Kuna: Last News

Zack Sharf Mila Kunis is reprising her “That ’70s Show” character Jackie Burkhart on Netflix’s upcoming sequel series “That ’90s Show,” but the actor doesn’t entirely agree with the direction of the new show. During an interview with Access Hollywood (via EW), Kunis confirmed that her character and Ashton Kutcher’s character, Kelso, are romantically together in “The ’90s Netflix,” mirroring the duo’s real-life marriage. “My husband and I are together in [the new show], which is weird because we shouldn’t have been,” Kunis said. “You know what, I called B.S. I was like, ‘My character would be with Fez.’ I think that I ended up with Wilmer [Valderrama]’s character. And I was like [to Ashton], ‘Why are you and I together?’ And also, he was married when ”70s’ ended to Shannon Elizabeth’s character, I think.”

Anna Marie de la Fuente While a number of films have been made about Panama’s Indigenous communities, few are by native filmmakers themselves. To date, perhaps only three Indigenous Panamanian filmmakers have ventured into filmmaking. Duiren Wagua, whose documentary feature debut “Bila Burba” plays at this year’s 12th Panama International Film Festival (IFF Panama), running April 4-7, is hoping to change the status quo.

Guy Lodge Film Critic Who does a documentary truly belong to — the people who make it, the people who fund it, or the people it depicts? On the face of it, the answer seems obvious: At a spiritual level, if not always a corporate one, we tend to think of art as the property of the artist. Yet in dusting off a long-languishing nonfiction feature from the 1970s that was taken from its stymied director by his bankrollers and sent to the vault, Andrés Peyrot’s thoughtful, mirror-holding doc “God is a Woman” makes a compelling case for the third option.

Nick Vivarelli International Correspondent “God Is a Woman,” a doc by Swiss-Panamanian filmmaker Andrés Peyrot about Pierre Dominique Gaisseau’s 1975 journey to Panama to make a film on the island-dwelling Kuna people — whose women play a unique and sacred role — will open the Venice Film Festival’s Critics’ Week. The section’s out-of-competition opener reconstructs the legend of this film that was passed down from the elders to the new Kuna generation, but never made it to the screen. Gaisseau, a French explorer and filmmaker who won an Oscar in 1961 for the doc “The Sky Above, the Mud Below,” lived with the Kuna people on a Panamanian island for a year and filmed their most intimate ceremonies. He then promised to return with the film, but never did. He ran out of funding and a bank confiscated his reels, which Peyrot unearthed 50 years later.

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