Picture the scene. It's the morning of January 1, 2000, and the millennium bug has not bitten. At the local multiplex, the long-awaited Star Wars prequel, The Phantom Menace, has arrived, and, though critically derided, it is easily the commercial hit of the year. It has been followed closely by The Matrix, a film full of narrative verve and groundbreaking visual artistry.
The twisty, clever and stylish thriller The Sixth Sense is another unexpectedly original mainstream movie, and a promising debut from the director M Night Shyamalan. The gross-out teen comedy American Pie has become a smash hit, the no-budget horror flick The Blair Witch Project has made more than $100 million (Dh367m), and Hollywood has dared to tackle the subject of the Gulf war, albeit in an irreverent, star-studded way, with the comedy Three Kings.
Non English-language movies, too, are thriving. Life Is Beautiful, from Italy, has become one of the most lauded films of the year, while the Brazilian Central Station is a hit at the box office.
Filmmaking seems set up, creatively, culturally and financially, for an impressive decade. Little films are making big money. Difficult subjects are being tackled. And big Hollywood projects are showing brains as well as commercial nous. What could possibly go wrong?
The attacks of September 11, 2001, and the subsequent Iraq war defined the decade. After being thrown into initial paroxysms of culturally indecisive panic - delaying the release of movies about terrorism (Collateral Damage), removing the Twin Towers from trailers (Spider-Man) and inserting them into other footage (Gangs of New York) - filmmakers eventually took tentative steps towards addressing the political realities around them.
Thus (and bearing in mind an average two-year-long production process), the first Iraq war movies began appearing in the middle of the decade. Films such as Home of the Brave, Stop-Loss and Grace Is Gone emphasised the dehumanising pain that the war was causing the Americans who were fighting it - and the national psyche that was witnessing it. Grace Is Gone, in particular, about a man (John Cusack) who must somehow break the news that his wife was killed in combat to their daughters, was a film of finely judged performances yet one that seemed positively allergic to the idea of addressing the cause of the family's suffering.
Similarly, Lions for Lambs, a self-declared war on terror movie, arrived as a star-laden Tom Cruise vehicle, featuring flashy turns from Robert Redford and Meryl Streep. It pretended to tackle the quintessential arguments surrounding the war, but aside from some brief, unconvincing footage of a snowbound Afghanistan (clearly a studio mock-up), the movie was set in dry, indoor meeting rooms and college dorms. It depicted nothing but its A-list protagonists deep in discussion on the rights and wrongs of foreign intervention. These discourses were invariably circular (fight the war, stop the terrorists, create more terrorists, fight the war), the film was unconvincing and, once again, wholly nervous about getting its hands dirty with the heat of on-the-ground conflict.
Even when they did depict the realities of the Iraq war, Hollywood-sponsored movies such as In the Valley of Elah and Redacted continued to peddle the perennial idea that war itself was the enemy, the great dehumaniser, something that turned innocent American boys into amoral killers.
Two movies, however, changed all that. Nick Broomfield's Battle for Haditha and Kathryn Bigelow's The Hurt Locker went to ground with their subjects. They told stories of solders who had recognisable human qualities but who suffered in service. They depicted Iraqi people, on the street and in homes, who were also deeply human, who abhorred the nightmare their world had become and who wanted nothing but change.
Tellingly, these critically appreciated movies were essentially ignored at the box office. The people of the Noughties had long since spoken with their feet - they didn't want Iraq on their movie screens as well as on their nightly news. They wanted fantasy. They wanted, in short, hobbits and Harry Potter.
The two most successful franchises of the decade were The Lord of the Rings trilogy and the Harry Potter adaptations. There were tendencies, at first, to read metaphorical political subtexts into these films, especially in the second Rings instalment, The Two Towers. The title was seen as a reference to the World Trade Center and the story of a clash of civilisations - evil homogenous Orcs versus a variegated band of nations under human leadership - seemed to chime with the dogma emanating from the Bush administration. But as the films became more successful, more awards laden and more defined within their own hermetically sealed universe, it became obvious that they were only about what they were about. Which was, bluntly, around $8.2 billion (Dh30 trillion) - the cumulative international box office takings for The Lord of the Rings and Harry Potter franchises so far. That's not including merchandising, DVD sales and ancillary spin-offs. It's hardly surprising that, with such enormous amounts of corporate profit behind them, these behemoths were untroubled by subtext.
They left that to filmmakers such as Michael Moore, whose incendiary documentary Bowling for Columbine remains his best movie so far, and easily one of the best films of the decade. The dense and impassioned polemic advocating gun control in the US was never bettered by Moore, who gradually throughout the decade became a parody of himself, spending too much time grandstanding before the lens in Fahrenheit 9/11, Sicko and the mostly unreleased Slacker Uprising. Worse still, Moore seemed to spawn a new genus of personality-led documentary that was best exemplified by Morgan Spurlock's Super Size Me. The film claimed to make strong, serious points about McDonald's and American fast food culture but was actually a narcissistic, self-promoting adventure in self-portraiture. Spurlock's follow-up documentary, the featherweight Where in the World Is Osama Bin Laden?, only illustrated how limited these methods were.
If narcissism was one of the defining moods of the decade, then it didn't get any more self-centred the "bromantic" comedies of Judd Apatow and his ilk. The 40-Year-Old Virgin, Knocked Up, Superbad and Funny People were beautifully written, often minutely observed analyses of the contemporary urban male - a species fuelled by an understanding of feelings and sensibilities unavailable to previous generations, but one that was nonetheless at the mercy of baser instincts and years of primal programming. Apatow's comedies, mostly superlative slices of male navel-gazing, married the neurosis of Woody Allen with the gross-out instincts of college humour. They were dialogue-driven, riddled with expletives and explicit biological terminology, and directed entirely inward.
For outward-looking cinema, we had to move beyond US borders, first with the new wave of Latin American cinema. Amores Perros, Y Tu Mamá También and City of God became the brand leaders of a movement that, more than any other this decade, defined the shape of international, non-Hollywood, movies. They were united by a brash stylistic aesthetic that was visually propulsive and that often disregarded traditional chronological story structure. Amores Perros, for instance, starts three times, always in the middle, and works backwards and forwards simultaneously. (The Perros filmmaker Alejandro González Iñárritu has since become the Oscar-nominated director of 21 Grams and Babel.)
Most importantly, the movies of the Latin new wave were deeply connected to their countries' political and social structures. City of God, for instance, forced a Brazilian government inquiry into the nature of slum crime, while the Venezuelan kidnap drama Secuestro Express rattled Hugo Chavez's government so much that a leading politician threatened the director Jonathan Jakubowicz with arrest.
In the Middle East, too, feature-length animations such as Persepolis and Waltz With Bashir married knockout visual style with probing political content. Their hard-hitting subject matters - the 1979 Iranian Revolution and the 1982 Sabra and Shatila massacre, respectively - were made no less potent by their garish painted frames and faux-naive animation. In fact, the visual simplicity is occasionally deceptive, and can make the horrible more horrific.
Other films from around the world, including works by the Korean director Park Chan-wook (Oldboy, Sympathy for Lady Vengeance), the Danish controversialist Lars Von Trier (Dogville, Antichrist) and the French-Argentinian Gaspar Noe (Irreversible, Enter the Void), continue to underscore the idea that cinematic excellence can balance the discussion of ideas and the demonstration of style.
And then, of course, there was Slumdog Millionaire. It is appropriate, perhaps, that the decade should end with a Hollywood-backed movie that looked beyond Hollywood for its subject, setting, stars and inspiration. It's even more appropriate that the decade should culminate with a film that, like some voracious art collage, boldly absorbed the movements and ideas of the preceding years. Slumdog Millionaire is told with all the propulsive energy of the Latin new wave while at the same time it lives and breathes within - and never once flinches from - the harrowing social issues and inequalities of daily Mumbai life. Most conspicuous of all, the story of Jamal and Latika's love and escape from poverty channels the ultimate rags-to-riches Hollywood fantasy.
Thus, as the decade draws to a close and the teen years yawn before us, it seems that movieland's future is looking positive again. Our films are clever, funny, provocative and political - and they include just the right pinch of fantasy. What could possibly go wrong?
More from Aya Iskandarani
Asia Cup Qualifier
Final
UAE v Hong Kong
TV:
Live on OSN Cricket HD. Coverage starts at 5.30am
COMPANY PROFILE
Name: Kumulus Water
Started: 2021
Founders: Iheb Triki and Mohamed Ali Abid
Based: Tunisia
Sector: Water technology
Number of staff: 22
Investment raised: $4 million
At a glance
Global events: Much of the UK’s economic woes were blamed on “increased global uncertainty”, which can be interpreted as the economic impact of the Ukraine war and the uncertainty over Donald Trump’s tariffs.
Growth forecasts: Cut for 2025 from 2 per cent to 1 per cent. The OBR watchdog also estimated inflation will average 3.2 per cent this year
Welfare: Universal credit health element cut by 50 per cent and frozen for new claimants, building on cuts to the disability and incapacity bill set out earlier this month
Spending cuts: Overall day-to day-spending across government cut by £6.1bn in 2029-30
Tax evasion: Steps to crack down on tax evasion to raise “£6.5bn per year” for the public purse
Defence: New high-tech weaponry, upgrading HM Naval Base in Portsmouth
Housing: Housebuilding to reach its highest in 40 years, with planning reforms helping generate an extra £3.4bn for public finances
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The full list of 2020 Brit Award nominees (winners in bold):
British group
Coldplay
Foals
Bring me the Horizon
D-Block Europe
Bastille
British Female
Mabel
Freya Ridings
FKA Twigs
Charli xcx
Mahalia
British male
Harry Styles
Lewis Capaldi
Dave
Michael Kiwanuka
Stormzy
Best new artist
Aitch
Lewis Capaldi
Dave
Mabel
Sam Fender
Best song
Ed Sheeran and Justin Bieber - I Don’t Care
Mabel - Don’t Call Me Up
Calvin Harrison and Rag’n’Bone Man - Giant
Dave - Location
Mark Ronson feat. Miley Cyrus - Nothing Breaks Like A Heart
AJ Tracey - Ladbroke Grove
Lewis Capaldi - Someone you Loved
Tom Walker - Just You and I
Sam Smith and Normani - Dancing with a Stranger
Stormzy - Vossi Bop
International female
Ariana Grande
Billie Eilish
Camila Cabello
Lana Del Rey
Lizzo
International male
Bruce Springsteen
Burna Boy
Tyler, The Creator
Dermot Kennedy
Post Malone
Best album
Stormzy - Heavy is the Head
Michael Kiwanuka - Kiwanuka
Lewis Capaldi - Divinely Uninspired to a Hellish Extent
Dave - Psychodrama
Harry Styles - Fine Line
Rising star
Celeste
Joy Crookes
beabadoobee
The Sand Castle
Director: Matty Brown
Stars: Nadine Labaki, Ziad Bakri, Zain Al Rafeea, Riman Al Rafeea
Rating: 2.5/5
Skewed figures
In the village of Mevagissey in southwest England the housing stock has doubled in the last century while the number of residents is half the historic high. The village's Neighbourhood Development Plan states that 26% of homes are holiday retreats. Prices are high, averaging around £300,000, £50,000 more than the Cornish average of £250,000. The local average wage is £15,458.
Going grey? A stylist's advice
If you’re going to go grey, a great style, well-cared for hair (in a sleek, classy style, like a bob), and a young spirit and attitude go a long way, says Maria Dowling, founder of the Maria Dowling Salon in Dubai.
It’s easier to go grey from a lighter colour, so you may want to do that first. And this is the time to try a shorter style, she advises. Then a stylist can introduce highlights, start lightening up the roots, and let it fade out. Once it’s entirely grey, a purple shampoo will prevent yellowing.
“Get professional help – there’s no other way to go around it,” she says. “And don’t just let it grow out because that looks really bad. Put effort into it: properly condition, straighten, get regular trims, make sure it’s glossy.”
PREMIER LEAGUE FIXTURES
Saturday (UAE kick-off times)
Watford v Leicester City (3.30pm)
Brighton v Arsenal (6pm)
West Ham v Wolves (8.30pm)
Bournemouth v Crystal Palace (10.45pm)
Sunday
Newcastle United v Sheffield United (5pm)
Aston Villa v Chelsea (7.15pm)
Everton v Liverpool (10pm)
Monday
Manchester City v Burnley (11pm)
Mercer, the investment consulting arm of US services company Marsh & McLennan, expects its wealth division to at least double its assets under management (AUM) in the Middle East as wealth in the region continues to grow despite economic headwinds, a company official said.
Mercer Wealth, which globally has $160 billion in AUM, plans to boost its AUM in the region to $2-$3bn in the next 2-3 years from the present $1bn, said Yasir AbuShaban, a Dubai-based principal with Mercer Wealth.
“Within the next two to three years, we are looking at reaching $2 to $3 billion as a conservative estimate and we do see an opportunity to do so,” said Mr AbuShaban.
Mercer does not directly make investments, but allocates clients’ money they have discretion to, to professional asset managers. They also provide advice to clients.
“We have buying power. We can negotiate on their (client’s) behalf with asset managers to provide them lower fees than they otherwise would have to get on their own,” he added.
Mercer Wealth’s clients include sovereign wealth funds, family offices, and insurance companies among others.
From its office in Dubai, Mercer also looks after Africa, India and Turkey, where they also see opportunity for growth.
Wealth creation in Middle East and Africa (MEA) grew 8.5 per cent to $8.1 trillion last year from $7.5tn in 2015, higher than last year’s global average of 6 per cent and the second-highest growth in a region after Asia-Pacific which grew 9.9 per cent, according to consultancy Boston Consulting Group (BCG). In the region, where wealth grew just 1.9 per cent in 2015 compared with 2014, a pickup in oil prices has helped in wealth generation.
BCG is forecasting MEA wealth will rise to $12tn by 2021, growing at an annual average of 8 per cent.
Drivers of wealth generation in the region will be split evenly between new wealth creation and growth of performance of existing assets, according to BCG.
Another general trend in the region is clients’ looking for a comprehensive approach to investing, according to Mr AbuShaban.
“Institutional investors or some of the families are seeing a slowdown in the available capital they have to invest and in that sense they are looking at optimizing the way they manage their portfolios and making sure they are not investing haphazardly and different parts of their investment are working together,” said Mr AbuShaban.
Some clients also have a higher appetite for risk, given the low interest-rate environment that does not provide enough yield for some institutional investors. These clients are keen to invest in illiquid assets, such as private equity and infrastructure.
“What we have seen is a desire for higher returns in what has been a low-return environment specifically in various fixed income or bonds,” he said.
“In this environment, we have seen a de facto increase in the risk that clients are taking in things like illiquid investments, private equity investments, infrastructure and private debt, those kind of investments were higher illiquidity results in incrementally higher returns.”
The Abu Dhabi Investment Authority, one of the largest sovereign wealth funds, said in its 2016 report that has gradually increased its exposure in direct private equity and private credit transactions, mainly in Asian markets and especially in China and India. The authority’s private equity department focused on structured equities owing to “their defensive characteristics.”
Tuesday's fixtures
Kyrgyzstan v Qatar, 5.45pm
The National Archives, Abu Dhabi
Founded over 50 years ago, the National Archives collects valuable historical material relating to the UAE, and is the oldest and richest archive relating to the Arabian Gulf.
Much of the material can be viewed on line at the Arabian Gulf Digital Archive - https://www.agda.ae/en
Key facilities
- Olympic-size swimming pool with a split bulkhead for multi-use configurations, including water polo and 50m/25m training lanes
- Premier League-standard football pitch
- 400m Olympic running track
- NBA-spec basketball court with auditorium
- 600-seat auditorium
- Spaces for historical and cultural exploration
- An elevated football field that doubles as a helipad
- Specialist robotics and science laboratories
- AR and VR-enabled learning centres
- Disruption Lab and Research Centre for developing entrepreneurial skills
EMERGENCY PHONE NUMBERS
Estijaba – 8001717 – number to call to request coronavirus testing
Ministry of Health and Prevention – 80011111
Dubai Health Authority – 800342 – The number to book a free video or voice consultation with a doctor or connect to a local health centre
Emirates airline – 600555555
Etihad Airways – 600555666
Ambulance – 998
Knowledge and Human Development Authority – 8005432 ext. 4 for Covid-19 queries
How much sugar is in chocolate Easter eggs?
- The 169g Crunchie egg has 15.9g of sugar per 25g serving, working out at around 107g of sugar per egg
- The 190g Maltesers Teasers egg contains 58g of sugar per 100g for the egg and 19.6g of sugar in each of the two Teasers bars that come with it
- The 188g Smarties egg has 113g of sugar per egg and 22.8g in the tube of Smarties it contains
- The Milky Bar white chocolate Egg Hunt Pack contains eight eggs at 7.7g of sugar per egg
- The Cadbury Creme Egg contains 26g of sugar per 40g egg
Zayed Sustainability Prize
NO OTHER LAND
Director: Basel Adra, Yuval Abraham, Rachel Szor, Hamdan Ballal
Stars: Basel Adra, Yuval Abraham
Rating: 3.5/5
Specs
Engine: Electric motor generating 54.2kWh (Cooper SE and Aceman SE), 64.6kW (Countryman All4 SE)
Power: 218hp (Cooper and Aceman), 313hp (Countryman)
Torque: 330Nm (Cooper and Aceman), 494Nm (Countryman)
On sale: Now
Price: From Dh158,000 (Cooper), Dh168,000 (Aceman), Dh190,000 (Countryman)
UPI facts
More than 2.2 million Indian tourists arrived in UAE in 2023
More than 3.5 million Indians reside in UAE
Indian tourists can make purchases in UAE using rupee accounts in India through QR-code-based UPI real-time payment systems
Indian residents in UAE can use their non-resident NRO and NRE accounts held in Indian banks linked to a UAE mobile number for UPI transactions
Yemen's Bahais and the charges they often face
The Baha'i faith was made known in Yemen in the 19th century, first introduced by an Iranian man named Ali Muhammad Al Shirazi, considered the Herald of the Baha'i faith in 1844.
The Baha'i faith has had a growing number of followers in recent years despite persecution in Yemen and Iran.
Today, some 2,000 Baha'is reside in Yemen, according to Insaf.
"The 24 defendants represented by the House of Justice, which has intelligence outfits from the uS and the UK working to carry out an espionage scheme in Yemen under the guise of religion.. aimed to impant and found the Bahai sect on Yemeni soil by bringing foreign Bahais from abroad and homing them in Yemen," the charge sheet said.
Baha'Ullah, the founder of the Bahai faith, was exiled by the Ottoman Empire in 1868 from Iran to what is now Israel. Now, the Bahai faith's highest governing body, known as the Universal House of Justice, is based in the Israeli city of Haifa, which the Bahais turn towards during prayer.
The Houthis cite this as collective "evidence" of Bahai "links" to Israel - which the Houthis consider their enemy.
SUZUME
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