Connect with us

Culture

UN nuclear watchdog report says Iran slows its enrichment of near-weapons-grade uranium | Culture

Iran has slowed the pace at which it is enriching uranium to nearly weapons-grade levels, according to a report by the United Nations’ nuclear watchdog seen by The Associated Press on Monday. That could be a sign Tehran is trying to ease tensions after years of strain between it and the U.S.

The confidential report comes as Iran and the United States are negotiating a prisoner swap and the release of billions of dollars in Iranian assets frozen in South Korea. However, international inspectors also noted new challenges in trying to monitor Iran’s program.

In an effort to ensure Iran could not develop atomic weapons, world powers struck a deal with Tehran in 2015 under which it agreed to limit enrichment of uranium to levels necessary for nuclear power in exchange for the lifting of economic sanctions. U.N. inspectors were tasked with monitoring the program.

Then-President Donald Trump unilaterally pulled the U.S. out of the accord in 2018, saying he would negotiate a stronger deal, but that didn’t happen. Iran began breaking the terms a year later.

The International Atomic Energy Agency said in its report that Iran has 121.6 kilograms (268 pounds) of uranium enriched up to 60%. That means its stockpile of the fuel is growing at its slowest pace since 2021. A report in May put the stockpile at just over 114 kilograms (250 pounds). It had 87.5 kilograms (192 pounds) in February.

Uranium enriched at 60% purity is just a short, technical step away from weapons-grade levels of 90%.

Iran has long denied ever seeking nuclear weapons and continues to insist that its program is entirely for peaceful purposes, though the IAEA’s director-general has warned Tehran has enough enriched uranium for “several” nuclear bombs if it chose to build them.

Iran’s mission to the United Nations in New York did not immediately respond to a request for comment Monday.

Tehran likely would still need months to build a weapon. U.S. intelligence agencies said in March that Iran “is not currently undertaking the key nuclear weapons-development activities that would be necessary to produce a testable nuclear device.” The IAEA, the West and other countries say Iran had a secret military nuclear program it abandoned in 2003.

Overall, the IAEA report estimated Iran’s total enriched uranium stockpile at 3,795.5 kilograms (8,367 pounds). That’s a drop from the last IAEA report, which put the stockpile at 4,744.5 kilograms (10,459 pounds). The stockpile reportedly declined because Iran diluted some of its enriched uranium.

U.S. President Joe Biden has said he’d be willing to re-enter a nuclear deal with Iran, but formal talks to try to find a roadmap to restart the deal collapsed in August 2022. In the time since, Oman and Qatar have mediated indirect talks between Iran and the U.S. that led to the current planned prisoner swap and asset release.

Under that proposal, anywhere from $6 billion to $7 billion, depending on exchange rates, would be changed from South Korean won into euros. The cash represents money South Korea owed Iran — but had not yet paid — for oil purchased before the Trump administration imposed sanctions on such transactions in 2019.

The U.S. maintains that, once in Qatar, the money will be held in restricted accounts and Iran will only be able to use it for humanitarian goods, such as medicine and food. Those transactions are currently allowed under American sanctions targeting the Islamic Republic over its nuclear program.

In exchange, Iran would release five Iranian-American prisoners now under house arrest. The U.S. likely will release Iranian prisoners as well, though those details remain murky. If that deal goes through, it could improve the chances of overall talks on the nuclear deal resuming — though Biden already faces strident criticism from Republicans and others over the prisoner swap.

While Iran has slowed enrichment, the IAEA reported other problems with trying to monitor its program. The report from the watchdog seen by the AP said Iran had denied visas for agency officials and affected their ability to work in other ways as well.

Iran has not acknowledged the visa denials.

The IAEA also hasn’t been able to access surveillance camera footage since February 2021 under Iranian restrictions, while the only recorded data since June 2022 has been from cameras at a workshop in the Iranian city of Isfahan.

The watchdog also said that no progress has been made on its request that Iran explain the origin and current location of manmade uranium particles found at two locations that Tehran has failed to declare as potential nuclear sites.

Sign up for our weekly newsletter to get more English-language news coverage from EL PAÍS USA Edition

Source link

Culture

‘Monkey Man’: Dev Patel makes directorial debut with a delicious stab at action cinema | Culture

Dev Patel has always had an intelligent glint in his eye. From his big screen debut in Slumdog Millionaire to his role as a journalist in Aaron Sorkin’s series The Newsroom, the British actor usually brings a sense of peace, calm and intelligence to his performances. Perhaps that is why it is no surprise that, at 32, he has made his directorial debut with a film in favor of social outcasts, which he also produces, co-writes and stars in. The surprise is its genre: Monkey Man is a fierce action and martial arts film, revolving around hand-to-hand combat, dismemberment and knife fights.

Patel returns to India, the land of his ancestors, for his story of revenge that is strengthened by the creative arsenal applied to its sequences — and not only those of combat. While there was a serious lack of design in Danny Boyle’s Slumdog Millionaire, one of the worst choices for Oscar for Best Film in Oscar history, Monkey Man has at its heart a physical and moral entanglement, involving a sadistic police chief, a luxury brothel that serves as home to both fornication and power, and a ragged young man who seeks to atone for the death of his mother through the most savage forms of violence.

Monkey Man is also set in a slum overrun by gambling and fights, with Patel earning a few rupees as an underground bare fist fighter wearing a crude monkey mask. With its colors and the camera’s handling of Bombay’s chaos, the movie has echoes of Brazil’s City of God.

Image from the movie 'Monkey Man.'
Image from the movie ‘Monkey Man.’Universal Pictures

A comparison can also easily be made with the John Wick saga, which has revolutionized commercial action and martial arts cinema in the past 10 years. Patel even mentions John Wick in one on-screen exchange. Yet, despite the similarities, the staging and editing of their spectacular fight sequences set them apart. In the four installments of the John Wick movies starring Keanu Reeves, the choreography regarding the confrontations is developed through a paradoxically harmonious staging of continuity, with general shots extended in time. The dynamics of their contenders and their movements are visualized with hardly any editing, almost like a classic fifties musical but instead of dances, there is physical destruction.

The action in Monkey Man, on the other hand, is not one of continuity, but of rupture. The cuts are incessant and move at an unrestrained pace; the shots come in quick succession, with barely a second or two between them. Patel’s handling of cinematic language is brutal. For a novice director, he displays a dazzling energy, cadence and expressiveness. This is demonstrated by three of the only four fights in the ring, each one based on a dynamic sense of space and narrative. The first is defined by the close-up shot, with the camera directed at the waist of the opponents or even lower — giving the viewers a sense of overwhelming closeness. The second offers a very different vision of the fight, which is both more poetic and exquisite. And the third uses surprise as the main exponent, and is raw and concise.

With rough textures, contrasting colors and ochre photography, reflecting the social mud in which most of the characters are stuck, Monkey Man only slips off kilter in the second half, when the Hindu demigod, Hanuman, assumes the tragic halo that envelops the protagonist. Although it gives him authenticity with respect to his lineage, the visualization is tinged with a somewhat tiresome messianic muddle of lyrical ambition.

Monkey Man

Director: Dev Patel.

Cast: Dev Patel, Sharlto Copley, Pitobash, Sobhita Dhuliwala.  

Genre: Action. United States, 2024.

Duration: 121 minutes

Release date: April 12.

Sign up for our weekly newsletter to get more English-language news coverage from EL PAÍS USA Edition

Source link

Continue Reading

Culture

Paramount Studio Prevails in Copyright Battle Over ‘Top Gun’ Sequel

Paramount & The Copyright Battle Over ‘Top Gun’ Sequel

The Voice Of EU | Paramount emerges triumphant from the legal showdown triggered by Maverick’s triumphant return to the big screen. A U.S. district judge swiftly shut down a lawsuit brought by the widow of the Israeli scribe who penned the piece inspiring the 1986 blockbuster, Top Gun. The heirs of Ehud Yonay alleged Paramount breached intellectual property rights with the sequel, Top Gun: Maverick, which soared to unprecedented heights in 2022, raking in over $1.5 billion worldwide. However, the judge decreed that numerous aspects of the sequel, including its narrative and dialogue, bore no resemblance to Top Gun. The sole shared element? Both narratives orbit the U.S. Air Force pilot training hub.

Judge Percy Anderson’s verdict laid bare that many of the claims raised by the Yonay clan failed to meet copyright criteria. In a 14-page ruling, he affirmed that the sequel’s themes, dialogue, characters, setting, and overall presentation diverged significantly from Yonay’s original article, as reported by The Hollywood Reporter.

Marc Toberoff, the legal maestro representing the Yonay lineage since 2022, swiftly vowed to contest the ruling. The estate had dispatched a cautionary missive to Paramount in May of that year, weeks before the sequel’s release, forewarning of potential copyright infractions due to the family reclaiming story rights in January 2020.

The judge’s decree solidifies that Top Gun: Maverick marches to its own beat, with little homage paid to its predecessor or Yonay’s source material, which meandered through life at Miramar Naval Air Station in a non-linear fashion, honing in on pilots Yogi and Possum. Instead, the latest installment, helmed by Joseph Kosinski, unfurls a linear tale set years later, spotlighting a fresh squadron at North Island Naval Air Station, also in San Diego.

With the lawsuit dismissed, the runway is clear for the trilogy’s third chapter, headlined by the indomitable Tom Cruise. Currently in pre-production at Paramount, the script by Ehren Kruger, architect of the sequel’s success, fuels anticipation. Talks are underway to enlist Kosinski’s directorial prowess once more, though industry pundits speculate production could hit turbulence if Paramount falls under SkyDance’s umbrella. The titans of entertainment are in deep discussions about the fate of Tinseltown’s venerable studio.

Regardless, Ehud Yonay’s legacy won’t grace the credits of the third installment, as Judge Anderson quashes any such notion.


Continue Reading

Culture

‘Ripley,’ The Best Treatment Of The Patricia Highsmith Classic That Sheds Light Onto The Cursed Human Condition

‘Ripley,’ The Best Treatment Of The Patricia Highsmith Classic

When faced with another adaptation of Tom Ripley, the character, the very human villain created by Patricia Highsmith, the writer who tried to understand the evil that nests in each one of us, one wonders what was the need for it? I mean, hadn’t Anthony Minghella nailed the idea of such a charming, queer criminal in The Talented Mr. Ripley, a luminously dark film that became an instant classic in the 1990s? You might ask if the present is so lacking in ideas. But let me tell you that it suffices to watch a few minutes of Steven Zaillian’s Netflix miniseries Ripley to think quite the opposite (Zaillian is also the creator of The Night Of). That is, one wonders why hadn’t anyone done this before, how Minghella could have stayed so far away, so much on the surface of the character, really?

The feeling that, from the beginning, Ripley has been much more than an apparently seductive guy, that he actually never was — for Highsmith, he was always a strange guy — who nevertheless managed to make others trust him because, by observing them, he gave them exactly what they wanted, at all times. What they wanted was attention, to feel understood. The sense that through Ripley the world and the human being — everything that someone is capable of doing to get what he wants, and what he wants is not necessarily a good thing, you will see why — can be explained and has been there from the beginning, but it would seem that what we knew about him was that he was a fake, a trickster, a perpetual mask. And why, how did he experience that mask, where did he leave the rest? Well, Zaillian answers all those questions one by one and raises a few more.

And Ripley does so thanks to a hypnotic and fascinating narration that brings back the best film noir, inhabited by a present in which subjectivity reigns. Thus, there is an excellent intention in the use of black and white — and not only because of the classic air it gives, the tribute to noir from high neo-noir — because there is no color in Ripley’s world, everything is governed by Good and Evil, and the nuance is painful because no one in the society of the time (1961) is seeing it. And it is also there in the third person who constantly becomes the first person — that is, the viewer is both outside and inside the character, because what he is seeing is not only what is happening, but how Ripley himself feels what is happening. And how does Zaillian achieve this? With the sublime use of sound and fixed shots, objects and an environment that only seems to stalk the protagonist. The calm before any storm.

Ripley
Andrew Scott in an image from ‘Ripley’. Lorenzo Sisti

The way the crimes are told is the best example of that latent — and immersive — subjectivity that achieves what Highsmith set out to do, time and again, in her novels by telling how darkness, the damned, nestles in each of us: to empathize. They know the story. The writer’s recently divorced mother drinks a full glass of turpentine when she finds out that she is pregnant. And yet little Pat survives. And she grows up to become a writer who wants nothing more than to understand what her mother did. Her mother must have loved her; but she tried to get rid of her: did that make her horrible? It was through villains who were nothing more than ordinary guys with one foot on the edge of the abyss that Highsmith tried to understand her mother. And Ripley, her most perfect, her most polished, creation.

Remember the story. Tom Ripley (here, Norman Bates-like, played by Andrew Scott with a coyly sinister touch) is a small-time con man who lives by intercepting mail that isn’t his and forging identities to collect small sums. He is hired by a shipping magnate to bring his wayward son, Dickie Greenleaf (a magnetic and superb Johnny Flynn) home. Dickie lives in Atrani, a small Italian seaside town, with his girlfriend Marge (played by a cold and suspicious Dakota Fanning), where the two lead a small bohemian life. Ripley and Dickie are supposed to have been friends at some point — Dickie doesn’t remember him — and the attempt to convince him will turn into an impossible impersonation that Ripley painstakingly improvises as he goes along, criminally eliminating one obstacle after another.

Ripley
Dakota Fanning as Marge Sherwood and Johnny Flynn as Dickie Greenleaf in ‘Ripley.’
Courtesy of Netflix

On screen, the subtlety with which Zaillian portrays the fine line that separates Good from Evil — or what we should not have done from what we have done — is drawn by the narrative’s attention to detail and symbols. There’s a narrative beneath the narrative we’re contemplating, which Minghella overlooked; here, they give the character abysmal depth. Those stairs that Ripley climbs, which are at first intricate, labyrinthine, and then cease to be so; they remind us of Sisyphus, in his repeated ascent, the effort, the awareness of the Evil that weighs heavier and heavier. The annoying, insidious clock that marks the race against time that we will never win. The oppressive silence. The silence of death. Ripley is alone with himself when he kills, and the viewer is inside him.

“Tom Ripley is nobody, and so he can be anybody,” Patricia Highsmith herself said of her character. “In that sense, he’s an impostor. He’s someone who gets under someone else’s skin, and so he reflects us a little bit because we’re all a mask in a way,” she added. Yes, Tom Ripley is a mask. He is an animal destined to be someone else, who survives by being someone else, and here each twisted monologue in front of Andrew Scott’s mirror takes another step toward some kind of abyss. Because, as we said, Ripley — and any Highsmith villain — is capable of doing anything to get what he wants, and what he wants is not always, as we also said, a good thing. Not even for him. And here’s the thing that every one of Highsmith’s creations hides: an imperiously savage desire to destroy his world. Zaillian’s miniseries — pure suspense, an intellectually superior suspense, you’ll see — shows that desire better than anyone else.

Continue Reading

Trending

Subscribe To Our Newsletter

Join our mailing list to receive the latest news and updates 
directly on your inbox.

You have Successfully Subscribed!