Football star Cristiano Ronaldo has been hit with class-action lawsuit seeking at least $1 billion in damages for his role in promoting cryptocurrency-related “non-fungible tokens,” or NFTs, issued by the beleaguered cryptocurrency exchange Binance. (more…)

The 10th edition of Duhok International Film Festival will be held in the city of Duhok, Kurdistan Region, Iraq, focusing on French cinema, with its president inviting prominent global movie companies to attend this event.

According to the report of Mansour Jahani, an independent and international cinema journalist, Presided by Ameer Ali Mohammed Tahir and artistic management by the Kurdish director, Shawkat Amin Korki, the 10th round of Duhok International Film Festival is set to be held on 9-16 December, 2023, at Duhok University’s congregation hall and the Duhok Mall Cineplex in Duhok, Kurdistan Region. Heralding the motto of “Mother Tongue (Kurdish),” this edition of Duhok will showcase 100 films by directors of different geographical backgrounds, in a variety of formats such as feature films, shorts, and documentaries in the two categories of competition and out-of-competition.

by Amir Ali Mohammed Tahir, the president of Duhok International Film Festival, stated in a press conference, “The festival agenda has not been that easy so far, only accomplished through the consistent efforts of my colleagues as they have been preoccupied with these affairs for a long while.”
He said, “The festival’s advisors and selection committee have picked out the best films for the competition and out-of-competition categories upon thorough counsel. Each year we try to engage the most excellent cinematic works and elevate the festival in a sense; it is of utmost significance to us that the people travelling to Duhok get to observe the region’s exquisite cinematic culture.”
by Amir Ali Mohammed Tahir said, “Our strategy is to set more prominent objectives each year and that in my opinion is of crucial importance. In each round, Duhok residents have joined the dear people of Kurdistan in the enhancement of the culture and art of this region. Our consistency in holding the festival is a triumph as this part of the Middle East has surpassed numerous obstacles and struggles, and we hold this event each year through a shared effort.”
“Another goal of the festival is to first of all introduce the culture and art of Kurdistan Region to other nations, and the expansion of such cultural and artistic bonds is vital to us. On the other hand, the provision of suitable platforms and contexts for Kurdish youths and filmmakers to produce cinematic works is necessary. Next, the presence of global filmmakers in Duhok festival leads to the creation of cultural and artistic ties and the introduction of Kurdish cinema to the powerful and valuable global movie industry,” Tahircommented.
“Our main goal is to invite a number of prominent global movie companies to this event so that they may choose the Kurdistan Region as their principal setting of their works. I hope that in the near future we get to see the beautiful and intact culture and nature of Kurdistan Region, especially Duhok through the lens of global filmmakers. Also, the economic, touristic, and other growths of the region is another motive for holding this cinematic event,” said the president.

Hassan Arif, the public relations manager of the 10th Duhok Film Festival stated in another segment of the press conference, “We announced that we’d be accepting this round’s submissions via the film portal from 10 June, 2023; after three weeks, we received 500 films in the world cinema and Kurdish cinema sections. Around 200 films were selected by the festival committee members who had attended several global festivals. After closing the film portal, the committee started to work and as a result 100 films in formats namely feature-length, shorts, and documentaries entered the final phase of the festival.”

“This year’s theme is mother tongue which in this case is Kurdish; a rich and extensive language, with numerous accents and particular characteristics. Many Kurdish filmmakers either domestically or outside the region annually produce works in a variety of languages and this is a message for them to keep making Kurdish films so that this tongue may remain alive and lasting,” stressed the public relations manager.
He added, “We have chosen France as the guest country of this year’s Duhok film festival, with screenings of feature-length films, shorts, and documentaries. France is undoubtedly one of the birthplaces of cinema, and at the moment, the international film festival of Cannes is one of the most prestigious cinematic events all across the globe.”
“We have annually received requests for the submission of children films, and this year we have added another category titled “children and youth cinema” showcasing 10 selected films that will be screened in the festival. Also, as usual, the classic cinema category of Duhok Film Festival will feature several prominent world cinema films,” reiterated Arif.

Trusted member of Asia Pacific Screen Awards

Based in Iraq, Duhok Film Festival is a trusted member of Asia Pacific Screen Awards in Australia known as Asian Oscars, introducing global films in this cinematic event.

Jury members of “World Cinema” competition category in this festival will grant a statue, a plaque, and Yılmaz Güney’s $10,000 award to best feature film, $5000 to best director, $5000 to best international short film, $5000 to new talent, jury’s special $1500 award to best short and the French Goethe Institute’s $5000 dollar award to best international documentary.

Duhok Film Festival, presided by Amir Ali Mohammed Tahir, with artistic management by Shawkat Amin Korki, and in memoriam of Yılmaz Güney, the 1982 Palme d’or winner in Cannes, is in an effort to bridge the gap between Kurdish directors and those from the rest of the world, facilitating cultural exchanges among the nations all around the world.

For more details:

http://www.duhokiff.com/

https://www.facebook.com/duhokiff/

As anticipation builds for Dubai’s biggest New Year’s Eve celebration, Emaar Properties reveals the extraordinary technological expertise and human creativity that went into the making of the legendary Emaar New Year’s Eve 2024 show in Downtown Dubai.

The visual composition on the Burj Khalifa’s façade was meticulously designed by a daring crew of visionaries and technicians throughout 671 working days. An increase from previous seasons, the 325 strategic firing positions in this year’s show are choreographed to create a breathtaking spectacle in the sky.

Paying tribute to the spirit of Dubai, more than 2800 shooting directions transform the night sky into an intricate pattern of colours and shapes, thereby contributing to the show’s complexity. An unprecedented 15,682 pyrotechnic elements will be featured in the performance; each will have a distinct firing sequence coordinated using state-of-the-art computer technology.

In perfect harmony with this spectacular display, the nearby Dubai Fountain is set to present a breathtaking choreography of its own.

Under the expert direction of Peter Kopik, WET’s chief choreographer with a rich history of nearly three decades in fountain choreography, this year’s Dubai Fountain show promises an awe-inspiring blend of water artistry, light, and sound, perfectly timed and synchronised with Burj Khalifa’s display.

The show features over a thousand MiniShooters creating dynamic water sequences, dozens of HyperShooters and XtremeShooters propelling water up to 150 meters, and hundreds of Oarsmen and Fan Oarsmen that add elegance and fluidity to the water dance. Over 6,600 lights and 127 strobe strings will illuminate the water, while 6,700 fog nozzles create an ethereal atmosphere, setting the stage for a night of enchantment.

Despite its extraordinary magnitude, Emaar’s New Year’s Eve celebration is more than just figures. We take great pleasure in the sense of togetherness and unity that this technological achievement will cultivate among family and friends across the globe.

Emaar ensures the meticulous planning and execution of the New Year’s Eve shows at Burj Khalifa and Dubai Fountain, prioritising high quality in producing its events over quantity. Beyond being just another fireworks extravaganza, the Emaar New Year’s Eve show exemplifies the seamless integration of technology, artistic excellence, and human ingenuity.

In anticipation of the forthcoming event, Emaar cordially invites people worldwide to partake in this momentous occasion characterised by ingenuity, solidarity, and wonder. Together, let us celebrate an unforgettable moment to ring in 2024.

Note: A limited number of tickets for a prime viewing spot in Burj Park is still available for those who wish to enjoy a hassle-free experience on this magical evening. Book your tickets now on Platinumlist.

For more information, log on to mydubainewyear.emaar.com

• With 671 workdays invested, the setup for the New Year’s Eve show at Burj Khalifa represents a monumental effort of planning and precision.

• A record number of 325 firing positions have been strategically installed on Burj Khalifa, surpassing past years’ setups and ensuring a breathtaking display.

• 2,800 unique shooting directions have been meticulously programmed, merging cutting-edge technology with optimised creative vision.

• Over 15,682 individual pyrotechnic elements create an unparalleled visual symphony.

• In parallel with Burj Khalifa’s display, the Dubai Fountain show, designed by the celebrated Peter Kopik, promises an enchanting experience with intricate choreography featuring innovative water features and synchronised effects.

Oscar-winning actor Jamie Foxx was accused of sexual assault in a lawsuit filed in New York City on Wednesday that alleges he groped a woman at a rooftop bar and restaurant in Manhattan in August 2015. (more…)

After settling rape and abuse allegations with the singer Cassie last week, Sean “Diddy” Combs is facing growing scrutiny in the midst of his push to refresh and expand a business portfolio he spent decades cultivating.

In a letter filed with a New York court Friday, the London-based spirit maker Diageo cited the accusations to bolster its monthslong effort to prevent Combs from serving as the face of DeLeón tequila, which he has run in a joint venture with it for a decade.

The letter came after a series of lawsuits Combs filed against Diageo, whose other brands include Johnnie Walker, Don Julio and Smirnoff.

In May, he accused the company of pigeonholing DeLeón and Cîroc, the vodka he fronted for 15 years, as “Black brands” for “urban” consumers, allegedly violating an equal treatment provision in their contract. In a subsequent October complaint, Combs said Diageo had blackballed him from the spirit industry over his racial discrimination claims, which have been put on ice until next spring. He alleged in last month’s retaliation suit that the company was sending him the message “speak up and you will be punished.”

Diageo ended the Cîroc partnership over the summer, saying at the time that Combs had breached his contract. But the parties are still feuding over the use of up to $15 million in advertising and promotional budget, including for DeLeón’s marketing next year.

In recent months, Diageo has argued in court documents that Combs’ accusations of racism, which it denies, have already made him an ineffective spokesperson. The new “public and disturbing accusations” against the music mogul risk “devastating and permanent damage” to the tequila brand, the company said Friday, adding that one influencer had already asked to cut ties with DeLeón on moral grounds.

In its court letter, Diageo pointed to a statement by Combs’ lawyer to The New York Times indicating the artist was aware that Cassie wanted to expose details of their relationship for at least six months before they emerged publicly. That period, the company said, “happens to correspond with the pendency of Combs Wines’ original lawsuit against Diageo.”

Diageo declined to comment beyond the statements in the court documents.

A spokesperson for Combs didn’t comment on the Diageo dispute but said the decision to settle with Cassie, whose legal name is Casandra Ventura, “does not in any way undermine his flat-out denial of the claims. He is happy they got to a mutual settlement and wishes Ms. Ventura the best.”

In the days after the rape accusations emerged, scrutiny of Combs and members of his business circle has intensified. On Wednesday, his music label, Bad Boy Records, was sued along with its parent company and former president, Harve Pierre, accusing Pierre of sexually assaulting an unnamed assistant at the label.

“The allegations are from many years ago that were never brought to the attention of the company,” a Bad Boy Entertainment spokesperson said. “Neither the plaintiff nor the executive are current employees of the company. We are now investigating the allegations, and our top priority is the safety and well-being of our employees.”

Pierre didn’t immediately respond to requests for comment.

On Monday, the co-host of a podcast on Combs’ Revolt media network announced she wouldn’t participate in a third season. “I am a [sexual assault] survivor & I cannot be part of a show that’s supposed to uplift black women while @Diddy leads the company,” Dawn Montgomery, who hosts “Monuments to Me,” a podcast about Black women’s issues and successes, posted on X.

Montgomery told NBC News that she empathized with Cassie’s allegations. “I cannot sign back on and say that I want to be paid to do a podcast where a few of the episodes were probably going to reflect this conversation,” she said. “Diddy and his people could never do anything towards me to make me feel like I needed to continue to be quiet.”

Revolt didn’t respond to a request for comment.

Old interviews with Combs’ associates addressing his alleged behavior and new comments critical of him have circulated on social media. Some users included the phrase “Surviving Diddy,” an apparent reference to the Lifetime docuseries “Surviving R. Kelly” that featured accounts of women who accused the R&B artist of abuse over several decades. Kelly is currently serving time in prison for multiple sex crimes convictions.

During a performance in Los Angeles last weekend, the singer Kesha dropped lyrics referring to Combs in her 2009 hit single, “Tik Tok,” whose opening line mentions him.

The pushback follows a flurry of business moves by the 54-year-old entertainment mogul over the last 12 months.

Combs announced in September that he was returning publishing rights to some Bad Boy artists, telling Variety he was “doing the right thing” by making good on plans in the works since 2021. Several artists criticized the offer, saying they’d been asking for the rights for years but were unlikely to earn much from music that was more profitable decades ago.

In February, he rebranded his Combs Enterprises as Combs Global to reflect his evolution “as a business leader and a bigger vision to build the largest portfolio of leading Black-owned brands in the world.” The venture includes Empower Global, an e-commerce marketplace launched in 2021 aimed at supporting Black entrepreneurs.

The refresh came three months after Combs agreed to acquire a pair of cannabis operations in a deal valued at up to $185 million at the time, but the plan fell through in July after the merger that would have spun them off collapsed. In May, Combs rolled out a new R&B label, Love Records, as part of a deal with Motown Records that saw the release in September of his fifth studio album.

Combs, whose net worth has been estimated at around $1 billion, shot to fame in the early 1990s as a music promoter turned talent director before setting out to run his own label, with Bad Boy Records representing artists from the late Notorious B.I.G. to Faith Evans. One of his earliest major ventures outside music was in fashion, with the Sean John streetwear label launching in 1998. Combs sold the bulk of the brand in 2016 for an estimated $70 million, then bought it back from its bankrupt owner for around $7.5 million five years later.

A Macy’s spokesperson said the retailer began phasing out Sean John starting this fall in a move unrelated to the allegations against Combs. Other major sellers of the line, including Nordstrom and Saks Off 5th, didn’t respond to requests for comment, nor did Sean John’s parent company.

Some crisis communications experts said Combs’ quick settlement of the abuse claims could blunt further damage to his brand and businesses.

“Diddy avoided much of that pain by getting this thing resolved quickly,” said Evan Nierman, CEO of the public relations firm Red Banyan. “I think resolving the legal matter and having it completely closed to their mutual satisfaction is going to help inoculate him against seeing his career permanently destroyed.”

He said he wasn’t surprised that other celebrities and major brands largely haven’t weighed in. “I expect people to remain quiet on the topic now while it’s in the headlines,” he said, adding, “This is not going to have a lasting damaging effect on him.”

NBCNews.com story by Nicole Childers, Sara Ruberg and Diana Dasrath Click Here to Read on NBCNews.com

The world leading global agency Laird and Good Company have announced their inaugural edition of  Good Works Prints  launching on Giving Tuesday 28 November, with 100% of the proceeds from the print sale going to support 1% for the Planet® Impact Fund at National Philanthropic Trust.

Featuring 10 artists from the agency’s impressive roster of photographers, directors and stylists, the November print sale marks the start of the agency’s wider philanthropic initiative Good Works in which the first effort is Good Works Prints. Good Works is dedicated to raising awareness around environmental causes, and celebrating the community of artists the agency represents. The artists included in the first sale are Ciril Jazbec, Finn Beales, Gentl and Hyers, Leeor Wild, Mark Elzey, Maureen M. Evans, PEDEN + MUNK, Rich Stapleton, Richard Phibbs and William Jess Laird.

Good Works Prints is launched to raise awareness and funds for organizations and charities making a difference in our world, with a focus on conservation and restoration, climate adaptation, and climate emergency relief efforts. Each of the print sales will fund positive environmental change – our inaugural sale in collaboration with the Planet Impact Fund will do this through targeted philanthropic grantmaking and impact investing. Laird and Good Company wish to support innovative projects that protect the planet’s ecosystems, conserve biodiversity, and combat climate change while using art as a vessel for doing so.

The first collection will feature 10 donated images by Laird and Good Company artists, which will be available to purchase globally in three different limited edition sizes. The prints are distributed by The Print Space a carbonneutral printing company with  optional FSC-certified Wood framing available at  checkout. All of the prints will be available to purchase on Good Works Prints online store launching on 28 November and all purchases made by 5 December will be delivered internationally before Christmas.

The 10 chosen artists represent the diverse range of artistic talent Laird and Good Company champions, hailing from a variety of backgrounds internationally, including Ciril Jazbec – an artist whose work explores themes of climate change and the solutions developed by communities at the front lines, forced to adapt; Gentl and Hyers, a New York based directing and photography duo tenured and deeply experienced through twenty-five years of shared life and creativity which has led them to photographing some of the most well known chefs, brands and more; Richard Phibbs who alongside his profile clientele is a staunch advocate for animal rights and recently photographed 700 abandoned animals for the Humane Society of New York with a vision to create an immediate emotional connection between humans and homeless animals.

Charles Laird, the Managing Director UK/EU of Laird and Good Company:

“It is very fortunate and fulfilling to be able to work within the creative industry and in our own way and with the tools at our disposal, we want to create a space where we are able to give back as well as pay it forward. We believe we have an indisputable responsibility to our planet and the people on it. Knowing that, we constantly reevaluate our impact to support, protect, and best conserve Mother Earth. We want to forever be operating in an open state of learning, evolving and making a difference.

Earlier this year we officially became a member of 1% for the Planet, an amazing global organization that exists to ensure our planet and future generations thrive. Launching Good Works is another step in our commitment to sustainability.

Using creativity as an agent of change, Good Works connects our roster of storytellers and image makers with organizations and communities dedicated to making a positive impact on the world. Our team could not be more excited to launch this initiative and help facilitate new ways our community of artists can give back to our planet.”