Hard Work And Suffering A Kids

Teaching preschool is hard work. It is physically and emotionally demanding. At the end of a day in the classroom I'm done.

This is not a complaint, but rather a statement of fact. In almost any other job there are times, even entire days or weeks, when it's possible to just phone it in, but that's not an option for preschool teachers. The routine physical demands of up and down, of playing, of lifting and carrying, being on your knees all day, day-after-day, take their toll. I don't know any teacher who has been at this for any length of time who doesn't experience back and joint pain. And it's even more taxing emotionally. At any given moments we're listening with our entire selves, consoling, counseling, coaching, or otherwise supporting highly emotional people through what for them is a crisis. We pour ourselves into these children because it is our job, but also because we love them. More often than not, I finish a classroom day buoyed and proud by the work I've done, but I'm also wrung out in a way that nothing else wrings me out.

I love the work. We love our work. It's hard work.

Earlier this week, I wrote about people who worry about the children we teach. They worry that if we leave them to educate themselves by asking and answering their own questions through their play that  they will never learn about hard work. This is BS of the highest order, of course. Indeed, I've never seen a playing child who was not working hard. They show us they are working hard in the intensity of their concentration as they try to add one more block to the top of their tower. They show us their work ethic as they fully engage in the intense back-and-forth of negotiations over who is really going to be the queen. No one works harder than a child who is struggling with a puzzle or with balancing along a curb or trying to summon up the courage to take a leap. They are always working hard to process the confusing world around them through their dramatic play, their storytelling, and the strong emotions they wear on their sleeves.

No, children who play show they know everything they will ever need to know about hard work. What they may not know about it arbitrary suffering. It occurs to me that this is really what people are saying when they "worry" about play-based education. Life is hard, the reasoning goes, it is full of all sorts of things you don't want to do, but you must do them nevertheless so, in the name of teaching this lesson, we must require young children to suffer at least a little by commanding them to do things they don't want to do. What's missing in this argument is that children, just like all humans, are already doing plenty of things they don't want to do. We don't need to go out of our way to create arbitrary, even punitive, suffering, like say (for many of us at least) algebra, in order to "teach" this hard lesson. Our first communications are cries of pain or hunger, of suffering, of experiencing life as suffering. It's such a self-evident lesson that even infants know it. Manufacturing lessons in suffering strike me as unnecessarily cruel. 

As a preschool teacher of a certain age, I don't necessarily want to squat and lift. It hurts my knees, but of course I do it because some amount of suffering is required to do this thing I love to do. Hard work and suffering are built into life no matter what. The answer is not to "get used to it" as the worriers would have it, but rather to play, to spend life doing things you choose, things you love, because that's the only thing that stands against the suffering.

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The Urge To Destroy In This Year 2020 ?

The nineteenth century anarchist theorist Mikhail Bakunin famously asserted "The urge for destruction is also a creative urge." This concept came to mind recently when I came across a tree trunk that had clearly been vandalized. I suppose it could have been an animal or some other natural phenomenon that created the hole in the trunk, but it sure looked to me like the work of human hands, and it did not strike me as the result of any sort of creative urge.

I live in a densely populated urban area where I am regularly confronted by the human urge to destroy. Graffiti I can understand as the result of a creative urge, but branches ripped from saplings, litter, and over-turned city bikes? Not so much. I imagine that someone could argue that destruction is a precursor to creativity, like slums that must be bulldozed to make way for palaces, but it's a stretch. The most one can say for random human destruction is that it can, maybe sometimes, like in the case of graffiti, be considered in the benevolent light of creativity.

Every day in every preschool classroom, the urge to destroy is nevertheless evident. Even if it isn't part of the creative urge, it is, apparently something deeply human. Paper is torn into tiny bits and scattered on the floor, carefully constructed block towers are joyfully toppled, pages are ripped from books, toys are dismantled in ways that they can never be put back together. Some of it is accidental, of course, but as a boy once replied when I asked him why he had intentionally broken something, "I wanted to see if I could break it."

When I passed around to the other side of the tree with the vandalized trunk, I saw that it was notable in the sense that it's trunk was bizarrely deformed, looking something like one of those candles in a Chiati bottle stereotypically found in an Italian restaurant. It was strikingly different from the trees around it and because of that it roused my curiosity. It occurred to me that perhaps it had been curiosity, the primal scientific urge, that had caused someone to begin picking a hole in the trunk. If the trunk was so different on the outside, one could wonder if the interior was equally deformed.

I think it's safe to say that much of the "destruction" we see around the classroom can be marked up to curiosity, even if misguided, but that still leaves the question of broken bottles, wantonly discarded fast food wrappers, and knocked over bicycles. I suppose some of it could simply be chalked up to laziness, although psychologists tell us that there is no such thing. Feelings of depression, alienation, disenfranchisement, or just plain old anger at the world seem more likely causes of this sort of destructive behavior.

A psychologist friend told me that he was once engaged to treat an eight-year-old who had been referred by his parents for his "destructive behavior." The boy slumped into a chair and started the conversation by declaring, "I'm bad because I'm sad." If only we all could be as insightful as this kid.

Humans destroy to create, we destroy to explore, we destroy to express despair, and perhaps we are sometimes unconsciously driven to join the universe's unstoppable quest for ever-increasing entropy. As teachers and parents, we are too often poised to punish, to scold the child for something that he's broken, but it's never that simple with us human beings.

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Not Teaching Your Child With This. . !

I never pretend to know what kids will learn on any given day and, honestly, any teacher who does is either deluded or blowing smoke. No one can possibly know what another person is going to learn. You can hope. You can plan. You can lecture yourself blue. You can even, if you're especially clever, trick someone into learning something, but the idea that one person can "teach" something to another, except under narrow circumstances, is one of the great educational myths.

There is a quote that is most often attributed to the Buddha, but is more likely of Theosophical origins, that goes: "When the student is ready the master will appear." I like these kinds of quotes that persist because they are true even when they can't be traced back to the utterances of Buddha, Socrates, or Einstein. This one is even so true that there is a corollary: "When the master is ready the student will appear."

Some days I accidentally "teach" something to a kid. For instance, I once improperly used the term "centrifugal force" (when I actually should have use "centripetal force") while a child was experimenting with a hamster wheel and the kid, months later, was still misusing my term while performing his experiments, even as I repeatedly tried to correct him. But most days I teach nothing at all except, perhaps, what I convey to my students by role modeling. I've tried, believe me, to convey specific information to kids, like when I tell them that dirt is primarily made from volcanos, dead stuff, and worm poop, but most of the time the only things that stick are the things about which the kids are already asking questions.

And still, despite my utter lack of "teaching," the kids who come to our school are learning. How do I know? I watch them. I listen to them. I remember when they didn't know and then I hear them saying and see them doing things that demonstrate that now they do. And even though I'm not teaching them, they mostly learn exactly what I want them to know.

What do I want them to know?

The joy of playing with other people.

The frustration and redemption of failure.

Emotions come and go and they are important.

I'm the boss of me and you're the boss of you.

Our agreements are sacred.

It's not only important to love, but also to say it.

It's not my job to "teach" these things. It is my job to love them and to do what I can to create an environment that is stimulating, beautiful, and safe enough: a place where children can ask and answer their own questions about the world and the people they find there. A place not of teaching, but of discovery. We call it play and it's everything.

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Saturday Night was Precursor Night / The Last Big Domino... / More Anticipation

SATURDAY NIGHT WAS PRECURSOR NIGHT

I wrote on Thursday that we'd have a busy Saturday night with guild awards being announced from Directors, Cinematographers, the Cinema Audio Society, the USC Scripter Award for adapted screenplay and the Annie Awards.  TFF #46 was represented in the glut of news with Ford v Ferrari's win from the film's design from the Cinema Audio Society.

Other winners:

DGA: Sam Mendes/1917
USC Scripter: Greta Gerwig/Little Women
ASC (cinematography): Roger Deakins/1917
Annie: Klaus

The DGA win for Mendes has shifted the sentiment to 1917 to be the favorite for Mendes to win the Best Director Oscar and the film to win Best Picture.  A number of number pros pointed out, however, that three of the last four years the DGA winner won the directing Oscar but the film did not win Best Picture:

2015: Alejandro Inarritu wins DGA and Oscar for The Revenant. Best Pic: Spotlight
2016: Damian Chazelle wins DGA and Oscar for La La Land.  Best Pic: Moonlight
2017: Guillermo Del Toro wins DGA and Oscar and Shape of Water wins Best Pic.
2018: Alfonso Cuaron wins DGA and Oscar for Roma.  Green Book wins Best Pic.

So the recent past suggests that 1917 winning Best Picture isn't a lock.  Lots of folks are saying that perhaps Parasite pulls off the surprise a la Moonlight.  My guess is that, should anything besides 1917 wins that it will actually be Tarantino's Once Upon a Time...in Hollywood.

The other results from Saturday's awards suggest good Oscar news for Gerwig and Deakins.  The Annie award for Netflix's Klaus may be less predictive.  I'm still expecting Toy Story 4 to take the Oscar statue in two weeks.


THE LAST BIG DOMINO...

The last big precursor is the Writers Guild Awards that will announced Saturday.  Nominees are:

WGA Adapted Screenplay nominees:

A Beautiful Day in the Neighborhood
The Irishman
Jojo Rabbit
Joker
Little Women

The Oscar nominees differ with the inclusion of The Two Popes and exclusion of A Beautiful Day in the Neighborhood.

WGA Original Screenplay nominees:

1917
Booksmart
Knives Out
Marriage Story
Parasite

The Oscar nominees differ with Once Upon a Time...in Hollywood in and Booksmart out.


MORE ANTICIPATION

I'm continuing to look at the various lists of "most anticipated" films for this and that source as I'm at the very start of trying to get a bead on which films might be in line for consideration of inclusion at TFF #47.

Today I'm looking at the list of 68 films from Vulture.  Those films are listed by announced release date so it's easy to look at their list beginning with the films listed for September or later as well as films that are still listed with release dates to be announced.

That said, here's what Vulture is looking forward to that feels like a TFF #47 possible:

I'm Thinking of Ending Things (Charlie Kaufman)
Mank (David Fincher)
Dune (Denis Villenueve)
News of the World (Paul Greengrass)
Bergman Island (Mia Hansen Love)
The French Dispatch (Wes Anderson)
Nomadland (Chloe Zhao)
On the Rocks (Sophia Coppola)

The complete Vulture article is linked here.

"Are They Pretending?"

A group of three and four-year-olds were playing a game of camping. They had draped a blanket over the backs of some chairs, under which they huddled together, alternating between being asleep and waking up. A pile of building blocks served as their campfire. Suddenly, a pair of bears stomped onto their site, kicking out the fire while roaring menacingly. There were screams as the campers cowered in their tent.

I was sitting off to the side with one of their classmates, a bright boy, an early reader and sophisticated talker who many would have considered "gifted." He was watching the game with a glassy gaze until the arrival of the bears when his eyes widened into alarmed circles before, after a moment, narrowing into a look of suspicion, "Are they pretending?" At the time, I took his question to be referring to the entire scenario, but in hindsight, I realize he may just have been asking about the shrieks of terror, but whatever the case something about it struck him as "real," at least for a moment. I assured him it was pretend, pointing out that everyone was smiling, and no one was really being eaten and he seemed satisfied to have his suspicions confirmed.

Young children spend a lot of time exploring that line between real and pretend, playing with it like a curtain, dancing in and out, examining the world from both sides. We make a mistake when we consider their pretend worlds to be frivolous. Dramatic play is an important part of how children come to understand reality, a safe place where they can explore themes and concepts they want to better comprehend. In this camping game, for instance, which emerged from one of the children having recently experienced her first family camping trip, they were playing with what it means to sleep outdoors, away from home, snuggled together with only a piece of fabric for protection. They were playing with the idea of fear, violence, ferocity, and the ruthlessness of the natural world, where bears might very well eat you. By adopting roles like mommy and daddy and big sister and bear, they were assuming the "costume" of another, trying to imagine how the world looks from the perspective of another person whose station in life is very different from their own. No, these games are far from frivolous: they are essential.

When the boy asked me "Are they pretending?" I assured him that they were, but I could have just as honestly answered "No," because like every game of pretend, reality stands at the heart of it. Quite often, for instance, the emotions are real, even if the characters involved are unicorns and superheroes. The negotiating required to come to the collective agreements required to manufacture pretend worlds is as real, and often as intense, as any international diplomacy. The working together, the cooperation, and the collaboration are valuable currency in the real world as well as their pretend ones.

Yet still, even as reality and fantasy slip back and forth, even as the line is as fine as gossamer, most children, most of the time, know exactly where they are at any given moment, which is why the boy's question has stuck with me. Yes, they sometimes get momentarily lost in their games, sometimes they pretend so well they frighten themselves or actually hit or forget they're not really the queen, but taken all together, it is really quite miraculous how well they keep it all sorted in their individual as well as collective minds. Most of the time, as I was with the camping game, I'm just watching, marveling at their natural ability to walk that line or dance with that curtain, together, weaving a world beyond our hidebound one, a new reality that usually begins with the invitation "Let's pretend . . ." and is propelled by agreement.

I've just published a book! If you are interested in ordering Teacher Tom's First Book, click here. Thank you!

I put a lot of time and effort into this blog. If you'd like to support me please consider a small contribution to the cause. Thank you!

Oscar Winners Predicted : The Next Eight / BAFTA Showers 1917 with Love / Writers Guild Awards / Latest Gurus of Gold

OSCAR PREDICTED WINNERS: THE NEXT EIGHT CATEGORIES

Last Thursday I posted my latest picks for The Big Eight Oscar categories.  Today "The Next Eight": International Film, Animated Feature, Documentary Feature, Cinematography, Film Editing, Production Design, Original Score and Original Song.

This coming Thursday I will add predictions for The Last Eight categories and then on Oscar Sunday Morning itself, I will have FINAL PREDICTIONS FOR ALL 24 CATEGORIES.

Here are today's predix with TFF #47 films in Bold

INTERNATIONAL FILM

1) Parasite
2) Pain and Glory
3) Les Miserables
4) Honeyland
5) Corpus Christi


DOCUMENTARY FEATURE

1) American Factory
2) Honeyland
3) For Sama
4) The Cave
5) The Edge of Democracy


ANIMATED FEATURE
 1) Toy Story 4
2) Klaus
3) Missing Link
4) I Lost My Body
5) Frozen II


CINEMATOGRAPHY

1) 1917
2) Joker
3) Once Upon a Time...
4) The Lighthouse
5) The Irishman


FILM EDITING

1) Parasite
2) Ford v Ferrari
3) The Irishman
4) Jojo Rabbit
5) Joker


PRODUCTION DESIGN

1) 1917
2) Parasite
3) Once Upon a Time...
4) Jojo Rabbit
5) The Irishman


ORIGINAL SCORE

1) Joker
2) 1917
3) Marriage Story
4) Little Women
5) Star Wars: The Rise of Skywalker


ORIGINAL SONG

1) I'm Gonna Love Myself Again/Rocketman
2) Into the Unknown/Frozen II
3) Stand Up/Harriet
4) I'm Standing with You/Breakthrough
5) I Can't Let You Throw Yourself Away/Toy Story 4


BAFTA SHOWERS 1917 WITH LOVE

The British Academy of Film and Television Arts named their winners on last night and Sam Mendes' 1917 had a very good evening winning in seven categories (out of nine nominations).

TFF #47 films earned five BAFTAs as you will see highlighted and bolded below.

Here is how the BAFTAs shook out in the feature film categories:

Best Film: 1917
Best British Film: 1917
Best British Debut: Mark Jenkin/Bait
Film Not in the English Language: Parasite
Documentary: For Sama
Animated Film: Klaus
Director: Sam Mendes/1917
Original Screenplay: Parasite
Adapted Screenplay: Jojo Rabbit
Lead Actress: Renee Zellweger/Judy
Lead Actor: Joaquin Phoenix/Joker
Supporting Actress: Laura Dern/Marriage Story
Supporting Actor: Brad Pitt/Once Upon a Time...in Hollywood
Original Score: Joker
Casting: Joker
Cinematography: 1917
Editing: Ford v Ferrari
Production Design: 1917
Costume Design: Little Women
Makeup and Hair: Bombshell
Sound: 1917
Special Visual Effects: 1917


Complete coverage of the BAFTAs is linked here from Indiewire.



WRITERS GUILD AWARDS

The Writers Guild of America named the best in writing for film and television in a ceremony on Saturday night.  TFF #47's Parasite, written by Bong Joon-ho and Han Jin Won, was named the Best Original screenplay for 2019.  It's the first time in the guilds history that a script for a film in a language other than English has been named the recipient of the WGA award.

Meanwhile, the Adapted Screenplay award went to Taika Waititi for penning the adaptation of Caging Skies into Jojo Rabbit.

Both films' scripts are Oscar nominated.

The complete Writers Guild winners list for film and television is linked here from Indiewire.



LATEST GURUS OF GOLD FOR FEATURE FILM OSCAR CATEGORIES

We Gurus have our latest round of collective predictions up for all 21 feature film categories over at Movie City News.  You can find that linked here.

If we Gurus are correct, at this point we are guessing that TFF #47 films win Oscars as follows:

Parasite (2): Best International Film, Best Film Editing
Ford v Ferrari (2): Best Sound Editing, Best Sound Mixing
Judy (1): Best Actress: Renee Zellweger
Marriage Story (1): Best Supporting Actress: Laura Dern

The rest of the 21 feature categories are currently predicted to go like this:

1917 (3): Picture, Director, Cinematography
Once Upon a Time (3): Supporting Actor, Original Screenplay, Production Design
Joker (2): Actor, Original Score
Little Women (2): Adapted Screenplay, Costumes
American Factory: Documentary
Toy Story 4: Animated
Bombshell: Makeup/Hair
Avengers: Endgame: Visual Effects
Rocketman: Song


Couple of quick notes:  It feels to me like Parasite is making a late surge for Best Picture, Director and Original Screenplay.  Also seeming to be gathering some heat is Jojo Rabbit.

The latest complete Gurus of Gold is linked here.
Source : Youtube Survey

Oscar Winners Predicted: The Final Eight Categories / The Final Gurus of Gold / Ruimy Takes A Stab at Cannes

OSCAR PREDICTED WINNERS: THE FINAL EIGHT CATEGORIES

Here's a look at where I'm at predicting what films will win Oscars on Sunday night for Costumes, Makeup/Hair, Visual Effects, Sound Mixing, Sound Editing and the three Shorts categories.

My FINAL OSCAR PREDICTIONS for all 24 categories will be posted SUNDAY MORNING...because it's all still fluid.  The predictions below even post date some of those I have for the latest Gurus of Gold at Movie City News (see below).

As always TFF #46 films are in Bold


COSTUMES

1) Little Women
2) Once Upon a Time...
3) Jojo Rabbit
4) The Irishman
5) Joker

MAKEUP/HAIR

1) Bombshell
2) 1917
3) Joker
4) Judy
5) Maleficent

VISUAL EFFECTS

1) 1917
2) The Irishman
3) Avengers: Endgame
4) The Lion King
5) Star Wars: The Rise of Skywalker

SOUND MIXING

1) 1917
2) Ford v Ferrari
3) Once Upon a Time...
4) Joker
5) Ad Astra

SOUND EDITING

1) Ford v Ferrari
2) 1917
3) Joker
4) Once Upon a Time...
5) Star Wars: The Rise of Skywalker

LIVE ACTION SHORT

1) Brotherhood
2) The Neighbors Window
3) Nefta Football Club
4) Saria
5) A Sister

DOCUMENTARY SHORT

1) Learning to Skateboard in a War Zone (If You're a Girl)
2) St. Louis Superman
3) Life Overtakes Me
4) In the Absence
5) Walk Run Cha Cha

ANIMATED SHORT

1) Hair Love
2) Kitbull
3) Dcera (Daughter)
4) Sister
5) Memorable


THE FINAL GURUS OF GOLD

The last Gurus of Gold predictions for Oscar Night are up over at Movie City News.  In addition to yours truly, other Gurus this season have included: Thelma Adams, Gregory Ellwood, Mark Johnson, Dave Karger, David Poland, Steve Pond, Sasha Stone and Jeff Sneider.

According to the Gurus' collective wisdom TFF #46 films will have wins in the following categories:

Best Actress: Renee Zellweger/Judy
Best Supporting Actress: Laura Dern/Marriage Story
Best Original Screenplay: Parasite
Best International Film: Parasite
Best Film Editing: Ford v Ferrari

There are a few categories where TFF #46 films are in the #2 spot and, at least in theory, pose the greatest chance to knock off the predicted winners.  They are:

Best Picture: Parasite
Best Director: Bong Joon-ho/Parasite
Best Actress: Scarlett Johansson/Marriage Story
Best Actor: Adam Driver/Marriage Story
Best International Film: Pain and Glory
Best Editing: Parasite
Best Makeup/Hair: Judy
Best Sound Editing: Ford v Ferrari
Best Sound Mixing: Ford v Ferrari

At most, TFF #46 films could win 14 Oscars Sunday night as at least one TFF #46 film is competing in that many categories.  Categories with zero TFF #46 nominees are: Best Supporting Actor, Documentary Feature, Animated Feature, Cinematography, Costumes, Visual Effects, Song and the three Shorts categories.

I want to give a quick shout of gratitude to Ray Pride and Movie City News for asking me back for a second season as one of the Gurus of Gold.  Hope to be back again next season.


RUIMY TAKES A STAB AT CANNES

Jordan Ruimy at World of Reel has posted what he terms a "Cannes Spitball" as he takes an educated guess at a number of films that seem to stand a good chance of making the lineup for the Cannes Film Fest.  Cannes runs this year from May 12-23.

as readers of this space know, the Cannes/Telluride share list is usually considerable.  If you look at the lineups of the two fests over the past ten

 years, you can definitely see the connection:

In 2019, eight films played both fests
2018-7
2017-8
2016-7
2015-6
2014-9
2013-9
2012-10
2011-5
2010-9

That's an average of 7.8 films per year that crossover.

So, thinking about what will play at Cannes and then ultimately evaluating the titles that do eventually get chosen is a good way to make some guesses about a potential TFF #47 set of film choices.

Soooo...what does Jordan have to say in his post and, ultimately, which titles does he suggest for Cannes that seem a potential pick of TFF programmers?

Here are some films from his list that, at least this far out, might be TFF possibles:

Mia Hansen-Love's Bergman Island
Chloe Zhao's Nomadland
Sophia Coppola's On the Rocks
Nanni Moretti's Tre Piani
Ulrich Seidel's Bose Spiele

Source : Youtube 

How About If We Focus On That Personality

As any preschool teacher will tell you, every parent knows their child is a genius. And they're usually not shy about talking about it. Sally, can already recite the alphabet. Raphael can count to 500. At the same time, every parent is concerned, worried that their child is in some way "behind." This, they're usually not as eager to talk about. One of the wonderful aspects of cooperative schools, schools where the parents work in the classroom as assistant teachers, is that they come to see that they're right, their child is a genius . . . But so is that one and that one and that one. At the same time, they see that perhaps their child is "behind" at something or other, but again, so is that one and that one and that one. It's a chance to learn what preschool teachers know: every child is a genius and every child is "behind." Indeed, the range of what can be called normal, especially in the preschool years, is enormous, so  huge that it's hardly worth talking about.

And, frankly, who wants to be normal anyway?

I can't tell you how many parents have spoken to me over the past twenty years about their concerns that their child is developmentally delayed or autistic or has ADHD or something. I give them my best counsel, of course, referring them to their doctors or other professionals only to have them return to me, relieved to find that their child is normal. Of course, I'm happy that they're relieved, but this tendency to spot imperfections in their child often doesn't go away, they just shift their attention to some other concern. I know it's done out of love, but honestly, no one can thrive under the eye of an omnipresent critic, let alone young children.

Too often, our critical eye, our judgements, our urge to improve our children, causes them to believe that they must earn our acceptance, which is for young children indistinguishable from having to earn our love. When we say, or even think, "I'm doing this for your own good," we are not. We are doing it for ourselves, out of our fears, in order to create more normal in a world where normal doesn't exist. Identifying and fixing the problems of our children is actually a very, very small part of our job as parents. Our main role is to simply love them, to accept them, unconditionally. As Mister Rogers would say, "I like you just the way you are." The rest of the world is the place to prove and improve ourselves, but our strength to go out in the world and test ourselves comes from our parents' unconditional love.

Deepak Chopra wrote, "If a child is poor in math, but good at tennis, most people would hire a math tutor. I would rather hire a tennis coach." Every parens, no matter how worried, also knows that their child is a genius. How about we focus on that instead? Imagine our world if instead of parents hiring all those math tutors, we instead hired tennis coaches.

I've published a book! If you are interested in ordering Teacher Tom's First Book, click here. Thank you!

I put a lot of time and effort into this blog. If you'd like to support me please consider a small contribution to the cause. Thank you!

Oscar Winners 2020 Predicted : The Big Eight / Another List of the Most Anticipated / Berlin Films Revealed

OSCAR'S PREDICTED WINNERS: THE BIG EIGHT

We're down to a week and a half to get to Oscar night, Feb. 9th.  With it bearing down, here's where I have predicted winners in the "Big Eight" categories.  As usual, I have indicated TFF #46 films in Bold.

BEST FILM

1) 1917
2) Parasite
3) Once Upon a Time in...Hollywood
4) The Irishman
5) Jojo Rabbit
6) Joker
7) Marriage Story
8) Little Women
9) Ford v Ferrari

Notes:  I could still change this prediction easily when I get to FINAL PREDICTIONS on Sunday, Feb. 9th.  Despite 1917's PGA and DGA wins and Parasite's SAG Ensemble win, I still think this is a close race between those two films and I also think there's still a reasonable set of circumstances by which Once Upon a Time wins Best Picture.  Parasite remains TFF #46's best chance to have hosted the Best Picture winner.

BEST DIRECTOR

1) Sam Mendes/1917
2) Bong Joon-ho/Parasite
3) Quentin Tarantino/Once Upon a Time...
4) Martin Scorsese/The Irishman
5) Todd Phillips/Joker

Notes: It's a two horse race between Mendes and Bong.

BEST ACTRESS

1) Renee Zellweger/Judy
2) Scarlett Johansson/Marriage Story
3) Charlize Theron/Bombshell
4) Cynthia Erivo/Harriet
5) Saoirse Ronan/Little Women

Notes: It's Zellweger's to lose and she's not going to lose.

BEST ACTOR

1) Joaquin Phoenix/Joker
2) Adam Driver/Marriage Story
3) Antonio Banderas/Pain and Glory
4) Jonathan Pryce/The Two Popes
5) Leonardo DiCaprio/Once Upon a Time...

Notes: Phoenix is a lock.

BEST SUPPORTING ACTRESS

1) Laura Dern/Marriage Story
2) Scarlett Johansson/Jojo Rabbit
3) Margot Robbie/Bombshell
4) Florence Pugh/Little Women
5) Kathy Bates/Richard Jewell

Notes: Get used to saying: "Oscar winner Laura Dern".

BEST SUPPORTING ACTOR

1) Brad Pitt/Once Upon a Time...
2) Joe Pesci/The Irishman
3) Tom Hanks/A Beautiful Day in the Neighborhood
4) Al Pacino/The Irishman
5) Anthony Hopkins/The Two Popes

Notes: Pitt might the most locked in the very locked acting categories.

BEST ORIGINAL SCREENPLAY

1) Parasite
2) Once Upon a Time...
3) Marriage Story
4) 1917
5) Knives Out

Notes:  As much as there is no suspense in the acting categories...there is a ton of uncertainty here. Parasite and OUATIH are very, very tight and Marriage Story wouldn't be a huge surprise.  This will be one of those categories that separate Oscar pools...not that anyone bets on this kind of thing.

BEST ADAPTED SCREENPLAY

1) Little Women
2) Jojo Rabbit
3) The Irishman
4) Joker
5) The Two Popes

Notes: Just like Original Screenplay...this category is a barn burner as well.  Lots of thought that this is where The Academy awards Greta Gerwig in part because of her missing out on a directing nomination.  Jojo and The Irishman are right there, though.

Overall 14 of the 23 TFF #46 films' nominations are in these eight categories.



ANOTHER LIST OF THE MOST ANTICIPATED

This list of "most anticipated films for 2020 comes from Criterion.  THe films listed there are grouped in a variety of ways.  Some are grouped by distributor, some by country of origin and there are are methods.  Among the films listed, these feel most like TFF #47 options:

The Card Counter/Paul Schrader
Dune/Denis Villenueve
Untitled Velvet Underground Project/Todd Haynes
On the Rocks/Sophia Coppola
Mank/David Fincher
I'm Thinking of Ending Things/Charlie Kaufman
Blonde/Andrew Dominik
MacBeth/Joel Coen
Nomadland/Chloe Zhao
Ammonite/Frances Lee
Bergman Island/Mia Hansen Love
Charlatan/Agnieszka Holland

Note: Wes Anderson's The French Dispatch, which I have mentioned on a couple of these "Most Anticipated" lists has slipped off of them as it was announced yesterday that the film will be released on July 24th.

The complete list from Criterion is linked here.


BERLIN'S FILMS REVEALED

The Berlin International Film Festival has announced the bulk of its lineup for the 2020 edition.  The Berlin Fest is of note as we often see one or two titles from that fest announced as part of the Telluride lineup each Labor Day.

Among the films listed by Indiewire that will be playing in Germany, these jump out as TFF #47 potentials:

Irradiated/Rithy Panh
The Roads Not Taken/Sally Potter
There Is No Evil/Mohammad Rasoulof
The Salt of Tears/Philippe Garrel
Siberia/Abel Ferrara
Undine/Christian Petzold


Check out the complete Berlin lineup as reported by Indiewire here.

Source : Youtube

That's What Children Have Taught Me Education

One of the most important things I've learned in my life is that no one ever knows what they're doing. We all wake up each morning to find that life isn't as we want it, we spend our day wrestling it into shape as best we can, then we wake up the following day to do it again.

The great advantage that children have over most of us adults is that as long as they know that they are loved, they live their days in full knowledge that they don't know what they are doing, that they are going to have to figure it out, cobble it together, and count on the other people to help get them through. Children spring from bed, anticipating the unknown that lies before them, embracing it, laughing when its good and crying when it's bad. They know that the love is the important thing and the rest is not knowable until we get there and even then mostly in hindsight.

Too many adults, enter our days with a sense of dread. We likewise know, in our hearts, no matter what our age, that we don't know what we're doing, but we fear that we should, that we must, that everyone else does. We worry about judgement, about failure, about being revealed as frauds. We cover it in bravado, with toxic positivity, with brusqueness, or the superficial trappings of success, hoping somehow to convince the others (because we'll never fully convince ourselves) that we know what we're doing. We descend into depression, we struggle with anxiety, and only when we get to a breaking point do we seek the help we've needed all along. And we tend to take the love for granted.

From children I've learned the great joy to be found in admitting to myself and to others that I don't know what I'm doing; the great joy in embracing each day as a way to once more engage in the grand project of figuring it all out and asking for help. I don't always succeed, of course, but whether I anticipate or dread, I fall and fail as much as the next person, as much as any child. I wrestle the day back into shape as best I can and wake up the following day to do it again. I laugh and cry. When I remember what the children have taught me, however, when I put the love first, that's when I most fully live. That's what children have taught me.

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A Wander Or A Quest Your Journey Recomended

Last week, I hiked along the Kerikeri River in Northland New Zealand. My destination was Waianijwaniwa, or Rainbow Falls. I'd been warned that it wouldn't be as spectacular as other times of the year due to mid-summer drought conditions, but that wasn't for me the point. I had a free day in this paradise and it was the hike that mattered.

I started out at a saunter. Fellow trail users passed me at a jog or brisk walk, clearly out for the exercise. I was not in it for physical fitness, even as I was aware that I needed to move my body as I was in the midst of a stretch of 11 airplanes over a seven day span. No, I'd undertaken this hike for the pure recreation of it, the forest bathing, the deep breathing, and, of course, the scenery. I had Eric Carle's sloth in mind, "Slowly, slowly," but my mind wandered as it tends to do on solitary walks: I've written before about my walking habit, which it really a wandering habit. This is when I do a substantial amount of my writing, which is to say my reflecting, which is to say my life's work. Plato tells us that Socrates said, "The unexamined life is not worth living," and there is nothing like a good, solitary wander for making that happen.

The signpost told me that my destination was some four kilometers distant and would take approximately an hour. I fully intended for it to take all morning. At intervals, I paused to listen, to the tumbling water, to the cacophony of insects, to the rustle of breezes in the canopy. I took a few photos, but not many: I told myself that I was not going to live this day through a viewfinder. It was a warm day, even as the trail was in shade. I began to sweat. It was an easy path, even as there were ups and downs. I began to breath deeply. Soon I noticed that I was no longer sauntering, but rather chugging along. Slowly, slowly, I said to myself, but soon I was chugging again. I wasn't being driven by the peer pressure of my fellow trail users. It wasn't that I was pressed for time. I wasn't trying to beat bad weather. I came to realize that it was my destination that pulled me.

I wasn't wandering after all, but rather getting somewhere. There was a waterfall ahead and the longer I walked, the more I found myself anticipating it, listening for it, expecting it around the next bend or over the next rise. And it was that that was driving me.

It occurred to me that I've hiked to many waterfalls in my life, on three continents, and in at least a dozen countries. Waterfalls are worthy destinations and before long I simply gave myself over to the quest, to heavy breathing and sweat. I knew to expect smaller falls along the way: I paused to take them in, but soon moved on toward the big one. Then there they were, around a bend and without announcing themselves in the roar I typically associate with such natural phenomena due to the relative trickle of water in the river this time of year. I was here! That was the point. I stood before them for quite some time, but before cooling down, I marched to the top of the falls, which, after all, I told myself, was my real destination. There I sat for a long time. I then hunted for a tea house that I'd read was nearby, but it was closed for the day due to the death of a family pet.

After a time, I decided it was time to return for no other reason than that I'd decided it was time. My limbs were loose and my breathing easy. I'd seen all this before, which is the nature of a return trip. I wasn't headed home, but it was back toward the place I was staying in the Kerikeri Basin. I wasn't hungry, but knew I would be after another hour on the trail. As I descended back down into the forest, everything was different. Now I really could saunter. Now I really could wander. Now I really could reflect. It wasn't the sloth that was on my mind now, but rather Maurice Sendak's Max on the return from his wild rumpus amongst the wild things. I took my time, stopping often, anticipating the lunch that awaited me, but not with the urgency of the waterfall, but rather with the knowledge that I'd acquired a kind of mastery. It was the difference between the familiar and unfamiliar, the old and the new. This trail was now known to me whereas only moments before I had passed through it as unknown on my way to an unknown.

This is the story of learning, of living. It's often told as a circle, always returning to the same place, but it's a coming and going as well. Or perhaps it's a story better told as a kind of spiral, because even as we return to the same place, it's different because the outward journey changes us and we, in turn, upon our return, change the place we call "home," which is the ultimate purpose of any journey, be it a wander or quest: to go somewhere else and bring something back. And our world will never be the same.

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Coronavirus: expect the unexpected in an unfolding emergency

Coronavirus: expect the unexpected in an unfolding emergency

Posted by John Mooney, FFPH (Fellow, Faculty of Public Health), Fuse Associate & Senior Lecturer in Public Health at University of Sunderland @StandupforPHlth 

In an age when public health and health improvement efforts in much of the world are justifiably focused on chronic disease, lifestyle factors and the ever increasing health and social care needs of an ageing population, we would do well to remember that humankinds’ most determined and persistent adversaries are always “waiting in the wings” ready to step on the stage for a lead role once again.

Watch Live Donald Trump Press Today

Step forward new variant Coronavirus (2019-nCoV), which the World Health Organisation has declared a Global public health emergency[1]reminding us all of the enduring critical importance of basic public health principles and practice and internationally co-ordinated vigilance for new microbial challenges. ‘International’ of course being a critical component of any response plans, since infectious diseases do not respect national borders and less so, referendum results. The first confirmed UK cases on Friday[2], currently being treated in this region, only serves to remind us of the ‘global village’ we all inhabit from the perspective of infectious diseases.

Coronaviruses are a large family of viruses, some causing (mostly mild) illnesses in people and others that circulate among animals, including camels, cats and bats. The recently emerged 2019-nCoV is not the same as the coronaviruses that caused Middle East Respiratory Syndrome (MERS) or Severe Acute Respiratory Syndrome (SARS) though genetic analyses so far suggests that the new variant is more closely related to SARS[3]. 

Ninety Nine percent (99%) of the 24,000+ cases and nearly all of the 490 confirmed deaths (with 2 exceptions, one in Hong Kong and one in the Philippines) so far have been in China.  Despite this, the WHO emergency declaration crucially allows for additional resources and support for lower and middle-income countries to strengthen their disease surveillance and prepare them for potential cases or outbreaks. At the present time, to the considerable credit of the Chinese response – partly arising of course from international condemnation of a less than transparent response to the SARS outbreak in 2003 – there are Herculean efforts and resources being devoted to containing the threat from the new pathogen.  This includes the drastic attempted quarantine of a whole region and the speed of construction of new facilities such as 1000 bed dedicated hospitals. 

Courtesy of the BBC

While 2019-nCoV seems to be less lethal than SARS, there is no doubt that it is clearly more transmissible with The World Health Organization stating that the preliminary R0 (reproduction number) estimate is 1.4 to 2.5, meaning that every person infected can potentially infect between 1.4 and 2.5 people (R0 for SARS being 0.19–1.08, with a median of 0.49)[4]. With the spectrum of clinical presentations ranging from mild respiratory illness to life threatening viral pneumonia, the health impact of the ongoing outbreak is very difficult to predict and unanswered questions abound. How many people may have shrugged off mild / virtually asymptomatic infections for instance is not possible to know until follow-up sero-conversion studies[5] can be used to estimate the burden of ‘silent infections’. 

Aside from higher transmissibility, the more worrying aspect of 2019-nCov however is the reports of an incubation period of up to 14 days during which an infected individual might both be asymptomatic (displaying no evident symptoms that could be screened for) and also crucially, at the same time during this period, infectious and capable of transmitting the virus to new hosts. The potential 14 day incubation period without symptoms effectively means that the cases which are being confirmed at the present time merely reflect the ‘true burden of infection’ from two weeks ago. As a result we will only have any real sense of the effectiveness of Chinese efforts to contain the virus a fortnight after the stringent travel restrictions imposed around Wuhan province and other parts of China. 

As many seasoned experts in these matters have cautioned, schooled as they have been by experience of previous episodes, predicting the behaviour of a newly emergent pathogen is a hazardous business and a great deal of uncertainty surrounds its likely route to potential pandemic status. A virus adapting to a new species host (in this case humans!) is an unstable entity and its defining characteristics today in terms of those who are most vulnerable and their risk of serious or life threatening illness may be very different in the weeks and months ahead.

Eventually of course, a virus keen on longevity in a new host needs to curb its pathogenicity[6] and ideally result in only mild symptoms that will reduce the attention it attracts from a host immune response. Many of the hundreds of viruses, including coronavirus subtypes that cause the common cold, once jumped the species barrier and evolved into relatively benign pathogens. Even the deadly “Spanish flu” epidemic of 1918[7], which killed around 60 million people Worldwide in 1918-1920 and comprised of the influenza subunits H1N1, circulates today in the form of seasonal flu in a genetic variant with greatly reduced lethality. 

How serious the current outbreak will be in terms of impact and mortality remains to be seen. SARS of course was eventually successfully contained by stringent infection control, contact tracing and quarantine procedures. While 2019-nCov is not currently as life-threatening an illness as SARS, its greater transmissibility, longer incubation period and potential for symptomless transmission (SARS was only transmissible when symptomatic), do not bode well for ease of containment so it is hardly surprising that the WHO have seen fit to play their strongest card and declare it an emergency.

We can only hope that the response may be timely enough. 

John Mooney worked previously for NHS Health Protection where he specialised in the epidemiology of respiratory infectious diseases.