Bermuda Craft Brewing announced BEERMUDA, a festival of live music, beer tasting, food and fun at the National Stadium North Field on September 27 and 28. A spokesperson said, “Local brewery, Bermuda Craft Brewing, is excited to announce BEERMUDA, a festival of live music, beer tasting, food and fun at the National Stadium North Field […]

Bermuda Craft Brewing hosted the BEERMUDA event, a festival of live music, beer tasting, food, and fun, at the National Stadium North Field this weekend. “BEERMUDA will showcase top international and local musicians while offering guests the chance to taste more than 40 specially selected craft beers from around the world. On tap beers will […]

The St. George’s Seafood Festival is set to take place on Sunday, September 15th A spokesperson said, “The Corporation of St. George’s is thrilled to announce the return of the highly anticipated St. George’s Seafood Festival, set to take place on September 15th, 2024, at Ordnance Island in the historic Town of St. George, a UNESCO […]

The final day of TIFF 2020 has come and gone and below are my final capsule reviews. I’ll post a full capsule roundup on Monday.

Fauna [Mexico/Canada, Nicolás Pereda, 3.5] Narratives nest within narratives when an actor visits his girlfriend’s family in a sleepy small town. Comic misunderstandings, naturalistic locations and twisting meta-story may remind seasoned festival-goers of the works of Hong Sang-soo, with Coronas instead of soju.

Preparations to Be Together For an Unknown Period of Time [Hungary, Lili Horvát, 4] Top neurologist questions the accuracy of her recollections when she moves back home from the US to Budapest for a romantic rendezvous, only to find that the object of her affections professes not to remember her. Quietly suspenseful drama of psychological uncertainty.

The Truffle Hunters [Italy, Michael Dweck & Gregory Kershaw, 4] An aging generation of Piedmontese truffle hunters carries on the search for the elusive delicacy, fearing the poison bait left for their beloved dogs by ruthless newcomers to the trade. A documentary balm for lovers of food and canines luxuriates in the presence of sumptuously photographed forest eccentrics and their very, very good dogs.

Bandar Band [Iran/Germany, Manijeh Hekmat, 3] A pregnant singer, her husband and their guitarist try to get their van through a floodstruck region to attend a contest gig in Tehran. Neorealist drama where the obstacles in the characters’ path are literal.

The Water Man [US, David Oyelowo, 3.5] Imaginative kid (Lonnie Chavis) heads into the Northwestern forest in search of a legendary immortal, thinking he holds the secret to curing his mom (Rosario Dawson) of leukemia. One of the more successful of a recent wave of films that put a somber sin on 80s kids adventure, thanks to a well-constructed script and Oyelowo’s sure control of tone.

Among the differences of this digital-only fest was that it removed the flexibility to choose between multiple screening dates. In a regular year I program the last days and work backward to end on some combination of stronger and/or lighter selections. Here programmers assigned a 24 hour window for each film. These last movies weren’t what I would have picked as closers in ordinary times. To compensate for this Valerie and I are running a day of fake TIFF programming to simulate the funner final Sunday we usually shoot for. They consist of one film that played at TIFF 2019 and three others from previously-appearing directors. Play along at home by streaming The Vast of Night, The Forest of Love*, Mr. & Mrs. Adelman, and Ace Attorney.

*Update: Turns out this one is ultra-disturbing and in no way fun or light. Going into something with mistaken tonal expectations—just like the real TIFF!

COVID has put the kibosh on much this year, but it can’t stop the capsule TIFF reviews. From the plague-ready, off-model edition of the Toronto International Film Festival, here’s my annual collection of mini-reviews.

The greatly cut-down slate included only slivers of the festival I’d program for myself in a regular year: four to five from international auteurs and a couple examples of global genre cinema. The missing items either are waiting in limbo as sales agents the world over hope that theatrical exhibition will return, or didn’t even get shot.

This list features more Canadian films and documentaries than I’d see at the fest (as opposed to catching them later.) Festivals tend toward the dour and downbeat but that was doubly true this time out. If we’re still trapped in our homes next year, I’ll likely be more vigilant about sorting through the slim pickings, supplementing our streaming experience with titles already available on other platforms.

That said, the overall hit rate was probably as strong as any other recent year. The average score on my numerical ratings would be higher, actually. It’s just that I saw the same festival everyone else did, starting with the film that garnered nearly universal acclaim, nabbed the People’s Choice Award, and will surely be part of the Oscars race—whatever the heck that will look like.

Films are listed in order of preference. Within categories that doesn’t mean much and entails a lot of apples-to-oranges comparisons. A festival near you, or not so near you but within your territory for geolocking purposes, may be virtually screening some of these soon.

The Pinnacle

Nomadland [US, Chloé Zhao, 5] When her town closes down in the wake of its gypsum mine’s closure, a self-reliant widow (Frances McDormand) moves into her van and joins the ranks of the nomad subculture, people who rove the US, taking whatever hard work they can get and living out of their vehicles. Rooted in social realist cinema, marked by a triad of transcendent qualities: poetic visual beauty, an indelible central performance and a deep love for the characters from the writer/director.

Recommended

Another Round [Denmark, Thomas Vinterberg, 4.5] Burned out high school teacher (Mads Mikkelsen) embarks with three colleagues on an experiment to enhance their performance by maintaining a blood alcohol level of 0.5% throughout their days at work. Not only an original booze movie, but a big one, full of turns and ambiguities, and an utterly masterful performance from Mikkelsen.

City Hall [US, Frederick Wiseman, 4] The latest of Wiseman’s distinctive epic-length observational documentaries studies the quotidian, procedural and human moments of human life as seen through the processes of municipal government in Boston, as held together by the thoughtful charisma of Mayor Martin Walsh. Improbably absorbing as always, this institutional cross-section offers a beguiling vision of an oasis of good government in the USA.

True Mothers [Japan, Naomi Kawase, 4.5] Parents of a kindergartner react with dismay when a woman contacts them claiming to be his birth mother. Luminous, delicate drama of shifting perspectives.

Fireball: Visitors from Darker Worlds [US, Werner Herzog & Clive Oppenheimer] Documentary explores the science and mythology of meteor, from Chicxulub to ʻOumuamua. The intersection between scientific discovery and religious awe, central to all of Herzog’s beautiful and delightful nature docs, rises from subtext to text through the intercession of traditional elders, joyful researchers, and the Jesuit scholar of the Vatican’s heaven stone collection.

David Byrne’s American Utopia [US, Spike Lee, 4] Filmed version of the Broadway version of David Byrne’s recent tour features joyous choreography, simple but arresting stagecraft, and songs from his Talking Heads and solo eras. When you shoot a concert film featuring David Byrne, you have to bring it, and Lee does that ably, finding countlesss different ways to shoot within a proscenium.

The Father [UK, Florian Zeller, 4] Retired engineer (Anthony Hopkins) struggles to piece together the confusing reality of his living circumstances as his daughter (Olivia Colman) copes with his progressing dementia. Impeccably performed stage play adaptation puts the viewer inside the contradictory shifts of the protagonist’s subjective viewpoint.

Night of the Kings [Côte d'Ivoire/France , Philippe Lacôte, 4] When the red moon rises over MACA, the Ivory Coast’s toughest prison, its inmate boss appoints the new arrival as storyteller—a post that results in death if the tale ends before sundown. Prison drama with compelling narrative hook widens out to encompass ancient warfare, contemporary politics, and even a wizard duel.

Summer of 85 [France, Francois Ozon, 4] Love between two young men in a French beach town leads to a bizarre crime. Teen emotions run high in a sunlit melodrama of Eros and Thanatos.

Spring Blossom [France, Suzanne Lindon, 4] Bored with her classmates, an awkward 16 year old (played by the writer-director) pursues her attraction for a ruggedly handsome stage actor (Arnaud Valois.) Character drama sets aside the sexual aspect of this staple French cinema situation to focus on the emotion, periodically breaking from naturalism to have its characters express their feelings through dance.

Get the Hell Out [Taiwan, I-Fan Wang, 4] Taiwan’s notoriously pugilistic parliament tips into arterial spray when the effluent of a controversial chemical plant triggers a zombie epidemic. Zombie comedy features an eye-searing palette and an onslaught of optical overlays, and is paced like a quarter kilo of crushed Adderall.

Preparations to Be Together For an Unknown Period of Time [Hungary, Lili Horvát, 4] Top neurologist questions the accuracy of her recollections when she moves back home from the US to Budapest for a romantic rendezvous, only to find that the object of her affections professes not to remember her. Quietly suspenseful drama of psychological uncertainty.

Shiva Baby [US, Emma Seligman, 4] The ambient social pressures of a post-funeral gathering skyrocket for a directionless college student (Rachel Sennott) when attendees include not only the expected ex-girlfriend (Molly Gordon) but also the sex work client she’s caught feelings for. Knife-edge comedy of emotional suffocation uses a plucky suspense score for that extra frisson of social anxiety.

Under the Open Sky [Japan, Miwa Nishikawa, 4] Out of prison after a long sentence, an aging yakuza (Koji Yakusho) struggles with his volcanic temper as he attempts to go straight. Bittersweet drama anchored by a lead performance from Yakusho, a mainstay of contemporary Japanese cinema.

New Order [Mexico, Michel Franco, 4] A wedding thrown by a wealthy family during a growing insurrection suffers a murderous attack by protestors and the kidnapping of the bride. Wildly disturbing vision of political violence and degradation takes its time unreeling its allegorical purpose.

Limbo [UK, Ben Sharrock, 4] Syrian oud player grapples with guilt over family left behind as he cools his heels with other refugee claimants at a center in the bleak and isolated Outer Hebrides. Moments of deadpan humor and stark landscapes layer this exploration of displacement.

Violation [Canada, Madeleine Sims-Fewer & Dusty Mancinelli, 4] Woman (Madeleine Sims-Fewer) exacts meticulous revenge after her brother-in-law rapes her. Although this jarring, meditative drama includes gruesome imagery and horror-exploitation motifs, it’s closer in spirit to Michael Haneke than Dario Argento or Wes Craven.

Shadow in the Cloud [New Zealand, Roseanne Liang, 4] When an WWII RAF Flight Officer (Chloe Grace Moretz) boards a Samoa-bound cargo plane bearing a mysterious package, a monstrous gremlin on board is just one of the surprises. Enclosed space horror-action thriller tips an 80s-style hat to Carpenter and Cameron.

Beans [Canada, Tracey Deer, 4] As the 1990 Oka standoff envelops her Mohawk community, a shy tween achiever (Kiawentiio) decides to toughen up by ingratiating herself to the tough kids. Mixing the docudrama and coming-of-age structures offsets the inherent trickiness of both, but it wouldn’t work without an appealing and touching performance from its charismatic young lead.

Akilla’s Escape [Canada, Charles Officer, 4] Weed dealer hoping to leave the business (Saul Wiliiams) tries to recover his boss’ ripped-off cash and product without sacrificing a young gang member who reminds him of his younger self. Moody, laconic crime drama contextualized by the political history of Jamaican gangsterism.

Enemies of the State [US, Sonia Kennebeck] Documentary pulls apart a labyrinth of contradictory evidence around Matthew DeHart, an Indiana man who was framed for child pornography by the FBI as part of a Wikleaks espionage case, or created a story of secret files to shield himself either cooked up a Wikileaks-related espionage smokescreen to mask his sex crimes. Invites the viewer to join a filmmaking team as it goes ever deeper down a rabbit hole.

The Inconvenient Indian [Canada, Michelle Latimer, 4] Essay-format documentary examines the Indigenous struggle for sovereignty and cultural reclamation in North America, as hosted by novelist Thomas King and inspired by his nonfiction book of the same name. Makes its case through cinematic language, pushing the archival footage and talking heads format to the background.

Beginning [Georgia, Dea Kulumbegashvili, 4] Depressed wife of a pastor bears the brunt of a persecution campaign from a local man hostile to their minority Baptist faith. The camera acts as a pitiless eye in this harsh, austere drama of pervasive male oppression.

The Truffle Hunters [Italy, Michael Dweck & Gregory Kershaw, 4] An aging generation of Piedmontese truffle hunters carries on the search for the elusive delicacy, fearing the poison bait left for their beloved dogs by ruthless newcomers to the trade. A documentary balm for lovers of food and canines luxuriates in the presence of sumptuously photographed forest eccentrics and their very, very good dogs.

Lift Like a Girl [Egypt, Mayye Zayed, 4] From ages 13 to 18, under the tutelage of a volcanic, motormouth coach, with a rubble-strewn lot on a busy Alexandria street, weightlifter Zebiba trains to be a champion. Fly-on-the-wall documentary inhabits a hardscrabble community powered by loving verbal abuse.

The New Corporation: The Unfortunately Necessary Sequel [Canada, Joel Bakan & Jennifer Abbott, 4] Polemical documentary deploys narration, stock footage and talking heads (some appearing via lockdown video conference) to survey corporate capitalism and the struggle against it from Reaganomics to COVID and the George Floyd protests. Comprehensive primer for the prospective young progressives includes a call to continued electoral action.

40 Years a Prisoner [US, Tommy Oliver, 4] Documentary recounts the 1978 standoff between members of radical Black back-to-nature organization MOVE and Philadelphia police through the efforts of the son of two of the group members to secure their parole. A strong emotional hook greatly assists in telling a tenaciously complicated story.

Good

Pieces of a Woman [US, Kornél Mundruczó, 3.5] Grief tears a couple (Vanessa KIrby, Shia LaBeouf) apart after the death of their baby in childbirth, abetted by the insistence of her domineering mother (Ellen Burstyn) that they pursue legal action against their midwife (Molly Parker.) Wrenching drama marked by deep performances and key long take scenes. An otherwise masterful script reaches for the conventional when it hits its climax.

Wildfire [UK/Ireland, Cathy Brady, 3.5] After going missing for a year, a bipolar woman (Nika McGuigan) drops in on her sister (Nora-Jane Noone), opening the wounds of shared tragedy. Raw, unsubtle family drama against the backdrop of Northern Irish politics as Brexit threatens a fragile peace.

Fauna [Mexico/Canada, Nicolás Pereda, 3.5] Narratives nest within narratives when an actor visits his girlfriend’s family in a sleepy small town. Comic misunderstandings, naturalistic locations and twisting meta-story may remind seasoned festival-goers of the works of Hong Sang-soo, with Coronas instead of soju.

The Water Man [US, David Oyelowo, 3.5] Imaginative kid (Lonnie Chavis) heads into the Northwestern forest in search of a legendary immortal, thinking he holds the secret to curing his mom (Rosario Dawson) of leukemia. One of the more successful of a recent wave of films that put a somber sin on 80s kids adventure, thanks to a well-constructed script and Oyelowo’s sure control of tone.

The Way I See It [US, Dawn Porter, 3.5] Documentary profile of Obama-era Official White House photographer traces his arc from work for the Reagan administration to anti-Trump social media firebrand. Whether American viewers consider this slickly fashioned film heartfelt or sentimental will depend on party registration. It’s certainly explicitly designed to fire up Ds to get out there to de-elect the current president.

Okay

Bandar Band [Iran/Germany, Manijeh Hekmat, 3] A pregnant singer, her husband and their guitarist try to get their van through a floodstruck region to attend a contest gig in Tehran. Neorealist drama where the obstacles in the characters’ path are literal.

Penguin Bloom [Australia, Glendyn Ivin, 3] A former surfer left paralyzed from the chest down by a freak accident reluctantly bonds with a magpie chick named Penguin, which one of her young sons has rescued. Sun-dappled animal-related family drama about the depression and anger that can accompany a life-changing injury.

Falling [US, Viggo Mortensen, 3] Pathologically forbearing airline pilot (Mortensen) attempts to find a new situation for his lifelong miserable prick of a father (Lance Henriksen) as his dementia worsens. With one character incapable of change and another not needing to change, almost all of the scenes repeat the same dynamic.

Gaza Mon Amor [Palestine/France, Tarzan & Arab Nasser, 3] Middle-aged fisherman discovers a Greek statue and courts a wary dress shop clerk. Deliberately paced dramedy of life under oppression.

Concrete Cowboy [US, Ricky Staub, 3] After yet another expulsion from school, a troubled teen (Caleb McLaughlin) gets dumped for the summer with his father (Idris Elba), who belongs to Philadelphia’s threatened culture of inner city horse owners. A rich social milieu is the star of the show in this affirming drama, which could do with a stronger drive to activate its protagonist.

I Care a Lot [UK, J Blakeson, 3] Corrupt legal guardian (Rosamund Pike) who slaps unsuspecting seniors into care facilities to bleed them dry triggers a cat-and-mouse game when her latest prey (Dianne Wiest) turns out to be the mother of a wealthy gangster (Peter Dinklage.) Engaging thriller— until it betrays the contract it has established with the audience.

Not Recommended

Memory House [Brazil, João Paulo Miranda Maria, 1] Racist harassment from German co-workers drives dairy worker to vengeance. Blunts the political anger of its subject matter with enervating pacing.

For years TIFF has been intentionally or otherwise making it incrementally more difficult to do the event diehard style, as we have always done. Often it announces changes that blindside longtime loyalists—sometimes, as this year, after they’ve purchased their expensive memberships and ticket packages. This time around they surprised us by taking a tier of titles that any other year would be available through the package we purchased and moving them into a premium package previously reserved for the most publicized Gala films. For good measure, they threw in a couple of other medium-sized irritants.

To recreate something closer to our usual experience, we programmed another 25 titles already available on streaming platforms. Some actually played TIFF in the past; others were the types of movies that could have played the fest but didn’t.

I’m glad that we did, because the TIFF titles we were allowed to choose from included all of the duds of a normal year and none of the surprise masterpieces. Granted, it was a miracle that any films got made this year, and those that did tended toward the sorts of modest chamber pieces that could be produced under COVID protocol conditions.

This year crystallized a gradually growing realization we’ve been trying to suppress. So much has changed in the world of international cinema, from the festival’s position in their life cycle, to their subsequent availability, and even the style of the movies themselves, has completely changed since we started doing this in the mid 80s.

We have always gone to the fest for great films that we could otherwise never see, and started doing it in the VHS era. We don’t care about seeing things before anyone else does, or seeing the stars wave at us from the stage beforehand, or hearing audience members ask directors rambling questions afterwards. Even the virtues of a big screen experience are blunted by a dirty secret — a packed TIFF venue is not actually an ideal place to see a movie. Talkers and smartphone screens abound in every screening, and the bigger venues they convert into movie theaters for ten days are universally terrible.

You’d think that programming films from existing streaming platforms eliminates the other key part of fest-going, the surprise from out of nowhere. Except we got more of those with our alternate schedule than we did with the official titles this year.

In other words, after 36 years we are retiring from our vacation. Next year we’ll be doing a fully alternate replica of TIFF as we think of it from the past. The old rodeo is dead. Long live the new rodeo.

Here then is my final set of Toronto International Film Festival capsule reviews.

(Capsules for the 2021 Robin and Valerie International Film Festival will drop over time in Ken and Robin Consume Media.)

Recommended

Murina (Croatia, Antoneta Alamat Kusijanović) Teen (Gracija Filipovic) chafes at the agitated authority of her command-barking father (Leon Lucev) as he hosts a rich, glamorous old friend (Cliff Curtis) to try to sell him on a resort proposal. Taut, superbly acted family drama set against the stunning yet slightly sinister beauty of the rocky Croatian coastline.

Saloum (Senegal, Jean Luc Herbulot) Three gunslingers—the mastermind, the hard case, and the magic user—take an unscheduled pit stop at an eccentric communal resort, which harbors horrible secrets of both the man-made and supernatural varieties. Gorgeously shot, tightly edited contemporary horror western with political resonance and cool monster design.

Compartment No. 6 (Finland, Juho Kuosmanen) Traveling alone on a trip she was supposed to take with her Muscovite professor girlfriend, a Finnish archaeology student finds herself sharing a compartment on the train to Murmansk with a loutish miner. Naturalistic light romantic drama of human connection overcoming barriers of class and personality.

OUT OF SYNC (Spain, Juanjo Giménez Peña) Isolated sound mixer (Marta Nieto) is unnerved to suffer a strange delay in her hearing, which becomes all the more inexplicable as it worsens. Realist weird tale makes smart use of cinema’s relationship between sight and sound. 

Zalava (Iran, Arsalan Amiri) In pre-Revolutionary Iranian Kurdistan, a pig-headed police sergeant interferes with a djinn exorcism, sparking village hysteria. Tale of communal terror and its hazards generates suspense by skillfully modulating its pace.

Vengeance is Mine, All Others Pay Cash (Indonesia, Edwin) After meeting cute by beating the crap out of each other at a construction site, two lovers navigate the vicissitudes of fidelity, vengeance, and impotence. A martial arts flick that isn’t an action movie, but rather an allegorical romantic drama with elements of satire and magic realism to go with its bruising 70s style fights.

Hold Your Fire (US, Stefan Forbes) Documentary recreates the 1973 robbery-turned-hostage incident in which a group of young black Sunni men hoped to steal guns from a sporting goods shop to protect themselves from the Nation of Islam, in which the beginnings of hostage negotiation techniques were created and implemented on the fly. Archival footage and compelling retrospective interviews illuminate a complicated narrative with resonances into the present day.

A Banquet (UK, Ruth Paxton) After her husband’s death, a brittle woman (Sienna Guillory) struggles with her eldest daughter’s (Jessica Alexander) visionary transformation, which has taken away her need to eat. Slow burn realist cosmic horror filters eating disorders, emotional control and female rage.

Kicking Blood (Canada, Blaine Thurier) Vampire (Alanna Bale) connects with a detoxing alcoholic, prompting her to reconsider preying on humans. Frosty supernatural indie drama extends the vampire-as-addiction metaphor.

Yuni (Indonesia, Kamila Andini) High schooler with a yen for purple chafes at the narrow expectations her religious school, family and village have for her.  Observational social drama enlivened by a vivid color palette.

Good

The Daughter (Spain, Manuel Martín Cuenca) Teacher at a juvenile detention center helps a pregnant 14-year old escape so she can live secretly with him and his wife at their mountain home and give them the baby when it is born. Ultra-restrained domestic thriller could stand a notch or two less restraint.

Dug Dug (India, Ritwik Pareek)  A local saint cult springs up when a motorbike keeps mysteriously returning to the site of its owner’s death. Gentle satire of faith and religious merchandising shows the sort of color and verve that raises hopes for a fresh wave of Indian art cinema.

Tug of War (Tanzania, Amil Shivji) A callow Marxist subversive falls for an Indian girl who has escaped her arranged marriage in British-controlled 1950s Zanzibar. Political romantic drama adopts the language of classic Hollywood glamor, albeit without the magnetic movie star performances the style depends on. Based on a classic Tanzanian novel.

Okay

Earwig (France, Lucile Hadžihalilović) In a creepy manor, an anxious loner (Paul Hilton) looks after a girl with teeth made of ice, at the behest of mysterious masters. The director’s first English language film pushes her dream narratives of childhood transformation into the far fringes of austerity.

Not Recommended

You Are Not My Mother (Ireland, Kate Dolan) A withdrawn teen’s depressed mother briefly disappears, prefiguring the revelation of a supernatural family secret. Contemporary folk horror with stronger direction than script, with extensive foreshadowing genre fans will be well ahead of and an inactive menace that doesn’t do enough to propel the story.

Snakehead (US, Evan Jackson Leong) Smuggled immigrant (Shuya Chang) works off her debt by acting as the right hand to the matriarch (Jade Wu) of an NYC Chinatown crime family. Socially conscious gangland drama features the bane of longtime documentarians turning their hand to fiction:  awkward, exposition-heavy scripting.

Arthur Rambo (France, Laurent Cantet) Rising literary star (Rabah Nait Oufella) plummets when the hate-filled tweets of his old alter ego resurface. Refined, uncinematic debate film presents thesis, antithesis, and credits.

Medusa (Brazil, Anita Rocha da Silveira) Member of AN ultra-right Christian school’s violent, pallid-masked theocratic girl gang  goes undercover at a coma ward in search of a disfigured model. Overlong, unfocused political allegory references the horror genre, chiefly by adopting Dario Argento’s color palette.

After Blue (Dirty Paradise) (France, Bertrand Mandico) On a psychedelic alien world, a young outcast (Paula Luna) frees the statuesque, wish-granting death-dealer Kate Bush and she must accompany her hairdresser mother (Elina Löwensohn) on a quest to hunt her down. Invokes the spirits of Jodorowsky and Barbarella for a sleepwalk trudge through an arbitrary sequence of dream-logic events. Like its influences it is perhaps intended for a chemically altered audience.

La Soga 2 (US, Manny Perez) Dominican hitman (Perez) has gotten out and is living with a devoted new girlfriend, until a corrupt CIA officer pulls him back in. Scrappy microbudget crime flick is Dominican. 

Last weekend I had the pleasure of being a panelist at the first annual Mississippi Book Festival at the State Capitol in Jackson, Mississippi!


For me, the weekend started with the plane flight out on Friday and a lovely reception that evening at the Eudora Welty House. Representatives of the Eudora Welty Foundation were on hand to provide tours and answer any and all questions about Jackson's favorite daughter.  It was a great chance to talk to the organizers and volunteers, as well as other authors.

The next morning was breakfast at the Winter Archives Building, where the staff gave us a tour and showed us the forthcoming Museum of Civil Rights and Mississippi History Museum.

Then we were off to opening ceremonies, where the Jackson State University Marching Band performed on the Capitol steps, and then the panels!  The Harper Lee Reconsidered panel, held in the old Supreme Court chamber, was lively and fascinating (and also covered by C-SPAN).  I wasn't able to make it to the picture books panel due to the long line, but hear it went well, and I'd had the chance to talk with the presenters the night before :-).

My panel was the Young Readers panel, and featured moderator Margaret McMullan, and panelists Kimberly Willis Holt, Taylor Kitchings, Deborah Wiles, Carolyn Brown, and Cassie Beasley.  Margaret did a great job as moderator and kept the conversation going and on track. :-).

Many thanks to all the organizers, volunteers, sponsors, and attendees for making the event such a success!

Altogether, it was a fantastic event, with standing-room-only crowds and a terrific venue!  Here's a report on the festival from the Clarion-Ledger: Book Festival Attendance Outpaces Projections.

And here are some pics from out and about festival weekend:

This past weekend, I had the pleasure of being one of the authors at the inaugural Lone Star Book Festival in Kingwood, Texas (just outside Houston)!

Here are some pics:

The post Festival of Ice Sculptures on Lake Baikal appeared first on English Russia.

Featuring new and repertory works by nationally and internationally recognized choreographers, performed by 49 Princeton students in an energetic program of dances from a surprising range of dance forms. The work in the Festival includes a new hip-hop work by Rennie Harris, a new contemporary dance-theater work by Raja Feather Kelly, a new contemporary work by Rebecca Lazier, a new ballet work by Matthew Neenan, an excerpt from Stephen Petronio’s Lareigne (1995) staged by Davalois Fearon, and a restaged excerpt of Ripple, a 2021 contemporary work rooted in Chinese classical and folk dance by Yue Yin. Relaxed Performance on 11/24.

Featuring new and repertory works by nationally and internationally recognized choreographers, performed by 49 Princeton students in an energetic program of dances from a surprising range of dance forms. The work in the Festival includes a new hip-hop work by Rennie Harris, a new contemporary dance-theater work by Raja Feather Kelly, a new contemporary work by Rebecca Lazier, a new ballet work by Matthew Neenan, an excerpt from Stephen Petronio’s Lareigne (1995) staged by Davalois Fearon, and a restaged excerpt of Ripple, a 2021 contemporary work rooted in Chinese classical and folk dance by Yue Yin. Relaxed Performance on 11/24.

Featuring new and repertory works by nationally and internationally recognized choreographers, performed by 49 Princeton students in an energetic program of dances from a surprising range of dance forms. The work in the Festival includes a new hip-hop work by Rennie Harris, a new contemporary dance-theater work by Raja Feather Kelly, a new contemporary work by Rebecca Lazier, a new ballet work by Matthew Neenan, an excerpt from Stephen Petronio’s Lareigne (1995) staged by Davalois Fearon, and a restaged excerpt of Ripple, a 2021 contemporary work rooted in Chinese classical and folk dance by Yue Yin. Relaxed Performance on 11/24.

Featuring new and repertory works by nationally and internationally recognized choreographers, performed by 49 Princeton students in an energetic program of dances from a surprising range of dance forms. The work in the Festival includes a new hip-hop work by Rennie Harris, a new contemporary dance-theater work by Raja Feather Kelly, a new contemporary work by Rebecca Lazier, a new ballet work by Matthew Neenan, an excerpt from Stephen Petronio’s Lareigne (1995) staged by Davalois Fearon, and a restaged excerpt of Ripple, a 2021 contemporary work rooted in Chinese classical and folk dance by Yue Yin. Relaxed Performance on 11/24.

The Sing Sing maximum security prison in New York held its first-ever film festival recently, with incarcerated men invited to judge the five entries.

October, a new musical performance by Daniel Sapir and the FTW Orchestra, is a bold attempt to express in music the pain, rage, and sorrow felt after the October 7 terror attack.

The festival’s opening-night gala will feature the West Coast Premiere of Tom Nesher’s Come Closer at the Saban Theatre in Beverly Hills.

Yacouba Sawadogo, a farmer from Burkina Faso, has become a pioneer in the fight against desertification – succeeding where many international agencies have failed

Since 1656, thousands of Sardinians have filled the streets of Cagliari to honor St. Efisio (Produced by: Brendan McCabe; Photography & Audio by: Ann Johansson)

Partners of OM EAST distribute copies of My First Bible to Nenets children on the Yamal Peninsula in northern Arctic Russia.

More than 800 children were impacted by the Festival of Smiles 2011 that took place in the indigenous community of Talamanca, Costa Rica.

OM Costa Rica team members and volunteers share in the joy of giving more than 1,000 indigenous children a dream Christmas.

Patricia Jabbeh Wesley, professor of English at Penn State Altoona, will be featured in the 55th annual Poetry International Festival in the Netherlands. The event will take place June 12 through 15, 2025.

Penn State Fayette, The Eberly Campus will host the 52nd annual Shakespeare Festival on Oct. 22-23. This event will feature an 80-minute production of "A Midsummer Night’s Dream" by The Linny Fowler WillPower Tour, followed by a Q&A session with the cast. The festival, free and open to the public, will be held in the Maggie Hardy Magerko Auditorium, located in the Community Center.

The six-year-old Centre Film Festival returns this year to screen more than 200 films in a variety of genres at Centre County theaters and online. The festival, which runs Nov. 11-17, continues to provide impactful films under the guidance of artistic director and driving force Pearl Gluck, associate professor of film production in the Donald P. Bellisario College of Communications, with strong support from many Penn State units.

A film that some Penn State film production students scrambled to shoot while part of a weeklong stay in Amsterdam last spring has blossomed into an award-winning effort.

Gurupurab, or Guru Nanak Jayanti, is the vibrant celebration of Guru Nanak's birth, the first Sikh Guru and founder of Sikhism.

The food festivals happening in November and December 2024 will take you on a wholesome culinary journey like no other!

Celebrations sparkled up the Times Square in New York City yesterday as the Indian community and several US citizens gathered to observe the Hindu festival of lights.

The Delaware Department of Agriculture is issuing an alert regarding green iguanas that the public may have won as a prize at the Apple Scrapple Festival this year. Anyone who is not prepared to keep these reptiles, are asked to contact the Department so the iguanas can be placed in the care of one of the many reptile rescue and rehabilitation centers within the state.

The Delaware National Estuarine Research Reserve’s (DNERR) annual Blackbird Creek Fall Festival will be held Saturday, Oct. 19, from 10 a.m. to 4 p.m.

Australian fintechs were in the spotlight at the Singapore Fintech Festival.

HONG KONG — Merchants and consumers alike found the Singles' Day shopping festival Monday less shiny than in years past as e-commerce firms look abroad for growth. The annual event named by the numeric form of its Nov. 11 date was started by e-commerce platform Alibaba, which offered attractive discounts to entice shoppers to spend big. The extravaganza has since expanded to other platforms like JD.com and Pinduoduo in China as well as abroad. While Singles’ Day was previously a one-day event, shopping platforms in China now kickstart the festival weeks ahead to drum up sales volume. The festival has also traditionally been regarded as a barometer of consumer sentiment. But amid China’s lagging domestic economy, dragged down by a real estate crisis and deflationary pressures, consumers no longer go all out on purchases during the shopping extravaganza. “I only spent a few hundred yuan on daily necessities,” said Wang Haihua, who owns a fitness center in Beijing. Wang said that the prices offered on e-commerce platforms during Singles’ Day are not necessarily cheaper than usual. “They’re all tricks and we’ve seen through it over the years,” she said. Zhang Jiewei, a 34-year-old who runs a barber shop in Xi’an city, echoed Wang’s sentiments, saying that he no longer trust Singles’ Day promotions as some merchants tend to raise the usual price of a product before offering a discount, giving consumers the illusion they are getting a deal. “I used to buy a lot two or three years ago and I even purchased a mobile phone (during Singles’ Day),” he said. “I stopped doing that following the pandemic because of less income. I am not going to buy anything this year,” Zhang added. Some experts say that Beijing’s recent stimulus measures have had little impact to boost consumer confidence. “People are not interested in spending and are cutting back on big-ticket items,” said Shaun Rein, founder and managing director of China Market Research Group in Shanghai. “Since October 2022, the weak economy means that everything has been on discount year-round, 11.11 is not going to bring in more discounts that the month before.” Rein said he expects low growth for the Singles’ Day shopping festival as consumers tighten their spending in anticipation of difficult economic times ahead. Categories such as sportswear and fitness, however, have been doing well as customers “trade down a Gucci bag for Lululemon sportswear,” he said. Platforms like JD.com and Alibaba, which operates e-commerce platforms Taobao and Tmall, previously used to publish the value of transactions made during the festival, but have since stopped revealing the total figure. While yearly growth used to be in the double digits, estimates of recent figures have dwindled to low single-digit growth. Syntun, a data provider, estimated that last year’s gross merchandising volume sales across major e-commerce platforms grew just 2% to $156.40 billion, a far cry from double-digit growth before COVID-19. Merchants who typically take part in the Singles’ Day shopping festivals say the costs of participation no longer pay off, amid high advertising fees and unsatisfactory sales. Zhao Gao, who owns a garment factory in eastern Zhejiang province, said that after paying advertising costs to e-commerce platforms he would only break even after sales. “The platforms have so many rules for promotions and customers have become more skeptical,” he said. “As a merchant, I no longer participate in the Singles’ Day promotions.” Another merchant, Du Baonian who runs a food company processing mutton in Inner Mongolia, said that overall sales in the past year have fallen 15% as consumers downgraded and reduced consumption. Du said that while he still takes part in the Singles’ Day promotions, the higher expenses do not typically generate returns because of sluggish sales. “We are seeing shrinking revenue, but advertisement on the platform can help us to maintain our leading sales position,” he said, adding that he was considering advertising on more e-commerce platforms to target more consumers. Meanwhile, e-commerce platforms grappling with a slowing domestic market have also turned to overseas markets to seek new growth, offering promotions like global free shipping and allowing merchants to sell globally with ease. Alibaba, for example, said in a blog post on its Alizila site that some 70,000 merchants saw sales double with global free shipping. In markets like Singapore and Hong Kong, new customers also doubled, Alibaba said.

Hagai Yodan premieres a daring piano-tech concerto at Jerusalem’s 2024 Piano Festival.

Spirit Film Festival brings films on resilience, spirituality, and healing to Tel Aviv.

AniNation Festival brings top Israeli and global animated films to Jerusalem Cinematheque.

Thousands masquerade as Carnival season starts with festivals across Germany

I first played Taiko no Tatsujin in an arcade (in Japan, because I am very cool), where it's controlled by hitting a recreation of an actual taiko drum. It was fun enough that I wish there was a taiko drum peripheral available for PC now the series is on our platform.

Taiko no Tatsujin: Rhythm Festival is out now via Steam, where it offers over 70 songs to drum through, and a subscription service through which to unlock over 700 more. Maybe I should try to get my Donkey Konga drums working on PC, but I'll probably settle for playing it with a gamepad.

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