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Absurd: Masks in Irish Nightclubs Mandated, But Not When Drinking or Dancing

People in Ireland have told that they will have to wear masks in nightclubs, but not when they are eating, drinking and dancing, in the latest absurd update to the rules.
Wait, what?
The Irish government scrapped plans to lift restrictions entirely after media-induced fearmongering about a “surge” in COVID cases (caused as Reuters admits by mass testing after kids returned to school).
Under the new rules, people will be able to enter nightclubs after presenting proof of vaccination, but not negative COVID tests (despite the vaccinated being able to pass on the virus).
The London Evening Standard <a href="https://www.standard.co.uk/news/uk/nightclubs-businesses-ireland-government-people-b961345.html">reports</a>; “People going to nightclubs will have to wear face masks except when eating, drinking and dancing, Taoiseach Micheal Martin said.”
Apparently, COVID only chooses to infect people when they are entering the premises, going to the toilet, or chatting with their friends.
When it sees scores of sweaty people in super close proximity dancing together, it steers well clear.
This also applies to eating and drinking, which COVID apparently allows people to do without bothering to infect them.
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“We’re told, for example, you can dance at nightclubs but you can’t go to the bar for a drink, it’s very confusing. You could probably dance to the bar,” quipped Social Democrats co-leader Catherine Murphy.
“Just laughable. This cannot be about health,” commented another respondent.
Despite the utter stupidity of the rules, expect most to comply, given that they’ve already been trained to wear a mask for the 10 yard walk from the door of a restaurant to their table.
Meanwhile, mask freaks continue to try to mandate that everyone join their cult by pressuring the UK government to re-impose restrictions.
On July 17, when mask mandates were in place and had been for the entire year, the UK recorded 54,183 COVID cases.
That was the highest number of cases recorded for the entire year apart from a handful of days in January.
Keep complying, idiots.
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On July 17, when mask mandates were in place and had been for the entire year, the UK recorded 54,183 COVID cases.
Riddle me that. <a href="https://t.co/MF5640b6gP">https://t.co/MF5640b6gP</a>
— Paul Joseph Watson (@PrisonPlanet) <a href="https://twitter.com/PrisonPlanet/status/1450798520613707783?ref_src=twsrc%5Etfw">October 20, 2021</a>
</blockquote>
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source <a href="https://www.infowars.com/posts/absurd-masks-in-irish-nightclubs-mandated-but-not-when-drinking-or-dancing">https://www.infowars.com/posts/absurd-masks-in-irish-nightclubs-mandated-but-not-when-drinking-or-dancing</a>

news Absurd: Masks in Irish Nightclubs Mandated, But Not When Drinking or Dancing

People in Ireland have told that they will have to wear masks in nightclubs, but not when they are eating, drinking and dancing, in the late...

Video: White House Admits To Secretly Trafficking Planes Full Of Illegal Children From Border In Middle Of The Night

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White House Press Secretary Jen Psaki was forced to admit Tuesday that the Biden administration is shipping planeloads of illegal immigrant children to New York City and elsewhere in the middle of the night after photos and footage was captured by <a href="https://nypost.com/2021/10/18/biden-secretly-flying-underage-migrants-into-ny-in-dead-of-night/">The New York Post.</a>
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The practice has been ongoing, with destinations not limited to New York, prompting Fox News reporter Peter Doocy to confront Psaki on it.
“Why is the administration flying thousands of migrants from the border to Florida and New York in the middle of the night?” Doocy asked.
“Well, I’m not sure that’s in the middle of the night. But let me tell you what’s happening here,” replied Psaki, prompting Doocy to point out that 2am is the middle of the night.
Psaki continued, “It is our legal responsibility to safely care for unaccompanied children until they can be swiftly unified with a parent or a vetted sponsor. And that’s something we take seriously.”
“As a part of the unification process, our Office of Refugee Resettlement facilitates travel for children in its custody to their families or sponsors across the country,” she added.
Psaki then admitted that “in recent weeks, unaccompanied children pass through the Westchester airport, which I think is what you’re referring to, in route to their final destination to be unified with their parents or vetted sponsor.”
“It’s no surprise that kids can be seen traveling through states, not just New York. It’s something that we’re also working to unite children with their family members or vetted sponsors in other parts of the country as well,” Psaki further admitted.
Watch:
Meanwhile, First Lady Jill Biden recently spoke at an event promoting the school of a donor whose non-profit <a href="https://www.foxnews.com/politics/jill-biden-visit-school-illegal-immigrants-avoid-arrests">instructs illegal immigrants on how to avoid arrest.</a>
“El Centro’s nonprofit arm has published a series of videos on how illegal immigrants can avoid arrests, with tips such as ignoring ICE agents during any interactions and contacting ‘a member of the community who does have status,'” Fox News reported.
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Strength. Community. Passion.
Those were the words I wrote down during an inspiring charla today with <a href="https://twitter.com/SBAIsabel?ref_src=twsrc%5Etfw">@SBAIsabel</a>, <a href="https://twitter.com/RepDavids?ref_src=twsrc%5Etfw">@RepDavids</a>, and members of the Latino community in Kansas City, KS.
Thank you El Centro Academy for Children for all you do and for being our gracious hosts today. <a href="https://t.co/a0IPmqRfhu">pic.twitter.com/a0IPmqRfhu</a>
— Jill Biden (@FLOTUS) <a href="https://twitter.com/FLOTUS/status/1448063320846704646?ref_src=twsrc%5Etfw">October 12, 2021</a></blockquote>
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Texas Senator Ted Cruz has introduced legislation dubbed the “<a rel="noreferrer noopener" href="https://www.cruz.senate.gov/newsroom/in-the-news/sen-cruz-introduces-stop-the-surge-act-to-hold-pres-biden-and-democrat-colleagues-accountable-for-ignoring-their-man-made-border-crisis" target="_blank">Stop the Surge Act,”</a> which seeks to ensure that “Democrats face the disaster of their policies and the humanitarian misery they are causing” through normalising illegal immigration.
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Democrats need to face the disaster of their policies and the humanitarian misery they are causing.
That’s why I’ve introduced a bill to create new ports of entry in places like Greenwich, Martha’s Vineyard, Rehoboth Beach, and Palo Alto. <a href="https://twitter.com/hashtag/BidenBorderCrisis?src=hash&ref_src=twsrc%5Etfw">#BidenBorderCrisis</a> <a href="https://t.co/VaqYlbqXuT">pic.twitter.com/VaqYlbqXuT</a>
— Senator Ted Cruz (@SenTedCruz) <a href="https://twitter.com/SenTedCruz/status/1450469399614345218?ref_src=twsrc%5Etfw">October 19, 2021</a></blockquote>
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In a statement, Cruz urged that “For the past ten months, President Biden and his administration have willingly surrendered the United States’ southern border to dangerous criminal cartels, with no thought given to the South Texas border communities like McAllen and Del Rio, which are running low on resources from dealing with this massive influx of illegal immigrants.”
The statement continues, “That’s why today I am introducing this crucial legislation to alleviate the massive overload at the southern border by establishing new ports of entry in Democrat-led communities such as North Hero, Vermont, where Bernie Sanders spends his summers, and Martha’s Vineyard, where Democrat elites host their cocktail parties.”
Labelling the surge at the border a “horrific humanitarian crisis,” Cruz further urged “If Washington Democrats had to endure even a fraction of the suffering South Texas families, farmers, ranchers, and small businesses have had to face, our nation’s immigration laws would be enforced, the wall would be built, and the Remain in Mexico policy would be re-implemented.”
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source <a href="https://www.infowars.com/posts/video-white-house-admits-to-secretly-trafficking-planes-full-of-illegal-children-from-border-in-middle-of-the-night">https://www.infowars.com/posts/video-white-house-admits-to-secretly-trafficking-planes-full-of-illegal-children-from-border-in-middle-of-the-night</a>

news Video: White House Admits To Secretly Trafficking Planes Full Of Illegal Children From Border In Middle Of The Night

White House Press Secretary Jen Psaki was forced to admit Tuesday that the Biden administration is shipping planeloads of illegal immigrant...

Wrong: CNBC Lies About COVID Hospitalizations in Effort to Amplify Calls For New Lockdown

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In an attempt to amplify calls for more lockdown measures, CNBC erroneously reported that COVID hospitalizations in England have been “steadily increasing” since restrictions were lifted when in fact the opposite is true.
The <a href="https://www.cnbc.com/2021/10/19/the-uks-covid-infection-rate-is-rising-heres-why.html?utm_term=Autofeed&utm_medium=Social&utm_content=Main&utm_source=Twitter#Echobox=1634644085">article</a>, written by Holly Ellyatt, attempts to blame people who don’t wear masks for a sustained spike in COVID hospitalizations.
“Hospitalizations and deaths have been steadily increasing since the summer when Covid restrictions in England were lifted on July 19,” claims Ellyatt.
Except that’s not true.
As economist Andrew Lilico illustrates with official public health data, hospitalizations since July 19 have flatlined if not gradually reduced.
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"Meanwhile, hospitalizations and deaths have been steadily increasing since the summer when Covid restrictions in England were lifted on July 19." <a href="https://t.co/TO7SWWqVox">https://t.co/TO7SWWqVox</a> <a href="https://t.co/SqRTAhBYPX">pic.twitter.com/SqRTAhBYPX</a>
— Andrew Lilico (@andrew_lilico) <a href="https://twitter.com/andrew_lilico/status/1450452098307526660?ref_src=twsrc%5Etfw">October 19, 2021</a>
</blockquote>
Don’t expect CNBC’s article to get “fact checked” by anyone though, given that it seeks to bolster the official narrative.
“Now the situation is looking dramatically different, with the country recording close to 50,000 new Covid cases a day — giving it one of the worst daily infection rates in the world,” according to the report.
In reality, as <a href="https://www.reuters.com/business/healthcare-pharmaceuticals/children-fuel-english-covid-case-rise-after-slow-vaccine-start-2021-10-19/">Reuters</a> acknowledges, the rise in cases is being fueled by schoolchildren, who are obsessively tested in order to bump up numbers.
As we predicted numerous times, mask freaks waited until pupils and university students returned so they could then point to those figures as a reason to impose another lockdown.
The fact that COVID deaths are still being listed as that if they happened within a 28 day window of a positive test also means that the inevitable number of higher elderly deaths this winter will be artificially added to the total.
That’s because hospitals test everyone who is admitted, meaning that even if an elderly person enters hospital with an ailment totally unrelated to COVID but just happens to have COVID at the same time, their death will be listed as COVID if they die within a month.
The lobbying campaign by lockdown zealots to brainwash Brits into accepting the reimposition of COVID-19 restrictions is underway yet again.
Mainstream media outlets like Sky News are devoting all of their top coverage to striking fear into the general public in order to socially engineer them to submit and accept rolling restrictions as a routine part of life.
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This isn't news, it's lobbying. <a href="https://t.co/At8oExh10D">pic.twitter.com/At8oExh10D</a>
— Paul Joseph Watson (@PrisonPlanet) <a href="https://twitter.com/PrisonPlanet/status/1450745561741725698?ref_src=twsrc%5Etfw">October 20, 2021</a>
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Professor Neil Ferguson, whose models have been proven spectacularly wrong time and time again, is now calling for new restrictions.
Ferguson took restrictions imposed during the first lockdown so seriously that he and his married mistress traveled back and forth across London multiple times in violation of the rules to have sex with each other.
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Reminder that this is the same clown who took the first lockdown so seriously, that he and his married mistress traveled back and forth across London in violation of the rules to have sex.
His summer infection model was also completely wrong.
Why are we still listening to him? <a href="https://t.co/i2UGcTubRv">pic.twitter.com/i2UGcTubRv</a>
— Paul Joseph Watson (@PrisonPlanet) <a href="https://twitter.com/PrisonPlanet/status/1450781347845328904?ref_src=twsrc%5Etfw">October 20, 2021</a>
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Ferguson and other lockdown advocates predicted that lifting restrictions in the summer would cause 100,000 to 300,000 cases a day in addition to up to 7,000 hospitalizations a day.
They were wrong by an order of magnitude, so why is anyone still listening to them?
<blockquote class="twitter-tweet" data-width="500" data-dnt="true" readability="11.421686746988">
If cases rising from 25k to 35k/day & hospitalisations from 550 to 750/day with 1/2 of cases being kids is a reason for restrictions, even tho restrictions advocates had said we'd hv 100-300k cases & 2k-7k hospitalisations/day now, there seems little pt in analysing data any more
— Andrew Lilico (@andrew_lilico) <a href="https://twitter.com/andrew_lilico/status/1450425330548854786?ref_src=twsrc%5Etfw">October 19, 2021</a>
</blockquote>
Yet this was all so predictable.
Six weeks ago, <a href="https://summit.news/2021/09/06/uk-government-already-preparing-for-another-lockdown-in-october/">we warned</a> how the government was preparing for the re-introduction of restrictions at the end of October when SAGE government advisers foreshadowed their agenda by preparing the public for new lockdowns during the school half term period, which starts on Monday.
The report also noted how the government had already decided to reimpose mask mandates, while simultaneously lying to the public in claiming that wasn’t the plan, just as they lied about vaccine passports, which will likely now be introduced as the country is steamrollered into submission.
———————————————————————————————————————
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source <a href="https://www.infowars.com/posts/wrong-cnbc-lies-about-covid-hospitalizations-in-effort-to-amplify-calls-for-new-lockdown">https://www.infowars.com/posts/wrong-cnbc-lies-about-covid-hospitalizations-in-effort-to-amplify-calls-for-new-lockdown</a>

news Wrong: CNBC Lies About COVID Hospitalizations in Effort to Amplify Calls For New Lockdown

In an attempt to amplify calls for more lockdown measures, CNBC erroneously reported that COVID hospitalizations in England have been “stea...

Rand Paul: Democrats “Are Going To Go After Ordinary People” With Massive Spending Bill

In an appearance on Fox News Monday, Senator Rand Paul warned that Democrats are lying about their massive social spending bill and that it will significantly affect untold numbers of ‘ordinary’ Americans.
“The numbers game is fake accounting,” Paul warned, adding “They aren’t really whittling down what they are going to spend it on. They are just whittling down how long they are going to count the accounting period to be.”
“So, if it costs $5 trillion over 5 years and they only count $1 trillion, then that is $1 trillion. But that doesn’t make the programs small. The programs are still enormous and over time are going to add up to trillions and trillions and trillions of dollars,” the Senator urged.
Paul continued, “The other lie is that this won’t affect anyone over $400,000.”
“If you look at the sifting through our bank accounts and either at $600 level or even a higher dollar level when the IRS goes through all of their bank accounts; All that comes in, all that comes out. 75% of that money is on people making less than $100,000 per year,” Paul explained.
He concluded, “So, it is a lie that they are only going after rich people. They are going to go after ordinary people and they will squeeze and squeeze more money out of you if they possibly can.”
“The lie that this is only about going after rich people is frankly not true and they will go after a lot of ordinary people when this thing gets passed,” Paul emphasised.
Watch:
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Watch the latest video at <a href="https://www.foxnews.com/">foxnews.com</a>
Meanwhile, White House Press Secretary Jen Psaki claimed this weekend that a rising cost of living for everyday Americans is good, because it means more people are buying stuff:
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source <a href="https://www.infowars.com/posts/rand-paul-democrats-are-going-to-go-after-ordinary-people-with-massive-spending-bill">https://www.infowars.com/posts/rand-paul-democrats-are-going-to-go-after-ordinary-people-with-massive-spending-bill</a>

news Rand Paul: Democrats “Are Going To Go After Ordinary People” With Massive Spending Bill

In an appearance on Fox News Monday, Senator Rand Paul warned that Democrats are lying about their massive social spending bill and that it ...

Video: Another Career Cop Signs Off After Refusing To Take Vaccines

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Video has emerged of another veteran police officer signing off after being forced to resign for refusing to go along with Joe Biden’s vaccine mandates.
The footage shows a Washington State Patrol officer of 17 years, referred to only as officer “110”, wiping away tears as he radios in a final goodbye.
The Seargent boldly states “Due to my personal choice to take a moral stand for medical freedom and personal choice, I will be signing out of service for the last time today.”
In a touching aside, the dispatcher on the other end of the radio replies “I’m honored to have been your dispatcher, but mostly proud to be your wife.”
Watch:
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Several other police officers who have refused to take vaccines have filmed similar videos. Another Washington State trooper of 22 years <a href="https://www.infowars.com/posts/video-state-trooper-of-22-years-slams-vaccine-mandate-as-he-signs-off-for-the-final-time-after-being-fired/">declared last week</a> “Governor Jay Inslee can kiss my ass.”
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“This is the last time you’ll hear me in a patrol car and Jay Inslee can kiss my ass.”
Washington State Trooper in Yakima, Wash. signs off after 22 years — fired by <a href="https://twitter.com/GovInslee?ref_src=twsrc%5Etfw">@GovInslee</a> for being unvaccinated. <a href="https://t.co/RGLDs5BZxg">pic.twitter.com/RGLDs5BZxg</a>
— Jason Rantz on KTTH Radio (@jasonrantz) <a href="https://twitter.com/jasonrantz/status/1449538761474199555?ref_src=twsrc%5Etfw">October 17, 2021</a></blockquote>
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Meanwhile, White House Press Secretary Jen Psaki defended the vaccine mandate Monday, after Fox News’ Peter Doocy asked, “a vaccine mandate means tons of police and military may walk off the job, then at the end of the day, does a vaccine mandate, make people safer?
Psaki responded “What was the highest, what was the number one cause of death by police officers last year, do you know? COVID-19. So that’s something that we’re working to address and police departments are working to address.”
“More than 700,000 people have died of COVID,” Psaki said, adding “again it was the number one cause of death among police departments and police officers. It’s something that we should take seriously, departments are trying to save people in their departments, people who work for them, we support that effort and there’s been a success across the country.”
Watch:
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source <a href="https://www.infowars.com/posts/video-another-career-cop-signs-off-after-refusing-to-take-vaccines">https://www.infowars.com/posts/video-another-career-cop-signs-off-after-refusing-to-take-vaccines</a>

news Video: Another Career Cop Signs Off After Refusing To Take Vaccines

Video has emerged of another veteran police officer signing off after being forced to resign for refusing to go along with Joe Biden’s vacc...

19 must-see movies from the fall film festivals

The fall film festival circuit is where the year’s buzziest and most awards-worthy films often premiere, in cities from Venice and Telluride to Toronto and New York. Then, after they show up at the big festivals, they often fan out to regional festivals across the country, ready for movie lovers all over the place to catch a sneak peek ahead of their official release dates.
Some of 2021’s biggest titles — Wes Anderson’s The French Dispatch, Denis Villeneuve’s Dune, Kenneth Branagh’s Belfast, and a lot more that made headlines out of this year’s fall festival circuit — will be everywhere soon enough. But it’s also important to take a step back and note the smaller films that might not garner as much buzz, but pack a punch nonetheless.
This year I attended both the Toronto and New York film festivals and saw a huge selection of terrific movies from around the world. Below, I’ve listed 19 of those movies — independent productions, art-house gems, dramas, and comedies — that have flown further under the radar but are worth looking out for nonetheless. The stories they tell, and the ways they tell them, show just how vibrant cinema is as the movies come back to life.
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Paul Verhoeven draws on the true story of a 17th-century nun for Benedetta, adapted from Judith C. Brown’s book Immodest Acts: The Life of a Lesbian Nun in Renaissance Italy. It’s the story of a torrid affair between the devout Sister Benedetta Carlini (Virginie Efira) and a new novice, Sister Bartolomea (Daphne Patakia), who escapes a dangerous and abusive home situation by joining the convent where Benedetta resides. But that’s a relatively small piece of the puzzle. Benedetta is far more interested in power both secular and ecclesiastical, and in the ways that miracles — both real and imagined — might be harnessed to serve, and gain, those powers. So while the film aims to shock (Verhoeven is the director who made Robocop and Starship Troopers, after all), it’s got something interesting to say, too.
How to watch it: Benedetta opens in theaters on December 3.
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<figcaption>Jeremy Irvine as Ivor Novello and Jack Lowden as Siegfried Sassoon in Benediction.</figcaption>
<cite>Courtesy of TIFF</cite></figure>
Terence Davies’s last film, <a href="https://www.vox.com/culture/2017/4/13/15243556/quiet-passion-review-emily-dickinson-passover-easter">A Quiet Passion</a>, centered on the poet Emily Dickinson, painting her as a saint for uncertainty and depicting a bitter life; in Benediction, Davies turns to a different poet, <a href="https://www.poetryfoundation.org/poets/siegfried-sassoon">Siegfried Sassoon</a> (a terrific Jack Lowden). Benediction — which means “blessing” — spends most of its time on Sassoon’s passionate but thwarted relationships with several different men, after which he eventually married a woman. The whole story is framed by Sassoon’s late-in-life conversion to Catholicism, amid his soured marriage and his son’s derision. There is no happy-go-lucky ending here, only the sense that an ineffable longing we have, to know and be known, is so precious and rare that most of us never find its fulfillment here on earth. But the film’s title lays bare its aims: To offer words of blessing over a man who never quite found the love he craved and, yet, kept looking.
How to watch it: Benediction is awaiting US distribution.
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An early contender for one of my favorite films of 2021, Bergman Island is a layered and lovely film about the tension between making art and living real life, and how the two feed one another. Vicky Krieps stars as Chris, a filmmaker who travels with her partner Tony (Tim Roth), a more commercially successful filmmaker, to Fårö island for a creative retreat. Fårö is where the great director Ingmar Bergman lived and made his later work. As the pair spend time on the island, they start to be drawn apart; then, Chris’s new film starts to take shape, and we start to understand how life experience filters into her work. Written and directed by Mia Hansen-Løve — and presumably based, in part, on her own experiences with former partner <a href="https://www.imdb.com/name/nm0000801/">Olivier Assayas</a> — Bergman Island is like a diamond that you can turn over and over, seeing the light refract through each facet in new ways.
How to watch it: Bergman Island opened in theaters on October 15.
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Joaquin Phoenix stars in C’mon C’mon, the sensitive and huge-hearted new movie from Mike Mills (whose last film was <a href="https://www.vox.com/culture/2016/12/28/14088920/20th-century-women-review-annette-bening-mike-mills">20th Century Women</a>). Phoenix is Johnny, an artist interviewing young people around the US about the future: what they hope for, what they dream of, what they fear. But when his semi-estranged sister (Gaby Hoffman) suddenly has to attend to an emergency, he ends up caring for his precocious and eccentric 9-year-old nephew Jesse (Woody Norman), and both of them learn a lot from one another. The premise of C’mon C’mon could easily swing into way-too-precious territory, but Mills’s steady hand and feeling for story rhythms, along with Phoenix’s performance, keep the ship on course. The result is a warm and winsome meditation on the ties that bind us to one another.
How to watch it: C’mon C’mon opens in theaters on November 19.
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Ryusuke Hamaguchi directed and co-wrote the screenplay for Drive My Car, which is based on a Haruki Murakami short story. The film centers on Yūsuke Kafuku (Hidetoshi Nishijima), a theater director who returns home one day to find that his wife Oto (Reika Kirishima), a TV executive, has died. Then time jumps forward, and Kafuku is directing a production of Chekhov’s Uncle Vanya, with each actor performing in their own language. He decides to cast his wife’s lover, Takatsuki (Masaki Okada), in the main role. Through rehearsals and the relationships that develop during the project — including with Misaki (Toko Miura), the quiet young woman hired to drive him to and from the theater — Yūsuke starts to understand something that’s nearly ineffable about his past and his future. It’s a melancholy, meaningful film, occupied with friendships, old wounds, and the task of continuing to live.
How to watch it: Drive My Car will open in the US on November 24.
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Ivan Grbovic’s globe-trotting film centers on Willy (Jorge Antonio Guerrero), who used to work for a drug cartel in Mexico but ran afoul of his boss when he fell in love with the boss’s wife Marlena (Yoshira Escárrega). Willy fled to Canada; now he’s a migrant worker in rural Quebec. The family who owns the farm on which he’s working has their own set of family issues, and the gruff but kind employer grows less kind when he comes to believe one of his employees has hurt his teenage daughter. It’s a kind of domestic epic, a story of straining hope and being trapped, full of gorgeous vistas and heartbreak.
How to watch it: Drunken Birds is awaiting US distribution.
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It’s rare to see animation as the main medium in a documentary, but Flee uses it to great effect. Director Jonas Poher Rasmussen interviews his friend, Amin, who endured years of horror after fleeing Afghanistan with his family in the 1990s following the Taliban takeover. Flashbacks to Amin’s experiences are mixed in with his current uncertainties surrounding his relationship with his partner, Kasper, who desperately wants to buy a house, get married, and settle down. The effect of his past is a strong one, showing how even after finding safety and relative stability, Amin’s previous experiences will never stop reaching their long fingers into his present. Flee is heartbreaking and moving, and hard to forget.
How to watch it: Flee will open in theaters on December 3.
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<figcaption>Kenny G in Listening to Kenny G.</figcaption>
<cite>HBO</cite></figure>
Listening to Kenny G is a documentary about the smooth-jazz sax crooner that sets out to ask a few barely answerable questions: Why do people love Kenny G? Why do people hate him? And what do their responses to him say about taste, preference, and art? In films like <a href="https://www.vox.com/culture/2019/4/16/18311449/hail-satan-penny-lane-interview-review-satanic-temple">Hail Satan?</a> (about the Satanic Temple) and <a href="https://pennylaneismyrealname.com/film/the-pain-of-others-2018/">The Pain of Others</a> (about women who believe they have <a href="https://www.mayoclinic.org/morgellons-disease/art-20044996">Morgellons disease</a>), director Penny Lane has consistently refused to walk the easy route. There are no pat answers in her movies, and Listening to Kenny G is no exception. The sax player himself is the film’s main interviewee, but he’s flanked by music critics who point out all his shortcomings. What right do they have to tell someone who walked down the aisle to a Kenny G song that they’re wrong? That’s the question Listening to Kenny G raises and doesn’t try to answer outright. Instead, it focuses on a vital secondary question: Is there a dividing line between “I like this” and “This is good”? And should we care?
How to watch it: Listening to Kenny G will premiere on HBO and start streaming on HBO Max on December 3.
<figure class="e-image"><picture class="c-picture" data-cid="site/picture_element-1634705690_9563_110597" data-cdata='{"asset_id":22908523,"ratio":"*"}'><source srcset="https://cdn.vox-cdn.com/thumbor/qh0B1zRAX7w5j3o2NiHFKBwjl90=/0x0:3000x1800/320x0/filters:focal(0x0:3000x1800):format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/22908523/lostdaughter.jpeg 320w, https://cdn.vox-cdn.com/thumbor/0QTWd7CkNCVpL_BuC-qQmP9RXUw=/0x0:3000x1800/520x0/filters:focal(0x0:3000x1800):format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/22908523/lostdaughter.jpeg 520w, https://cdn.vox-cdn.com/thumbor/8Tos2pExJ8kK7NAKBCfYZ7Yc2y0=/0x0:3000x1800/720x0/filters:focal(0x0:3000x1800):format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/22908523/lostdaughter.jpeg 720w, https://cdn.vox-cdn.com/thumbor/H7k6vqM0cQ4yzhp9PplTwEHGKpk=/0x0:3000x1800/920x0/filters:focal(0x0:3000x1800):format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/22908523/lostdaughter.jpeg 920w, https://cdn.vox-cdn.com/thumbor/mWAhlFPhg7DY36mUhozjy6-G1xs=/0x0:3000x1800/1120x0/filters:focal(0x0:3000x1800):format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/22908523/lostdaughter.jpeg 1120w, https://cdn.vox-cdn.com/thumbor/xXuQlbgTHMC1E1Uq2PSNQXhZybo=/0x0:3000x1800/1320x0/filters:focal(0x0:3000x1800):format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/22908523/lostdaughter.jpeg 1320w, https://cdn.vox-cdn.com/thumbor/QhY0MmJV2Ik6IPPJli_6eZB3JT8=/0x0:3000x1800/1520x0/filters:focal(0x0:3000x1800):format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/22908523/lostdaughter.jpeg 1520w, https://cdn.vox-cdn.com/thumbor/h1qQZASXXblnlolBePMIjDb6IBQ=/0x0:3000x1800/1720x0/filters:focal(0x0:3000x1800):format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/22908523/lostdaughter.jpeg 1720w, https://cdn.vox-cdn.com/thumbor/8si6g95Y53ZWh21Drgv9sm7U2bk=/0x0:3000x1800/1920x0/filters:focal(0x0:3000x1800):format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/22908523/lostdaughter.jpeg 1920w" sizes="(min-width: 1221px) 846px, (min-width: 880px) calc(100vw - 334px), 100vw" type="image/webp" /> <img alt="An image of two women, one who’s wearing a large hat." data-upload-width="3000" sizes="(min-width: 1221px) 846px, (min-width: 880px) calc(100vw - 334px), 100vw" src="https://cdn.vox-cdn.com/thumbor/SQ0srlVnX0Eu4K344f-igcYeRc0=/0x0:3000x1800/1200x0/filters:focal(0x0:3000x1800):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/22908523/lostdaughter.jpeg" srcset="https://cdn.vox-cdn.com/thumbor/SZJOzLXWX9_NXHwF9DKHYp41wYY=/0x0:3000x1800/320x0/filters:focal(0x0:3000x1800):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/22908523/lostdaughter.jpeg 320w, https://cdn.vox-cdn.com/thumbor/pKbvlfP5v7QuIyySQV4r_PXfRIY=/0x0:3000x1800/520x0/filters:focal(0x0:3000x1800):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/22908523/lostdaughter.jpeg 520w, https://cdn.vox-cdn.com/thumbor/gFCLshLYVaonA-O1zlMefM9osF0=/0x0:3000x1800/720x0/filters:focal(0x0:3000x1800):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/22908523/lostdaughter.jpeg 720w, https://cdn.vox-cdn.com/thumbor/kePmeMq5TakZJyLfmJxR2gGVJzw=/0x0:3000x1800/920x0/filters:focal(0x0:3000x1800):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/22908523/lostdaughter.jpeg 920w, https://cdn.vox-cdn.com/thumbor/VGywAlUHfoBBehxyIFMzpteY87c=/0x0:3000x1800/1120x0/filters:focal(0x0:3000x1800):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/22908523/lostdaughter.jpeg 1120w, https://cdn.vox-cdn.com/thumbor/awtKV-blU7PKOd-KMhzU-yBjTpE=/0x0:3000x1800/1320x0/filters:focal(0x0:3000x1800):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/22908523/lostdaughter.jpeg 1320w, https://cdn.vox-cdn.com/thumbor/mBuQLYkqnAaCPHUeuqW1k9ghFRw=/0x0:3000x1800/1520x0/filters:focal(0x0:3000x1800):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/22908523/lostdaughter.jpeg 1520w, https://cdn.vox-cdn.com/thumbor/E1HIaLubcfEo-fUaVDJA-ng4ngw=/0x0:3000x1800/1720x0/filters:focal(0x0:3000x1800):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/22908523/lostdaughter.jpeg 1720w, https://cdn.vox-cdn.com/thumbor/WbbiZOAWIzSP-tdzQQ1f4HJEm_0=/0x0:3000x1800/1920x0/filters:focal(0x0:3000x1800):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/22908523/lostdaughter.jpeg 1920w" /></picture>
<figcaption>Olivia Colman and Dakota Johnson in The Lost Daughter.</figcaption>
<cite>Yannis Drakoulidis / Netflix</cite></figure>
Maggie Gyllenhaal directed and wrote The Last Daughter, based on an Elena Ferrante novel, and it’s an extraordinary directorial debut. Olivia Colman plays Leda, a middle-aged professor of comparative literature who’s on a working holiday in Greece. There, she meets Nina (Dakota Johnson), a young mother who dearly loves her daughter but finds the demands of parenthood are driving her to distraction. As Nina and Leda spend time together, their story starts to twine with Leda’s past (in which she’s played by Jessie Buckley), a time when caring for her own young daughters pushed her to her limits. The Last Daughter is a marvelously complex story, expertly crafted, with the freedom, loneliness, and claustrophobia of the main characters aptly evoked by the cinematography. Its splendid performances and keen sense of ambiguity feel so true to life that you might feel your heart catch in your throat.
How to watch it: The Lost Daughter will open in limited theaters on December 17 and begin streaming on Netflix on December 31.
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A surreal drama from the celebrated director Apichatpong Weerasethakul, Memoria stars Tilda Swinton as Jessica, a woman visiting her sister in Bogotá, Colombia. One night, she is awakened in the dark by the deafening sound of a bang. Yet nobody else seems to have heard it. What’s going on? It’s never totally clear, but solving a mystery isn’t the point of Memoria. Instead, it’s a slow, odd, hypnotic journey in which Jessica looks for answers, digs into life itself, and comes face to face with what it means to actually be a human inhabiting this planet. The film is strange and engrossing, and if you feel like you’ve slipped into another dimension watching it, then you’ve watched it well.
How to watch it: As distributed by Neon, Memoria will open on December 26 at New York City’s IFC Center, then travel throughout the United States, playing exclusively on one screen at one theater at a time. <a href="https://neonrated.com/films/memoria">Keep an eye on Neon’s website for details</a>.
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Rebecca Hall wrote and directed this adaptation of Nella Larsen’s 1929 novel, which is about two childhood friends who encounter one another again in adulthood. Irene (Tessa Thompson), who goes by Reeny, lives with her doctor husband (André Holland) and their children in a stately Harlem house. Claire (Ruth Negga) is married to a racist businessman (Alexander Skarsgård), who has no idea that his wife is not white. The film feels almost dreamlike, evoking a world in which the lines that separate friendship from desire, love from hate, and white from Black are more permeable than you might expect — a world a lot like today’s.
How to watch it: Passing will open in limited theaters, then begin streaming on Netflix on November 10.
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Portrait of a Lady on Fire director <a href="https://www.vox.com/culture/2020/2/19/21137213/portrait-of-a-lady-on-fire-celine-sciamma-interview">Céline Sciamma</a> returns with a much smaller-scale but no less affecting film. Young Nelly (Joséphine Sanz), whose beloved grandmother has just passed away, is helping her parents (Nina Meurisse and Stéphane Varupenne) clean out the now-empty home where her mother grew up. Nelly is close to both of her parents, but is especially concerned about her mother. She longs to have one more day to spend with her grandmother. One day, in the woods, she meets a girl named Marion (Gabrielle Sanz), and the two forge a friendship that might be the fulfillment of her fears and wishes. Petite Maman is a pithy, gemlike film, clocking in at only 72 minutes and as pristine and poignant a reflection on the bonds that tie us to one another across time and generations as one can imagine.
How to watch it: Petite Maman was acquired by Neon and is awaiting a US release date.
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<figcaption>A scene from Procession.</figcaption>
<cite>Netflix</cite></figure>
Indelible, gutting, and hopeful, Procession is a documentary unlike anything you’ve seen before. The filmmakers, led by director Robert Greene, reached out to six men in the Kansas City, Missouri, area who were abused as boys by Catholic priests and clergy. Rather than proceeding as an exposé, Procession is a collaborative project in healing, as each of the six men creates and films traumatic memories in a drama therapy-informed quest to ... well, what, exactly? That’s what they’re exploring: the meaning of healing, the ways we perform to cope and to crack ourselves open, and the possibilities, such as they are, for redemption. It’s a must-see.
How to watch it: Procession will open in limited theaters on November 12 and start streaming on Netflix on November 19.
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Jane Campion’s first film since 2009’s Bright Star is The Power of the Dog, which is set, despite its New Zealand shooting location, in the American West. For most of its runtime, The Power of the Dog is confined to the big ranch that Phil and George (Benedict Cumberbatch and Jesse Plemons) own and operate. George marries Rose (Kirsten Dunst) and brings her there, along with her waifish teenage son Peter (Kodi Smit-McPhee). Phil despises both of the ranch’s new residents. But people’s exteriors rarely match what they’re capable of inside. The film will keep you guessing as it morphs from a Western to a romance to something deliciously dark, a melodrama with an eerie bite and sweeping, craggy vistas.
How to watch it: The Power of the Dog will open in limited theaters on November 17 and start streaming on Netflix on December 1.
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The Souvenir Part II picks up right where 2019’s <a href="https://www.vox.com/culture/2019/5/15/18528575/souvenir-review-swinton-byrne-hogg">The Souvenir</a> left off. Julie (Honor Swinton Byrne) is reeling from the overdose death of her boyfriend (Tom Burke), and she decides, somehow, to process what happened through her thesis film. Meanwhile, her mother (Tilda Swinton) tries to help her get through the grief. The Souvenir Part II (based on writer and director Joanna Hogg’s own memories) is kind of a movie about making The Souvenir. But it’s also about the sly and surprising ways that art can help us cope, understand, and heal from what life throws our way. The film is Hogg’s gentle tribute to her younger, sometimes more foolish self, and it’s very funny, too. (Be sure to watch <a href="https://www.vox.com/culture/2019/5/15/18528575/souvenir-review-swinton-byrne-hogg">The Souvenir</a> before you see it; it’s currently streaming on Amazon Prime and available to digitally rent on other platforms.)
How to watch it: The Souvenir Part II will open in theaters on October 29.
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Todd Haynes directs a highly satisfying documentary about the legendary Velvet Underground, the rock band that formed in New York City in 1964 and came to embody an important moment in the history of rock. (Plus, they rock.) Haynes is no conventional director, and while he takes a fairly standard approach to the story — beginning with Lou Reed’s childhood on Long Island and moving forward from there — he weaves together more of a tapestry than a clunky paint-by-numbers documentary. The Velvet Underground is as much about the culture of 1960s New York City, dominated by Andy Warhol’s in-crowd and the work they made at his Factory, as the band itself. That’s to the film’s benefit. Using the screen as a window and collaging together images and footage with audio from interviews, Haynes evokes a mood and an era; he reminds audiences that some success comes from talent and hard work, and some of it just comes from being in the right place at the right time.
How to watch it: The Velvet Underground will open in limited theaters and begin streaming on Apple TV+ on October 15.
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One of this year’s breakout festival favorites is The Worst Person in the World, about four years in the life of 20-something Julie (Renate Reinsve). Like many young people, she realizes in university that she doesn’t want to be a neuroscientist; she wants to be an artist. So she blows up her life and starts over, winding up in a relationship with Aksel (Anders Danielsen Lie). That’s just the beginning. The Worst Person in the World tells Julie’s story in 12 chapters with a prologue and an epilogue — she is the main character in her own story, one that she’s writing as she’s living it. It’s a film about navigating life as a millennial, trying to figure out what love is like, what work is for, and whether you’re following your heart or whether you’re just, well, the worst person in the world.
How to watch it: The Worst Person in the World was acquired by Neon and is awaiting a US release date.
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Unclenching the Fists is the story of Ada (Milana Aguzarova), a teenage girl from a small village in the outer reaches of Russia’s Caucasus region. She lives with her incredibly controlling father and her younger brother, who is so dependent on her that he calls her “mom.” Having suffered a horrifying accident in childhood, she needs surgery before she can leave home, but her father refuses to take her to get the necessary medical care, unwilling to let her out of his grasp. At the same time, she is also being pursued by a somewhat repulsive young man from the same village, but he’s the only boy who’s ever showed interest. When her older brother returns home from his job in a nearby city, the dynamic at home begins to shift. Ada is trapped, sometimes literally, by the men all around her, and Unclenching the Fists (which won director Kira Kovalenko a top prize at the Cannes film festival) is the tale of a young woman struggling to break free.
How to watch it: Unclenching the Fists was acquired by Mubi and is awaiting a US release date.
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A haunting, funny, tightly written meditation on loneliness and connection, Wheel of Fortune and Fantasy is set up as a triptych. In the first story, one woman (Hyunri) tells her friend (Kotone Furukawa) about the man one of them recently met on a date; she doesn’t realize her friend is hiding a secret. In the second story, a young woman (Katsuki Mori) agrees to set a trap for her professor (Kiyohiko Shibukawa) at the behest of her boyfriend, but it doesn’t go as planned. And in the third story, a woman (Fusako Urabe) returns to her hometown for her high school reunion and meets with an old love, only to discover all is not as it seems. Director Ryusuke Hamaguchi crafts each one as a sensitive and surprising tale, and the result is a film that asks how luck and fantasy operate in the love we preserve and the love we throw away.
How to watch it: Wheel of Fortune and Fantasy opened in the US on October 15.
 
 
source <a href="https://www.vox.com/22672015/best-movies-dog-maman-benediction-flee-kenny-daughter">https://www.vox.com/22672015/best-movies-dog-maman-benediction-flee-kenny-daughter</a>

vox 19 must-see movies from the fall film festivals

The fall film festival circuit is where the year’s buzziest and most awards-worthy films often premiere, in cities from Venice and Telluride...