‘Icarus: The Aftermath’ Review: Bryan Fogel’s Follow-Up to His Oscar-Winning Documentary Is An Ambitious Thriller [Telluride]

An Oldham councillor has been arrested by Greater Manchester Police on suspicion of rape.

President Joe Biden has arrived in London, where he will join other world leaders at the funeral of Queen Elizabeth II on Monday. 

Six countries have not received invitations to the Queen's state funeral on Monday September 19.

announced Stelter’s new position as the Fall 2022 Walter Shorenstein Media and Democracy Fellow on Monday.“This is how low Harvard has now sunk,” Hannity continued. “They hire Humpty.

A few minutes before the North American premiere of “Freedom on Fire: Ukraine’s Fight for Freedom,” director Evgeny Afineesvky summed up his state of mind in a single word: “exhausted.”That makes sense, because “Freedom on Fire” screened at the Toronto International Film Festival about six months after Afineevsky and his team began working on it, barely more than a month after its final footage was filmed and only a few weeks after Helen Mirren recorded narration for a scene that comes early in the documentary.For Afineevsky, who landed Oscar and Emmy nominations for 2015’s “Winter on Fire: Ukraine’s Fight for Freedom,” this sequel of sorts was made in a six-month rush, including just three months of editing after Russian forces invaded Ukraine in February of this year. “The urgency of the movie,” the Russian-born director told the audience before the Tuesday morning TIFF screening, “is to not neglect the situation right now.”Certainly, urgency is a hallmark of “Freedom on Fire,” a harrowing document shot by dozens of people inside Ukrainian cities as the Russian army conducted a bombing campaign and an invasion that seemingly targeted civilians, despite Vladimir Putin’s claims that Russia was there to “demilitarize” and “denazify” the country, and to somehow “free” it – though as more than one person in the film points out, the Russian offensive has resulted in ordinary citizens being freed from their lives, their homes, their families.The director’s first film about Ukraine, “Winter on Fire,” was an on-the-ground look at the 2013-2014 Maidan uprising, in which student protests against the Russian-backed president drew a brutal response but resulted in the removal of the president.

Netflix has a number of high-profile movies coming to the Toronto  Film Festival, just as it did at Venice and Telluride, but a less heralded title with no instantly recognizable star names was chosen to open the fest tonight, and The Swimmers may turn out to be a surprise winner for the streamer when it debuts this fall. It certainly reverses the curse of some of TIFF’s less successful opening-nighters.

Naman Ramachandran Vice has signed a worldwide license deal for director and producer Jason Loftus’ “Eternal Spring: The Heist of China’s Airwaves,” Canada’s entry in the Oscars’ international feature film category. Sales agent Sideways Film, which represents the production on behalf of Lofty Sky Entertainment, has also scored domestic deals on the film with Arte for France and Germany, RTS for Switzerland, VG for Norway, Current Time for Russian language European territories and Al Jazeera Doc for the Middle East and North Africa. Through the lens of celebrated comic book artist Daxiong (“Justice League”), the documentary explores a plot by Falun Gong adherents in China to hack state television and expose repression.

Christopher Vourlias The pursuit of justice in the wake of unspeakable war crimes is at the heart of Ukrainian documentary filmmaker Sergei Loznitsa’s timely new feature, “The Kiev Trial.” Produced by Atoms & Void for the Babyn Yar Holocaust Memorial Center, the film had its world premiere out of competition at the Venice Film Festival. The trailer can be viewed below. Held in January 1946 in the former Soviet Union, the film’s titular trial was among the first court cases to hold Nazis and their collaborators accountable for atrocities committed during World War II — acts that would come to be known as “crimes against humanity” during the historic tribunals held in Nuremberg, Germany.

Evgeny Afineevsky released his Oscar-nominated Netflix documentary Winter on Fire: Ukraine’s Fight for Freedom in 2015, documenting the Euromaidan protests the previous year in the city of Kyiv that led to the collapse of the Russia-aligned Azarov government and the removal and exile of Putin ally Viktor Yanukovych as Ukraine’s president. Afineevsky returns to Venice this year with Freedom on Fire: Ukraine’s Fight for Freedom, a follow-up that details the real stories of the people of Ukraine as they continue their fight against Russia’s invasion of their country.

Peter Debruge Chief Film Critic Most of the time, documentaries don’t get sequels, which is strange. Unlike their scripted fiction counterparts, the story doesn’t end when the cameras stop rolling. If you’ve ever attended a filmmaker Q&A after the screening of a great documentary, you know the first question from the audience is almost inevitably either “What’s happened since?” or “Where are they now?” Bryan Fogel must have heard that more times than he can count in the five years since his game-changing Russian sports doping doc “Icarus” won the Academy Award. “Icarus: The Aftermath” is his response, a daring and sure-to-be-divisive movie that’s even more shocking than the 2017 original, even if the big news is already out of the bag.

Christopher Vourlias On the eve of the 79th Venice Film Festival, where his powerful Ukraine war documentary “Freedom on Fire: Ukraine’s Fight for Freedom” will premiere out of competition on Sept. 7, Oscar-nominated filmmaker Evgeny Afineevsky was in a frantic race against time. Footage was still being shot in Ukraine into the second week of August, with Afineevsky only completing the film on Aug. 31 — the same day that Ukrainian President Volodymyr Zelenskyy addressed the A-list celebrities and foreign press at the festival’s opening ceremony, urging the world not to forget the war in Ukraine with the impassioned plea: “Don’t turn your back to us.”

Vladimir Putin demands absolute fealty to the Russian state, and woe to anyone who defies him.

never doped its athletes, Putin’s administration shifted to claiming that Rodchenkov was a rogue agent who did it all himself and is now a traitor. The evidence clearly suggests otherwise, but the Olympic ban is essentially toothless: It prohibits the Russian Olympic committee from being part of the games but allows athletes to compete under the “Olympic athletes from Russia” banner.

Nazis, Bolsheviks, and werewolves: oh my. Far from Oz, and on a road that’s paved in genocide rather than yellow bricks, the story that unfolds in “Burial” is likewise the stuff of fairytales.

box office, there is a near-term question mark about what will happen next: Will recovery stall due to a paucity of Hollywood tentpole movies? Or will international theatrical decouple and find new drivers to maintain the momentum? The good news is that most of the international market’s top territories are now fully open and operating without significant restrictions on seating capacity. These include the U.K. and Ireland, Japan, France, Germany, Spain, South Korea, Australia, New Zealand, Mexico and Brazil. The smaller number of territories still laboring under restrictions nevertheless include some valuable ones: China, Turkey, Argentina, Hong Kong and Russia.

As a child growing up in the United States, you’re taught that betraying the country is a terrible act, punishable by death. Every morning, in most public schools, you’re forced to recite the Pledge of Allegiance, which overtly puts your patriotism at the forefront of the day’s events.

Given the fragile state of world peace at the moment, it seems like a good time for the latest film from Hoop Dreams director Steve James, a piece of little-known history from the cold war that could potentially have devastating consequences today. Sadly, James’ Venice Film Festival out of competition title A Compassionate Spy just doesn’t deliver the drama and tension you might expect from the high-stakes story of a mild-mannered American scientist who passed sensitive nuclear secrets to the Russians out of a mixture of idealism and naivety.