Syria: Last News

Benedict Cumberbatch and his family have suffered a break-in by a knife-wielding chef at their home in North London.According to the Daily Mail, Cumberbatch, his wife Sophie Hunter, and their three young children were in the home when Jack Bissell, a former chef at the Beaumont Hotel in Mayfair, kicked his way through the front garden’s iron gate at the actor’s £3.5million house, used a fish knife to rip the intercom off the wall and made a series of threats.Bissell eventually fled the scene before things could escalate further. He was arrested after police found his DNA on the intercom.

Inspirational footballers returned to their former club after beating cancer to help others. Rochdale legend Joe Thompson was joined by former Dale youth player Bader Al-Akkad at Spotland for the Goals for A Cure match.

Leo Barraclough International Features Editor In “The Old Oak,” which played in Competition in Cannes, Ken Loach portrays a village in the North-East of England where the indigenous white community comes into conflict with Syrian refugees – a conflict fuelled by the despair, deprivation and decline of the rust-belt region. Such conditions can be a seed-bed for far right groups, the director tells Variety. Such issues have not been explored sufficiently in film and television, Loach says, and he draws a parallel with the portrayal of the rise of Nazism in Germany in the mass media. “We have endless programs about the Second World War, about the horrors of Nazism and fascism, about the racism, about the Holocaust. Quite properly, we have endless programs about that, but what they refuse to point out is that that arose from alienation, anger, feeling cheated, and finding scapegoats. And that’s how we ended up with Hitler, and that’s the ground in which the far right flourishes. One of the points of the film is to say: This is the cause of fascism. This is where it comes from. This is its seed-bed, and it comes as an inevitable consequence of our economic system. Because if the neoliberal agenda was an essential development for capitalism, to use the old-fashioned word, then that’s where fascism comes from. Implicit in that is that the far right will rise because that’s how people will be heading. And they know that and yet the mass media, the press, just turn their backs on that. They’ll tell us all about the horrors of Hitler. Sure. But they won’t tell us how he came to power. And that’s the huge lesson. And we see it in essence now all the time.”

The Old Oak will be his last.Speaking at a press conference for his new movie at the Cannes Film Festival, Loach was asked by Deadline whether reports about his retirement are true.“One day at a time,” he responded. “If you get up in the morning, and you’re not in the obituary column; one day at a time.”It comes after he told The Hollywood Reporter last month that “it would be hard to do a feature film again” because “your facilities do decline.”He said: “Films take a couple of years and I’ll be nearly 90,” he said of a potential next movie.

Ken Loach still has more to say against The Man in society with his cinema, that was clear coming away from the Cannes press conference for his latest movie The Old Oak.

By Hanna RantalaCANNES (Reuters) - Ken Loach said on Friday he does not know if "The Old Oak," the 86-year-old British director's attempt to win the Cannes Film Festival's top prize for a third time, would be his last. "Oh, I don't know, I live day by day," said Loach, who turns 87 in June. "If you read the obituary columns and you're not in them, it's a good day.

What could well be Ken Loach’s final film has as much fire and fury as his debut Poor Cow did in 1967, if we discount his pioneering TV work in the run-up. The visual style hasn’t changed a great deal in the years since, but that’s because the British movie veteran, soon to turn 87, isn’t much fussed about surfaces, it’s the inner lives of his characters that he wants to capture. In that respect, The Old Oak would make a fitting swansong, capping the recent North-East trilogy with a vital film that is clearly the work of the team behind previous Cannes Competition hits I, Daniel Blake and Sorry We Missed You.

Imad Mughniyeh killed thousands of people with car bombs — including 220 Marines stationed in Beirut in 1983 — before he himself was blown to bits in Syria 25 years later.The story of Mughniyeh an Islamic Jihadist dubbed “The Man of Smoke,” is dramatized, for the first time and in detail, in “Ghosts of Beirut,” a four-part Showtime series mixing real, documentary-style on-camera interviews with scripted drama that goes inside the joint CIA/Mossad operation to track down and assassinate Mughniyeh … or so the story goes, since US and Israeli officials have never officially confirmed their agencies’ roles in sending him to kingdom come.“Ghosts” was created by Lior Raz and Avi Issacharoff, who also developed the hit Netflix series “Fauda,” in which Raz stars as Israeli Defense Force team member Doron Kavillio. (Raz himself was a commando in an IDF counter-terrorism unit.)Raz and Issacharoff also co-wrote “Ghosts of Beirut,” filmed in Morocco, with Joëlle Tauma and Greg Barker (who directed all four episodes).

The CIRCLE Women Doc Accelerator today announced the projects that will take part in the sixth edition of the prestigious training program for women-identifying nonfiction filmmakers. 

Elsa Keslassy International Correspondent Kaouther Ben Hania, the Oscar-nominated director of “The Man Who Sold His Skin” whose latest film “Four Daughters” is competing at this year’s Cannes Film Festival, will next direct “Mimesis,” an epic love story set in Tunisia. While the plot is under wraps, the story is set in two different periods, the 1990s and the 1940s, paying tribute to cinema and Arab-Muslim cultural heritage. It’s being produced by Nadim Cheikhrouha at Tanit Films, who produced Ben Hania’s “Four Daughters” and her previous film “The Man Who Sold His Skin” which world premiered at Venice where it won best actor for Yahya Mahayni and was nominated for best international film at the Oscars in 2021.

EXCLUSIVE: Egyptian-U.S. company Ambient Light has acquired North American sales rights for Sudanese director Mohamed Kordofani’s Cannes Un Certain Regard title Goodbye Julia.

Christopher Vourlias With Jonathan Glazer’s Auschwitz-set Holocaust drama “The Zone of Interest” competing for the Palme d’Or and a host of Polish producers bringing buzzy upcoming projects to the Marché du Film, the Polish industry should again have Cannes talking. Here’s a rundown of some of the highlights: The Zone of Interest(Competition)Director: Jonathan GlazerProducers: James Wilson, Ewa Puszczyńska (JW Films, Extreme Emotions)Sales: A24The veteran British filmmaker’s first film in nearly a decade, which will compete for the Palme d’Or, is a Holocaust drama loosely based on the novel by Martin Amis that’s sure to be among the festival’s most talked-about films.

Elsa Keslassy International Correspondent Leading French producer Michael Gentile’s Paris-based outfit The Film is about to start shooting Julie Delpy’s next directorial outing, “The Barbarians,” and Laurence Arné’s “Les Hennedricks” starring Dany Boon. Delpy’s comeback to French filmmaking since “Lolo,” “The Barbarians” is a satirical comedy unfolding in a small town in Brittany which is preparing to welcome Ukrainian refugees after voting unanimously to greet them in exchange for subsidies from the government. But instead of seeing Ukrainians come into town, they see Syrian refugees, causing some tensions among locals and testing their liberal beliefs. Delpy will star in the film opposite Sandrine Kiberlain (“Mademoiselle Chambon”), Laurent Lafitte (“Elle”) and Ziad Bakri (“The Weekend Away”), India Hair (“Angry Annie”), Mathieu Demy (“The Bureau”) and Delpy’s father Albert Delpy.

Films Boutique has closed multiple territory deals on Agnieszka Holland’s “The Green Border,” which just completed principal photography in Poland. The film has been sold to Condor (France), September Films (Benelux), Movies Inspired (Italy), Leopardo Filmes (Portugal), MCF Megacom (former Yugoslavia), Kino Swiat (Poland) and AQS (Czech Rep./Slovakia). “The Green Border” tells the story of a family of Syrian refugees, a solitary English teacher from Afghanistan and a young border guard, all of whom meet on the Polish-Belarusian border during the most recent humanitarian crisis triggered by Belarus’ president Alexander Lukashenko, who opened the country’s doors to migrants as a back door to enter the EU.

In May 2020, two months into the production shutdown caused by the global pandemic, NBC acquired Canadian medical drama Transplant, which landed on the network’s Covid-impacted fall schedule. In December of that year, NBC picked up Season 2 of the show.

Leo Barraclough International Features Editor MAD Solutions has acquired the distribution rights to “Concrete Valley” for multiple territories. The film focuses on a Syrian family living in Toronto. The film, from Canadian-French filmmaker Antoine Bourges, premiered at Toronto Film Festival, before travelling to Berlinale, and it just screened at Jeonju. The deal covers the following territories: UAE, Jordan, Saudi Arabia, Bahrain, Qatar, Oman, Kuwait, Iraq, Yemen, Lebanon, Syria, Egypt, Palestine, Libya, Algeria, Tunisia, Morocco, Mauritania, Djibouti, Somalia, Sudan, South of Sudan and Comoro Island. The writers are Bourges and Teyama Alkamli. The producer is Shehrezade Mian at Markhor Pictures.

Letitia Wright is stepping into the ring for In the Shadows, a drama based on the true story of Ramla Ali, the first Somali British professional boxing champion. 

Elsa Keslassy International Correspondent Rolling off a successful collaboration on “Charlatan,” Films Boutique has boarded Agnieszka Holland’s next film “The Green Border,” which just completed principal photography in Poland. Now in post production, “The Green Border” tells the fateful story of a family of Syrian refugees, a solitary English teacher from Afghanistan and a young border guard, all of whom meet on the Polish-Belarusian border during the most recent humanitarian crisis triggered by President Lukaschenko opening doors to migrants in Belarus as a back door to enter the EU.  The screenplay, penned by Holland, Gabriela Łazarkiewicz-Sieczko and Maciej Pisuk, is inspired by real events. Research for the film included hundreds of hours of document analysis, interviews with refugees, border guards, borderland residents, activists and experts.

A brave firefighter has told of the distressing scenes she responded to while responding to devastating earthquakes in Turkey and Syria. Emma Atcherley, is based in Cardiff and is a crew manager South Wales Fire and Rescue Service.

Naman Ramachandran Sudipto Sen’s “The Kerala Story,” produced by noted filmmaker Vipul Amrutlal Shah, is in the eye of a storm in India. It has divided the country’s political classes, with some banning the film and others encouraging it. “The Kerala Story” follows the travails of three women from the southern Indian state of Kerala who are abducted and recruited by ISIS in Syria. The modestly budgeted film released on May 5 to poor critical reviews, but is emerging as a major box office success, having grossed $5.6 million to date. The film claims that some 32,000 women from Kerala had been abducted and recruited by the ISIS though the veracity of this number has been disputed. There were widespread objections in Kerala to the film, but it is running there in a limited number of cinemas.

Dennis Harvey Film Critic The sensation of a nation crumbling from within — not in slo-mo deterioration, but amid the chaos of widespread violence and political upheaval — is unimaginable to most people. Yet it’s something many will live to experience. Offering a primer of sorts in that grim prospect is “5 Seasons of Revolution.” Made by the pseudonymous Lina, this very first-person documentary doesn’t offer a lot of explanatory background or big-picture commentary on Syria’s still-ongoing civil war. But in charting the filmmaker’s attempts at reportage alongside the fates of her imperiled group of friends between 2011-15, it provides one vivid perspective on a whole country in freefall.  At that timespan’s beginning, the pro-democracy protests of the Arab Spring reach our English-language narrator’s homeland, where she’s an aspiring video journalist. Her likewise twentysomething close associates, introduced at the start here, are fellow journalists, social workers, activists. All grew up in a de facto police state now controlled by President Bashar al-Assad, whose father presided over the country’s transformation into a military dictatorship decades prior. Defying an official media blackout, she interviews demonstrators and those who witnessed their being fired on by government forces. We see joyful still images of street actions, suggesting a turning point may be at hand.