A2ZWEBDESIGNSUSA

Month: January 2024

Vous avez aimé Anatomie d’une chute ? Deux films de la réalisatrice Justine Triet arrivent sur Netflix

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En ce 1er novembre, Netflix propose à ses abonnés deux films de Justine Triet, Palme d’Or 2023, avec "Anatomie d'une Chute".

Elle est devenue la troisième femme récompensée par le Festival de Cannes en remportant la Palme d’Or en mai dernier pour Anatomie d’une chute qui a réalisé un très joli parcours en salles. On parle bien sûr de Justine Triet qui, en quatre long métrages, est devenu une référence incontournable du cinéma français.

La plateforme, fidèle à sa politique de promotion du cinéma d’auteur avec ses nouvelles entrées catalogue, promeut en ce mois de novembre le cinéma de Justine Triet en proposant à ses abonnés les deux films que la réalisatrice a mis en scène avec Virginie Efira face à sa caméra.

Dans le premier, Victoria, sorti en 2016, Virginie Efira incarne la Victoria du titre. C’est une avocate pénaliste en plein néant sentimental. Elle débarque à un mariage où elle y retrouve son ami Vincent (Melvil Poupaud) et Sam (Vincent Lacoste), un ex-dealer qu’elle a sorti d’affaire. Le lendemain, Vincent est accusé de tentative de meurtre par sa compagne. Seul témoin de la scène, le chien de la victime.

Sélectionné à la Semaine de la critique du Festival de Cannes 2016, Victoria marque un virage important dans la carrière d’actrice de Virginie Efira qui fait la démonstration de son talent dans le registre de la comédie dramatique alors qu’elle était jusqu’alors identifiée pour les comédies.

Victoria

Sortie :

14 septembre 2016

|
1h 36min

De
Justine Triet

Avec
Virginie Efira,
Vincent Lacoste,
Melvil Poupaud

Presse
4,0

Spectateurs
2,9

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Le second long métrage de Justine Triet proposé par Netflix est Sybil. La réalisatrice change de registre pour faire un pur drame et retrouve Virginie Efira qui tient à nouveau le rôle-titre.

Sibyl est une romancière reconvertie en psychanalyste. Rattrapée par le désir d’écrire, elle décide de quitter la plupart de ses patients. Alors qu’elle cherche l’inspiration, Margot (Adèle Exarchopoulos), une jeune actrice en détresse, la supplie de la recevoir. En plein tournage, elle est enceinte de l’acteur principal (Gaspard Ulliel)… qui est en couple avec la réalisatrice du film (Sandra Hüller qui sera ensuite l’héroïne d’Anatomie d’une chute).

Tandis qu’elle lui expose son dilemme passionnel, Sibyl, fascinée, l’enregistre secrètement. La parole de sa patiente nourrit son roman et la replonge dans le tourbillon de son passé. Quand Margot implore Sibyl de la rejoindre à Stromboli pour la fin du tournage, tout s’accélère à une allure vertigineuse…

Sibyl

Sortie :

24 mai 2019

|
1h 39min

De
Justine Triet

Avec
Virginie Efira,
Adèle Exarchopoulos,
Sandra Hüller

Presse
3,7

Spectateurs
2,6

louer ou acheter

Sybil ouvre à Justine Triet les portes de la sélection officielle en compétition du Festival de Cannes 2019. Elle signe ici un film très cinéphile, faisant référence notamment à The Player de Robert Altman ou à Quinze jours ailleurs de Vincente Minnelli.

Mais en parlant de ses inspirations, Justine Triet a confié s’être inspirée de la série En Analyse ainsi que d’Une autre femme de Woody Allen, un film qui l’a hantée dès le début de l’écriture : “Etrangement, je n’adore pas ce film, mais son principe narratif me fascine : une femme, cherchant le calme et l’inspiration, se retrouve face à une autre femme qui la plonge dans un vertige abyssal et fait exploser toute sa vie…” La cinéaste est également allée à la rencontre de psychanalystes qui ont vécu des expériences déstabilisantes avec un patient.

Victoria et Sybil, actuellement sur Netflix.

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Quiz cinéma : cette image est-elle la première ou la dernière du film ?

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Est-ce la première ou la dernière image du film ? A vous de nous le dire en faisant ce petit quiz en neuf questions. Et pas forcément faciles !

Si on se gardera bien d’en faire une généralité, parce que tout dépend évidemment du film et plus encore de son metteur en scène, il arrive fréquemment que le premier et dernier plan d’un film se répondent. Symétrie parfaite, ouvrir et refermer son histoire sur le destin de son ou ses personnage(s)…

Les exemples abondent; de la symétrie parfaite du premier et dernier plan, admirables, de La Prisonnière du désert de John Ford, où John Wayne se tient dans l’encadrement de la porte d’une maison. Le drapeau américain du Soldat Ryan de Spielberg; pâle et délavé au début, reprenant quelques couleurs à la fin, mais toujours flottant au vent.

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Voici un petit quiz sur cette thématique de premier et dernier plan d’un film. Neuf questions; à vous de déterminer s’il s’agit du premier ou dernier plan de l’oeuvre !

Certains films présentent une particularité assez originale : ils débutent et se terminent dans le même décor et au même instant narratif de l’histoire. C’est par exemple le cas du Pulp Fiction de Quentin Tarantino.

Le film s’ouvre en effet sur une simple discussion dans un diner autour d’un café entre les acteurs Tim Roth et Amanda Plummer. Quand soudain l’homme se lève pointant un revolver vers les clients et prononce alors cette phrase devenue célèbre “Everybody be cool, this is a robbery ! / Que tout le monde reste calme, c’est un hold-up !”, la femme se joignant alors à lui avant que ne résonnent les accords de guitare de la désormais légendaire introduction de Misirlou.

On se retrouve donc au restaurant à la toute fin du film mais avec cette fois deux autres personnages, Vincent Vega et Jules Winnfield, eux aussi en plein dialogue savoureux à la sauce tarantinienne. Et alors que Vincent se rend aux toilettes, Jules resté seul à table assiste au braquage du début du film, dont nous suivons finalement le déroulement.

Pourquoi Nagui était-il au bord des larmes face à Léa Salamé samedi 28 octobre ?

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Nagui était présent sur le plateau de Quelle époque ! pour évoquer les 30 ans de Taratata à venir le 3 novembre 2023. Au détour d'autres questions, Léa Salamé a évoqué la plus grande blessure de l'animateur, ce qui l'a bouleversé.

2023 est une grande année pour Nagui. En plus de voir son émission N’oubliez pas les paroles enregistrer des records d’audience, le compagnon de Mélanie Page va fêter un grand anniversaire : les 30 ans de Taratata. Pour ce faire, un grand concert a été enregistré le 5 octobre dernier, avec 40 000 spectateurs à la Défense Arena et pas moins de 84 artistes, dont notamment Julien Clerc, Véronique Sanson, Patrick Bruel, Laurent Voulzy, Eddy Mitchell, Vianney, Juliette Armanet, Ed Sheeran, Zucchero, Sharleen Spiteri du groupe Texas et la légende du funk. Un concert événement mais aussi caritatif puisqu’une partie de la somme des places, à savoir 1,2 million d’euros sera reversée à la Fondation pour la Recherche édicale. C’est dans ce contexte qu’il était présent sur le plateau de Quelle époque ! samedi 28 octobre 2023. Léa Salamé est donc revenue sur sa belle carrière marquée malgré tout par une grosse blessure : “Votre père est mort avant de voir votre succès à la télé. Ça, c’est votre vraie blessure, celle qu’il n’aura jamais vue. Ça ne passe pas, ça, hein ?” lui a-t-elle demandé. Mais l’ancienne camarade de Laurent Ruquier ne s’attendait certainement pas à ce que Nagui réagisse ainsi.

“Je comprends, pardon”

L’animateur de N’oubliez pas les paroles est resté bouche bée face à la question de Léa Salamé. Il a simplement fait non de la tête, ravalant ses larmes. Après quelques secondes de silence, l’animatrice s’est excusée : “Je comprends, pardon”. Un moment bouleversant étant donné que les téléspectateurs n’ont pas l’habitude de le voir ainsi. Après ce passage émouvant, Nagui a repris ses esprits. L’occasion pour lui de dévoiler une drôle d’anecdote sur le jour où il a découvert l’infidélité de sa compagne après une interview complètement ratée de Bruce Springsteen. Tout a commencé après un entretien avec le Boss lors d’un concert à la Courneuve en 1985. Au moment de sortir des loges, il découvre un jeune fan en train de se faire taper par la sécurité : “On va faire l’interview, je sors des loges. On avait vraiment 10 minutes pour lui parler. Sur le parking, un jeune se faisait tabasser par le service de sécurité. Je dis à mon équipe JRI (journaliste reporter d’image, ndlr) ‘filme’. Ils allument la mandarine (le projecteur, ndlr) et ils commencent à filmer. Ils se mettent à filmer l’agression que subissait le fan. Les gars de la sécurité voient ça. Ils se tournent, ils me voient, l’un d’entre eux s’approche avec un nerf de bœuf et derrière lui son chef lui dit ‘éclate-le’. Et là j’ai le nerf qui vient me taper là. Je suis tombé dans les pommes. Je suis allé à l’hôpital, j’ai passé ma nuit à l’hôpital. Le matin je me réveille, je retourne au montage. Je rentre chez moi à Nice beaucoup plus tôt que prévu, je devais rentrer le soir. Je rentre chez moi, je vois que ma copine n’est pas là, je m’inquiète, donc je vais chez mon meilleur pote, et là…”, a-t-il expliqué laissant un long silence on ne peut plus subtil.

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Tout le monde debout : la bourde qui a inspiré le titre du film

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Diffusé ce soir sur TF1, le premier long métrage réalisé par Frank Dubosc doit son titre à une célèbre bourde, prononcée en 1996 devant des millions de téléspectateurs.

Ce soir sur TF1 sera diffusé Tout le monde debout, le premier long métrage mis en scène par Franck Dubosc.

Réalisé en 2018, ce film abordant avec humour et légèreté le sujet compliqué du handicap raconte l’histoire de Jocelyn, homme d’affaires et dragueur invétéré interprété par Dubosc lui-même, qui décide de se faire passer pour un paraplégique suite à un malentendu et afin de séduire une jeune femme. La situation dégénère lorsqu’il se rend compte que la soeur de cette dernière est elle-même en fauteuil roulant.

Tout le Monde Debout

Sortie :

14 mars 2018

|
1h 49min

De
Franck Dubosc

Avec
Franck Dubosc,
Alexandra Lamy,
Elsa Zylberstein

Presse
3,6

Spectateurs
3,9

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Le cinéaste français, que l’on connaît surtout pour sa carrière d’humoriste et de comédien, a depuis mis en scène un deuxième film centré cette fois-ci sur le thème de la danse (et dont Dubosc nous avait expliqué le titre plutôt énigmatique en interview).

Mais intéressons-nous aujourd’hui à la manière dont il avait choisi d’intituler son premier long métrage : Tout le monde debout, une formule qui s’inspirait directement d’une célèbre bourde, malencontreusement prononcée par le chanteur François Feldman en 1996, lors de la 10e cérémonie du Téléthon.

Alors que le musicien interprétait sa chanson Joue pas sur scène, il s’était en effet écrié “Tout le monde debout, là-bas !” en s’adressant à un public majoritairement constitué de personnes en fauteuil roulant. Une gaffe restée célèbre dans l’histoire de la télévision, que Dubosc a donc décidé de réutiliser :

“Le titre de travail était ‘Lève-toi et marche’, mais je ne le trouvais pas très gracieux. J’ai effectivement repris ce qu’avait dit François qui est un ami”, avait ainsi confié le comédien et réalisateur dans le dossier de presse du film.

“Tout le monde s’est beaucoup moqué de cette bourde commise devant des gens qui ne pouvaient pas se lever, mais je la trouve finalement très positive. Parce que debout, c’est dans la tête. D’ailleurs, mon personnage le dit en parlant de Florence qui est handicapée : ‘Elle réfléchit plus vite, elle va plus vite, elle vit plus que nous.’ Il veut dire ‘bien plus que moi.'”

(Re)découvrez notre interview Fun Facts de Franck Dubosc…

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The 2023 Capital Audiofest Is Underway

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Like candy to an audiophile baby, Capital Audiofest 2023 is officially in full blast mode, a phantasmagorical thrill ride for listeners of all ages, and this age. The venue as in 2022 is the Hilton Twinbrook Rockville, Maryland.

Led as always by owner/organizer, vintage-oriented audiophile, and former construction foreman Gary Gill, Capital Audiofest 2023 has seen a 33% increase in bookings, to 120 rooms and 40 booths, compared to last year’s 90 and 30. Gill says the number of international vendors and manufacturers represented has increased as well. The price of admission remain the same as last year: $10 for a day, $30 for a three-day pass. Kids and students are free. And as today is Veterans’ Day (or, technically, Veteran’s Day Substitute, since the 11th falls on a Saturday this year), there’s a discount for military veterans.

The Capital Audiofest is obviously thriving. Why? “I look at it in a couple different ways,” Gill told me in a brief interview. “I’ve been pretty persistent. I did CAF when I had a daytime job, then I stopped working during the day. Now I just focus on this.

“I think people have found the show,” he continued. “And everybody loves the vibe. Like last night, we had a great happy hour. All these different people, like minded souls [who] love music and gear and all that, get together, have a great time. People love the environment.”

The enthusiasm is reflected in badge sales, which have doubled from last year, from 250 to 600.

Added to the usual lineup of technically oriented seminar speakers, Gill has added music specialists like Resonance Records and Jazz Detective producer Zev Feldman, a major player in Record Store Day.

“Zev was in my garage hunting through records last summer, and we struck up a conversation. I said, ‘do you want to come to Capital Audiofest?’ Zev will be speaking with The Listening Chair’s Howard Kneller about his fruitful associations with Blue Note Records, Universal Music Group, and more.”

Another reason CAF may have practically doubled in size and scope? The enthusiasm and hands-on approach of Gill himself, who arrives early and stays late. “And I’m not a corporation,” Gill added wryly. Which is true. Let the games begin!

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That’s Just How the Record Sounds

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It’s an error commonly made in evaluating hi-fi–system performance: the failure to listen differentially. Differential as in compared to something else. “Something else” could be a different recording on the same system or (especially this) the same recording on a different system. The question is, what are you comparing it to? The point is: Do you really know what that recording sounds like?


When it comes to evaluating equipment, audio engineers—especially those who specialize in naturalistic recordings—have an advantage. Someone like John Atkinson—I wrote “someone like,” though really he’s a category of one—knows better than anyone what his own recordings sound like. John was there at the beginning, in the same room, or monitoring nearby via well-known components. He decided what’s on the recording. Even so, even for him, all the evidence of what’s on there is indirect, via his monitoring equipment. The very notion of a recorded sound, independent of a reproduction system, is fraught.


Still, given a choice of whom to trust—the recording/mastering engineer or someone hearing a song for the first time—I’ll take the engineer every time. The engineer is far better prepared to listen differentially—plus, engineers are analytical about sound, which is usually, if not always, a good thing. Read on.


As I write this, I’m listening to skinty fia, the most recent (though not that recent) album from Fontaines D.C., produced by Dan Carey, who, way back in 2005, produced Fisherman’s Woman by Icelandic chanteuse Emilíana Torrini, one of my 2016 Records to Die For. I first encountered Fontaines D.C. via the band’s previous slab, A Hero’s Death, which I immediately loved. Then I listened to their debut album, Dogrel. I liked that one even more.


I’m not sure why I like this band so much; they just have a certain sound—though isn’t a certain sound the first thing we fall for when we fall in love musically? To experience Fontaines D.C.’s certain sound at its most characteristic and inviting, listen to “Jackie Down the Line,” this album’s first single and the fourth song on side 1.


I’m listening on LP, Partisan PTKF3016-3. When the album’s second song—”Big Shot”—started up, my subconscious mind told me the record was spinning too slow. As soon as that thought rose to consciousness, though, I dismissed it: I haven’t listened to this music in months, so how would I know? I measured just to be sure: The SME’s platter speed was precise.


skinty fia is not a demo-quality album. It does not sound live. The sound is slightly distant, the soundstage narrow, contained between the speakers, which is odd for such big music. In its favor, Carey’s production (and the work of engineer Alexis Smith) is straightforward, unaffected, no fancy tricks.


If I were to listen to skinty fia on an unknown system, and I found it sounded like live music, we’d have a problem, because that’s not the way this record sounds.


Few albums are recorded in a naturalistic way, and even those with such ambitions rarely succeed. As Stereophile writer and audio engineer Tom Fine reminded me in a recent correspondence, achieving natural sound is rarely as easy as using a single stereo pair of good microphones, carefully placed, or by employing any other purist-recording dogma (footnote 1). That kind of recording tends to draw attention to itself.


Speaking of dogma and repeated listening: It is common to criticize the music used in demo rooms at hi-fi shows—but hey, at least those tracks are familiar, which makes differential listening easier. Faint praise.


Worst of all are songs played for decades, for no reason I can think of except habit and a lack of imagination. Why are they still playing “Hotel California,” from 1977, when that year also offered Even in the Quietest Moments, ELO’s Out of the Blue, and Steve Miller’s Book of Dreams, among other fine albums? None of these are demo-quality, but then neither is Hotel California.


Almost as bad are the industry’s recent crushes, chosen for audiophile virtues more than musical quality, which surface regularly and stick around for a couple of years before dying a slow death—painful only to the listeners as they (the songs) lay dying. But hey, repetition breeds familiarity. (And familiarity breeds contempt.)


Despite the advantages of familiarity and repeated listening, several Stereophile reviewers, including me, often use new music in component reviews. How does that work? Can a review be trusted if the music isn’t deeply familiar?


If it’s in Stereophile it can be, for a few reasons. First, with rare exceptions, we retain access to our reference components even as we review something new. While we may not always write about it—that would make for tedious reading—you can be confident we’ve heard the same music recently on a system we know well. Differential listening.


Second, Stereophile reviewers have an obligation to evaluate every component, at least in part, with recordings they know well. At some point during each audition, reviewers turn to their own standard reviewing repertoire, even if it’s not the focus of their listening notes. No review covers a reviewer’s complete listening notes. Even if those familiar tunes aren’t covered explicitly in the review, they’re auditioned behind the scenes. Count on it.


Third, engaged (but not too engaged) listening to diverse but unfamiliar tunes is a surprisingly good way to evaluate equipment. Certainly it’s a fine complement to listening to more familiar material. This kind of listening has the advantage of more closely resembling what regular people—people who aren’t audio writers—do when they put music on. When listening to music for pleasure, your mind is more open and receptive than it is when you listen critically. While not analytical, this approach has a different kind of rigor: stochastic, inductive, Bayesian. Impressions accumulate and add up to dependable evidence. It’s the difference between having a glass or two with dinner, or over several dinners, and swirling a sip in your mouth, thinking hard about the flavors it contains, then spitting it out.


Footnote 1: See my 1981 article on stereo microphone techniques.—John Atkinson


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October 2023 Classical Record Reviews

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Dvořák: Takács Quartet

Quartet 13; Andante appassionato / Fantasiestücke, Takács Quartet

Hyperion CDA68413 (CD). 2023. David Hinitt, eng.; Andrew Keener, prod.

Performance ****

Sonics ****½


Dvořák’s Quartet 13 in G major is only a third longer than the popular American, but its broader scale feels unwieldy. The first movement’s hearty, open main theme and lighter second are both appealing once you get past a schizophrenic, Punch-and-Judy introduction. In the Adagio, sustained straight tones lead to a warmly harmonized chorale; later, a warmer, cautiously affirmative passage brings uplift. Just when you think both these movements are over, they go off in different directions, evoking Dvořák’s penchant for stacking up endings, like jetliners over JFK. Takács devotees will expect and appreciate the first violin’s vibrant purity in alt—though his slightly grainy pianos disappoint—and the cello’s warm, burnished melodic lines. The lyrical passages balance Bohemian affection with melancholy, and the players clearly relish the finale’s infectious rhythms. At times, however, they seem to be “getting by” rather than commanding the music, though everything is competently in place; neither can they supply a through-line where the composer didn’t. “Expressive,” sentimental ritards lose tensile strength.


Coleridge-Taylor’s five brief Fantasiestücke give us almost as much Dvořák as the composer himself. You hear the echoes in the metrically ambiguous Humoresque; the reflective reprise of the Menuet; and the cheerful bustle (and late wandering!) of the closing Dance. The opening Prelude, almost Expressionist at the start, resolves tonally, not emotionally; the fluent, fluid Serenade suggests Schumann. Here, the playing, flecked and enlivened with small-scale rubatos, is wonderful.


First-class engineering results in clean instrumental images—Dvořák’s seamless viola-to-cello handoffs are perfectly clear—within a pleasing, unobtrusive ambience.—Stephen Francis Vasta




Johan Dalene/Christian Ihle Hadland: Stained Glass

Johan Dalene, violin; Christian Ihle Hadland, piano

BIS-2370 (Reviewed as 24/96 FLAC, available as SACD). 2023. Jens Braun (Take5 Music Production), prod. and eng.

Performance ****½

Sonics ****½


You may not have heard (yet) of Johan Dalene, but the young, Stradivarius-equipped violinist was named Gramophone‘s Young Artist of the Year in 2022 and has performed with the Leipzig Gewandhaus Orchestra, Czech Philharmonic, and San Francisco Symphony. He’s also made his mark in Halls Wigmore and Carnegie, and on this brilliantly assembled collection of works by Arvo Pärt (Fratres), Maurice Ravel (Sonata in G major for violin and piano), Lili Boulanger (Nocturne), Sergei Prokofiev (Sonata No.2 in D major for violin and piano), and four short works by Grazyna Bacewicz.


The collection’s common thread is a penchant for piquant harmonies, atmosphere, and mysticism. Bacewicz’s early “Witraz” (Stained-Glass Window), which she composed in 1932 at the age of 23, is unforgettable. If you can begin to imagine magical flashes of light and color diffused through a stained-glass window, dancing across the room as they metamorphosize into sound, you’ll get a sense of how special this miniature sounds. Dalene’s Strad whispers, flashes, darts, and whirls as Hadland shines beside him through light and shadow.


Thanks to the iconic ECM New Series recording by Gidon Kremer and Keith Jarrett, Pärt’s early mystical masterpiece achieved fame just a few years after it was completed. Where Kremer begins with a whisper, Dalene is far more forthright, his tone irresistibly fresh and gleaming, and the recording benefits from superior engineering. The touching poetry of Boulanger’s subtle miniature stands in sharp contrast to Prokofiev’s fabulous scherzo and circuslike finale. Ravel, too, revels in character, humor, amiability, and spice. The finale brings to mind someone chasing a mosquito around the room with a rolled-up copy of Stereophile in hand.—Jason Victor Serinus




Herrmann: Wuthering Heights Suite; Echoes for Strings

Keri Fuge, soprano; Roderick Williams, baritone; Singapore Symphony/Mario Venzago, Joshua Tan

Chandos CHSA 5337 (CD, available as SACD). Dominick Streicher, prod.; Ephraim Hahn, eng.

Performance ****

Sonics ****½


Bernard Herrmann, best known for scoring Hitchcock films, also composed serious concert music. His opera Wuthering Heights is large-scaled and romantic. Its first recording sprawled across four LPs, and there’s a lot of it to stage.


Hans Sørensen’s suite is neither the purely orchestral selection I’d expected nor a potted version of the opera. It’s a cut-down depiction of Heathcliff and Cathy’s doomed romance, omitting large chunks. After a good half-hour of Act I, we skip to Cathy’s Act II monologue I have dreamt, from there to the Meditation and much of Act IV. I hadn’t a clue why Cathy claimed that Heathcliff killed her. Still, this arrangement allows access to lovely music that might otherwise go unheard.


The portentous, angular Prologue is unpromising, and Heathcliff ‘s monologue repeats “Cathy! Cathy!” a few too many times. The calm, open textures that follow, however, are fetching. The lyrical passages are not entirely undisturbed—only occasionally echoing the Vaughan Williams pastoral mode—and the turbulent climaxes build from them naturally.


Under Mario Venzago’s stylish, authoritative leadership, the polished orchestra is tender in the lighter passages and surging at the peaks. Keri Fuge’s soprano is round-toned and vibrant. Roderick Williams is suitably intense, but his vowels are self-consciously “formed”; I wanted him just to open up and sing.


Echoes for Strings, originally for quartet, works effectively in this trim, expressive chamber-orchestra expansion. The most substantial of its 10 brief sections are a light, agitated Allegro and a graceful, tetchy waltz; other passages hark back to the ominous Hitchcock mode. The sound is beautiful, the string ensemble enhanced by a gentle ambience.—Stephen Francis Vasta


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Man kills girlfriend and chops her body into dozens of pieces, Indian police say

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An Indian man allegedly killed his live-in partner six months ago and chopped her body into dozens of pieces, police in the Indian capital New Delhi said on Monday. The suspect reportedly kept the body parts in a refrigerator and disposed of them in a forest, piece by piece, over the span of three weeks.

Aftab Ameen Poonawala, 28, was arrested by the Delhi Police on Saturday on charges of murdering his 26-year-old girlfriend, Shraddha Walker.

The couple, originally from Mumbai, had not known each for long. They met earlier this year through the dating site Bumble, Ankit Chauhan, a senior police officer in Delhi, told CBS News.

But when their families didn’t approve of their relationship — apparently because of their different religious identities — they moved to the Indian capital city around the end of April or beginning of May, police said.

The couple started living together in a rented apartment in the Mehrauli area of South Delhi, police said.

“In mid-May, he killed the girl seemingly when an argument escalated… he strangled her and cut the body into several pieces,” Chauhan told CBS News.

Indian news reports quoting police sources said the alleged killer, who is a food blogger, bought a 300-liter refrigerator to store dozens of the victim’s body parts, and then took three weeks to dispose of the pieces one by one in a nearby forest in the middle of the night.

Some Indian news reports said Poonawala killed Walker after she started pressuring him to get married, but Chauhan told CBS News the “motive is not yet clear, the investigation is still on, more details will emerge soon.”

Poonawala is in police custody for five days and is expected to be interrogated more.

Walker had not been in touch with her parents after she moved out of her Mumbai house and started living in with her partner, police said. But in September, one of her friends informed her family that her phone had been off for two months.

The girl’s father, Vikash Madan Walker, then approached the Mumbai police and filed a missing report. The Mumbai police found that her last phone location was in Delhi so transferred the case to police there.

In Delhi, the girl’s father briefed the police about his daughter’s relationship with Poonawala. That’s when he was arrested and confessed to the killing, police said.

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Streaming en famille : ce phoque en folie va devenir la mascotte de vos enfants !

Posted on by A2ZWEBDESIGNSUSA

Les enfants de ce moyen métrage disponible sur Disney+ sont les seuls capables d'arrêter l'animal qu'ils ont sauvé mais qui enchaîne les catastrophes !

Envie de proposer un film court et efficace à vos enfants ? Alors Sammy le phoque est fait pour vous : 45 minutes de simplicité et d’une amitié entre deux frères et un animal trouvé dans la nature dont ils décident de prendre soin. Ils le ramènent discrètement chez eux une fois les vacances finies, à l’insu de leurs parents.

A partir de 6 ans

Sammy, le phoque

Sortie :
24 mars 2020
|
1h 30min

De
Norman Tokar

Spectateurs
3,0

Voir sur Disney+

Ce téléfilm est évidemment calibré par Disney pour que les enfants de tous âges puissent l’apprécier ! Les gamins du film eux, sont malins et inventifs, l’animal maladroit et incontrôlable mais terriblement attachant, les adultes complètement perdus et les catastrophes nombreuses !

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A noter que le montage disponible sur Disney Plus est de 45 minutes environ, parfait pour occuper les petits pendant un goûter prolongé. Cette version est très courte comparée à celle diffusée en 1962 à la télévision lors de deux soirées dans l’émission Le monde merveilleux de Disney, qui elle faisait 2h30 ! A défaut d’être celui d’origine, le montage disponible va à l’essentiel et gagne en efficacité.

Ce qui va leur plaire :

Sammy, autant capable de faire des prouesses avec un ballon que de se montrer courageux face à des dangers ou de douceur avec les enfants qui l’ont soigné et recueilli.Les catastrophes causées par l’animal que ce soit la scène de la piscine ou celle du supermarché, en passant par celles des poissons hors de prix, les plus jeunes devraient apprécier.La façon dont les enfants arrivent à cacher aux parents la présence de l’otarie, qui n’est absolument pas crédible pour les parents, mais ravira les enfants !Ce qui peut les inquiéter :

Lors d’une scène d’ailleurs hommage à un grand classique du cinéma, Sammy est placé dans un landau mais accidentellement lâché par les enfants ! Il dévale des escaliers et on a peur pour ce cher Sammy, qui s’en sort heureusement sans accroc.La scène du supermarché est très bruyante, entre les bêlements du phoque, les aboiements de chiens et les cris des dames dont les courses sont chamboulées. Il y a aussi une possibilité d’agacement des parents !

AEW DYNAMITE ON-SITE REPORT (1/10): In person observations on two wrestlers who were most popular, Samoa Joe’s aura, Tony Khan’s off-air speeches to crowd, Jericho crowd reaction

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SPOTLIGHTED PODCAST ALERT (YOUR ARTICLE BEGINS A FEW INCHES DOWN)…

AEW DYNAMITE REPORT
JANUARY 10, 2024
JACKSONVILLE, FLA. AT DAILY’S PLACE
AIRED LIVE ON TBS
BY JOE B., PWTORCH CORRESPONDENT

-Tony Khan was something else. He got the second biggest pop of the night behind Swerve Strickland, but also got some boos at points. The crowd obviously ate up the hometown stuff, but it’s super bizarre to hear him rattling off business metrics about how good AEW is doing and droning on about Wembley to try to rally the troops. Nobody wants to cheer a billionaire’s quarterly metrics and there was some hostility from a not-insignificant part of the crowd a few days after the Jags season imploded for asking a lot from a small market without being able to put a winning team on the field.

But with that said, he was mostly beloved. He came wandering out after Dynamite looking like he was on another planet and announced three times in a row that Collision is coming to Daily’s Place. He would finish the announcement and then repeat it from the start as though he thought he was making it for the first time. He had a weird line that sounded like, “I’m so gross” that he used like 100 times in the context of “I love wrestling and I’m so gross, I brought in Vikingo!”

At one point he talked for a few minutes, told the crowd he would see them after Rampage, got a big ovation, and left, but then ten seconds later wandered back out on the ramp and started talking again. Filming more ROH seemed totally improvised and, when they were setting up, Tony was talking about how the ring crew haven’t had a week off since the stone age because they run 52 weeks a year that made him unintentionally sound awful.

When we left around 11:30, you could see the Daily’s screen while walking in the parking lot and, as a lot of people were walking away, Tony was back out again rambling about Honor Club and what a success Final Battle was and everyone was audibly laughing – not in a mean-spirited way, but in a “this man is a meme” way. He had kind of a strange interaction with Negative 1 where he seemed lost as well.

-By far the most over act on the show was Swerve Strickland and it wasn’t even close. I wasn’t on the bandwagon as heavily as others, but in person the guy has an aura and star presence that overshadowed almost everyone. His Rampage match when 30 percent of the crowd was probably gone had the loudest babyface reaction of anything all night.

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-Julia Hart got a massive reaction for her entrance even though for whatever reason the match wasn’t that over and in the section I was sitting in she and Swerve were the two people virtually everyone was anticipating seeing and had signs for. Both she and Swerve seemed like WWE-level character acts in a promotion dominated by in-ring focus.

-Ricky Starks was shockingly underwhelming in person. His entrance got virtually no reaction, a hot crowd totally died from the jump in this match, and in person he seemed like a guy who maybe I mistook for being wildly charismatic because he looks a little like The Rock. Roderick Strong was way more over than Ricky and I left feeling like losing him to WWE wouldn’t even be that big of a loss.

-It was a very Chris Jericho-friendly crowd. He got a huge reaction and I don’t think turning off the music would have resulted in many audible boos.

– My perception of Samoa Joe was NXT guy I didn’t really want to see in AEW, but he had such an incredible World Champion feel and was so over in his promo that I’ve done a 180 and now kind of hope he isn’t just a transitional champ.

Overall, a blast of a show!

RECOMMENDED NEXT: AEW DYNAMITE HITS & MISSES (1/10): Samoa Joe confronted by challengers, Daily’s Place setting, Sting & Darby, Young Bucks, Preston Vance

OR CHECK THIS OUT AT PROWRESTLING.NET: McGuire’s Mondays: When will pro wrestling clean up its act for good?