Friederich imagine a world where an oppressive state has locked down all gatherings of people to minimise risk from a nebulous threat

Bengali actor-politician Tapas Pal, who died of a cardiac arrest at 61, will be remembered as Kedar Chatterjee. That is the name of the character the actor and former Trinamool Congress lawmaker...

SOCH - Global Social Change Contest for inspiring short films, videos

Golden Frames 2016 - International Short Film Festival, Mumbai, India

India's Biggest Film Funding Platform, Film Funding Network directly connects a global network of investors, HNIs with filmmakers for funding movies, short films, TV shows.

Anurag Khanna talk in detail to The Buzz Diary about Film Funding Network powered by Six Sigma Films.

CSR Short Film Festival is corporate social responsibility intiative

Watch these 5 best women oriented Indian short films on YouTube

Short films and web series are ruling new age digital entertainment scene

TV Star Anushka Sen Short Film 'Sammaditthi' Is Trending On YouTube

TV Star Anushka Sen short film is an engrossing family drama and heart warming

Family, Short Film of Amitabh Bachchan, Rajnikanth, Ranbir Kapoor, Priyanka Chopra, Alia Bhatt

Best Indian Short Films - Six Sigma Films

We have many legacy board designs which have non-standard films. I'm writing SKILL code to automatically align a board's film records with our internal standard.

While I'm sure there will be multiple questions, here are the first two I've run into:

1. It seems the polyCutLayer parameter of axlFilmCreate() doesn't work. You can easily see this for yourself. Try typing "axlFilmCreate("test" ?polyCutLayer nil)" on the command window in Allegro. I'm returned "nil", indicating the film could not be created, and I see "*WARNING* (axlFilmCreate): Invalid option type: ?polyCutLayer" in the command window. Just to try a different parameter and see that it works, try "axlFilmCreate("test" ?negative t)". I'm returned a "t" and the film is created. Page 139 of 17.4-2019 algroskill.pdf shows this parameter and I can see it listed if I inspect an existing from from the DB, so what gives? Is the polyCutLayer parameter broken when creating films?

2. In conjunction with the above, if I loop through all current films and use axlDeleteObject() to remove them all, and then try to create new films but give an argument to the polyCutLayer parameter, films containing copper layers seem to be automatically created. There are four films (my test board has four layers) with the ETCH/, PIN/, and VIA CLASS/ subclasses. I am able to manually delete all films and see absolutely no films at all. Is there something weird going on here or is this to be expected for some reason?

I'm running Allegro 17.4s002.

Remind her that she’s the best: You can stream these shorts right here, from the safety of home. ......

Gut-wrenching World War I epic “1917” was the big winner at the British Academy Film Awards, winning seven prizes including best picture and best director.

The Oscar-nominated screenwriter behind “Bohemian Rhapsody” and “The Two Popes” has been lined up to write and co-produce a new feature film on the life of Whitney Houston, U.S. media reported April 22.

Shinichiro Ueda reunites the cast of his hit comedy "One Cut of the Dead" for an innovative teleworking sequel

Karisma was rejected by her own grandfather Raj Kapoor for his film 'Henna'

Sanjay Leela Bhansali wants to cast Ranbir Kapoor, Deepika Padukone for his next film

Saif Ali Khan opens up about his experince getting kicked off of his debut film back in 1992

Saif Ali Khan said they were shooting for a song with director Rahul Rawali as well as Kajol

Rishi Kapoor and Ranbir Kapoor are one of Bollywood’s most esteemed father-son pairs

US Space Force chief explains why he didn't want Steve Carell to play him on Netflix film

Like other sci-fi before it, it imagined the present year as a post-apocalyptic wasteland.

BENGALURU, INDIA, FEBRUARY 11, 2020 – Expect fireworks as JBL unveils its new brand film featuring superstar and youth icon Ranveer Singh, urging consumers to ‘Live it real and Live it raw’.  Featuring striking visuals and inspiring rap vocals by the...

LOS ANGELES, CALIF. – "The Distortion of Sound,” a documentary exposing the decline of sound and how technology has changed the way we listen to music, premieres this evening at an invitation-only event at the GRAMMY® Museum in Los Angeles, California. Following tonight’s screening, the documentary will air on “The Distortion of Sound” YouTube channel, DistortionofSound.com, the Sundance Channel the IFC Channel on July 23 at 6 p.m. ET and PT.*

Indigenous elders from Alaska to Australia have come together to deliver some tough love in a new film for Earth Day. Francis Maguire reports.

From Kenyan children picking through plastic waste to swathes of Germany laid waste for coal mining, a film shows why we are in a new, human-created epoch

Wondering what to read, watch and see this year? Here's our cracking cultural calendar of the most interesting non-fiction, films, games, events and sci-fi in 2020

Nicolas Cage grapples with a weird luminous alien presence in the movie Color Out of Space. It's a story that has roots in a late-19th-century obsession with new forms of radiation, says Simon Ings

Oscar-winning "Jojo Rabbit" screenwriter Taika Waititi will direct and co-write a new Star Wars feature film for theaters, the Walt Disney Company said on Monday.

Oscar-winning "Jojo Rabbit" screenwriter Taika Waititi will direct and co-write a new Star Wars feature film for theaters, the Walt Disney Company said on Monday. Emer McCarthy reports.

Whitney Houston is headed back to the big screen in a feature film about the singer's life that took her to the heights of fame but ended in drug addiction and tragedy.

Michelle Obama's tour to promote her best-selling 2018 memoir "Becoming" has been turned into a documentary film for Netflix .

LuxS/AI-2 is an important quorum sensing system which affects the growth, biofilm formation, virulence, and metabolism of bacteria. LuxS is encoded by the luxS gene, but how this gene is associated with a diverse array of physiological activities in Edwardsiella piscicida (E. piscicida) is not known. Here, we constructed an luxS gene mutant strain, the luxS strain, to identify how LuxS/AI-2 affects pathogenicity. The results showed that LuxS was not found in the luxS gene mutant strain, and this gene deletion decreased E. piscicida growth compared to that of the wild-type strain. Meanwhile, the wild-type strain significantly increased penetration and motility in mucin compared to levels with the luxS strain. The 50% lethal dose (LD₅₀) of the E. piscicida luxS strain for zebrafish was significantly higher than that of the wild-type strain, which suggested that the luxS gene deletion could attenuate the strain’s virulence. The AI-2 activities of EIB202 were 56-fold higher than those in the luxS strain, suggesting that the luxS gene promotes AI-2 production. Transcriptome results demonstrated that between cells infected with the luxS strain and those infected with the wild-type strain 46 genes were significantly differentially regulated, which included 34 upregulated genes and 12 downregulated genes. Among these genes, the largest number were closely related to cell immunity and signaling systems. In addition, the biofilm formation ability of EIB202 was significantly higher than that of the luxS strain. The supernatant of EIB202 increased the biofilm formation ability of the luxS strain, which suggested that the luxS gene and its product LuxS enhanced biofilm formation in E. piscicida. All results indicate that the LuxS/AI-2 quorum sensing system in E. piscicida promotes its pathogenicity through increasing a diverse array of physiological activities.

Implanted medical device-associated infections pose significant health risks, as they are often the result of bacterial biofilm formation. Staphylococcus aureus is a leading cause of biofilm-associated infections which persist due to mechanisms of device surface adhesion, biofilm accumulation, and reprogramming of host innate immune responses. We found that the S. aureus fibronectin binding protein A (FnBPA) is required for normal biofilm development in mammalian serum and that the SaeRS two-component system is required for functional FnBPA activity in serum. Furthermore, serum-developed biofilms deficient in FnBPA were more susceptible to macrophage invasion, and in a model of biofilm-associated implant infection, we found that FnBPA is crucial for the establishment of infection. Together, these findings show that S. aureus FnBPA plays an important role in physical biofilm development and represents a potential therapeutic target for the prevention and treatment of device-associated infections.

Prosthetic joint infections are difficult to diagnose and treat due to biofilm formation by the causative pathogens. Pathogen identification relies on microbial culture that requires days to weeks, and in the case of chronic biofilm infections, lacks sensitivity. Diagnosis of infection is often delayed past the point of effective treatment such that only the removal of the implant is curative. Early diagnosis of an infection based on antibody detection might lead to less invasive, early interventions. Our study examined antibody-based assays against the Staphylococcus aureus biofilm-upregulated antigens SAOCOL0486 (a lipoprotein), glucosaminidase (a domain of SACOL1062), and SACOL0688 (the manganese transporter MntC) for detection of chronic S. aureus infection. We evaluated these antigens by enzyme-linked immunosorbent assay (ELISA) using sera from naive rabbits and rabbits with S. aureus-mediated osteomyelitis, and then we validated a proof of concept for the lateral flow assay (LFA). The SACOL0688 LFA demonstrated 100% specificity and 100% sensitivity. We demonstrated the clinical diagnostic utility of the SACOL0688 antigen using synovial fluid (SF) from humans with orthopedic implant infections. Elevated antibody levels to SACOL0688 in clinical SF specimens correlated with 91% sensitivity and 100% specificity for the diagnosis of S. aureus infection by ELISA. We found measuring antibodies levels to SACOL0688 in SF using ELISA or LFA provides a tool for the sensitive and specific diagnosis of S. aureus prosthetic joint infection. Development of the LFA diagnostic modality is a desirable, cost-effective option, potentially providing rapid readout in minutes for chronic biofilm infections.

The N-acetylglucosaminidase LytB of Streptococcus pneumoniae is involved in nasopharyngeal colonization and is responsible for cell separation at the end of cell division; thus, lytB mutants form long chains of cells. This paper reports the construction and properties of a defective pneumococcal mutant producing an inactive LytB protein (LytB_E585A). It is shown that an enzymatically active LytB is required for in vitro biofilm formation, as lytB mutants (either lytB or producing the inactive LytB_E585A) are incapable of forming substantial biofilms, despite that extracellular DNA is present in the biofilm matrix. Adding small amounts (0.5 to 2.0 μg/ml) of exogenous LytB or some LytB constructs restored the biofilm-forming capacity of lytB mutants to wild-type levels. The LytB_E585A mutant formed biofilm more rapidly than lytB mutants in the presence of LytB. This suggests that the mutant protein acted in a structural role, likely through the formation of complexes with extracellular DNA. The chain-dispersing capacity of LytB allowed the separation of daughter cells, presumably facilitating the formation of microcolonies and, finally, of biofilms. A role for the possible involvement of LytB in the synthesis of the extracellular polysaccharide component of the biofilm matrix is also discussed.

IMPORTANCE It has been previously accepted that biofilm formation in S. pneumoniae must be a multigenic trait because the mutation of a single gene has led to only to partial inhibition of biofilm production. In the present study, however, evidence that the N-acetylglucosaminidase LytB is crucial in biofilm formation is provided. Despite the presence of extracellular DNA, strains either deficient in LytB or producing a defective LytB enzyme formed only shallow biofilms.

Biofilm formation by Pseudomonas aeruginosa contributes to its survival on surfaces and represents a major clinical threat because of the increased tolerance of biofilms to disinfecting agents. This study aimed to investigate the efficacy of 405-nm light-emitting diode (LED) illumination in eliminating P. aeruginosa biofilms formed on stainless steel coupons under different temperatures. Time-dependent killing assays using planktonic and biofilm cells were used to determine the antimicrobial and antibiofilm activities of LED illumination. We also evaluated the effects of LED illumination on the disinfectant susceptibility, biofilm structure, extracellular polymeric substance (EPS) structure and composition, and biofilm-related gene expression of P. aeruginosa biofilm cells. Results showed that the abundance of planktonic P. aeruginosa cells was reduced by 0.88, 0.53, and 0.85 log CFU/ml following LED treatment for 2 h compared with untreated controls at 4, 10, and 25°C, respectively. For cells in biofilms, significant reductions (1.73, 1.59, and 1.68 log CFU/cm²) were observed following LED illumination for 2 h at 4, 10, and 25°C, respectively. Moreover, illuminated P. aeruginosa biofilm cells were more sensitive to benzalkonium chloride or chlorhexidine than untreated cells. Scanning electron microscopy and confocal laser scanning microscopic observation indicated that both the biofilm structure and EPS structure were disrupted by LED illumination. Further, reverse transcription-quantitative PCR revealed that LED illumination downregulated the transcription of several genes associated with biofilm formation. These findings suggest that LED illumination has the potential to be developed as an alternative method for prevention and control of P. aeruginosa biofilm contamination.

IMPORTANCE Pseudomonas aeruginosa can form biofilms on medical implants, industrial equipment, and domestic surfaces, contributing to high morbidity and mortality rates. This study examined the antibiofilm activity of 405-nm light-emitting diode (LED) illumination against mature biofilms formed on stainless steel coupons. We found that the disinfectant susceptibility, biofilm structure, and extracellular polymeric substance structure and composition were disrupted by LED illumination. We then investigated the transcription of several critical P. aeruginosa biofilm-related genes and analyzed the effect of illumination temperature on the above characteristics. Our results confirmed that LED illumination could be developed into an effective and safe method to counter P. aeruginosa biofilm contamination. Further research will be focused on the efficacy and application of LED illumination for elimination of complicated biofilms in the environment.

Enterococcus faecium strains are commonly resistant to vancomycin and β-lactams. In addition, E. faecium often causes biofilm-associated infections and these infections are difficult to treat. In this context, we investigated the activity of dosing regimens using daptomycin (DAP) (8, 10, 12, and 14 mg/kg of body weight/day) alone and in combination with ceftaroline (CPT), ampicillin (AMP), ertapenem (ERT), and rifampin (RIF) against 2 clinical strains of biofilm-producing vancomycin-resistant Enterococcus faecium (VREfm), namely, strains S447 and HOU503, in an in vitro biofilm model. HOU503 harbors common LiaS and LiaR substitutions, whereas S447 lacks mutations associated with the LiaFSR pathway. MIC results demonstrated that both strains were susceptible to DAP and resistant to CPT, AMP, ERT, and RIF. The 168-h pharmacokinetic/pharmacodynamic (PK/PD) CDC biofilm reactor models (simulating human antibiotic exposures) were used with titanium and polyurethane coupons to evaluate the efficacy of antibiotic combinations. DAP 12 and 14 achieved bactericidal activity against S447 but lacked such effect against HOU503. Addition of ERT and RIF enhanced DAP activity, allowing DAP 8 and 10 plus ERT or RIF to produce bactericidal activity against both strains at 168 h. While DAP 8 and 10 plus CPT improved killing, they did not reach bactericidal reduction against S447. Combination of AMP, CPT, ERT, or RIF resulted in enhanced and bactericidal activity for DAP against HOU503 at 168 h. Our data provide further support for the use of combinations of DAP with AMP, ERT, CPT, and RIF in infections caused by biofilm producing VREfm. Further research involving DAP combinations against biofilm-producing enterococci is warranted.

Staphylococcus aureus biofilms are a significant problem in health care settings, partly due to the presence of a nondividing, antibiotic-tolerant subpopulation. Here we evaluated treatment of S. aureus UAMS-1 biofilms with HT61, a quinoline derivative shown to be effective against nondividing Staphylococcus spp. HT61 was effective at reducing biofilm viability and was associated with increased expression of cell wall stress and division proteins, confirming its potential as a treatment for S. aureus biofilm infections.

If you're 13 to 24 years old and love to make movies, you'll want to enter the Windsor Youth Short Film Showcase next week. Organizer Gemma Eva says the project is meant to spotlight local "Gen-Z filmmakers."

In response to the ongoing COVID-19 pandemic.

In Céline Sciamma’s Portrait of a Lady on Fire, we finally steer away from seeing intimacy through the male gaze

The portrayal of lesbians in mainstream cinema tends to involve prosthetic vaginas and gratuitous sex scenes; so Céline Sciamma’s Portrait of a Lady on Fire comes as a breath of fresh air. It is the story of the burgeoning relationship between two young women – emancipated artist Marianne (Noémie Merlant), who is commissioned to paint a portrait of sexually repressed Héloïse (Adèle Haenel), leading to a heated romance.

On paper, it looks like the classic lesbian cinematic narrative – there is a buildup of tension, they finally kiss, and then their possibility of a future together seems doomed. However, what makes Portrait of a Lady on Fire different is its heightened self-awareness. The film is constructed with lesbian representation in mind through careful interrogation of the lesbian gaze. There is a lot of looking. Marianne looks at Héloïse because she has to secretly paint her, and Héloïse looks at Marianne out of curiosity. Eventually, there is a shift in the way they start looking at each other – out of desire.

Hollywood loves a good comeback, and post-coronavirus will be no exception, writes costume designer Kristin M Burke

Many events have killed the film industry: the 1918 influenza epidemic, the second world war, the invention of television, the invention of VCRs, the invention of the internet, 9-11, strike after strike after strike. And yet, like a phoenix, it rises, every time stronger than before. The appetite for its product is insatiable especially in times of political trouble and uncertainty about the future. People want to escape. They want to be entertained.

The way we make movies most certainly must change. In the best of circumstances, we are a crew of 75 people jammed into a room with very little ventilation, holding our breath until we hear “CUT”. We are in close contact with one another all day long. We never really thought about it before. All of that is about to change. Film sets usually function as big families, and moving forward, that family unit will take on a stronger, protective meaning. This is how we self-regulate in the post-pandemic era.

In the wake of Covid-19, We Are One: A Global Film Festival is taking the experience online. But cinema is a bigger encounter

Every year, at Cannes (and other festivals) there’s a plaintive argument about what Cannes (or other festivals) are really all “about”. Some Savonarola-type person will dash the glass of rosé out of your hand, throw your canape into the Med and tell you Cannes is not about red-carpet narcissism, not about stars preening in the flashbulb glare of celeb-worship, not about L’Oréal sponsorship, not about getting drunk at a million late-night parties. It’s about the movies, about cinema itself.

Of course. And that’s what the new Covid-19-related We Are One: A Global Film Festival appears to offer: the 10-day online festival, beginning 29 May, curated by Jane Rosenthal of the Tribeca film festival, featuring arthouse films (though not the big-ticket Hollywood items) from Cannes, Venice, Berlin and many more, streaming for free in return for an optional donation to the World Health Organization’s Covid-19 fund. So there you have it. A festival with all the frills and extras and flummeries stripped away. Just you, in your bedroom, with your laptop, communing with cinema. Isn’t that what it’s all about?

The Hollywood Reporter says numerous attendees returned from the late-January festival with coronavirus symptoms

A new report suggests that January’s Sundance film festival, the annual gathering of cinephiles in Park City, Utah, may have been a key early hub for coronavirus in the US. The article, in the Hollywood Reporter, cites numerous attendees who experienced Covid-19-like symptoms either during or immediately after the festival. None were believed to have been tested for the disease.

Sundance this year attracted about 120,000 people to the small mountain resort, to watch films and party in confined spaces. The snowy conditions that make Park City perfect for skiing mean that socialising indoors is common, as are some flu-like symptoms as a result of the low temperature and high altitude.

My friend Tom convinced me that Roger Moore’s finest non-Bond moment was this 1974 corker about a maverick mining engineer. He’ll convince you, too

• Read all the other Lockdown watch choices
• Read all the other My favourite film choices
• Read all the What I’m really watching choices
• Read the other classic missed films choices

The pre-eminent film in Sir Roger Moore’s non-Bond oeuvre was released in 1974, between Live and Let Die and The Man With the Golden Gun.

I was born in 1978, so I was far too young to see Gold in its first flush of youth, let alone mine. So was my friend Tom.