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Oscar 2020: Joker gets 11 nominations, Netflix leads among studios

The Academy of Motion Picture and Arts announced its nominations for the 92nd Academy Awards. Actors John Cho of Star Trek and Issa Rae of Insecure revealed the 2020 Oscars nominations on early Monday morning in Los Angeles, California

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Oscar 2020

The Academy of Motion Picture and Arts announced its nominations for the 92nd Academy Awards. Actors John Cho of Star Trek and Issa Rae of Insecure revealed the 2020 Oscars nominations on early Monday morning in Los Angeles, California.

With 11 nominations, including best picture, best director for Todd Phillips and best actor for Joaquin Phoenix, DC superhero movie, Joker, received the most nominations this year. Right behind Joker is Martin Scorsese’s mob epic The Irishman, Quentin Tarantino’s ode to Los Angeles Once Upon a Time in Hollywood and Sam Mendes’ war drama 1917 with 10 nominations.

Based on Loiusa May Alcott’s 1868 novel, Little Women, also received multiple nominations, with Saorise Ronan and Florence Pugh being nominated for Best Actress and Best Supporting Actress category.

Streaming giant, Netflix also made its mark this year as three of its movies – The Irishman, Marriage Story and the drama The Two Popes raked in 24 nominations.

The Oscars will be held on February 9, 2020 at Dolby Theatre, in Los Angeles, California.

Here is the full list of 2020 Oscar nominations:

Best Picture:
“Ford v Ferrari”
“The Irishman”
“Jojo Rabbit”
“Joker”
“Little Women”
“Marriage Story”
“1917”
“Once Upon a Time in Hollywood”
“Parasite”

Lead Actor:
Antonio Banderas, “Pain and Glory”
Leonardo DiCaprio, “Once Upon a Time in Hollywood”
Adam Driver, “Marriage Story”
Joaquin Phoenix, “Joker”
Jonathan Pryce, “The Two Popes”

Lead Actress:
Cynthia Erivo, “Harriet”
Scarlett Johansson, “Marriage Story”
Saoirse Ronan, “Little Women”
Charlize Theron, “Bombshell”
Renee Zellweger, “Judy”

Supporting Actor:
Tom Hanks, “A Beautiful Day in the Neighborhood”
Anthony Hopkins, “The Two Popes”
Al Pacino, “The Irishman”
Joe Pesci, “The Irishman”
Brad Pitt, “Once Upon a Time in Hollywood”

Supporting Actress:
Kathy Bates, “Richard Jewell”
Laura Dern, “Marriage Story”
Scarlett Johansson, “Jojo Rabbit”
Florence Pugh, “Little Women”
Margot Robbie, “Bombshell”

Director:
Martin Scorsese, “The Irishman”
Todd Phillips, “Joker”
Sam Mendes, “1917”
Quentin Tarantino, “Once Upon a Time in Hollywood”
Bong Joon Ho, “Parasite”

Animated Feature:
“How to Train Your Dragon: The Hidden World,” Dean DeBlois
“I Lost My Body,” Jeremy Clapin
“Klaus,” Sergio Pablos
“Missing Link,” Chris Butler
“Toy Story 4,” Josh Cooley

Animated Short:
“Dcera,” Daria Kashcheeva
“Hair Love,” Matthew A. Cherry
“Kitbull,” Rosana Sullivan
“Memorable,” Bruno Collet
“Sister,” Siqi Song

Adapted Screenplay:
“The Irishman,” Steven Zaillian
“Jojo Rabbit,” Taika Waititi
“Joker,” Todd Phillips, Scott Silver
“Little Women,” Greta Gerwig
“The Two Popes,” Anthony McCarten

Original Screenplay:
“Knives Out,” Rian Johnson
“Marriage Story,” Noah Baumbach
“1917,” Sam Mendes and Krysty Wilson-Cairns
“Once Upon a Time in Hollywood,” Quentin Tarantino
“Parasite,” Bong Joon-ho, Jin Won Han

Cinematography:
“The Irishman,” Rodrigo Prieto
“Joker,” Lawrence Sher
“The Lighthouse,” Jarin Blaschke
“1917,” Roger Deakins
“Once Upon a Time in Hollywood,” Robert Richardson

Best Documentary Feature:
“American Factory,” Julia Rieichert, Steven Bognar
“The Cave,” Feras Fayyad
“The Edge of Democracy,” Petra Costa
“For Sama,” Waad Al-Kateab, Edward Watts
“Honeyland,” Tamara Kotevska, Ljubo Stefanov

Best Documentary Short Subject:
“In the Absence,” Yi Seung-Jun and Gary Byung-Seok Kam
“Learning to Skateboard in a Warzone,” Carol Dysinger
“Life Overtakes Me,” Kristine Samuelson and John Haptas
“St. Louis Superman,” Smriti Mundhra and Sami Khan
“Walk Run Cha-Cha,” Laura Nix

Best Live Action Short Film:
“Brotherhood,” Meryam Joobeur
“Nefta Football Club,” Yves Piat
“The Neighbors’ Window,” Marshall Curry
“Saria,” Bryan Buckley
“A Sister,” Delphine Girard

Best International Feature Film:
“Corpus Christi,” Jan Komasa
“Honeyland,” Tamara Kotevska, Ljubo Stefanov
“Les Miserables,” Ladj Ly
“Pain and Glory,” Pedro Almodovar
“Parasite,” Bong Joon Ho

Film Editing:
“Ford v Ferrari,” Michael McCusker, Andrew Buckland
“The Irishman,” Thelma Schoonmaker
“Jojo Rabbit,” Tom Eagles
“Joker,” Jeff Groth
“Parasite,” Jinmo Yang

Sound Editing:

“Ford v Ferrari,” Don Sylvester
“Joker,” Alan Robert Murray
“1917,” Oliver Tarney, Rachel Tate
“Once Upon a Time in Hollywood,” Wylie Stateman
“Star Wars: The Rise of SkyWalker,” Matthew Wood, David Acord

Sound Mixing:

“Ad Astra”
“Ford v Ferrari”
“Joker”
“1917”
“Once Upon a Time in Hollywood”

Production Design:
“The Irishman,” Bob Shaw and Regina Graves
“Jojo Rabbit,” Ra Vincent and Nora Sopkova
“1917,” Dennis Gassner and Lee Sandales
“Once Upon a Time in Hollywood,” Barbara Ling and Nancy Haigh
“Parasite,” Lee Ha-Jun and Cho Won Woo, Han Ga Ram, and Cho Hee

Original Score:
“Joker,” Hildur Guðnadóttir
“Little Women,” Alexandre Desplat
“Marriage Story,” Randy Newman
“1917,” Thomas Newman
“Star Wars: The Rise of Skywalker,” John Williams

Original Song:
“I Can’t Let You Throw Yourself Away,” “Toy Story 4”
“I’m Gonna Love Me Again,” “Rocketman”
“I’m Standing With You,” “Breakthrough”
“Into the Unknown,” “Frozen 2”
“Stand Up,” “Harriet”

Makeup and Hair:
“Bombshell”
“Joker”
“Judy”
“Maleficent: Mistress of Evil”
“1917”

Costume Design:
”The Irishman,” Sandy Powell, Christopher Peterson
“Jojo Rabbit,” Mayes C. Rubeo
“Joker,” Mark Bridges
“Little Women,” Jacqueline Durran
“Once Upon a Time in Hollywood,” Arianne Phillips

Visual Effects:
“Avengers Endgame”
“The Irishman”
“1917”
“The Lion King”
“Star Wars: The Rise of Skywalker”

India News

Union Minister Scindia slams Rahul Gandhi for Maharajas remark, Congress hits back

He argued that Gandhi’s remarks demonstrated a limited understanding of India’s past, accusing him of overlooking the positive contributions of several royal families to social reform and development.

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A sharp political clash erupted following Rahul Gandhi’s assertion that only Maharajas enjoyed rights in pre-independence India. Addressing a rally in Mhow, Gandhi claimed that Dalits, Adivasis (tribal people), and other backward castes lacked rights before independence, a stark contrast to the privileged position of royal families. He framed the BJP-RSS’s vision as a return to this pre-independence era, where, he alleged, only the ultra-wealthy like Adani and Ambani would hold sway, leaving the poor to suffer in silence. Gandhi’s speech was a powerful indictment of what he perceived as a regressive political agenda.

This statement immediately drew fire from Jyotiraditya Scindia, a BJP leader and former Congress member. Scindia, in a series of posts on X (formerly Twitter), directly challenged Gandhi’s historical narrative. He argued that Gandhi’s remarks demonstrated a limited understanding of India’s past, accusing him of overlooking the positive contributions of several royal families to social reform and development.

Scindia highlighted specific examples: the financial assistance provided by Maharaja Sayajirao Gaekwad of Baroda to B.R. Ambedkar for his education, Chhatrapati Shahuji Maharaj’s pioneering 50% reservation for backward castes in his governance as early as 1902, and Madhavrao I of Gwalior’s establishment of educational and employment centres across the Gwalior-Chambal region.

Scindia’s carefully chosen examples aimed to paint a picture of royal patronage of social justice, directly contradicting Gandhi’s narrative. His pointed criticism also served as a personal attack, emphasizing the perceived hypocrisy of a leader from a prominent royal family criticizing the historical role of other such families.

The Congress responded swiftly and forcefully to Scindia’s critique. Pawan Khera, the party’s media and publicity head, launched a counter-offensive, accusing Scindia of conveniently overlooking the darker aspects of the royal families’ history. Khera’s response emphasized the often-overlooked collaboration between many royal families and the British Raj, highlighting their loyalty to colonial rule and the economic privileges they enjoyed even after India’s independence.

He pointed to the substantial tax-free allowances granted to the Gwalior royal family (₹2.5 million in 1950), continuing until 1971, as a direct consequence of their privileged status within the pre-independent and early independent Indian states. Khera’s argument challenged the selective portrayal of royal benevolence, underscoring the enduring economic and political power imbalances that persisted well into the post-independence era.

Furthermore, Khera brought up the contentious issue of a royal family’s alleged involvement in Mahatma Gandhi’s assassination, reminding the public of the complex and often morally ambiguous legacy of many royal houses. He also quoted Jawaharlal Nehru’s rejection of the “divine right of kings” in a Constituent Assembly speech, showcasing the Congress’s historical commitment to dismantling the hierarchical power structures of the past.

Khera’s counter-narrative skillfully framed the debate as a struggle between a vision of inclusive democracy and the remnants of feudal privilege. He cleverly deployed Subhadra Kumari Chauhan’s poem on the Rani of Jhansi, subtly referencing the Scindias’ alleged alliance with the British, to add a layer of pointed historical critique to his response.

The exchange between Scindia and Khera transcended a simple disagreement over historical interpretation. It revealed deep-seated political fault lines and competing narratives about India’s past and the nature of its present-day political landscape. It also highlighted the ongoing debate about the legacy of princely states in independent India and the delicate balance between recognizing past contributions and acknowledging historical injustices. The intense rhetoric used by both sides underscored the high stakes involved in shaping public perception of India’s history and its implications for contemporary politics.

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After Coldplay India tour, PM Modi pushes for live concerts

This includes not only the venues themselves but also the logistical support systems necessary to handle large-scale events smoothly and efficiently. The development of a skilled workforce, capable of managing all aspects of concert production and promotion, is equally vital.

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Prime Minister Narendra Modi has pointed to the phenomenal success of Coldplay’s recent concerts in Mumbai and Ahmedabad as a prime example of India’s burgeoning live music market. The sold-out shows, drawing massive crowds and widespread acclaim, showcased the immense potential for growth in the “concert economy,” a sector the Prime Minister believes is ripe for significant expansion.

Modi’s comments, made at the ‘Utkarsh Odisha – Make in Odisha Conclave 2025’, emphasized the need for coordinated efforts from both state governments and the private sector. He stressed the importance of investing in crucial infrastructure improvements and skills development to fully realize this potential.

This includes not only the venues themselves but also the logistical support systems necessary to handle large-scale events smoothly and efficiently. The development of a skilled workforce, capable of managing all aspects of concert production and promotion, is equally vital.

The Coldplay concerts, part of their Music of the Spheres World Tour, served as a compelling case study. The seamless organization and vibrant atmosphere were widely praised, underscoring the potential for India to become a major player in the global live music industry. The concerts weren’t merely successful musical events; they were significant cultural moments.

Chris Martin’s engaging interactions with the audience, incorporating Hindi, Marathi, and Gujarati, created a unique connection, demonstrating cultural sensitivity and enhancing the overall experience. The inclusion of patriotic songs like “Vande Mataram” and “Maa Tujhe Salaam” during the Ahmedabad concert, coinciding with Republic Day, further cemented the events’ resonance with the Indian public.

The presence of numerous celebrities, including Bollywood stars and prominent sports figures, added to the concerts’ high profile and contributed to the widespread media coverage. This amplified the message about India’s potential as a significant player in the international concert circuit.

Coldplay’s return to India, after their 2016 performance at the Global Citizen Festival, highlights the growing appeal of the country as a destination for major international artists. This positive trajectory suggests a bright future for India’s “concert economy,” a sector that Modi believes can be significantly boosted with strategic investment and planning.

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UP: 7 killed, 40 injured in stage collapse at Jain religious event in Baghpat

The incident serves as a stark reminder of the importance of stringent safety regulations and robust structural assessments for temporary structures used in large-scale public events.

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A tragic accident marred a Jain Nirvana festival in Baghpat, Uttar Pradesh, on Tuesday, resulting in the deaths of seven people and injuries to at least forty others, including women and children. The incident occurred during a laddu ceremony, a significant ritual in Jainism involving the offering of sweetmeats.

The cause of the tragedy was the collapse of a makeshift stage constructed from bamboo and wood. Hundreds of devotees had gathered to participate in the ceremony and offer laddoos to Lord Adinath, a revered figure in Jainism, in the presence of Jain monks. The weight of the crowd overwhelmed the temporary structure, leading to its catastrophic failure and the subsequent injuries and fatalities.

Eyewitness accounts paint a picture of chaos and panic as the stage gave way, trapping dozens of people beneath the debris. The rapid response of local authorities was crucial in mitigating the aftermath. According to district authorities, 108 ambulances were already on standby at the festival, allowing for immediate transport of the injured to hospitals for treatment. Senior police officials and other emergency personnel swiftly arrived on the scene to manage the situation and coordinate rescue efforts.

Baghpat’s District Magistrate, Asmita Lal, confirmed the casualties and provided an update on the injured. She stated that at least forty individuals had sustained injuries and were receiving medical attention, while twenty had been discharged after receiving first aid. The scale of the disaster highlights the inherent risks associated with inadequate structural integrity at large public gatherings.

Chief Minister Yogi Adityanath expressed his condolences and directed district officials to provide comprehensive medical care to the injured, ensuring that no effort is spared in their treatment and recovery. The incident serves as a stark reminder of the importance of stringent safety regulations and robust structural assessments for temporary structures used in large-scale public events.

Investigations into the cause of the stage collapse are likely to follow, focusing on the materials used, the construction methods, and the overall safety protocols in place. The tragedy underscores the need for heightened safety measures to prevent similar incidents in the future.

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