausted and felt discriminated against. The police eventually released him into my care.

After this ordeal and given there was no way to get here by today, Feras is instead spending the weekend with his 5-year-old daughter – who hasn’t seen him in over six weeks.

Our next step is to go back to the embassy early next week and try again for the necessary visa so he can come to the U.S.

National Geographic has been communicating with the U.S. State Department, and we have had an overwhelming show of support from the documentary community and entertainment industry at large, including:

• The Academy of Motion Pictures, Arts and Sciences
• The Television Academy & The National Academy of Television Arts & Sciences
• The Director’s Guild of America
• The International Documentary Association
• The Minister for Culture of Denmark
• The Danish Film Institute
• The association of Danish Film Directors

Feras is a filmmaker, but first and foremost he’s a Syrian. THE CAVE is a very personal film. It is dedicated to his seven sisters. To his daughter. To the unnamed women he witnessed being jailed and tortured in Syrian prisons because they’re women.

His voice is important and it deserves to be heard, now more than ever. After all, we are talking about a brilliant filmmaker who is now a two-time Academy Award nominee — and my dear friend.

Feras — and all of us — thank you all for your continued support.


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Shawn Levy’s 21 Laps in conformity with Produce Real-Life Soccer Drama ‘Shared Wisdom’

Kyle Patrick Alvarez will direct the true story about the 2017 Margaret Long Wisdom High School boys soccer team comprised completely of refugees.

Shawn Levy and his 21 Laps banner is teaming with Sight Unseen — the banner behind the Toronto International Film Festival title Bad Education — for the real-life soccer drama Shared Wisdom.

Based on an article written by Anna Katherine Clay — and described as being in the vein of Friday Night Lights and Hoosiers — the true story follows the 2017 Margaret Long Wisdom High School boys soccer team in Houston. Comprised completely of refugees from four different continents, most of whom didn’t speak English or one another’s language, the Wisdom High Generals went on to win the regional championship and make it all the way to the Texas state semifinals with a final season record of 24-2-3.

Head coach Fidel Andrade, an alum of Wisdom and war veteran, played a central role in bringing them together despite impossible challenges along the way. Throughout the season, players and their families had to face the threat of deportation, among other obstacles both personal and global.

Kyle Patrick Alvarez will direct Shared Wisdom from a script by Alan Fox.

Levy and Dan Cohen are producing the pic for 21 Laps, along with Eddie Vaisman and Julia Lebedev of Sight Unseen, which will also finance. Becca Edelman and Rachel Jacobs will oversee for each company, respectively.

21 Laps, repped by WME and Ziffren Brittenham, has such upcoming feature projects as the Levy-helmed Free Guy for Fox, due out July 3; Paramount’s Monster Problems; and the Netflix horror film There’s Someone Inside Your House. 

Sight Unseen, which is heading to the Sundance Film Festival with the Justin Simien feature Bad Hair, is repped by Endeavor Content and Paul Hastings.

Alvarez’s feature credits include Child of God and The Stanford Prison Experiment, and he most recently took over directorial duties on the second season of Amazon’s Homecoming. He is repped by UTA, Media Talent Group & attorney Gregg Gellman.

Fox, who has an untitled Charlie Chaplin feature which is set up at TriStar and Amy Pascal, is repped by Grandview.


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cuáles son los 41 automóviles más inseguros que se venden en México

Con el inicio de 2020 —sin entrar al debate sobre si empieza o no una nueva década— la conversación en el mundo de los autos a nivel global gira en torno a coches eléctricos, autónomos y conectados con la infraestructura. En México, sin embargo, antes tenemos una asignatura pendiente: la seguridad.

México vive un rezago importante en materia de seguridad en los autos. Recientemente se volvió obligatorio que los modelos que se incorporen al mercado incluyan bolsas de aire frontales y frenos ABS; en otras regiones del mundo, elementos como ABS, seis airbags, freno autónomo de emergencia y control de estabilidad son obligatorios desde hace años.

En México todavía hay tres modelos sin frenos ABS en sus versiones base: Hyundai Grand i10, Dodge Attitude y Nissan March.

El control electrónico de estabilidad (ESC) es un sistema que frena las llantas de manera selectiva para ayudarnos a mantener la trayectoria y evitar que el auto pierda el control en maniobras de emergencia. En Estados Unidos es obligatorio desde 2009 y en Europa se incluye en todos los autos desde 2014.

Latin NCAP, organización responsable de evaluar la seguridad en los autos de nuestra región, siempre hace una recomendación: nunca comprar autos sin control electrónico de estabilidad. Siguiendo su consejo, e independientemente de la evaluación de su estructura o el número de bolsas de aire, buscamos esos autos que Latin NCAP recomienda no comprar porque no llevan ESC.



Chevrolet Beat

Chevrolet Spark (transmisión manual)

Chevrolet Aveo LS y LT

Chevrolet Tornado

Chevrolet Cavalier LS (transmisión manual)

Chevrolet Trax LS

Dodge Neon SE y Sport

Dodge Attitude

Fiat Mobi

Fiat Uno

Fiat Palio Adventure

Honda Fit

Honda City

Hyundai Grand i10


Mitsubishi Mirage

Mitsubishi Mirage G4 GLX (transmisión manual)

Mitsubishi L200

Nissan March

Nissan V-Drive

Nissan Sentra 2019

Nissan NP300 (es opcional en toda la gama)

Peugeot 301 (Active gasolina)

RAM 700

Renault Logan

Renault Kwid

Renault Kangoo (Intens)

Renault Duster

Renault Oroch

Suzuki Swift GLS y GLX

Suzuki Ciaz

Suzuki Ignis

Suzuki Ertiga GLS

Toyota Avanza

Toyota Hilux

Volkswagen Gol

Volkswagen Polo

Volkswagen Vento

Volkswagen Saveiro

Fuente: NVI Noticias

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