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The Battlecruiser Squadron was a Royal Navy squadron of battlecruisers that saw service from 1919 to the early part of the Second World War. Its best-known constituent ship was HMS Hood, "The Mighty Hood", which was lost in the Battle of the Denmark Strait on 24 May 1941. Following the loss of HMS Repulse on 10 December 1941, Battlecruiser Squadron was disbanded. Its last surviving member, HMS Renown, survived World War II and was removed from service and scrapped in 1948.
Formation
During the First World War, the Royal Navy had initially maintained three squadrons of battlecruisers, until losses at the Battle of Jutland had reduced the number of available battlecruisers sufficiently to warrant a reduction to two squadrons. Following the War, battlecruiser numbers were again increased to three, with a fourth building.
In late 1919, the Battlecruiser Squadron was formed, consisting of HMS Tiger, flagship of Rear Admiral Sir Roger B. Keyes, KCB, KCVO, CMG, along with HMS Renown and HMS Repulse. HMS Tiger was removed from operational service with the commissioning of HMS Hood in May 1920, and relegated to a training role. HMS Hood then became the flagship of the Battlecruiser Squadron on 18 May 1920.
Special Service Squadron
In 1923, HMS Hood and HMS Repulse, along with several smaller ships of the First Light Cruiser Squadron, formed part of the Special Service Squadron, under command of Vice-Admiral Sir Frederick Field. The Squadron departed Devonport on 27 November 1923 and returned on 29 September 1924 after travelling around the world.
Inter-War Period
Hood was decommissioned for a major overhaul from May 1929 to May 1931. During this period, flagship duties were transferred to Renown, and Tiger was returned to active service, to maintain the three ship strength of the squadron. Following her recommissioning, Hood again became flagship of the squadron, and remained the flagship until her loss on 24 May 1941. Tiger was decommissioned on 30 March 1931 and scrapped shortly after.
Dissolution
HMS Hood was lost in action with the German battleship Bismarck at the Battle of Denmark Strait on 24 May 1941. HMS Repulse was sunk by Japanese aircraft off Kuantan, Malaya on 10 December 1941. With the loss of the Hood and later the Repulse, the squadron ceased to exist. HMS Renown survived the war and was scrapped in 1948.
Rear-Admiral/Vice-Admiral commanding
Included:
References
== External links ==
|
conflict
|
{
"answer_start": [
414
],
"text": [
"World War II"
]
}
|
The World Blitz Chess Championship is a chess tournament held to determine the world champion in chess played under blitz time controls. Since 2012, FIDE has held an annual joint rapid and blitz chess tournament and billed it as the World Rapid & Blitz Chess Championships. The current world blitz champion is the Norwegian Grandmaster Magnus Carlsen. Bibisara Assaubayeva from Kazakhstan is the current women's blitz world champion. Magnus Carlsen has won the event a record six times.
Time controls
Starting in the early 1900s, chess clubs began to organize tournaments played at accelerated time controls; these early games usually required a set number of moves from each player within a certain time interval. One of the earliest examples was the local chess club at Hastings, England, where 10 seconds were allowed per move during a blitz tournament held after the 1904 British Chess Championship. By 1950, the time controls had changed to the more familiar 5 minutes per player (now 3 minutes), hence the "5-minute game" moniker. The term "blitz chess" would not be coined until the 1960s.
FIDE-recognized events
FIDE World Blitz Championship (2006–2010)
The first blitz chess tournament to be recognized by FIDE as a "world championship" took place on 6 September 2006 in Rishon Lezion, Israel. Structured as a 16-player round-robin, the tournament featured seven of the world's top 20 Grandmasters, as well as a young Magnus Carlsen. After 15 rounds, Alexander Grischuk and Peter Svidler finished atop the leaderboard with 10½/15; Grischuk subsequently defeated Svidler with Black in an armageddon game to win the championship. The following year, the tournament (now branded as the FIDE World Blitz Cup) was held in Moscow, Russia following the Tal Memorial tournament and was re-structured as a 20-player double-round robin with a significantly stronger field. After Ukrainian grandmaster Vasyl Ivanchuk and Indian grandmaster Viswanathan Anand entered the final round tied on points, Ivanchuk defeated Anand from a disadvantaged position to win the tournament with 25½/38.In 2008, the championship reverted to a 16-player round-robin. Despite a late charge from the defending champion Ivanchuk, who won seven of the final eight rounds, the tournament was won by Leinier Domínguez, a 25-year-old GM from Cuba who scored 11½/15 to edge out Ivanchuk by a half-point. In 2009, the championship returned to Moscow, where the format was once again switched to a 22-player double round-robin with revised time controls of 3 minutes per player plus a 2-second increment. The event was won by the young Norwegian chess prodigy Magnus Carlsen, who finished three points clear of the field with 31/42 and went 8/8 against the 2nd through 5th-place finishers.2010 would prove to be the final year of the event – hosted again in Moscow, the tournament was dubbed the VI World Blitz 2010 and held immediately after the Tal Memorial tournament. Despite losing both his final games, Armenian Grandmaster Levon Aronian was able to clinch the title with 24½/38, half a point ahead of Teimour Radjabov. In November 2010, a nine-round Swiss tournament was scheduled for February 17, 2011, to serve as a qualifying event for the World Blitz Championship 2011; however, after no bids for the event were made the tournament was eventually cancelled.
Editions and medallists
World Rapid & Blitz Chess Championships (since 2012)
On May 31, 2012, FIDE announced the inaugural World Rapid & Blitz Championships, set to take place in Astana, Kazakhstan, from July 1 to 11. The 2012 tournament consisted of a qualifying round, followed by the rapid and blitz events held consecutively over five days. The championship was originally structured as a 16-player round-robin tournament, set to coincide with the first release of FIDE's rapid and blitz ratings in July 2012; invited were the top 9 players in the FIDE ratings list, the defending champion Levon Aronian, the three medalists of the qualification competition, and three wild-card nominees by the organization committee and FIDE. The event has since been changed to a Swiss tournament with a field of over 100 grandmasters. The top three finishers in the standings are awarded gold, silver, and bronze medals respectively; tiebreaks are determined by the average rating of opponents.The World Rapid & Blitz Chess Championships 2020 was postponed to 2021 because of the COVID-19 pandemic. It was planned to be held in Kazakhstan in December 2021; however, due to new regulations imposed by the Kazakh government, which would have required many participants to quarantine, the event had to be cancelled again on December 8, 2021. FIDE was considering to either hold the event in Kazakhstan in 2022, or to move it to a different host country. On December 10, 2021, Warsaw, Poland was announced as the new host city, with the tournament taking place from December 25–30, 2021.
Editions and medallists
OpenWomen
Other events
Herceg Novi Blitz Tournament of 1970
On 8 April 1970, following the USSR vs. Rest of the World 'Match of the Century' hosted in Belgrade, Yugoslavia, a blitz tournament was held in Herceg Novi, featuring many of the same participants from the match. The event was a 12-player double round-robin, with no tiebreaks and five minutes per player. Featuring four World Champions, the field was considered the strongest of any blitz tournament in modern history. Heading into the event, two-time World Champion Tigran Petrosian was considered the favorite to win the event, with Mikhail Tal and Viktor Korchnoi also enjoying favorable chances.It was American grandmaster Bobby Fischer, however, who put up a dominant performance, scoring 19/22 to win the tournament by 4½ points. Fischer scored a staggering 8½/10 against the five Soviet grandmasters in attendance, dropping only one game in the entire tournament and frequently gaining huge time advantages in each game. According to one report, Fischer spent no more than 2.5 minutes on any game. At the end of the tournament, Tal – who had been whitewashed by Fischer – gave his thoughts on the American's performance.
"I don’t know what Petrosian, Korchnoi, Bronstein, and Smyslov counted on before the start of the tournament, but I expected them to be the most probable rivals for the top prizes. Fischer had until recently played fast chess none too strongly. Now much has changed: he is fine at fast chess. His playing is of the same kind as in tournament games: everything is simple, follows a single pattern, logical, and without any spectacular effects. He makes his moves quickly and practically without errors. Throughout the tournament I think he did not lose a whole set of pieces in this way. Fischer's result is very, very impressive... We had known, of course, that Fischer is one of the strongest chessplayers in the world. He can defeat Petrosyan, Korchnoi, Spassky, and Larsen. Just as they can defeat him."
1988 World Blitz Championship
Following the Candidates' matches for the 1988 cycle, a World Blitz Championship was hosted in Saint John, New Brunswick, Canada, on 19 February 1988. The event was a 32-player single-elimination tournament, with pairings determined by best-of-four matches. The field was headlined by long-time rivals Garry Kasparov and Anatoly Karpov, with the former considered the favorite to win the tournament. Notable participants included:
Former world champion Anatoly Karpov fell out of contention for the championship in just the second round, after dropping his first two games against fellow Soviet grandmaster Alexander Chernin. Reigning world champion Garry Kasparov steamed ahead into the quarterfinals but lost momentum after missing an elementary mate in two against Bulgarian grandmaster Kiril Georgiev; a stunned Kasparov was subsequently knocked out of the tournament. In the final, Mikhail Tal clinched the championship with a 3½–½ victory over Armenian grandmaster Rafael Vaganian.
Mikhail Tal, the 51-year-old former World Champion, breezed through the final rounds with 5½/6. Joining him in the finals was Rafael Vaganian, who survived a controversial semifinal against Kiril Georgiev; the Armenian nearly punched his clock after making an illegal move in Game 2, an accusation that was eventually refuted after match officials resorted to a video review and found that Vaganian's hand had stopped just short of touching the clock. The final was a one-sided affair, with Tal repeatedly utilizing exchange sacrifices to find winning combinations; down 3–0 after three games, Vaganian offered his hand in the 4th game to concede the match to Tal. After the match, Tal claimed he took the event "none too seriously"; he chain-smoked throughout the tournament, and his "preparation" for the semifinal match against Chernin reportedly consisted of a double scotch.
2000 World Blitz Chess Cup
The Plus GSM World Blitz Cup was a 367-player Swiss-system tournament held in Warsaw, Poland, on 9 January 2000. Hosted at the Warsaw Polonia Chess Club, the event consisted of 11 rounds, with each match comprising two 5-minute games for a total of 22 games per player. Indian grandmaster Vishwanathan Anand, the tournament's No. 1 seed, triumphed over a strong field that included 70 Grandmasters and nine of the world's top-20 ranked players with a 17½/22 score. Anand's run saw him pick up 14 wins, 7 draws, and only 1 loss, highlighted by a 43-move win with the black pieces against Anatoly Karpov. The tournament's sponsor, Plus GSM, set aside a $30,500 prize fund for the event as well as Nokia mobile communicators to be given to the top four finishers and the two top Polish players.
See also
World Rapid Chess Championship
Fast chess
Notes
== References ==
|
instance of
|
{
"answer_start": [
40
],
"text": [
"chess tournament"
]
}
|
The World Blitz Chess Championship is a chess tournament held to determine the world champion in chess played under blitz time controls. Since 2012, FIDE has held an annual joint rapid and blitz chess tournament and billed it as the World Rapid & Blitz Chess Championships. The current world blitz champion is the Norwegian Grandmaster Magnus Carlsen. Bibisara Assaubayeva from Kazakhstan is the current women's blitz world champion. Magnus Carlsen has won the event a record six times.
Time controls
Starting in the early 1900s, chess clubs began to organize tournaments played at accelerated time controls; these early games usually required a set number of moves from each player within a certain time interval. One of the earliest examples was the local chess club at Hastings, England, where 10 seconds were allowed per move during a blitz tournament held after the 1904 British Chess Championship. By 1950, the time controls had changed to the more familiar 5 minutes per player (now 3 minutes), hence the "5-minute game" moniker. The term "blitz chess" would not be coined until the 1960s.
FIDE-recognized events
FIDE World Blitz Championship (2006–2010)
The first blitz chess tournament to be recognized by FIDE as a "world championship" took place on 6 September 2006 in Rishon Lezion, Israel. Structured as a 16-player round-robin, the tournament featured seven of the world's top 20 Grandmasters, as well as a young Magnus Carlsen. After 15 rounds, Alexander Grischuk and Peter Svidler finished atop the leaderboard with 10½/15; Grischuk subsequently defeated Svidler with Black in an armageddon game to win the championship. The following year, the tournament (now branded as the FIDE World Blitz Cup) was held in Moscow, Russia following the Tal Memorial tournament and was re-structured as a 20-player double-round robin with a significantly stronger field. After Ukrainian grandmaster Vasyl Ivanchuk and Indian grandmaster Viswanathan Anand entered the final round tied on points, Ivanchuk defeated Anand from a disadvantaged position to win the tournament with 25½/38.In 2008, the championship reverted to a 16-player round-robin. Despite a late charge from the defending champion Ivanchuk, who won seven of the final eight rounds, the tournament was won by Leinier Domínguez, a 25-year-old GM from Cuba who scored 11½/15 to edge out Ivanchuk by a half-point. In 2009, the championship returned to Moscow, where the format was once again switched to a 22-player double round-robin with revised time controls of 3 minutes per player plus a 2-second increment. The event was won by the young Norwegian chess prodigy Magnus Carlsen, who finished three points clear of the field with 31/42 and went 8/8 against the 2nd through 5th-place finishers.2010 would prove to be the final year of the event – hosted again in Moscow, the tournament was dubbed the VI World Blitz 2010 and held immediately after the Tal Memorial tournament. Despite losing both his final games, Armenian Grandmaster Levon Aronian was able to clinch the title with 24½/38, half a point ahead of Teimour Radjabov. In November 2010, a nine-round Swiss tournament was scheduled for February 17, 2011, to serve as a qualifying event for the World Blitz Championship 2011; however, after no bids for the event were made the tournament was eventually cancelled.
Editions and medallists
World Rapid & Blitz Chess Championships (since 2012)
On May 31, 2012, FIDE announced the inaugural World Rapid & Blitz Championships, set to take place in Astana, Kazakhstan, from July 1 to 11. The 2012 tournament consisted of a qualifying round, followed by the rapid and blitz events held consecutively over five days. The championship was originally structured as a 16-player round-robin tournament, set to coincide with the first release of FIDE's rapid and blitz ratings in July 2012; invited were the top 9 players in the FIDE ratings list, the defending champion Levon Aronian, the three medalists of the qualification competition, and three wild-card nominees by the organization committee and FIDE. The event has since been changed to a Swiss tournament with a field of over 100 grandmasters. The top three finishers in the standings are awarded gold, silver, and bronze medals respectively; tiebreaks are determined by the average rating of opponents.The World Rapid & Blitz Chess Championships 2020 was postponed to 2021 because of the COVID-19 pandemic. It was planned to be held in Kazakhstan in December 2021; however, due to new regulations imposed by the Kazakh government, which would have required many participants to quarantine, the event had to be cancelled again on December 8, 2021. FIDE was considering to either hold the event in Kazakhstan in 2022, or to move it to a different host country. On December 10, 2021, Warsaw, Poland was announced as the new host city, with the tournament taking place from December 25–30, 2021.
Editions and medallists
OpenWomen
Other events
Herceg Novi Blitz Tournament of 1970
On 8 April 1970, following the USSR vs. Rest of the World 'Match of the Century' hosted in Belgrade, Yugoslavia, a blitz tournament was held in Herceg Novi, featuring many of the same participants from the match. The event was a 12-player double round-robin, with no tiebreaks and five minutes per player. Featuring four World Champions, the field was considered the strongest of any blitz tournament in modern history. Heading into the event, two-time World Champion Tigran Petrosian was considered the favorite to win the event, with Mikhail Tal and Viktor Korchnoi also enjoying favorable chances.It was American grandmaster Bobby Fischer, however, who put up a dominant performance, scoring 19/22 to win the tournament by 4½ points. Fischer scored a staggering 8½/10 against the five Soviet grandmasters in attendance, dropping only one game in the entire tournament and frequently gaining huge time advantages in each game. According to one report, Fischer spent no more than 2.5 minutes on any game. At the end of the tournament, Tal – who had been whitewashed by Fischer – gave his thoughts on the American's performance.
"I don’t know what Petrosian, Korchnoi, Bronstein, and Smyslov counted on before the start of the tournament, but I expected them to be the most probable rivals for the top prizes. Fischer had until recently played fast chess none too strongly. Now much has changed: he is fine at fast chess. His playing is of the same kind as in tournament games: everything is simple, follows a single pattern, logical, and without any spectacular effects. He makes his moves quickly and practically without errors. Throughout the tournament I think he did not lose a whole set of pieces in this way. Fischer's result is very, very impressive... We had known, of course, that Fischer is one of the strongest chessplayers in the world. He can defeat Petrosyan, Korchnoi, Spassky, and Larsen. Just as they can defeat him."
1988 World Blitz Championship
Following the Candidates' matches for the 1988 cycle, a World Blitz Championship was hosted in Saint John, New Brunswick, Canada, on 19 February 1988. The event was a 32-player single-elimination tournament, with pairings determined by best-of-four matches. The field was headlined by long-time rivals Garry Kasparov and Anatoly Karpov, with the former considered the favorite to win the tournament. Notable participants included:
Former world champion Anatoly Karpov fell out of contention for the championship in just the second round, after dropping his first two games against fellow Soviet grandmaster Alexander Chernin. Reigning world champion Garry Kasparov steamed ahead into the quarterfinals but lost momentum after missing an elementary mate in two against Bulgarian grandmaster Kiril Georgiev; a stunned Kasparov was subsequently knocked out of the tournament. In the final, Mikhail Tal clinched the championship with a 3½–½ victory over Armenian grandmaster Rafael Vaganian.
Mikhail Tal, the 51-year-old former World Champion, breezed through the final rounds with 5½/6. Joining him in the finals was Rafael Vaganian, who survived a controversial semifinal against Kiril Georgiev; the Armenian nearly punched his clock after making an illegal move in Game 2, an accusation that was eventually refuted after match officials resorted to a video review and found that Vaganian's hand had stopped just short of touching the clock. The final was a one-sided affair, with Tal repeatedly utilizing exchange sacrifices to find winning combinations; down 3–0 after three games, Vaganian offered his hand in the 4th game to concede the match to Tal. After the match, Tal claimed he took the event "none too seriously"; he chain-smoked throughout the tournament, and his "preparation" for the semifinal match against Chernin reportedly consisted of a double scotch.
2000 World Blitz Chess Cup
The Plus GSM World Blitz Cup was a 367-player Swiss-system tournament held in Warsaw, Poland, on 9 January 2000. Hosted at the Warsaw Polonia Chess Club, the event consisted of 11 rounds, with each match comprising two 5-minute games for a total of 22 games per player. Indian grandmaster Vishwanathan Anand, the tournament's No. 1 seed, triumphed over a strong field that included 70 Grandmasters and nine of the world's top-20 ranked players with a 17½/22 score. Anand's run saw him pick up 14 wins, 7 draws, and only 1 loss, highlighted by a 43-move win with the black pieces against Anatoly Karpov. The tournament's sponsor, Plus GSM, set aside a $30,500 prize fund for the event as well as Nokia mobile communicators to be given to the top four finishers and the two top Polish players.
See also
World Rapid Chess Championship
Fast chess
Notes
== References ==
|
subclass of
|
{
"answer_start": [
40
],
"text": [
"chess tournament"
]
}
|
The World Blitz Chess Championship is a chess tournament held to determine the world champion in chess played under blitz time controls. Since 2012, FIDE has held an annual joint rapid and blitz chess tournament and billed it as the World Rapid & Blitz Chess Championships. The current world blitz champion is the Norwegian Grandmaster Magnus Carlsen. Bibisara Assaubayeva from Kazakhstan is the current women's blitz world champion. Magnus Carlsen has won the event a record six times.
Time controls
Starting in the early 1900s, chess clubs began to organize tournaments played at accelerated time controls; these early games usually required a set number of moves from each player within a certain time interval. One of the earliest examples was the local chess club at Hastings, England, where 10 seconds were allowed per move during a blitz tournament held after the 1904 British Chess Championship. By 1950, the time controls had changed to the more familiar 5 minutes per player (now 3 minutes), hence the "5-minute game" moniker. The term "blitz chess" would not be coined until the 1960s.
FIDE-recognized events
FIDE World Blitz Championship (2006–2010)
The first blitz chess tournament to be recognized by FIDE as a "world championship" took place on 6 September 2006 in Rishon Lezion, Israel. Structured as a 16-player round-robin, the tournament featured seven of the world's top 20 Grandmasters, as well as a young Magnus Carlsen. After 15 rounds, Alexander Grischuk and Peter Svidler finished atop the leaderboard with 10½/15; Grischuk subsequently defeated Svidler with Black in an armageddon game to win the championship. The following year, the tournament (now branded as the FIDE World Blitz Cup) was held in Moscow, Russia following the Tal Memorial tournament and was re-structured as a 20-player double-round robin with a significantly stronger field. After Ukrainian grandmaster Vasyl Ivanchuk and Indian grandmaster Viswanathan Anand entered the final round tied on points, Ivanchuk defeated Anand from a disadvantaged position to win the tournament with 25½/38.In 2008, the championship reverted to a 16-player round-robin. Despite a late charge from the defending champion Ivanchuk, who won seven of the final eight rounds, the tournament was won by Leinier Domínguez, a 25-year-old GM from Cuba who scored 11½/15 to edge out Ivanchuk by a half-point. In 2009, the championship returned to Moscow, where the format was once again switched to a 22-player double round-robin with revised time controls of 3 minutes per player plus a 2-second increment. The event was won by the young Norwegian chess prodigy Magnus Carlsen, who finished three points clear of the field with 31/42 and went 8/8 against the 2nd through 5th-place finishers.2010 would prove to be the final year of the event – hosted again in Moscow, the tournament was dubbed the VI World Blitz 2010 and held immediately after the Tal Memorial tournament. Despite losing both his final games, Armenian Grandmaster Levon Aronian was able to clinch the title with 24½/38, half a point ahead of Teimour Radjabov. In November 2010, a nine-round Swiss tournament was scheduled for February 17, 2011, to serve as a qualifying event for the World Blitz Championship 2011; however, after no bids for the event were made the tournament was eventually cancelled.
Editions and medallists
World Rapid & Blitz Chess Championships (since 2012)
On May 31, 2012, FIDE announced the inaugural World Rapid & Blitz Championships, set to take place in Astana, Kazakhstan, from July 1 to 11. The 2012 tournament consisted of a qualifying round, followed by the rapid and blitz events held consecutively over five days. The championship was originally structured as a 16-player round-robin tournament, set to coincide with the first release of FIDE's rapid and blitz ratings in July 2012; invited were the top 9 players in the FIDE ratings list, the defending champion Levon Aronian, the three medalists of the qualification competition, and three wild-card nominees by the organization committee and FIDE. The event has since been changed to a Swiss tournament with a field of over 100 grandmasters. The top three finishers in the standings are awarded gold, silver, and bronze medals respectively; tiebreaks are determined by the average rating of opponents.The World Rapid & Blitz Chess Championships 2020 was postponed to 2021 because of the COVID-19 pandemic. It was planned to be held in Kazakhstan in December 2021; however, due to new regulations imposed by the Kazakh government, which would have required many participants to quarantine, the event had to be cancelled again on December 8, 2021. FIDE was considering to either hold the event in Kazakhstan in 2022, or to move it to a different host country. On December 10, 2021, Warsaw, Poland was announced as the new host city, with the tournament taking place from December 25–30, 2021.
Editions and medallists
OpenWomen
Other events
Herceg Novi Blitz Tournament of 1970
On 8 April 1970, following the USSR vs. Rest of the World 'Match of the Century' hosted in Belgrade, Yugoslavia, a blitz tournament was held in Herceg Novi, featuring many of the same participants from the match. The event was a 12-player double round-robin, with no tiebreaks and five minutes per player. Featuring four World Champions, the field was considered the strongest of any blitz tournament in modern history. Heading into the event, two-time World Champion Tigran Petrosian was considered the favorite to win the event, with Mikhail Tal and Viktor Korchnoi also enjoying favorable chances.It was American grandmaster Bobby Fischer, however, who put up a dominant performance, scoring 19/22 to win the tournament by 4½ points. Fischer scored a staggering 8½/10 against the five Soviet grandmasters in attendance, dropping only one game in the entire tournament and frequently gaining huge time advantages in each game. According to one report, Fischer spent no more than 2.5 minutes on any game. At the end of the tournament, Tal – who had been whitewashed by Fischer – gave his thoughts on the American's performance.
"I don’t know what Petrosian, Korchnoi, Bronstein, and Smyslov counted on before the start of the tournament, but I expected them to be the most probable rivals for the top prizes. Fischer had until recently played fast chess none too strongly. Now much has changed: he is fine at fast chess. His playing is of the same kind as in tournament games: everything is simple, follows a single pattern, logical, and without any spectacular effects. He makes his moves quickly and practically without errors. Throughout the tournament I think he did not lose a whole set of pieces in this way. Fischer's result is very, very impressive... We had known, of course, that Fischer is one of the strongest chessplayers in the world. He can defeat Petrosyan, Korchnoi, Spassky, and Larsen. Just as they can defeat him."
1988 World Blitz Championship
Following the Candidates' matches for the 1988 cycle, a World Blitz Championship was hosted in Saint John, New Brunswick, Canada, on 19 February 1988. The event was a 32-player single-elimination tournament, with pairings determined by best-of-four matches. The field was headlined by long-time rivals Garry Kasparov and Anatoly Karpov, with the former considered the favorite to win the tournament. Notable participants included:
Former world champion Anatoly Karpov fell out of contention for the championship in just the second round, after dropping his first two games against fellow Soviet grandmaster Alexander Chernin. Reigning world champion Garry Kasparov steamed ahead into the quarterfinals but lost momentum after missing an elementary mate in two against Bulgarian grandmaster Kiril Georgiev; a stunned Kasparov was subsequently knocked out of the tournament. In the final, Mikhail Tal clinched the championship with a 3½–½ victory over Armenian grandmaster Rafael Vaganian.
Mikhail Tal, the 51-year-old former World Champion, breezed through the final rounds with 5½/6. Joining him in the finals was Rafael Vaganian, who survived a controversial semifinal against Kiril Georgiev; the Armenian nearly punched his clock after making an illegal move in Game 2, an accusation that was eventually refuted after match officials resorted to a video review and found that Vaganian's hand had stopped just short of touching the clock. The final was a one-sided affair, with Tal repeatedly utilizing exchange sacrifices to find winning combinations; down 3–0 after three games, Vaganian offered his hand in the 4th game to concede the match to Tal. After the match, Tal claimed he took the event "none too seriously"; he chain-smoked throughout the tournament, and his "preparation" for the semifinal match against Chernin reportedly consisted of a double scotch.
2000 World Blitz Chess Cup
The Plus GSM World Blitz Cup was a 367-player Swiss-system tournament held in Warsaw, Poland, on 9 January 2000. Hosted at the Warsaw Polonia Chess Club, the event consisted of 11 rounds, with each match comprising two 5-minute games for a total of 22 games per player. Indian grandmaster Vishwanathan Anand, the tournament's No. 1 seed, triumphed over a strong field that included 70 Grandmasters and nine of the world's top-20 ranked players with a 17½/22 score. Anand's run saw him pick up 14 wins, 7 draws, and only 1 loss, highlighted by a 43-move win with the black pieces against Anatoly Karpov. The tournament's sponsor, Plus GSM, set aside a $30,500 prize fund for the event as well as Nokia mobile communicators to be given to the top four finishers and the two top Polish players.
See also
World Rapid Chess Championship
Fast chess
Notes
== References ==
|
Commons category
|
{
"answer_start": [
4
],
"text": [
"World Blitz Chess Championship"
]
}
|
The World Blitz Chess Championship is a chess tournament held to determine the world champion in chess played under blitz time controls. Since 2012, FIDE has held an annual joint rapid and blitz chess tournament and billed it as the World Rapid & Blitz Chess Championships. The current world blitz champion is the Norwegian Grandmaster Magnus Carlsen. Bibisara Assaubayeva from Kazakhstan is the current women's blitz world champion. Magnus Carlsen has won the event a record six times.
Time controls
Starting in the early 1900s, chess clubs began to organize tournaments played at accelerated time controls; these early games usually required a set number of moves from each player within a certain time interval. One of the earliest examples was the local chess club at Hastings, England, where 10 seconds were allowed per move during a blitz tournament held after the 1904 British Chess Championship. By 1950, the time controls had changed to the more familiar 5 minutes per player (now 3 minutes), hence the "5-minute game" moniker. The term "blitz chess" would not be coined until the 1960s.
FIDE-recognized events
FIDE World Blitz Championship (2006–2010)
The first blitz chess tournament to be recognized by FIDE as a "world championship" took place on 6 September 2006 in Rishon Lezion, Israel. Structured as a 16-player round-robin, the tournament featured seven of the world's top 20 Grandmasters, as well as a young Magnus Carlsen. After 15 rounds, Alexander Grischuk and Peter Svidler finished atop the leaderboard with 10½/15; Grischuk subsequently defeated Svidler with Black in an armageddon game to win the championship. The following year, the tournament (now branded as the FIDE World Blitz Cup) was held in Moscow, Russia following the Tal Memorial tournament and was re-structured as a 20-player double-round robin with a significantly stronger field. After Ukrainian grandmaster Vasyl Ivanchuk and Indian grandmaster Viswanathan Anand entered the final round tied on points, Ivanchuk defeated Anand from a disadvantaged position to win the tournament with 25½/38.In 2008, the championship reverted to a 16-player round-robin. Despite a late charge from the defending champion Ivanchuk, who won seven of the final eight rounds, the tournament was won by Leinier Domínguez, a 25-year-old GM from Cuba who scored 11½/15 to edge out Ivanchuk by a half-point. In 2009, the championship returned to Moscow, where the format was once again switched to a 22-player double round-robin with revised time controls of 3 minutes per player plus a 2-second increment. The event was won by the young Norwegian chess prodigy Magnus Carlsen, who finished three points clear of the field with 31/42 and went 8/8 against the 2nd through 5th-place finishers.2010 would prove to be the final year of the event – hosted again in Moscow, the tournament was dubbed the VI World Blitz 2010 and held immediately after the Tal Memorial tournament. Despite losing both his final games, Armenian Grandmaster Levon Aronian was able to clinch the title with 24½/38, half a point ahead of Teimour Radjabov. In November 2010, a nine-round Swiss tournament was scheduled for February 17, 2011, to serve as a qualifying event for the World Blitz Championship 2011; however, after no bids for the event were made the tournament was eventually cancelled.
Editions and medallists
World Rapid & Blitz Chess Championships (since 2012)
On May 31, 2012, FIDE announced the inaugural World Rapid & Blitz Championships, set to take place in Astana, Kazakhstan, from July 1 to 11. The 2012 tournament consisted of a qualifying round, followed by the rapid and blitz events held consecutively over five days. The championship was originally structured as a 16-player round-robin tournament, set to coincide with the first release of FIDE's rapid and blitz ratings in July 2012; invited were the top 9 players in the FIDE ratings list, the defending champion Levon Aronian, the three medalists of the qualification competition, and three wild-card nominees by the organization committee and FIDE. The event has since been changed to a Swiss tournament with a field of over 100 grandmasters. The top three finishers in the standings are awarded gold, silver, and bronze medals respectively; tiebreaks are determined by the average rating of opponents.The World Rapid & Blitz Chess Championships 2020 was postponed to 2021 because of the COVID-19 pandemic. It was planned to be held in Kazakhstan in December 2021; however, due to new regulations imposed by the Kazakh government, which would have required many participants to quarantine, the event had to be cancelled again on December 8, 2021. FIDE was considering to either hold the event in Kazakhstan in 2022, or to move it to a different host country. On December 10, 2021, Warsaw, Poland was announced as the new host city, with the tournament taking place from December 25–30, 2021.
Editions and medallists
OpenWomen
Other events
Herceg Novi Blitz Tournament of 1970
On 8 April 1970, following the USSR vs. Rest of the World 'Match of the Century' hosted in Belgrade, Yugoslavia, a blitz tournament was held in Herceg Novi, featuring many of the same participants from the match. The event was a 12-player double round-robin, with no tiebreaks and five minutes per player. Featuring four World Champions, the field was considered the strongest of any blitz tournament in modern history. Heading into the event, two-time World Champion Tigran Petrosian was considered the favorite to win the event, with Mikhail Tal and Viktor Korchnoi also enjoying favorable chances.It was American grandmaster Bobby Fischer, however, who put up a dominant performance, scoring 19/22 to win the tournament by 4½ points. Fischer scored a staggering 8½/10 against the five Soviet grandmasters in attendance, dropping only one game in the entire tournament and frequently gaining huge time advantages in each game. According to one report, Fischer spent no more than 2.5 minutes on any game. At the end of the tournament, Tal – who had been whitewashed by Fischer – gave his thoughts on the American's performance.
"I don’t know what Petrosian, Korchnoi, Bronstein, and Smyslov counted on before the start of the tournament, but I expected them to be the most probable rivals for the top prizes. Fischer had until recently played fast chess none too strongly. Now much has changed: he is fine at fast chess. His playing is of the same kind as in tournament games: everything is simple, follows a single pattern, logical, and without any spectacular effects. He makes his moves quickly and practically without errors. Throughout the tournament I think he did not lose a whole set of pieces in this way. Fischer's result is very, very impressive... We had known, of course, that Fischer is one of the strongest chessplayers in the world. He can defeat Petrosyan, Korchnoi, Spassky, and Larsen. Just as they can defeat him."
1988 World Blitz Championship
Following the Candidates' matches for the 1988 cycle, a World Blitz Championship was hosted in Saint John, New Brunswick, Canada, on 19 February 1988. The event was a 32-player single-elimination tournament, with pairings determined by best-of-four matches. The field was headlined by long-time rivals Garry Kasparov and Anatoly Karpov, with the former considered the favorite to win the tournament. Notable participants included:
Former world champion Anatoly Karpov fell out of contention for the championship in just the second round, after dropping his first two games against fellow Soviet grandmaster Alexander Chernin. Reigning world champion Garry Kasparov steamed ahead into the quarterfinals but lost momentum after missing an elementary mate in two against Bulgarian grandmaster Kiril Georgiev; a stunned Kasparov was subsequently knocked out of the tournament. In the final, Mikhail Tal clinched the championship with a 3½–½ victory over Armenian grandmaster Rafael Vaganian.
Mikhail Tal, the 51-year-old former World Champion, breezed through the final rounds with 5½/6. Joining him in the finals was Rafael Vaganian, who survived a controversial semifinal against Kiril Georgiev; the Armenian nearly punched his clock after making an illegal move in Game 2, an accusation that was eventually refuted after match officials resorted to a video review and found that Vaganian's hand had stopped just short of touching the clock. The final was a one-sided affair, with Tal repeatedly utilizing exchange sacrifices to find winning combinations; down 3–0 after three games, Vaganian offered his hand in the 4th game to concede the match to Tal. After the match, Tal claimed he took the event "none too seriously"; he chain-smoked throughout the tournament, and his "preparation" for the semifinal match against Chernin reportedly consisted of a double scotch.
2000 World Blitz Chess Cup
The Plus GSM World Blitz Cup was a 367-player Swiss-system tournament held in Warsaw, Poland, on 9 January 2000. Hosted at the Warsaw Polonia Chess Club, the event consisted of 11 rounds, with each match comprising two 5-minute games for a total of 22 games per player. Indian grandmaster Vishwanathan Anand, the tournament's No. 1 seed, triumphed over a strong field that included 70 Grandmasters and nine of the world's top-20 ranked players with a 17½/22 score. Anand's run saw him pick up 14 wins, 7 draws, and only 1 loss, highlighted by a 43-move win with the black pieces against Anatoly Karpov. The tournament's sponsor, Plus GSM, set aside a $30,500 prize fund for the event as well as Nokia mobile communicators to be given to the top four finishers and the two top Polish players.
See also
World Rapid Chess Championship
Fast chess
Notes
== References ==
|
sport
|
{
"answer_start": [
189
],
"text": [
"blitz chess"
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}
|
The 28th annual National Geographic Bee was held between May 22–25, 2016 in Washington, DC. For the first time, the bee was moderated by the American humorist, journalist and actor Mo Rocca and featured a grand prize of a $50,000 college scholarship. The champion was Rishi Nair of Williams Magnet Middle School in Tampa, Florida, who won the $50,000 scholarship, lifetime membership to the National Geographic Society, and a Lindblad expedition to southeast Alaska. The 2nd-place winner was Saketh Jonnalagadda of Stony Brook Middle School in Westford, Massachusetts, who won a $25,000 scholarship. The 3rd-place winner was Kapil Nathan of Brock's Gap Intermediate School in Hoover, Alabama, who won a $10,000 scholarship. Rishi was also the First sixth-grade National Champion since 2008.
2016 State Champions
Preliminary rounds
Ten preliminary rounds held on May 23, 2016. Each State Champion had to answer ten oral questions, and prior to their arrival in Washington, D.C., had to submit a video related to a topic. The video was worth up to six points, hence the highest possible number of points was 16. One 16 and 4 15s were scored. A 9-way tie for 14 pts was broken with 4 exiting the competition. The ten finalists were announced around 11:30. The top ten finalists were as follows:
Kapil Nathan- from Alabama; 14/16 (9/10 + 5/6)
Rishi Nair- from Florida; 15/16 (10/10 + 5/6)
Rishi Kumar- from Maryland; 14/16 (8/10 + 6/6)
Saketh Jonnalagadda- from Massachusetts; 14/16 (9/10 + 5/6)
Lucas Eggers- from Minnesota; 16/16 (10/10 + 6/6) (only one with a perfect score in the preliminary rounds)
Grace Rembert- from Montana; 15/16 (10/10 + 5/6)
Samanyu Dixit- from North Carolina; 15/16 (10/10 + 5/6)
Ashwin Sivakumar- from Oregon; 15/16 (9/10 + 6/6)
Pranay Varada- from Texas; 14/16 (9/10 + 5/6)
Thomas Wright- from Wisconsin; 14/16 (9/10 + 5/6)
Final rounds
The finals consisted of questions regarding the U.S. through Rounds 1–5, with 4 eliminated once Round 5 was over. A tie existed between Rishi Kumar and Lucas Eggers, with the latter exiting the competition. After that, questions regarding the world appeared. A three-way tie existed between Grace Rembert, Rishi Kumar again, and Kapil Nathan with the latter entering the final three. After Nathan was eliminated, the final two moved on to the Championships – Jonnalagadda and Nair. The latter won the competition.
== References ==
|
part of the series
|
{
"answer_start": [
16
],
"text": [
"National Geographic Bee"
]
}
|
The 28th annual National Geographic Bee was held between May 22–25, 2016 in Washington, DC. For the first time, the bee was moderated by the American humorist, journalist and actor Mo Rocca and featured a grand prize of a $50,000 college scholarship. The champion was Rishi Nair of Williams Magnet Middle School in Tampa, Florida, who won the $50,000 scholarship, lifetime membership to the National Geographic Society, and a Lindblad expedition to southeast Alaska. The 2nd-place winner was Saketh Jonnalagadda of Stony Brook Middle School in Westford, Massachusetts, who won a $25,000 scholarship. The 3rd-place winner was Kapil Nathan of Brock's Gap Intermediate School in Hoover, Alabama, who won a $10,000 scholarship. Rishi was also the First sixth-grade National Champion since 2008.
2016 State Champions
Preliminary rounds
Ten preliminary rounds held on May 23, 2016. Each State Champion had to answer ten oral questions, and prior to their arrival in Washington, D.C., had to submit a video related to a topic. The video was worth up to six points, hence the highest possible number of points was 16. One 16 and 4 15s were scored. A 9-way tie for 14 pts was broken with 4 exiting the competition. The ten finalists were announced around 11:30. The top ten finalists were as follows:
Kapil Nathan- from Alabama; 14/16 (9/10 + 5/6)
Rishi Nair- from Florida; 15/16 (10/10 + 5/6)
Rishi Kumar- from Maryland; 14/16 (8/10 + 6/6)
Saketh Jonnalagadda- from Massachusetts; 14/16 (9/10 + 5/6)
Lucas Eggers- from Minnesota; 16/16 (10/10 + 6/6) (only one with a perfect score in the preliminary rounds)
Grace Rembert- from Montana; 15/16 (10/10 + 5/6)
Samanyu Dixit- from North Carolina; 15/16 (10/10 + 5/6)
Ashwin Sivakumar- from Oregon; 15/16 (9/10 + 6/6)
Pranay Varada- from Texas; 14/16 (9/10 + 5/6)
Thomas Wright- from Wisconsin; 14/16 (9/10 + 5/6)
Final rounds
The finals consisted of questions regarding the U.S. through Rounds 1–5, with 4 eliminated once Round 5 was over. A tie existed between Rishi Kumar and Lucas Eggers, with the latter exiting the competition. After that, questions regarding the world appeared. A three-way tie existed between Grace Rembert, Rishi Kumar again, and Kapil Nathan with the latter entering the final three. After Nathan was eliminated, the final two moved on to the Championships – Jonnalagadda and Nair. The latter won the competition.
== References ==
|
edition number
|
{
"answer_start": [
4
],
"text": [
"28"
]
}
|
The Southern Rhodesia African National Congress (SRANC) was a political party active between 1957–1959 in Southern Rhodesia (now modern-day Zimbabwe). Committed to the promotion of indigenous African welfare, it was the first fully fledged black nationalist organisation in the country. While short-lived — it was outlawed by the predominantly white minority government in 1959 — it marked the beginning of political action towards black majority rule in Southern Rhodesia, and was the original incarnation of the National Democratic Party (NDP); the Zimbabwe African People's Union (ZAPU); the Zimbabwe African National Union (ZANU); and the Zimbabwe African National Union — Patriotic Front (ZANU–PF), which has governed Zimbabwe continuously since 1980. Many political figures who later became prominent, including Robert Mugabe and Joshua Nkomo, were members of the SRANC.
Beginnings
By the 1950s, the native peoples of Southern Rhodesia were increasingly dissatisfied with their treatment by the white minority government. In rural areas, the Native Reserves Land were overstocked and in deteriorating condition. In a response to increasing soil erosion, the government introduced the Land Husbandry Act of 1951. The bill was a failure, and did not take into consideration the ecological diversity of the land it reallocated. Problems with the Land Husbandry Act could have been rectified to better suit the native population, but it was in the best interests of the settler population to keep people on the reserves poor, thereby maintaining the unequal wealth distribution the settlers so enjoyed. The Bill saw heavy opposition by both rural farmers, and urban workers.Strict segregation in urban areas separated the black and white populations in hospitals, hotels and schools, and prevented Africans from drinking alcoholic beverages. The Land Apportionment Act of 1930 implemented rigid policy about domestic travel within the country; requiring Blacks to present papers when travelling between areas. The Land Tenure Act of the same year reallocated Africans' land, pushing families out of their homes, and giving better areas to the white settlers. Despite being a minority, white settlers were allocated 49,100,000 acres (19,900,000 ha), while the black majority received a disproportionately small 21,100,000 acres (8,500,000 ha). Moreover, Blacks were relocated to areas with poor quality soil, endemic malaria, and tsetse fly infestations. In cities, workers had little control over conditions, because trade unions had limited power due to heavy government restrictions. Despite having established only twelve public schools for Black children by 1950, a growing educated elite of wealthy Africans was developing in the cities. Extreme racism, however, prevented the Black bourgeois from identifying with their White economic counterparts, and they sympathised instead with the plighted rural farmers on reserves.
Formation
Joshua Nkomo was a graduate of Adams College in Natal and at the Jan H. Hofmeyr School of Social Work in Johannesburg. After working on the Rhodesian Railways African Employees' Association, he was elected President of the Bulawayo-based Southern Rhodesian chapter of the African National Congress (ANC) in 1952. At the time, ANC membership included Knight TT Maripe, Jason Ziyapapa Moyo, Edward Ndlovu, and Francis Nehwati. In September 1956, the United Transport Company scheduled to increase fares to such a level that workers would be spending between 18% and 30% of their income on transportation alone. In response to the price hike, James Chikerema, George Nyandoro, Dudziye Chisiza and Edson Sithole founded the Salisbury based City Youth League (later the African Youth League), and organised a mass boycott that was successful in preventing the price change.On 12 September 1957, the largely dormant ANC and the City Youth League merged to found the Southern Rhodesia African National Congress. The date was significant, being the 67th Anniversary of Occupation Day, a holiday celebrated by the white settler population. Having proved himself a strong organiser and powerful negotiator, Joshua Nkomo was inaugurated President. James Chikerema came on as Vice-President, George Nyandaro as Secretary, Ziyapapa Moyo as Vice Secretary, Joseph Msika as Treasurer, and Paul Mushonga as Vice Treasurer. SRANC took on a multi-ethnic executive membership from across the country, which made for a unified national organisation, and included white members such as Guy Clutton-Brock, an anti-apartheid agriculturalist.
Ideology and organisation
The Southern Rhodesia Africa National Congress established itself as a nonviolent reform group, acting on platforms of universal suffrage, anti-discrimination, increased standards of living for African peoples, the eradication of racism, expanding and de-racializing the education system, free travel for all Rhodesians within the country, the inauguration of democratic systems, and direct participation in the government.By adopting a constitution, they established themselves as the first mass resistance movement in Southern Rhodesia.SRANC was unique in that they rallied support largely from the rural population, and addressed the grievances of farmers on the reserves. They engaged in house to house, village to village recruiting, and called upon grassroots organising and churches. They held rallies, direct confrontation demonstrations, and canvassed for support internationally.
Nkomo successfully suspended the Land Husbandry Act and openly condemned the bill in a public statement saying:
"Any act whose effects undermine the security of our small land rights, dispossess us of our little wealth in the form of cattle, disperse us from our ancestral homes in the reserves and reduce us to the status of vagabonds and as a source of cheap labour for the farmers, miners, and industrialists – such and Act will turn the African People against society to the detriment of the peace and progress of this country."The Congress was successful preventing government interference in traditional marriage customs, and was instrumental in the banning of Depo Provera (a birth control compound), and expressed “deep suspicion... that there is a political motive behind the scheme of birth control.”Commitment to nonviolence, utilisation of civil disobedience, and Pan-Africanism created a likeness between SRANC and the civil rights movement happening at the same time in the United States. Said Rev. Dr. Martin Luther King Jr. of the Congress:
"Although we are separated by miles, we are closer together in mutual struggle for freedom and human brotherhood... there is no basic difference between colonialism and segregation... our struggles are not only similar; they are in a real sense one."Until 1958, SRANC found an ally in Prime Minister Garfield Todd, who met with them regularly and attempted to introduce reforms to "advance gradually the rights of the 7,000,000 blacks without upsetting the rule of the 250,000 whites." Under his administration the minimum wage for black workers was raised, restaurants and similar establishments were given the option of being multi-racial, and restrictions on alcohol consumption were relaxed. In the Summer of 1957, Todd pushed through a reform that would increase the number of voting Africans from 2% to 16%, much to the dismay of his party.Despite changing international opinion about colonialism, the emergence of independent African states, and the increasing momentum of civil rights movements around the globe in the 1950s and 1960s, the settler government of Southern Rhodesia remained stubbornly resistant to imperial reform. White settlers in Southern Rhodesia were threatened by the idea of advancing the black majority; the country being reliant largely on exports of cotton and tobacco, their livelihood necessitated access to cheap labour. English settlers to Rhodesia had found a much improved standard of living and great wealth, and they viewed that improving conditions for the native majority was a threat to their new found luxury.
Todd's fall and the banning of SRANC
In 1958, after a one-month holiday in South Africa, Todd returned to Southern Rhodesia to discover his cabinet had resigned in protest of his liberal racial policies, and only 14 of the 24 legislators in his party supported his remaining in office. Todd refused to resign, but on 8 February, he was voted out at a United Federal Party congress and replaced by Edgar Whitehead.On 29 February 1959, the Whitehead administration declared a state of emergency and introduced the Unlawful Organizations Act, which banned several organisations including SRANC and allowed government seizure of property. The bill was defended by the claim that SRANC had incited violence, government defiance, and “undermined [the] prestige of Native Commissioners and the loyalty of African Police," said a security intelligence report. Between 1960 and 1965, 1,610 Africans were prosecuted and 1,002 convicted under this law.The Preventative Detention Act allowed the government to detain several hundred members of SRANC without trial; some members were detained for four years in "shockingly insulting" conditions, while white member Guy Clutton-Brock was released in under a month. Nkomo, who was attending a conference in Cairo on his way to London, was not detained; he remained in London organising or on speaking tours to rally support until returning home on 1 October 1960.The Native Affairs Amendment Act went even further to prevent nationalist activities, by banning meetings of 12 or more natives that would "undermine the authority" of the government. This prevented rural organising, severely limited freedom of speech, and marked the end of nonviolent resistance in Southern Rhodesia. To appease the black elite, Whitehead conceded a few liberal reforms to benefit wealthy, educated, urban Africans.
Later history and Zimbabwean independence
Despite the Whitehead and Smith administrations' attempts to prevent nationalism and resist anti-discrimination reform, the Southern Rhodesia African National Congress re-emerged several times with the same leadership and ideology under different names. Constant repression by the white minority government contributed to the increasing militarisation of these splinter organisations, which culminated in a 15-year war, leading to the internationally acknowledged independence of Zimbabwe in 1980.
The NDP, ZAPU and the "mother of all splits" to form ZANU in 1963
On 1 January 1960, the National Democratic Party replaced the Southern Rhodesia African National Congress, Chikerema and Nyandoro became members while still detained, and Nkomo came on as president on 28 November 1960. The NDP was an ideologically identical organisation to SRANC, although rural organising was nearly impossible after the Native Affairs Amendment Act. After a few years the NDP was banned, only to be replaced shortly thereafter by ZAPU, which was led by Nkomo, and then ZANU, a splinter group from ZAPU largely on ethnic grounds, which was led by Ndabaningi Sithole, and later Robert Mugabe.
The split was dubbed the "Mother of all Splits" because ZANU broke away from several other significant attempts at achieving unity between ZAPU and them; notably the "ZIPA" (1975 and PF(1979–80) accords. Some historians suggest that Ken Flower, a former MI6 agent, was instrumental in the formation of ZANU in the interest of preserving and perpetuating white dominance and imperial agenda over Africans. In 1963, both organisations were banned, but in July 1964, the Second Chimurenga (aka the "Zimbabwe War of Liberation" or "the Rhodesian Bush War") began, and both organisations re-emerged with armed wings, Zimbabwe People's Revolutionary Army (ZIPRA) and Zimbabwe African National Liberation Army (ZANLA). These groups were provided weaponry from communist nations including Soviet Union and then China, and used guerrilla and traditional warfare. The war waged until the Lancaster House Agreement of 1979, and Mugabe became Prime Minister of Zimbabwe in April 1980.
Joshua Nkomo became the first Minister of Home Affairs in 1980 until ZANU, under the leadership of Mugabe and Tsvangirai(then a Youth Chairperson of ZANU-Jongwe), unleashed violence, and massacred ZAPU members in Matababeland, Midlands, Manicalland,Mashonaland West, Mashonaland East and part of Masvingo Province, in what is now popularly known as the Gukurahundi Massacres.
In 1987, Nkomo was appointed Vice-President, an office he held for twelve years. Mugabe's administration proved controversial, and, as a leader, he has met serious opposition and criticism on the grounds of human rights abuses.
== Notes ==
|
country
|
{
"answer_start": [
4
],
"text": [
"Southern Rhodesia"
]
}
|
The Southern Rhodesia African National Congress (SRANC) was a political party active between 1957–1959 in Southern Rhodesia (now modern-day Zimbabwe). Committed to the promotion of indigenous African welfare, it was the first fully fledged black nationalist organisation in the country. While short-lived — it was outlawed by the predominantly white minority government in 1959 — it marked the beginning of political action towards black majority rule in Southern Rhodesia, and was the original incarnation of the National Democratic Party (NDP); the Zimbabwe African People's Union (ZAPU); the Zimbabwe African National Union (ZANU); and the Zimbabwe African National Union — Patriotic Front (ZANU–PF), which has governed Zimbabwe continuously since 1980. Many political figures who later became prominent, including Robert Mugabe and Joshua Nkomo, were members of the SRANC.
Beginnings
By the 1950s, the native peoples of Southern Rhodesia were increasingly dissatisfied with their treatment by the white minority government. In rural areas, the Native Reserves Land were overstocked and in deteriorating condition. In a response to increasing soil erosion, the government introduced the Land Husbandry Act of 1951. The bill was a failure, and did not take into consideration the ecological diversity of the land it reallocated. Problems with the Land Husbandry Act could have been rectified to better suit the native population, but it was in the best interests of the settler population to keep people on the reserves poor, thereby maintaining the unequal wealth distribution the settlers so enjoyed. The Bill saw heavy opposition by both rural farmers, and urban workers.Strict segregation in urban areas separated the black and white populations in hospitals, hotels and schools, and prevented Africans from drinking alcoholic beverages. The Land Apportionment Act of 1930 implemented rigid policy about domestic travel within the country; requiring Blacks to present papers when travelling between areas. The Land Tenure Act of the same year reallocated Africans' land, pushing families out of their homes, and giving better areas to the white settlers. Despite being a minority, white settlers were allocated 49,100,000 acres (19,900,000 ha), while the black majority received a disproportionately small 21,100,000 acres (8,500,000 ha). Moreover, Blacks were relocated to areas with poor quality soil, endemic malaria, and tsetse fly infestations. In cities, workers had little control over conditions, because trade unions had limited power due to heavy government restrictions. Despite having established only twelve public schools for Black children by 1950, a growing educated elite of wealthy Africans was developing in the cities. Extreme racism, however, prevented the Black bourgeois from identifying with their White economic counterparts, and they sympathised instead with the plighted rural farmers on reserves.
Formation
Joshua Nkomo was a graduate of Adams College in Natal and at the Jan H. Hofmeyr School of Social Work in Johannesburg. After working on the Rhodesian Railways African Employees' Association, he was elected President of the Bulawayo-based Southern Rhodesian chapter of the African National Congress (ANC) in 1952. At the time, ANC membership included Knight TT Maripe, Jason Ziyapapa Moyo, Edward Ndlovu, and Francis Nehwati. In September 1956, the United Transport Company scheduled to increase fares to such a level that workers would be spending between 18% and 30% of their income on transportation alone. In response to the price hike, James Chikerema, George Nyandoro, Dudziye Chisiza and Edson Sithole founded the Salisbury based City Youth League (later the African Youth League), and organised a mass boycott that was successful in preventing the price change.On 12 September 1957, the largely dormant ANC and the City Youth League merged to found the Southern Rhodesia African National Congress. The date was significant, being the 67th Anniversary of Occupation Day, a holiday celebrated by the white settler population. Having proved himself a strong organiser and powerful negotiator, Joshua Nkomo was inaugurated President. James Chikerema came on as Vice-President, George Nyandaro as Secretary, Ziyapapa Moyo as Vice Secretary, Joseph Msika as Treasurer, and Paul Mushonga as Vice Treasurer. SRANC took on a multi-ethnic executive membership from across the country, which made for a unified national organisation, and included white members such as Guy Clutton-Brock, an anti-apartheid agriculturalist.
Ideology and organisation
The Southern Rhodesia Africa National Congress established itself as a nonviolent reform group, acting on platforms of universal suffrage, anti-discrimination, increased standards of living for African peoples, the eradication of racism, expanding and de-racializing the education system, free travel for all Rhodesians within the country, the inauguration of democratic systems, and direct participation in the government.By adopting a constitution, they established themselves as the first mass resistance movement in Southern Rhodesia.SRANC was unique in that they rallied support largely from the rural population, and addressed the grievances of farmers on the reserves. They engaged in house to house, village to village recruiting, and called upon grassroots organising and churches. They held rallies, direct confrontation demonstrations, and canvassed for support internationally.
Nkomo successfully suspended the Land Husbandry Act and openly condemned the bill in a public statement saying:
"Any act whose effects undermine the security of our small land rights, dispossess us of our little wealth in the form of cattle, disperse us from our ancestral homes in the reserves and reduce us to the status of vagabonds and as a source of cheap labour for the farmers, miners, and industrialists – such and Act will turn the African People against society to the detriment of the peace and progress of this country."The Congress was successful preventing government interference in traditional marriage customs, and was instrumental in the banning of Depo Provera (a birth control compound), and expressed “deep suspicion... that there is a political motive behind the scheme of birth control.”Commitment to nonviolence, utilisation of civil disobedience, and Pan-Africanism created a likeness between SRANC and the civil rights movement happening at the same time in the United States. Said Rev. Dr. Martin Luther King Jr. of the Congress:
"Although we are separated by miles, we are closer together in mutual struggle for freedom and human brotherhood... there is no basic difference between colonialism and segregation... our struggles are not only similar; they are in a real sense one."Until 1958, SRANC found an ally in Prime Minister Garfield Todd, who met with them regularly and attempted to introduce reforms to "advance gradually the rights of the 7,000,000 blacks without upsetting the rule of the 250,000 whites." Under his administration the minimum wage for black workers was raised, restaurants and similar establishments were given the option of being multi-racial, and restrictions on alcohol consumption were relaxed. In the Summer of 1957, Todd pushed through a reform that would increase the number of voting Africans from 2% to 16%, much to the dismay of his party.Despite changing international opinion about colonialism, the emergence of independent African states, and the increasing momentum of civil rights movements around the globe in the 1950s and 1960s, the settler government of Southern Rhodesia remained stubbornly resistant to imperial reform. White settlers in Southern Rhodesia were threatened by the idea of advancing the black majority; the country being reliant largely on exports of cotton and tobacco, their livelihood necessitated access to cheap labour. English settlers to Rhodesia had found a much improved standard of living and great wealth, and they viewed that improving conditions for the native majority was a threat to their new found luxury.
Todd's fall and the banning of SRANC
In 1958, after a one-month holiday in South Africa, Todd returned to Southern Rhodesia to discover his cabinet had resigned in protest of his liberal racial policies, and only 14 of the 24 legislators in his party supported his remaining in office. Todd refused to resign, but on 8 February, he was voted out at a United Federal Party congress and replaced by Edgar Whitehead.On 29 February 1959, the Whitehead administration declared a state of emergency and introduced the Unlawful Organizations Act, which banned several organisations including SRANC and allowed government seizure of property. The bill was defended by the claim that SRANC had incited violence, government defiance, and “undermined [the] prestige of Native Commissioners and the loyalty of African Police," said a security intelligence report. Between 1960 and 1965, 1,610 Africans were prosecuted and 1,002 convicted under this law.The Preventative Detention Act allowed the government to detain several hundred members of SRANC without trial; some members were detained for four years in "shockingly insulting" conditions, while white member Guy Clutton-Brock was released in under a month. Nkomo, who was attending a conference in Cairo on his way to London, was not detained; he remained in London organising or on speaking tours to rally support until returning home on 1 October 1960.The Native Affairs Amendment Act went even further to prevent nationalist activities, by banning meetings of 12 or more natives that would "undermine the authority" of the government. This prevented rural organising, severely limited freedom of speech, and marked the end of nonviolent resistance in Southern Rhodesia. To appease the black elite, Whitehead conceded a few liberal reforms to benefit wealthy, educated, urban Africans.
Later history and Zimbabwean independence
Despite the Whitehead and Smith administrations' attempts to prevent nationalism and resist anti-discrimination reform, the Southern Rhodesia African National Congress re-emerged several times with the same leadership and ideology under different names. Constant repression by the white minority government contributed to the increasing militarisation of these splinter organisations, which culminated in a 15-year war, leading to the internationally acknowledged independence of Zimbabwe in 1980.
The NDP, ZAPU and the "mother of all splits" to form ZANU in 1963
On 1 January 1960, the National Democratic Party replaced the Southern Rhodesia African National Congress, Chikerema and Nyandoro became members while still detained, and Nkomo came on as president on 28 November 1960. The NDP was an ideologically identical organisation to SRANC, although rural organising was nearly impossible after the Native Affairs Amendment Act. After a few years the NDP was banned, only to be replaced shortly thereafter by ZAPU, which was led by Nkomo, and then ZANU, a splinter group from ZAPU largely on ethnic grounds, which was led by Ndabaningi Sithole, and later Robert Mugabe.
The split was dubbed the "Mother of all Splits" because ZANU broke away from several other significant attempts at achieving unity between ZAPU and them; notably the "ZIPA" (1975 and PF(1979–80) accords. Some historians suggest that Ken Flower, a former MI6 agent, was instrumental in the formation of ZANU in the interest of preserving and perpetuating white dominance and imperial agenda over Africans. In 1963, both organisations were banned, but in July 1964, the Second Chimurenga (aka the "Zimbabwe War of Liberation" or "the Rhodesian Bush War") began, and both organisations re-emerged with armed wings, Zimbabwe People's Revolutionary Army (ZIPRA) and Zimbabwe African National Liberation Army (ZANLA). These groups were provided weaponry from communist nations including Soviet Union and then China, and used guerrilla and traditional warfare. The war waged until the Lancaster House Agreement of 1979, and Mugabe became Prime Minister of Zimbabwe in April 1980.
Joshua Nkomo became the first Minister of Home Affairs in 1980 until ZANU, under the leadership of Mugabe and Tsvangirai(then a Youth Chairperson of ZANU-Jongwe), unleashed violence, and massacred ZAPU members in Matababeland, Midlands, Manicalland,Mashonaland West, Mashonaland East and part of Masvingo Province, in what is now popularly known as the Gukurahundi Massacres.
In 1987, Nkomo was appointed Vice-President, an office he held for twelve years. Mugabe's administration proved controversial, and, as a leader, he has met serious opposition and criticism on the grounds of human rights abuses.
== Notes ==
|
instance of
|
{
"answer_start": [
62
],
"text": [
"political party"
]
}
|
Salpianthus is a genus of flowering plants belonging to the family Nyctaginaceae.Its native range is Mexico to Venezuela and Ecuador, Cuba.Species:
Salpianthus aequalis Standl.
Salpianthus arenarius Bonpl.
Salpianthus macrodontus Standl.
Salpianthus purpurascens (Cav. ex Lag.) Hook. & Arn.
Salpianthus standleyi Steyerm.
== References ==
|
taxon rank
|
{
"answer_start": [
17
],
"text": [
"genus"
]
}
|
Salpianthus is a genus of flowering plants belonging to the family Nyctaginaceae.Its native range is Mexico to Venezuela and Ecuador, Cuba.Species:
Salpianthus aequalis Standl.
Salpianthus arenarius Bonpl.
Salpianthus macrodontus Standl.
Salpianthus purpurascens (Cav. ex Lag.) Hook. & Arn.
Salpianthus standleyi Steyerm.
== References ==
|
parent taxon
|
{
"answer_start": [
67
],
"text": [
"Nyctaginaceae"
]
}
|
Salpianthus is a genus of flowering plants belonging to the family Nyctaginaceae.Its native range is Mexico to Venezuela and Ecuador, Cuba.Species:
Salpianthus aequalis Standl.
Salpianthus arenarius Bonpl.
Salpianthus macrodontus Standl.
Salpianthus purpurascens (Cav. ex Lag.) Hook. & Arn.
Salpianthus standleyi Steyerm.
== References ==
|
taxon name
|
{
"answer_start": [
0
],
"text": [
"Salpianthus"
]
}
|
Demetrida nasuta is a species of ground beetle in Lebiinae subfamily. It was described by White in 1846 and is endemic to New Zealand.
== References ==
|
taxon rank
|
{
"answer_start": [
22
],
"text": [
"species"
]
}
|
Demetrida nasuta is a species of ground beetle in Lebiinae subfamily. It was described by White in 1846 and is endemic to New Zealand.
== References ==
|
parent taxon
|
{
"answer_start": [
0
],
"text": [
"Demetrida"
]
}
|
Demetrida nasuta is a species of ground beetle in Lebiinae subfamily. It was described by White in 1846 and is endemic to New Zealand.
== References ==
|
endemic to
|
{
"answer_start": [
122
],
"text": [
"New Zealand"
]
}
|
Demetrida nasuta is a species of ground beetle in Lebiinae subfamily. It was described by White in 1846 and is endemic to New Zealand.
== References ==
|
taxon name
|
{
"answer_start": [
0
],
"text": [
"Demetrida nasuta"
]
}
|
Demetrida nasuta is a species of ground beetle in Lebiinae subfamily. It was described by White in 1846 and is endemic to New Zealand.
== References ==
|
Commons category
|
{
"answer_start": [
0
],
"text": [
"Demetrida nasuta"
]
}
|
Khordha district is an administrative division of the state of Odisha, India. It was formed on April 1, 1993, by the division of former Puri District into Puri, Khordha and Nayagarh districts. In the year 2000 the district name was changed to Khordha. The district headquarters is Khordha Town. The capital city of Bhubaneswar is located in this district. Khordha is the most urbanized of all the districts of Odisha.
Khordha Road, the railway station that serves the town, is also the divisional headquarters of the East Coast Railway of the Indian Railways, and contains its own division. Khordha is known for its brass utensils, cottage industries, railway coach manufacturing and cable manufacturing unit and counsumer food manufacturing unit of various MNCs like Coca-cola,Pepsi,Uniliver,ITC etc.
History
It was the capital of Odisha from 1568 to 1803. It is also known for its fort, often described as the "last independent fort". The commander who kept it free from British East India Company was ), Bakshi Jagabandhu, popularly called 'Paika Bakshi'.
The Savaras tribal group, who are still to be found in the district in some pockets, once heavily populated the area. Khurda came into prominence when the first Rajas of the Khordha dynasty, Ramachandra Deva, made it the capital of his kingdom during the latter part of the 16th century. Khurda suffered repeated onslaughts from Muslim and Maratha cavalry but its royal house retained independence till 1804, when the British East India Company dispossessed Raja of his territory following the Second Anglo-Maratha War.
British government took Odisha under its rule in 1803 but could only include Khurda in 1827. The Paikas of Khurda are known for protesting against the British rule in Odisha.
Geography
It is also the district headquarters of Khurda district located at 20.11° N 85.40° E. The area of the district is 2,813 km2 (1,086 sq mi). The district is bordered by Cuttack district to the north and east, Puri district to the south, Ganjam district to the west, and Nayagarh district to the northwest. The Daya and Kuakhai Rivers flow through Khurda. The forested area is 618.67 km2 (238.87 sq mi). The district is mainly flat coastal plain, with some hill ranges in the west. It borders the Chilika Lake.
Climate
Temperature: 41.4 (max), 9.5 (min)
Rainfall: 1443 mm (avg)
Economy
It is renowned for its brass utensils cottage industries, cable factory, spinning mills, watch repairing factory, railway coach repairing factory, oil industries, Coca-Cola bottling plant and small metal industries, or sms group, Iocl gas bottling plant.
Divisions
Parliamentary constituencies: 2
Assembly constituencies: 6
Subdivisions: 2
Villages: 1,561
Blocks: 10
Grama panchayat: 168
Tehsils: 08
Towns: 6Municipality: 2 (Khordha, Jatni)
Municipal Corporation: 1 (Bhubaneshwar)
N.A.C: 2 (Balugaon, Banpur)
Semi Urban town:1 (Tangi)
Tehsils
Balianta
Balipatna
Banapur
Begunia
Bhubaneswar
Bolagarh
Chilika
Jatni
Khordha
Tangi
Subdivisions
Bhubaneswar: consists of 4 blocks, viz. Balianta, Balipatana, Jatni, Bhubaneswar.
Khurda: consists of 6 blocks, viz. Tangi, Khorda sadara, Banapur, Begunia, Bolgarh and Chilika.
Demographics
According to the 2011 census Khordha district has a population of 2,251,673, roughly equal to the nation of Latvia or the US state of New Mexico. This gives it a ranking of 201st in India (out of a total of 640). The district has a population density of 799 inhabitants per square kilometre (2,070/sq mi). Its population growth rate over the decade 2001-2011 was 19.65%. Khordha has a sex ratio of 925 females for every 1000 males, and a literacy rate of 87.51%. 48.16% of the population lives in urban areas. Scheduled Castes and Scheduled Tribes make up 13.21% and 5.11% of the population respectively.
At the time of the 2011 Census of India, 92.13% of the population in the district spoke Odia, 1.98% Urdu, 1.69% Telugu, 1.55% Hindi, 1.38% Bengali and 0.43% Santali as their first language.
Politics
Vidhan sabha constituencies
The following are the eight Vidhan sabha constituencies of Khordha district and the elected members of that area
Lok Sabha constituencies
During 1952 general election, Pandit Lingraj Mishra was elected from the Khurda (Lok Sabha constituency). 1957 onwards members were elected from Bhubaneswar (Lok Sabha constituency).
References
External links
Official website
|
country
|
{
"answer_start": [
71
],
"text": [
"India"
]
}
|
Khordha district is an administrative division of the state of Odisha, India. It was formed on April 1, 1993, by the division of former Puri District into Puri, Khordha and Nayagarh districts. In the year 2000 the district name was changed to Khordha. The district headquarters is Khordha Town. The capital city of Bhubaneswar is located in this district. Khordha is the most urbanized of all the districts of Odisha.
Khordha Road, the railway station that serves the town, is also the divisional headquarters of the East Coast Railway of the Indian Railways, and contains its own division. Khordha is known for its brass utensils, cottage industries, railway coach manufacturing and cable manufacturing unit and counsumer food manufacturing unit of various MNCs like Coca-cola,Pepsi,Uniliver,ITC etc.
History
It was the capital of Odisha from 1568 to 1803. It is also known for its fort, often described as the "last independent fort". The commander who kept it free from British East India Company was ), Bakshi Jagabandhu, popularly called 'Paika Bakshi'.
The Savaras tribal group, who are still to be found in the district in some pockets, once heavily populated the area. Khurda came into prominence when the first Rajas of the Khordha dynasty, Ramachandra Deva, made it the capital of his kingdom during the latter part of the 16th century. Khurda suffered repeated onslaughts from Muslim and Maratha cavalry but its royal house retained independence till 1804, when the British East India Company dispossessed Raja of his territory following the Second Anglo-Maratha War.
British government took Odisha under its rule in 1803 but could only include Khurda in 1827. The Paikas of Khurda are known for protesting against the British rule in Odisha.
Geography
It is also the district headquarters of Khurda district located at 20.11° N 85.40° E. The area of the district is 2,813 km2 (1,086 sq mi). The district is bordered by Cuttack district to the north and east, Puri district to the south, Ganjam district to the west, and Nayagarh district to the northwest. The Daya and Kuakhai Rivers flow through Khurda. The forested area is 618.67 km2 (238.87 sq mi). The district is mainly flat coastal plain, with some hill ranges in the west. It borders the Chilika Lake.
Climate
Temperature: 41.4 (max), 9.5 (min)
Rainfall: 1443 mm (avg)
Economy
It is renowned for its brass utensils cottage industries, cable factory, spinning mills, watch repairing factory, railway coach repairing factory, oil industries, Coca-Cola bottling plant and small metal industries, or sms group, Iocl gas bottling plant.
Divisions
Parliamentary constituencies: 2
Assembly constituencies: 6
Subdivisions: 2
Villages: 1,561
Blocks: 10
Grama panchayat: 168
Tehsils: 08
Towns: 6Municipality: 2 (Khordha, Jatni)
Municipal Corporation: 1 (Bhubaneshwar)
N.A.C: 2 (Balugaon, Banpur)
Semi Urban town:1 (Tangi)
Tehsils
Balianta
Balipatna
Banapur
Begunia
Bhubaneswar
Bolagarh
Chilika
Jatni
Khordha
Tangi
Subdivisions
Bhubaneswar: consists of 4 blocks, viz. Balianta, Balipatana, Jatni, Bhubaneswar.
Khurda: consists of 6 blocks, viz. Tangi, Khorda sadara, Banapur, Begunia, Bolgarh and Chilika.
Demographics
According to the 2011 census Khordha district has a population of 2,251,673, roughly equal to the nation of Latvia or the US state of New Mexico. This gives it a ranking of 201st in India (out of a total of 640). The district has a population density of 799 inhabitants per square kilometre (2,070/sq mi). Its population growth rate over the decade 2001-2011 was 19.65%. Khordha has a sex ratio of 925 females for every 1000 males, and a literacy rate of 87.51%. 48.16% of the population lives in urban areas. Scheduled Castes and Scheduled Tribes make up 13.21% and 5.11% of the population respectively.
At the time of the 2011 Census of India, 92.13% of the population in the district spoke Odia, 1.98% Urdu, 1.69% Telugu, 1.55% Hindi, 1.38% Bengali and 0.43% Santali as their first language.
Politics
Vidhan sabha constituencies
The following are the eight Vidhan sabha constituencies of Khordha district and the elected members of that area
Lok Sabha constituencies
During 1952 general election, Pandit Lingraj Mishra was elected from the Khurda (Lok Sabha constituency). 1957 onwards members were elected from Bhubaneswar (Lok Sabha constituency).
References
External links
Official website
|
capital
|
{
"answer_start": [
0
],
"text": [
"Khordha"
]
}
|
Khordha district is an administrative division of the state of Odisha, India. It was formed on April 1, 1993, by the division of former Puri District into Puri, Khordha and Nayagarh districts. In the year 2000 the district name was changed to Khordha. The district headquarters is Khordha Town. The capital city of Bhubaneswar is located in this district. Khordha is the most urbanized of all the districts of Odisha.
Khordha Road, the railway station that serves the town, is also the divisional headquarters of the East Coast Railway of the Indian Railways, and contains its own division. Khordha is known for its brass utensils, cottage industries, railway coach manufacturing and cable manufacturing unit and counsumer food manufacturing unit of various MNCs like Coca-cola,Pepsi,Uniliver,ITC etc.
History
It was the capital of Odisha from 1568 to 1803. It is also known for its fort, often described as the "last independent fort". The commander who kept it free from British East India Company was ), Bakshi Jagabandhu, popularly called 'Paika Bakshi'.
The Savaras tribal group, who are still to be found in the district in some pockets, once heavily populated the area. Khurda came into prominence when the first Rajas of the Khordha dynasty, Ramachandra Deva, made it the capital of his kingdom during the latter part of the 16th century. Khurda suffered repeated onslaughts from Muslim and Maratha cavalry but its royal house retained independence till 1804, when the British East India Company dispossessed Raja of his territory following the Second Anglo-Maratha War.
British government took Odisha under its rule in 1803 but could only include Khurda in 1827. The Paikas of Khurda are known for protesting against the British rule in Odisha.
Geography
It is also the district headquarters of Khurda district located at 20.11° N 85.40° E. The area of the district is 2,813 km2 (1,086 sq mi). The district is bordered by Cuttack district to the north and east, Puri district to the south, Ganjam district to the west, and Nayagarh district to the northwest. The Daya and Kuakhai Rivers flow through Khurda. The forested area is 618.67 km2 (238.87 sq mi). The district is mainly flat coastal plain, with some hill ranges in the west. It borders the Chilika Lake.
Climate
Temperature: 41.4 (max), 9.5 (min)
Rainfall: 1443 mm (avg)
Economy
It is renowned for its brass utensils cottage industries, cable factory, spinning mills, watch repairing factory, railway coach repairing factory, oil industries, Coca-Cola bottling plant and small metal industries, or sms group, Iocl gas bottling plant.
Divisions
Parliamentary constituencies: 2
Assembly constituencies: 6
Subdivisions: 2
Villages: 1,561
Blocks: 10
Grama panchayat: 168
Tehsils: 08
Towns: 6Municipality: 2 (Khordha, Jatni)
Municipal Corporation: 1 (Bhubaneshwar)
N.A.C: 2 (Balugaon, Banpur)
Semi Urban town:1 (Tangi)
Tehsils
Balianta
Balipatna
Banapur
Begunia
Bhubaneswar
Bolagarh
Chilika
Jatni
Khordha
Tangi
Subdivisions
Bhubaneswar: consists of 4 blocks, viz. Balianta, Balipatana, Jatni, Bhubaneswar.
Khurda: consists of 6 blocks, viz. Tangi, Khorda sadara, Banapur, Begunia, Bolgarh and Chilika.
Demographics
According to the 2011 census Khordha district has a population of 2,251,673, roughly equal to the nation of Latvia or the US state of New Mexico. This gives it a ranking of 201st in India (out of a total of 640). The district has a population density of 799 inhabitants per square kilometre (2,070/sq mi). Its population growth rate over the decade 2001-2011 was 19.65%. Khordha has a sex ratio of 925 females for every 1000 males, and a literacy rate of 87.51%. 48.16% of the population lives in urban areas. Scheduled Castes and Scheduled Tribes make up 13.21% and 5.11% of the population respectively.
At the time of the 2011 Census of India, 92.13% of the population in the district spoke Odia, 1.98% Urdu, 1.69% Telugu, 1.55% Hindi, 1.38% Bengali and 0.43% Santali as their first language.
Politics
Vidhan sabha constituencies
The following are the eight Vidhan sabha constituencies of Khordha district and the elected members of that area
Lok Sabha constituencies
During 1952 general election, Pandit Lingraj Mishra was elected from the Khurda (Lok Sabha constituency). 1957 onwards members were elected from Bhubaneswar (Lok Sabha constituency).
References
External links
Official website
|
shares border with
|
{
"answer_start": [
1973
],
"text": [
"Puri district"
]
}
|
Khordha district is an administrative division of the state of Odisha, India. It was formed on April 1, 1993, by the division of former Puri District into Puri, Khordha and Nayagarh districts. In the year 2000 the district name was changed to Khordha. The district headquarters is Khordha Town. The capital city of Bhubaneswar is located in this district. Khordha is the most urbanized of all the districts of Odisha.
Khordha Road, the railway station that serves the town, is also the divisional headquarters of the East Coast Railway of the Indian Railways, and contains its own division. Khordha is known for its brass utensils, cottage industries, railway coach manufacturing and cable manufacturing unit and counsumer food manufacturing unit of various MNCs like Coca-cola,Pepsi,Uniliver,ITC etc.
History
It was the capital of Odisha from 1568 to 1803. It is also known for its fort, often described as the "last independent fort". The commander who kept it free from British East India Company was ), Bakshi Jagabandhu, popularly called 'Paika Bakshi'.
The Savaras tribal group, who are still to be found in the district in some pockets, once heavily populated the area. Khurda came into prominence when the first Rajas of the Khordha dynasty, Ramachandra Deva, made it the capital of his kingdom during the latter part of the 16th century. Khurda suffered repeated onslaughts from Muslim and Maratha cavalry but its royal house retained independence till 1804, when the British East India Company dispossessed Raja of his territory following the Second Anglo-Maratha War.
British government took Odisha under its rule in 1803 but could only include Khurda in 1827. The Paikas of Khurda are known for protesting against the British rule in Odisha.
Geography
It is also the district headquarters of Khurda district located at 20.11° N 85.40° E. The area of the district is 2,813 km2 (1,086 sq mi). The district is bordered by Cuttack district to the north and east, Puri district to the south, Ganjam district to the west, and Nayagarh district to the northwest. The Daya and Kuakhai Rivers flow through Khurda. The forested area is 618.67 km2 (238.87 sq mi). The district is mainly flat coastal plain, with some hill ranges in the west. It borders the Chilika Lake.
Climate
Temperature: 41.4 (max), 9.5 (min)
Rainfall: 1443 mm (avg)
Economy
It is renowned for its brass utensils cottage industries, cable factory, spinning mills, watch repairing factory, railway coach repairing factory, oil industries, Coca-Cola bottling plant and small metal industries, or sms group, Iocl gas bottling plant.
Divisions
Parliamentary constituencies: 2
Assembly constituencies: 6
Subdivisions: 2
Villages: 1,561
Blocks: 10
Grama panchayat: 168
Tehsils: 08
Towns: 6Municipality: 2 (Khordha, Jatni)
Municipal Corporation: 1 (Bhubaneshwar)
N.A.C: 2 (Balugaon, Banpur)
Semi Urban town:1 (Tangi)
Tehsils
Balianta
Balipatna
Banapur
Begunia
Bhubaneswar
Bolagarh
Chilika
Jatni
Khordha
Tangi
Subdivisions
Bhubaneswar: consists of 4 blocks, viz. Balianta, Balipatana, Jatni, Bhubaneswar.
Khurda: consists of 6 blocks, viz. Tangi, Khorda sadara, Banapur, Begunia, Bolgarh and Chilika.
Demographics
According to the 2011 census Khordha district has a population of 2,251,673, roughly equal to the nation of Latvia or the US state of New Mexico. This gives it a ranking of 201st in India (out of a total of 640). The district has a population density of 799 inhabitants per square kilometre (2,070/sq mi). Its population growth rate over the decade 2001-2011 was 19.65%. Khordha has a sex ratio of 925 females for every 1000 males, and a literacy rate of 87.51%. 48.16% of the population lives in urban areas. Scheduled Castes and Scheduled Tribes make up 13.21% and 5.11% of the population respectively.
At the time of the 2011 Census of India, 92.13% of the population in the district spoke Odia, 1.98% Urdu, 1.69% Telugu, 1.55% Hindi, 1.38% Bengali and 0.43% Santali as their first language.
Politics
Vidhan sabha constituencies
The following are the eight Vidhan sabha constituencies of Khordha district and the elected members of that area
Lok Sabha constituencies
During 1952 general election, Pandit Lingraj Mishra was elected from the Khurda (Lok Sabha constituency). 1957 onwards members were elected from Bhubaneswar (Lok Sabha constituency).
References
External links
Official website
|
headquarters location
|
{
"answer_start": [
0
],
"text": [
"Khordha"
]
}
|
Khordha district is an administrative division of the state of Odisha, India. It was formed on April 1, 1993, by the division of former Puri District into Puri, Khordha and Nayagarh districts. In the year 2000 the district name was changed to Khordha. The district headquarters is Khordha Town. The capital city of Bhubaneswar is located in this district. Khordha is the most urbanized of all the districts of Odisha.
Khordha Road, the railway station that serves the town, is also the divisional headquarters of the East Coast Railway of the Indian Railways, and contains its own division. Khordha is known for its brass utensils, cottage industries, railway coach manufacturing and cable manufacturing unit and counsumer food manufacturing unit of various MNCs like Coca-cola,Pepsi,Uniliver,ITC etc.
History
It was the capital of Odisha from 1568 to 1803. It is also known for its fort, often described as the "last independent fort". The commander who kept it free from British East India Company was ), Bakshi Jagabandhu, popularly called 'Paika Bakshi'.
The Savaras tribal group, who are still to be found in the district in some pockets, once heavily populated the area. Khurda came into prominence when the first Rajas of the Khordha dynasty, Ramachandra Deva, made it the capital of his kingdom during the latter part of the 16th century. Khurda suffered repeated onslaughts from Muslim and Maratha cavalry but its royal house retained independence till 1804, when the British East India Company dispossessed Raja of his territory following the Second Anglo-Maratha War.
British government took Odisha under its rule in 1803 but could only include Khurda in 1827. The Paikas of Khurda are known for protesting against the British rule in Odisha.
Geography
It is also the district headquarters of Khurda district located at 20.11° N 85.40° E. The area of the district is 2,813 km2 (1,086 sq mi). The district is bordered by Cuttack district to the north and east, Puri district to the south, Ganjam district to the west, and Nayagarh district to the northwest. The Daya and Kuakhai Rivers flow through Khurda. The forested area is 618.67 km2 (238.87 sq mi). The district is mainly flat coastal plain, with some hill ranges in the west. It borders the Chilika Lake.
Climate
Temperature: 41.4 (max), 9.5 (min)
Rainfall: 1443 mm (avg)
Economy
It is renowned for its brass utensils cottage industries, cable factory, spinning mills, watch repairing factory, railway coach repairing factory, oil industries, Coca-Cola bottling plant and small metal industries, or sms group, Iocl gas bottling plant.
Divisions
Parliamentary constituencies: 2
Assembly constituencies: 6
Subdivisions: 2
Villages: 1,561
Blocks: 10
Grama panchayat: 168
Tehsils: 08
Towns: 6Municipality: 2 (Khordha, Jatni)
Municipal Corporation: 1 (Bhubaneshwar)
N.A.C: 2 (Balugaon, Banpur)
Semi Urban town:1 (Tangi)
Tehsils
Balianta
Balipatna
Banapur
Begunia
Bhubaneswar
Bolagarh
Chilika
Jatni
Khordha
Tangi
Subdivisions
Bhubaneswar: consists of 4 blocks, viz. Balianta, Balipatana, Jatni, Bhubaneswar.
Khurda: consists of 6 blocks, viz. Tangi, Khorda sadara, Banapur, Begunia, Bolgarh and Chilika.
Demographics
According to the 2011 census Khordha district has a population of 2,251,673, roughly equal to the nation of Latvia or the US state of New Mexico. This gives it a ranking of 201st in India (out of a total of 640). The district has a population density of 799 inhabitants per square kilometre (2,070/sq mi). Its population growth rate over the decade 2001-2011 was 19.65%. Khordha has a sex ratio of 925 females for every 1000 males, and a literacy rate of 87.51%. 48.16% of the population lives in urban areas. Scheduled Castes and Scheduled Tribes make up 13.21% and 5.11% of the population respectively.
At the time of the 2011 Census of India, 92.13% of the population in the district spoke Odia, 1.98% Urdu, 1.69% Telugu, 1.55% Hindi, 1.38% Bengali and 0.43% Santali as their first language.
Politics
Vidhan sabha constituencies
The following are the eight Vidhan sabha constituencies of Khordha district and the elected members of that area
Lok Sabha constituencies
During 1952 general election, Pandit Lingraj Mishra was elected from the Khurda (Lok Sabha constituency). 1957 onwards members were elected from Bhubaneswar (Lok Sabha constituency).
References
External links
Official website
|
Commons category
|
{
"answer_start": [
0
],
"text": [
"Khordha district"
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}
|
Raphitoma stanici is a species of sea snail, a marine gastropod mollusk in the family Raphitomidae.
Description
The length of the shell attains 14.3 mm.
Distribution
This marine species occurs in the Croatian part of the Adriatic Sea.
References
External links
http://zoosystema.com/42/16 Prkić J., Giannuzzi-Savelli R., Pusateri F., Russini V., Fassio G. & Oliverio M. (2020). Three new species of Raphitoma Bellardi, 1847 (Mollusca, Gastropoda, Raphitomidae) from Croatian waters (NE Adriatic Sea). Zoosystema. 42(16): 215-237
|
taxon rank
|
{
"answer_start": [
23
],
"text": [
"species"
]
}
|
Raphitoma stanici is a species of sea snail, a marine gastropod mollusk in the family Raphitomidae.
Description
The length of the shell attains 14.3 mm.
Distribution
This marine species occurs in the Croatian part of the Adriatic Sea.
References
External links
http://zoosystema.com/42/16 Prkić J., Giannuzzi-Savelli R., Pusateri F., Russini V., Fassio G. & Oliverio M. (2020). Three new species of Raphitoma Bellardi, 1847 (Mollusca, Gastropoda, Raphitomidae) from Croatian waters (NE Adriatic Sea). Zoosystema. 42(16): 215-237
|
parent taxon
|
{
"answer_start": [
0
],
"text": [
"Raphitoma"
]
}
|
Raphitoma stanici is a species of sea snail, a marine gastropod mollusk in the family Raphitomidae.
Description
The length of the shell attains 14.3 mm.
Distribution
This marine species occurs in the Croatian part of the Adriatic Sea.
References
External links
http://zoosystema.com/42/16 Prkić J., Giannuzzi-Savelli R., Pusateri F., Russini V., Fassio G. & Oliverio M. (2020). Three new species of Raphitoma Bellardi, 1847 (Mollusca, Gastropoda, Raphitomidae) from Croatian waters (NE Adriatic Sea). Zoosystema. 42(16): 215-237
|
taxon name
|
{
"answer_start": [
0
],
"text": [
"Raphitoma stanici"
]
}
|
Raphitoma stanici is a species of sea snail, a marine gastropod mollusk in the family Raphitomidae.
Description
The length of the shell attains 14.3 mm.
Distribution
This marine species occurs in the Croatian part of the Adriatic Sea.
References
External links
http://zoosystema.com/42/16 Prkić J., Giannuzzi-Savelli R., Pusateri F., Russini V., Fassio G. & Oliverio M. (2020). Three new species of Raphitoma Bellardi, 1847 (Mollusca, Gastropoda, Raphitomidae) from Croatian waters (NE Adriatic Sea). Zoosystema. 42(16): 215-237
|
Commons category
|
{
"answer_start": [
0
],
"text": [
"Raphitoma stanici"
]
}
|
Colm O'Flaherty (born 1950) is an Irish retired Gaelic footballer who played for the Tipperary and Leitrim senior teams.
Born in Cahir, County Tipperary, O'Flaherty first arrived on the inter-county scene at the age of fifteen when he first linked up with the Tipperary minor team before later joining the under-21 side. He joined the Tipperary senior panel during the 1970 championship. O'Flaherty subsequently became a regular member of the starting fifteen.
At club level O'Flaherty is a one-time championship medallist with Fr. Griffin's. He played the majority of his club football with Cahir.O'Flaherty retired from inter-county football following the conclusion of the 1980 championship.In retirement from playing O'Flaherty became involved in team management and coaching. He has served as a selector, coach and manager with the Tipperary minor, under-21 and senior teams in both Gaelic football and hurling.
Honours
Player
Fr. Griffin'sGalway Senior Football Championship (1): 1970
Selector
TipperaryNational Hurling League (1): 1993-94
Munster Minor Hurling Championship (1): 1993
== References ==
|
place of birth
|
{
"answer_start": [
129
],
"text": [
"Cahir"
]
}
|
Colm O'Flaherty (born 1950) is an Irish retired Gaelic footballer who played for the Tipperary and Leitrim senior teams.
Born in Cahir, County Tipperary, O'Flaherty first arrived on the inter-county scene at the age of fifteen when he first linked up with the Tipperary minor team before later joining the under-21 side. He joined the Tipperary senior panel during the 1970 championship. O'Flaherty subsequently became a regular member of the starting fifteen.
At club level O'Flaherty is a one-time championship medallist with Fr. Griffin's. He played the majority of his club football with Cahir.O'Flaherty retired from inter-county football following the conclusion of the 1980 championship.In retirement from playing O'Flaherty became involved in team management and coaching. He has served as a selector, coach and manager with the Tipperary minor, under-21 and senior teams in both Gaelic football and hurling.
Honours
Player
Fr. Griffin'sGalway Senior Football Championship (1): 1970
Selector
TipperaryNational Hurling League (1): 1993-94
Munster Minor Hurling Championship (1): 1993
== References ==
|
family name
|
{
"answer_start": [
5
],
"text": [
"O'Flaherty"
]
}
|
No Leave, No Love is a 1946 American musical film directed by Charles Martin and starring Van Johnson, Keenan Wynn and Pat Kirkwood.
Plot
The story concerns Mike, a Marine and recipient of the Congressional Medal of Honor, who returns with his pal Slinky from fighting in the Pacific during World War II. Mike expects to marry his hometown sweetheart; his mother wants to tell him in person that she has married someone else. Most of the film involves the efforts of Susan, a popular radio personality, to keep him from finding out or going home until his mother makes it to New York from Indiana. Susan and Mike fall in love; misunderstandings ensue. The shenanigans of the implausibly unpleasant and larcenous Slinky fill out the action, and the musical element is provided by several appearances of then-famous performers in nightclubs and on Susan’s radio show. The story is bookended by Mike’s arrival in the waiting room of a maternity ward and the birth of his and Susan’s son. Slinky gets the last word when Rosalind announces that she is pregnant.
Cast
Reception
The film earned $2,891,000 in the US and Canada and $894,000 elsewhere resulting in a profit of $629,000.
Critical response
Bosley Crowther of The New York Times writes in his review: "No Leave, No Love starts rambling along about the second reel, when Van Johnson, as the marine hero, turns things over to his pal, Keenan Wynn. And from there on it is mainly a matter of how comical Mr. Wynn can be with little more helpful material than his sense of humor and a big cigar. It must be said to Mr. Wynn's credit—and to the credit of his director, perhaps—that he does pull some fairly funny business in a strictly low-comedy vein, but it is all rather forced and capricious. And it, too, has its saturation points.
References
External links
No Leave, No Love at IMDb
|
instance of
|
{
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46
],
"text": [
"film"
]
}
|
No Leave, No Love is a 1946 American musical film directed by Charles Martin and starring Van Johnson, Keenan Wynn and Pat Kirkwood.
Plot
The story concerns Mike, a Marine and recipient of the Congressional Medal of Honor, who returns with his pal Slinky from fighting in the Pacific during World War II. Mike expects to marry his hometown sweetheart; his mother wants to tell him in person that she has married someone else. Most of the film involves the efforts of Susan, a popular radio personality, to keep him from finding out or going home until his mother makes it to New York from Indiana. Susan and Mike fall in love; misunderstandings ensue. The shenanigans of the implausibly unpleasant and larcenous Slinky fill out the action, and the musical element is provided by several appearances of then-famous performers in nightclubs and on Susan’s radio show. The story is bookended by Mike’s arrival in the waiting room of a maternity ward and the birth of his and Susan’s son. Slinky gets the last word when Rosalind announces that she is pregnant.
Cast
Reception
The film earned $2,891,000 in the US and Canada and $894,000 elsewhere resulting in a profit of $629,000.
Critical response
Bosley Crowther of The New York Times writes in his review: "No Leave, No Love starts rambling along about the second reel, when Van Johnson, as the marine hero, turns things over to his pal, Keenan Wynn. And from there on it is mainly a matter of how comical Mr. Wynn can be with little more helpful material than his sense of humor and a big cigar. It must be said to Mr. Wynn's credit—and to the credit of his director, perhaps—that he does pull some fairly funny business in a strictly low-comedy vein, but it is all rather forced and capricious. And it, too, has its saturation points.
References
External links
No Leave, No Love at IMDb
|
director
|
{
"answer_start": [
63
],
"text": [
"Charles Martin"
]
}
|
No Leave, No Love is a 1946 American musical film directed by Charles Martin and starring Van Johnson, Keenan Wynn and Pat Kirkwood.
Plot
The story concerns Mike, a Marine and recipient of the Congressional Medal of Honor, who returns with his pal Slinky from fighting in the Pacific during World War II. Mike expects to marry his hometown sweetheart; his mother wants to tell him in person that she has married someone else. Most of the film involves the efforts of Susan, a popular radio personality, to keep him from finding out or going home until his mother makes it to New York from Indiana. Susan and Mike fall in love; misunderstandings ensue. The shenanigans of the implausibly unpleasant and larcenous Slinky fill out the action, and the musical element is provided by several appearances of then-famous performers in nightclubs and on Susan’s radio show. The story is bookended by Mike’s arrival in the waiting room of a maternity ward and the birth of his and Susan’s son. Slinky gets the last word when Rosalind announces that she is pregnant.
Cast
Reception
The film earned $2,891,000 in the US and Canada and $894,000 elsewhere resulting in a profit of $629,000.
Critical response
Bosley Crowther of The New York Times writes in his review: "No Leave, No Love starts rambling along about the second reel, when Van Johnson, as the marine hero, turns things over to his pal, Keenan Wynn. And from there on it is mainly a matter of how comical Mr. Wynn can be with little more helpful material than his sense of humor and a big cigar. It must be said to Mr. Wynn's credit—and to the credit of his director, perhaps—that he does pull some fairly funny business in a strictly low-comedy vein, but it is all rather forced and capricious. And it, too, has its saturation points.
References
External links
No Leave, No Love at IMDb
|
genre
|
{
"answer_start": [
38
],
"text": [
"musical film"
]
}
|
No Leave, No Love is a 1946 American musical film directed by Charles Martin and starring Van Johnson, Keenan Wynn and Pat Kirkwood.
Plot
The story concerns Mike, a Marine and recipient of the Congressional Medal of Honor, who returns with his pal Slinky from fighting in the Pacific during World War II. Mike expects to marry his hometown sweetheart; his mother wants to tell him in person that she has married someone else. Most of the film involves the efforts of Susan, a popular radio personality, to keep him from finding out or going home until his mother makes it to New York from Indiana. Susan and Mike fall in love; misunderstandings ensue. The shenanigans of the implausibly unpleasant and larcenous Slinky fill out the action, and the musical element is provided by several appearances of then-famous performers in nightclubs and on Susan’s radio show. The story is bookended by Mike’s arrival in the waiting room of a maternity ward and the birth of his and Susan’s son. Slinky gets the last word when Rosalind announces that she is pregnant.
Cast
Reception
The film earned $2,891,000 in the US and Canada and $894,000 elsewhere resulting in a profit of $629,000.
Critical response
Bosley Crowther of The New York Times writes in his review: "No Leave, No Love starts rambling along about the second reel, when Van Johnson, as the marine hero, turns things over to his pal, Keenan Wynn. And from there on it is mainly a matter of how comical Mr. Wynn can be with little more helpful material than his sense of humor and a big cigar. It must be said to Mr. Wynn's credit—and to the credit of his director, perhaps—that he does pull some fairly funny business in a strictly low-comedy vein, but it is all rather forced and capricious. And it, too, has its saturation points.
References
External links
No Leave, No Love at IMDb
|
cast member
|
{
"answer_start": [
91
],
"text": [
"Van Johnson"
]
}
|
No Leave, No Love is a 1946 American musical film directed by Charles Martin and starring Van Johnson, Keenan Wynn and Pat Kirkwood.
Plot
The story concerns Mike, a Marine and recipient of the Congressional Medal of Honor, who returns with his pal Slinky from fighting in the Pacific during World War II. Mike expects to marry his hometown sweetheart; his mother wants to tell him in person that she has married someone else. Most of the film involves the efforts of Susan, a popular radio personality, to keep him from finding out or going home until his mother makes it to New York from Indiana. Susan and Mike fall in love; misunderstandings ensue. The shenanigans of the implausibly unpleasant and larcenous Slinky fill out the action, and the musical element is provided by several appearances of then-famous performers in nightclubs and on Susan’s radio show. The story is bookended by Mike’s arrival in the waiting room of a maternity ward and the birth of his and Susan’s son. Slinky gets the last word when Rosalind announces that she is pregnant.
Cast
Reception
The film earned $2,891,000 in the US and Canada and $894,000 elsewhere resulting in a profit of $629,000.
Critical response
Bosley Crowther of The New York Times writes in his review: "No Leave, No Love starts rambling along about the second reel, when Van Johnson, as the marine hero, turns things over to his pal, Keenan Wynn. And from there on it is mainly a matter of how comical Mr. Wynn can be with little more helpful material than his sense of humor and a big cigar. It must be said to Mr. Wynn's credit—and to the credit of his director, perhaps—that he does pull some fairly funny business in a strictly low-comedy vein, but it is all rather forced and capricious. And it, too, has its saturation points.
References
External links
No Leave, No Love at IMDb
|
main subject
|
{
"answer_start": [
293
],
"text": [
"World War II"
]
}
|
No Leave, No Love is a 1946 American musical film directed by Charles Martin and starring Van Johnson, Keenan Wynn and Pat Kirkwood.
Plot
The story concerns Mike, a Marine and recipient of the Congressional Medal of Honor, who returns with his pal Slinky from fighting in the Pacific during World War II. Mike expects to marry his hometown sweetheart; his mother wants to tell him in person that she has married someone else. Most of the film involves the efforts of Susan, a popular radio personality, to keep him from finding out or going home until his mother makes it to New York from Indiana. Susan and Mike fall in love; misunderstandings ensue. The shenanigans of the implausibly unpleasant and larcenous Slinky fill out the action, and the musical element is provided by several appearances of then-famous performers in nightclubs and on Susan’s radio show. The story is bookended by Mike’s arrival in the waiting room of a maternity ward and the birth of his and Susan’s son. Slinky gets the last word when Rosalind announces that she is pregnant.
Cast
Reception
The film earned $2,891,000 in the US and Canada and $894,000 elsewhere resulting in a profit of $629,000.
Critical response
Bosley Crowther of The New York Times writes in his review: "No Leave, No Love starts rambling along about the second reel, when Van Johnson, as the marine hero, turns things over to his pal, Keenan Wynn. And from there on it is mainly a matter of how comical Mr. Wynn can be with little more helpful material than his sense of humor and a big cigar. It must be said to Mr. Wynn's credit—and to the credit of his director, perhaps—that he does pull some fairly funny business in a strictly low-comedy vein, but it is all rather forced and capricious. And it, too, has its saturation points.
References
External links
No Leave, No Love at IMDb
|
title
|
{
"answer_start": [
0
],
"text": [
"No Leave, No Love"
]
}
|
Debbie Clarke (born 10 April 1961) is a Canadian former freestyle swimmer. She competed in three events at the 1976 Summer Olympics.
References
External links
Debbie Clarke at Olympedia
|
occupation
|
{
"answer_start": [
66
],
"text": [
"swimmer"
]
}
|
Debbie Clarke (born 10 April 1961) is a Canadian former freestyle swimmer. She competed in three events at the 1976 Summer Olympics.
References
External links
Debbie Clarke at Olympedia
|
family name
|
{
"answer_start": [
7
],
"text": [
"Clarke"
]
}
|
Debbie Clarke (born 10 April 1961) is a Canadian former freestyle swimmer. She competed in three events at the 1976 Summer Olympics.
References
External links
Debbie Clarke at Olympedia
|
given name
|
{
"answer_start": [
0
],
"text": [
"Debbie"
]
}
|
Debbie Clarke (born 10 April 1961) is a Canadian former freestyle swimmer. She competed in three events at the 1976 Summer Olympics.
References
External links
Debbie Clarke at Olympedia
|
participant in
|
{
"answer_start": [
111
],
"text": [
"1976 Summer Olympics"
]
}
|
In the Land of Hi-Fi may refer to a number of records released on the EmArcy label:
In the Land of Hi-Fi (Sarah Vaughan album), a 1955 album by Sarah Vaughan, released by EmArcy Records
In the Land of Hi-Fi (Dinah Washington album), a 1956 album by Dinah Washington, released by EmArcy Records
In the Land of Hi-Fi with Julian Cannonball Adderley, a 1956 album by Cannonball Adderley, released by EmArcy Records
In the Land of Hi-Fi (Patti Page album), a 1956 album by Patti Page, released by EmArcy Records
In the Land of Hi-Fi with Georgie Auld and His Orchestra, 1956 album by Georgie Auld released by EmArcy Records
In the Land of Hi-Fi, a 1958 album by Jerry Murad's Harmonicats, released by EmArcy Records
|
instance of
|
{
"answer_start": [
121
],
"text": [
"album"
]
}
|
In the Land of Hi-Fi may refer to a number of records released on the EmArcy label:
In the Land of Hi-Fi (Sarah Vaughan album), a 1955 album by Sarah Vaughan, released by EmArcy Records
In the Land of Hi-Fi (Dinah Washington album), a 1956 album by Dinah Washington, released by EmArcy Records
In the Land of Hi-Fi with Julian Cannonball Adderley, a 1956 album by Cannonball Adderley, released by EmArcy Records
In the Land of Hi-Fi (Patti Page album), a 1956 album by Patti Page, released by EmArcy Records
In the Land of Hi-Fi with Georgie Auld and His Orchestra, 1956 album by Georgie Auld released by EmArcy Records
In the Land of Hi-Fi, a 1958 album by Jerry Murad's Harmonicats, released by EmArcy Records
|
performer
|
{
"answer_start": [
435
],
"text": [
"Patti Page"
]
}
|
In the Land of Hi-Fi may refer to a number of records released on the EmArcy label:
In the Land of Hi-Fi (Sarah Vaughan album), a 1955 album by Sarah Vaughan, released by EmArcy Records
In the Land of Hi-Fi (Dinah Washington album), a 1956 album by Dinah Washington, released by EmArcy Records
In the Land of Hi-Fi with Julian Cannonball Adderley, a 1956 album by Cannonball Adderley, released by EmArcy Records
In the Land of Hi-Fi (Patti Page album), a 1956 album by Patti Page, released by EmArcy Records
In the Land of Hi-Fi with Georgie Auld and His Orchestra, 1956 album by Georgie Auld released by EmArcy Records
In the Land of Hi-Fi, a 1958 album by Jerry Murad's Harmonicats, released by EmArcy Records
|
record label
|
{
"answer_start": [
172
],
"text": [
"EmArcy Records"
]
}
|
Baadj (also known as El Baadj) is a village in the commune of Oum Touyour, in El M'Ghair District, El Oued Province, Algeria. The village is located on the W31 regional road just northwest of where it meets the N3 highway, near Oum Touyour. 13 kilometres (8.1 mi) south of Djamaa.
== References ==
|
country
|
{
"answer_start": [
117
],
"text": [
"Algeria"
]
}
|
Baadj (also known as El Baadj) is a village in the commune of Oum Touyour, in El M'Ghair District, El Oued Province, Algeria. The village is located on the W31 regional road just northwest of where it meets the N3 highway, near Oum Touyour. 13 kilometres (8.1 mi) south of Djamaa.
== References ==
|
instance of
|
{
"answer_start": [
36
],
"text": [
"village"
]
}
|
Baadj (also known as El Baadj) is a village in the commune of Oum Touyour, in El M'Ghair District, El Oued Province, Algeria. The village is located on the W31 regional road just northwest of where it meets the N3 highway, near Oum Touyour. 13 kilometres (8.1 mi) south of Djamaa.
== References ==
|
located in the administrative territorial entity
|
{
"answer_start": [
78
],
"text": [
"El M'Ghair District"
]
}
|
Caleb Cheeshahteaumuck (estimated 1644 – 1666) was the first Native American to graduate from Harvard University.
Life
Cheeshahteaumuck, the son of a Nobnocket (West Chop) sachem, was born into the Wampanoag tribe on Martha's Vineyard and he received a formal education. He and his classmate Joel Hiacoomes were taught on the Vineyard by Peter Folger, the maternal grandfather to Benjamin Franklin.
The two went on to attend Elijah Corlet's grammar school in Cambridge in around 1657.
Harvard and death
Cheeshahteaumuck and Hiacoomes both entered Harvard's Indian College in 1661. Hiacoomes died in a shipwreck a few months prior to graduation while returning to Harvard from Martha's Vineyard. Cheeshahteaumuck became the first Native American to graduate from Harvard in 1665. He died of tuberculosis in Watertown, Massachusetts less than a year after graduation.One document remains from Cheeshahteaumuck's time at Harvard which he purportedly wrote, written entirely in Latin. This short letter, addressed to "most honored benefactors," contains references to Greek mythology, ancient philosophers, and Christian ideology and was meant to thank donors and encourage them to continue their financial support. Some consider this to be the earliest extant writing by a Native American on the continent.In 1674, Daniel Gookin, writing about American Indians in New England, described Cheeshahteaumuck's death and how "Caleb, not long after he took his degree of bachelor of art at Cambridge in New England, died of a consumption at Charlestown, where he was placed by Mr. Thomas Danforth, who had inspection over him, under the care of a physician in order to his health; where he wanted not for the best means the country could afford, both of food and physic; but God denied the blessing, and put a period to his days."The Harvard Foundation unveiled a portrait of Cheeshahteaumuck on December 16, 2010 in the Annenberg Hall, painted by Stephen E. Coit.
Legacy
Cheeshahteaumuck is the title character in Geraldine Brooks' book of historical fiction Caleb's Crossing.
== References ==
|
place of birth
|
{
"answer_start": [
218
],
"text": [
"Martha's Vineyard"
]
}
|
Caleb Cheeshahteaumuck (estimated 1644 – 1666) was the first Native American to graduate from Harvard University.
Life
Cheeshahteaumuck, the son of a Nobnocket (West Chop) sachem, was born into the Wampanoag tribe on Martha's Vineyard and he received a formal education. He and his classmate Joel Hiacoomes were taught on the Vineyard by Peter Folger, the maternal grandfather to Benjamin Franklin.
The two went on to attend Elijah Corlet's grammar school in Cambridge in around 1657.
Harvard and death
Cheeshahteaumuck and Hiacoomes both entered Harvard's Indian College in 1661. Hiacoomes died in a shipwreck a few months prior to graduation while returning to Harvard from Martha's Vineyard. Cheeshahteaumuck became the first Native American to graduate from Harvard in 1665. He died of tuberculosis in Watertown, Massachusetts less than a year after graduation.One document remains from Cheeshahteaumuck's time at Harvard which he purportedly wrote, written entirely in Latin. This short letter, addressed to "most honored benefactors," contains references to Greek mythology, ancient philosophers, and Christian ideology and was meant to thank donors and encourage them to continue their financial support. Some consider this to be the earliest extant writing by a Native American on the continent.In 1674, Daniel Gookin, writing about American Indians in New England, described Cheeshahteaumuck's death and how "Caleb, not long after he took his degree of bachelor of art at Cambridge in New England, died of a consumption at Charlestown, where he was placed by Mr. Thomas Danforth, who had inspection over him, under the care of a physician in order to his health; where he wanted not for the best means the country could afford, both of food and physic; but God denied the blessing, and put a period to his days."The Harvard Foundation unveiled a portrait of Cheeshahteaumuck on December 16, 2010 in the Annenberg Hall, painted by Stephen E. Coit.
Legacy
Cheeshahteaumuck is the title character in Geraldine Brooks' book of historical fiction Caleb's Crossing.
== References ==
|
educated at
|
{
"answer_start": [
94
],
"text": [
"Harvard University"
]
}
|
Caleb Cheeshahteaumuck (estimated 1644 – 1666) was the first Native American to graduate from Harvard University.
Life
Cheeshahteaumuck, the son of a Nobnocket (West Chop) sachem, was born into the Wampanoag tribe on Martha's Vineyard and he received a formal education. He and his classmate Joel Hiacoomes were taught on the Vineyard by Peter Folger, the maternal grandfather to Benjamin Franklin.
The two went on to attend Elijah Corlet's grammar school in Cambridge in around 1657.
Harvard and death
Cheeshahteaumuck and Hiacoomes both entered Harvard's Indian College in 1661. Hiacoomes died in a shipwreck a few months prior to graduation while returning to Harvard from Martha's Vineyard. Cheeshahteaumuck became the first Native American to graduate from Harvard in 1665. He died of tuberculosis in Watertown, Massachusetts less than a year after graduation.One document remains from Cheeshahteaumuck's time at Harvard which he purportedly wrote, written entirely in Latin. This short letter, addressed to "most honored benefactors," contains references to Greek mythology, ancient philosophers, and Christian ideology and was meant to thank donors and encourage them to continue their financial support. Some consider this to be the earliest extant writing by a Native American on the continent.In 1674, Daniel Gookin, writing about American Indians in New England, described Cheeshahteaumuck's death and how "Caleb, not long after he took his degree of bachelor of art at Cambridge in New England, died of a consumption at Charlestown, where he was placed by Mr. Thomas Danforth, who had inspection over him, under the care of a physician in order to his health; where he wanted not for the best means the country could afford, both of food and physic; but God denied the blessing, and put a period to his days."The Harvard Foundation unveiled a portrait of Cheeshahteaumuck on December 16, 2010 in the Annenberg Hall, painted by Stephen E. Coit.
Legacy
Cheeshahteaumuck is the title character in Geraldine Brooks' book of historical fiction Caleb's Crossing.
== References ==
|
given name
|
{
"answer_start": [
0
],
"text": [
"Caleb"
]
}
|
Ward 1 (Phường 1) is a ward of District 11 in Ho Chi Minh City, Vietnam.
== References ==
|
located in the administrative territorial entity
|
{
"answer_start": [
31
],
"text": [
"District 11"
]
}
|
John XIV, surnamed Kalekas (Greek: Ίωάννης ΙΔ' Καλέκας; c. 1282 – 29 December 1347) was the Ecumenical Patriarch of Constantinople from 1334 to 1347. He was an anti-hesychast and opponent of Gregory Palamas. He was an active participant in the Byzantine civil war of 1341–1347 as a member of the regency for John V Palaiologos, against John VI Kantakouzenos.
Personal life
John Kalekas was born about the year 1282 in Apros, Thrace. After having grown up in modest circumstances, John was married and had a son and daughter.
Career
He was ordained a priest. John came under the patronage of John Kantakouzenos, the chief minister of emperor Andronikos III Palaiologos and later megas domestikos, who introduced him to the imperial court. In 1334, against the resistance of the patriarchal synod, John Kantakouzenos led John Kalekas to his election, first, as Metropolitan of Thessalonica and, then, as patriarch of Constantinople, where he succeeded Isaias.
About the year 1337, during the patriarchate of John Kalekas, a Calabrian monk, Barlaam, who was the abbot of the Monastery of the St. Savior in Chora, learned of the practice of hesychasm during a visit to Mount Athos. Barlaam, trained in western scholastic theology, was scandalized and began to campaign against the practice and its advocate Gregory Palamas. The dispute grew until 1341, when emperor Andronikos III, a supporter of Gregory Palamas, convened the Fifth Council of Constantinople. Although he was supportive of Barlaam, John did not resist his condemnation; after his condemnation Barlaam left Constantinople permanently. Thereafter, Barlaam's cause was taken up by Gregory Akindynos. In 1344, in a synod convened by John Kantakouzenos, where the patriarch John was absent, Gregory Akindynos was also condemned.
In 1345, having finally committed to the Barlaam party, Patriarch John convened a synod that excommunicated Gregory Palamas from the Church and had him imprisoned for three years, until after John's death in 1347. During the same synod, John also had Bishop Isidore of Monembasia, a disciple of Gregory, excommunicated.
After the death of emperor Andronikos III in June 1341, two factions emerged at the imperial court concerned with the regency for the infant co-emperor John V Palaiologos. Aided by the intrigues of Alexios Apokaukos, the two sides engaged in a Byzantine civil war that lasted until 1347. After some maneuvering one faction formed around John Kantakouzenos, who was a supporter of Gregory Palamas, and included the provincial magnates from Macedonia and Thrace. The other faction, which seized imperial power, was led by Patriarch John Kalekas and Alexios Apokaukos, and supported Andronikos's widow Anna of Savoy in her efforts to assume the regency for the young John V Palaiologos. In forming the faction, Anna made Patriarch John a regent and appointed Alexios Apokaukos an eparchos (urban prefect).
Initially, the regency held the upper hand, but by 1345 John Kantakouzenos, aided by help from Orhan I of the Ottoman emirate and the murder of Alexios Apokaukos, dealt the regency a severe blow. In 1346, John VI Kantakouzenos was crowned co-emperor in Adrianople and entered Constantinople in February 1347. Then, the regency war ended with the agreement that John Kantakouzenos would be the senior emperor and regent for John V Palaiologos until he was old enough to rule on his own.
Synod of 1347
A synod was held in February 1347 which deposed John, exiling him to Didymoteicho, and also excommunicated Gregory Akindynos. Isidore Buchiras, who had been excommunicated by the synod of 1344, was now made patriarch.Within days after the end of the conciliabulum, John VI Kantakouzenos, victoriously entered Constantinople and forced his opponents to crown him co-emperor. One of his first acts was to confirm the deposition of John XIV and to approve the synodal tome that had just been issued against him.The hesychasm dispute continued through a synod convened by Barlaam supporters that refused to accept Patriarch Isidore before a final settlement of the dispute came about at a sixth synod in 1351 during the patriarchate of Callistus I.
Final years
In the latter part of 1347, the deposed John Kalekas was returned from exile to Constantinople where he died later in the year.
Sources
Klaus-Peter Todt (1992). "Johannes XIV. Kalekas, Ökumen. Patriarch von Konstantinopel". In Bautz, Friedrich Wilhelm (ed.). Biographisch-Bibliographisches Kirchenlexikon (BBKL) (in German). Vol. 3. Herzberg: Bautz. cols. 426–428. ISBN 3-88309-035-2.
Catholic Encyclopedia: Hesychasm
Sainted Gregory Palamas, Archbishop of Thessalonika
References
External links
Dumbarton Oaks: Independent and Self-Governing Monasteries of the Fourteenth and Fifteenth Centuries Chapter 9, p1491
|
place of birth
|
{
"answer_start": [
427
],
"text": [
"Thrace"
]
}
|
John XIV, surnamed Kalekas (Greek: Ίωάννης ΙΔ' Καλέκας; c. 1282 – 29 December 1347) was the Ecumenical Patriarch of Constantinople from 1334 to 1347. He was an anti-hesychast and opponent of Gregory Palamas. He was an active participant in the Byzantine civil war of 1341–1347 as a member of the regency for John V Palaiologos, against John VI Kantakouzenos.
Personal life
John Kalekas was born about the year 1282 in Apros, Thrace. After having grown up in modest circumstances, John was married and had a son and daughter.
Career
He was ordained a priest. John came under the patronage of John Kantakouzenos, the chief minister of emperor Andronikos III Palaiologos and later megas domestikos, who introduced him to the imperial court. In 1334, against the resistance of the patriarchal synod, John Kantakouzenos led John Kalekas to his election, first, as Metropolitan of Thessalonica and, then, as patriarch of Constantinople, where he succeeded Isaias.
About the year 1337, during the patriarchate of John Kalekas, a Calabrian monk, Barlaam, who was the abbot of the Monastery of the St. Savior in Chora, learned of the practice of hesychasm during a visit to Mount Athos. Barlaam, trained in western scholastic theology, was scandalized and began to campaign against the practice and its advocate Gregory Palamas. The dispute grew until 1341, when emperor Andronikos III, a supporter of Gregory Palamas, convened the Fifth Council of Constantinople. Although he was supportive of Barlaam, John did not resist his condemnation; after his condemnation Barlaam left Constantinople permanently. Thereafter, Barlaam's cause was taken up by Gregory Akindynos. In 1344, in a synod convened by John Kantakouzenos, where the patriarch John was absent, Gregory Akindynos was also condemned.
In 1345, having finally committed to the Barlaam party, Patriarch John convened a synod that excommunicated Gregory Palamas from the Church and had him imprisoned for three years, until after John's death in 1347. During the same synod, John also had Bishop Isidore of Monembasia, a disciple of Gregory, excommunicated.
After the death of emperor Andronikos III in June 1341, two factions emerged at the imperial court concerned with the regency for the infant co-emperor John V Palaiologos. Aided by the intrigues of Alexios Apokaukos, the two sides engaged in a Byzantine civil war that lasted until 1347. After some maneuvering one faction formed around John Kantakouzenos, who was a supporter of Gregory Palamas, and included the provincial magnates from Macedonia and Thrace. The other faction, which seized imperial power, was led by Patriarch John Kalekas and Alexios Apokaukos, and supported Andronikos's widow Anna of Savoy in her efforts to assume the regency for the young John V Palaiologos. In forming the faction, Anna made Patriarch John a regent and appointed Alexios Apokaukos an eparchos (urban prefect).
Initially, the regency held the upper hand, but by 1345 John Kantakouzenos, aided by help from Orhan I of the Ottoman emirate and the murder of Alexios Apokaukos, dealt the regency a severe blow. In 1346, John VI Kantakouzenos was crowned co-emperor in Adrianople and entered Constantinople in February 1347. Then, the regency war ended with the agreement that John Kantakouzenos would be the senior emperor and regent for John V Palaiologos until he was old enough to rule on his own.
Synod of 1347
A synod was held in February 1347 which deposed John, exiling him to Didymoteicho, and also excommunicated Gregory Akindynos. Isidore Buchiras, who had been excommunicated by the synod of 1344, was now made patriarch.Within days after the end of the conciliabulum, John VI Kantakouzenos, victoriously entered Constantinople and forced his opponents to crown him co-emperor. One of his first acts was to confirm the deposition of John XIV and to approve the synodal tome that had just been issued against him.The hesychasm dispute continued through a synod convened by Barlaam supporters that refused to accept Patriarch Isidore before a final settlement of the dispute came about at a sixth synod in 1351 during the patriarchate of Callistus I.
Final years
In the latter part of 1347, the deposed John Kalekas was returned from exile to Constantinople where he died later in the year.
Sources
Klaus-Peter Todt (1992). "Johannes XIV. Kalekas, Ökumen. Patriarch von Konstantinopel". In Bautz, Friedrich Wilhelm (ed.). Biographisch-Bibliographisches Kirchenlexikon (BBKL) (in German). Vol. 3. Herzberg: Bautz. cols. 426–428. ISBN 3-88309-035-2.
Catholic Encyclopedia: Hesychasm
Sainted Gregory Palamas, Archbishop of Thessalonika
References
External links
Dumbarton Oaks: Independent and Self-Governing Monasteries of the Fourteenth and Fifteenth Centuries Chapter 9, p1491
|
place of death
|
{
"answer_start": [
116
],
"text": [
"Constantinople"
]
}
|
John XIV, surnamed Kalekas (Greek: Ίωάννης ΙΔ' Καλέκας; c. 1282 – 29 December 1347) was the Ecumenical Patriarch of Constantinople from 1334 to 1347. He was an anti-hesychast and opponent of Gregory Palamas. He was an active participant in the Byzantine civil war of 1341–1347 as a member of the regency for John V Palaiologos, against John VI Kantakouzenos.
Personal life
John Kalekas was born about the year 1282 in Apros, Thrace. After having grown up in modest circumstances, John was married and had a son and daughter.
Career
He was ordained a priest. John came under the patronage of John Kantakouzenos, the chief minister of emperor Andronikos III Palaiologos and later megas domestikos, who introduced him to the imperial court. In 1334, against the resistance of the patriarchal synod, John Kantakouzenos led John Kalekas to his election, first, as Metropolitan of Thessalonica and, then, as patriarch of Constantinople, where he succeeded Isaias.
About the year 1337, during the patriarchate of John Kalekas, a Calabrian monk, Barlaam, who was the abbot of the Monastery of the St. Savior in Chora, learned of the practice of hesychasm during a visit to Mount Athos. Barlaam, trained in western scholastic theology, was scandalized and began to campaign against the practice and its advocate Gregory Palamas. The dispute grew until 1341, when emperor Andronikos III, a supporter of Gregory Palamas, convened the Fifth Council of Constantinople. Although he was supportive of Barlaam, John did not resist his condemnation; after his condemnation Barlaam left Constantinople permanently. Thereafter, Barlaam's cause was taken up by Gregory Akindynos. In 1344, in a synod convened by John Kantakouzenos, where the patriarch John was absent, Gregory Akindynos was also condemned.
In 1345, having finally committed to the Barlaam party, Patriarch John convened a synod that excommunicated Gregory Palamas from the Church and had him imprisoned for three years, until after John's death in 1347. During the same synod, John also had Bishop Isidore of Monembasia, a disciple of Gregory, excommunicated.
After the death of emperor Andronikos III in June 1341, two factions emerged at the imperial court concerned with the regency for the infant co-emperor John V Palaiologos. Aided by the intrigues of Alexios Apokaukos, the two sides engaged in a Byzantine civil war that lasted until 1347. After some maneuvering one faction formed around John Kantakouzenos, who was a supporter of Gregory Palamas, and included the provincial magnates from Macedonia and Thrace. The other faction, which seized imperial power, was led by Patriarch John Kalekas and Alexios Apokaukos, and supported Andronikos's widow Anna of Savoy in her efforts to assume the regency for the young John V Palaiologos. In forming the faction, Anna made Patriarch John a regent and appointed Alexios Apokaukos an eparchos (urban prefect).
Initially, the regency held the upper hand, but by 1345 John Kantakouzenos, aided by help from Orhan I of the Ottoman emirate and the murder of Alexios Apokaukos, dealt the regency a severe blow. In 1346, John VI Kantakouzenos was crowned co-emperor in Adrianople and entered Constantinople in February 1347. Then, the regency war ended with the agreement that John Kantakouzenos would be the senior emperor and regent for John V Palaiologos until he was old enough to rule on his own.
Synod of 1347
A synod was held in February 1347 which deposed John, exiling him to Didymoteicho, and also excommunicated Gregory Akindynos. Isidore Buchiras, who had been excommunicated by the synod of 1344, was now made patriarch.Within days after the end of the conciliabulum, John VI Kantakouzenos, victoriously entered Constantinople and forced his opponents to crown him co-emperor. One of his first acts was to confirm the deposition of John XIV and to approve the synodal tome that had just been issued against him.The hesychasm dispute continued through a synod convened by Barlaam supporters that refused to accept Patriarch Isidore before a final settlement of the dispute came about at a sixth synod in 1351 during the patriarchate of Callistus I.
Final years
In the latter part of 1347, the deposed John Kalekas was returned from exile to Constantinople where he died later in the year.
Sources
Klaus-Peter Todt (1992). "Johannes XIV. Kalekas, Ökumen. Patriarch von Konstantinopel". In Bautz, Friedrich Wilhelm (ed.). Biographisch-Bibliographisches Kirchenlexikon (BBKL) (in German). Vol. 3. Herzberg: Bautz. cols. 426–428. ISBN 3-88309-035-2.
Catholic Encyclopedia: Hesychasm
Sainted Gregory Palamas, Archbishop of Thessalonika
References
External links
Dumbarton Oaks: Independent and Self-Governing Monasteries of the Fourteenth and Fifteenth Centuries Chapter 9, p1491
|
position held
|
{
"answer_start": [
92
],
"text": [
"Ecumenical Patriarch of Constantinople"
]
}
|
John XIV, surnamed Kalekas (Greek: Ίωάννης ΙΔ' Καλέκας; c. 1282 – 29 December 1347) was the Ecumenical Patriarch of Constantinople from 1334 to 1347. He was an anti-hesychast and opponent of Gregory Palamas. He was an active participant in the Byzantine civil war of 1341–1347 as a member of the regency for John V Palaiologos, against John VI Kantakouzenos.
Personal life
John Kalekas was born about the year 1282 in Apros, Thrace. After having grown up in modest circumstances, John was married and had a son and daughter.
Career
He was ordained a priest. John came under the patronage of John Kantakouzenos, the chief minister of emperor Andronikos III Palaiologos and later megas domestikos, who introduced him to the imperial court. In 1334, against the resistance of the patriarchal synod, John Kantakouzenos led John Kalekas to his election, first, as Metropolitan of Thessalonica and, then, as patriarch of Constantinople, where he succeeded Isaias.
About the year 1337, during the patriarchate of John Kalekas, a Calabrian monk, Barlaam, who was the abbot of the Monastery of the St. Savior in Chora, learned of the practice of hesychasm during a visit to Mount Athos. Barlaam, trained in western scholastic theology, was scandalized and began to campaign against the practice and its advocate Gregory Palamas. The dispute grew until 1341, when emperor Andronikos III, a supporter of Gregory Palamas, convened the Fifth Council of Constantinople. Although he was supportive of Barlaam, John did not resist his condemnation; after his condemnation Barlaam left Constantinople permanently. Thereafter, Barlaam's cause was taken up by Gregory Akindynos. In 1344, in a synod convened by John Kantakouzenos, where the patriarch John was absent, Gregory Akindynos was also condemned.
In 1345, having finally committed to the Barlaam party, Patriarch John convened a synod that excommunicated Gregory Palamas from the Church and had him imprisoned for three years, until after John's death in 1347. During the same synod, John also had Bishop Isidore of Monembasia, a disciple of Gregory, excommunicated.
After the death of emperor Andronikos III in June 1341, two factions emerged at the imperial court concerned with the regency for the infant co-emperor John V Palaiologos. Aided by the intrigues of Alexios Apokaukos, the two sides engaged in a Byzantine civil war that lasted until 1347. After some maneuvering one faction formed around John Kantakouzenos, who was a supporter of Gregory Palamas, and included the provincial magnates from Macedonia and Thrace. The other faction, which seized imperial power, was led by Patriarch John Kalekas and Alexios Apokaukos, and supported Andronikos's widow Anna of Savoy in her efforts to assume the regency for the young John V Palaiologos. In forming the faction, Anna made Patriarch John a regent and appointed Alexios Apokaukos an eparchos (urban prefect).
Initially, the regency held the upper hand, but by 1345 John Kantakouzenos, aided by help from Orhan I of the Ottoman emirate and the murder of Alexios Apokaukos, dealt the regency a severe blow. In 1346, John VI Kantakouzenos was crowned co-emperor in Adrianople and entered Constantinople in February 1347. Then, the regency war ended with the agreement that John Kantakouzenos would be the senior emperor and regent for John V Palaiologos until he was old enough to rule on his own.
Synod of 1347
A synod was held in February 1347 which deposed John, exiling him to Didymoteicho, and also excommunicated Gregory Akindynos. Isidore Buchiras, who had been excommunicated by the synod of 1344, was now made patriarch.Within days after the end of the conciliabulum, John VI Kantakouzenos, victoriously entered Constantinople and forced his opponents to crown him co-emperor. One of his first acts was to confirm the deposition of John XIV and to approve the synodal tome that had just been issued against him.The hesychasm dispute continued through a synod convened by Barlaam supporters that refused to accept Patriarch Isidore before a final settlement of the dispute came about at a sixth synod in 1351 during the patriarchate of Callistus I.
Final years
In the latter part of 1347, the deposed John Kalekas was returned from exile to Constantinople where he died later in the year.
Sources
Klaus-Peter Todt (1992). "Johannes XIV. Kalekas, Ökumen. Patriarch von Konstantinopel". In Bautz, Friedrich Wilhelm (ed.). Biographisch-Bibliographisches Kirchenlexikon (BBKL) (in German). Vol. 3. Herzberg: Bautz. cols. 426–428. ISBN 3-88309-035-2.
Catholic Encyclopedia: Hesychasm
Sainted Gregory Palamas, Archbishop of Thessalonika
References
External links
Dumbarton Oaks: Independent and Self-Governing Monasteries of the Fourteenth and Fifteenth Centuries Chapter 9, p1491
|
occupation
|
{
"answer_start": [
553
],
"text": [
"priest"
]
}
|
Jill Reynolds (born 1956) is an American contemporary artist. She is known for her work in glass, often as glass art installations that address trauma.
Early life
Reynolds was born in 1956 in Chicago, Illinois. In 1979, she earned a bachelor's degree in architecture from the Evergreen State College in Olympia, Washington. She received a Master of Fine Arts degree from Rutgers University in 1996.
Career
In 2003, she was an artist-in-residence at the Pittsburgh Glass Center. Her work is included in the collections of the Seattle Art Museum, the New Britain Museum of American Art, the Corning Museum of Glass, and the Tacoma Art Museum.
== References ==
|
occupation
|
{
"answer_start": [
54
],
"text": [
"artist"
]
}
|
Jill Reynolds (born 1956) is an American contemporary artist. She is known for her work in glass, often as glass art installations that address trauma.
Early life
Reynolds was born in 1956 in Chicago, Illinois. In 1979, she earned a bachelor's degree in architecture from the Evergreen State College in Olympia, Washington. She received a Master of Fine Arts degree from Rutgers University in 1996.
Career
In 2003, she was an artist-in-residence at the Pittsburgh Glass Center. Her work is included in the collections of the Seattle Art Museum, the New Britain Museum of American Art, the Corning Museum of Glass, and the Tacoma Art Museum.
== References ==
|
family name
|
{
"answer_start": [
5
],
"text": [
"Reynolds"
]
}
|
Jill Reynolds (born 1956) is an American contemporary artist. She is known for her work in glass, often as glass art installations that address trauma.
Early life
Reynolds was born in 1956 in Chicago, Illinois. In 1979, she earned a bachelor's degree in architecture from the Evergreen State College in Olympia, Washington. She received a Master of Fine Arts degree from Rutgers University in 1996.
Career
In 2003, she was an artist-in-residence at the Pittsburgh Glass Center. Her work is included in the collections of the Seattle Art Museum, the New Britain Museum of American Art, the Corning Museum of Glass, and the Tacoma Art Museum.
== References ==
|
given name
|
{
"answer_start": [
0
],
"text": [
"Jill"
]
}
|
Afag Suleyman gizi Malikova (Azerbaijani: Afaq Süleyman qızı Məlikova, Russian: Меликова, Афаг Сулейман кызы; born January 18, 1947) is a Soviet Azerbaijani dancer. She was awarded the Honored Artist of the Azerbaijan SSR (1975), and People's Artiste of the Azerbaijan SSR (1978).
Biography
Afag Malikova was born on January 18, 1947, in Baku. In 1963–1974, she was a soloist of the Azerbaijan State Song and Dance Ensemble. Since 1974, she has been a soloist and coach pedagogue of the Azerbaijan State Dance Ensemble. Since 1982, she has been working as the artistic director of the State Dance Ensemble.A. Malikova performed in a number of foreign countries (Turkey, Egypt, Poland, France, England, Canada, Portugal, Germany, Spain, etc.).On April 11, 1975, she was awarded the honorary title of "Honored Artist of the Azerbaijan SSR", and on January 11, 1978, she was awarded the honorary title of "People's Artist of the Azerbaijan SSR". She was awarded the Azerbaijan Shohrat Order on December 28, 2001, and the Sharaf Order on May 16, 2017.
== References ==
|
place of birth
|
{
"answer_start": [
339
],
"text": [
"Baku"
]
}
|
Afag Suleyman gizi Malikova (Azerbaijani: Afaq Süleyman qızı Məlikova, Russian: Меликова, Афаг Сулейман кызы; born January 18, 1947) is a Soviet Azerbaijani dancer. She was awarded the Honored Artist of the Azerbaijan SSR (1975), and People's Artiste of the Azerbaijan SSR (1978).
Biography
Afag Malikova was born on January 18, 1947, in Baku. In 1963–1974, she was a soloist of the Azerbaijan State Song and Dance Ensemble. Since 1974, she has been a soloist and coach pedagogue of the Azerbaijan State Dance Ensemble. Since 1982, she has been working as the artistic director of the State Dance Ensemble.A. Malikova performed in a number of foreign countries (Turkey, Egypt, Poland, France, England, Canada, Portugal, Germany, Spain, etc.).On April 11, 1975, she was awarded the honorary title of "Honored Artist of the Azerbaijan SSR", and on January 11, 1978, she was awarded the honorary title of "People's Artist of the Azerbaijan SSR". She was awarded the Azerbaijan Shohrat Order on December 28, 2001, and the Sharaf Order on May 16, 2017.
== References ==
|
country of citizenship
|
{
"answer_start": [
29
],
"text": [
"Azerbaijan"
]
}
|
Afag Suleyman gizi Malikova (Azerbaijani: Afaq Süleyman qızı Məlikova, Russian: Меликова, Афаг Сулейман кызы; born January 18, 1947) is a Soviet Azerbaijani dancer. She was awarded the Honored Artist of the Azerbaijan SSR (1975), and People's Artiste of the Azerbaijan SSR (1978).
Biography
Afag Malikova was born on January 18, 1947, in Baku. In 1963–1974, she was a soloist of the Azerbaijan State Song and Dance Ensemble. Since 1974, she has been a soloist and coach pedagogue of the Azerbaijan State Dance Ensemble. Since 1982, she has been working as the artistic director of the State Dance Ensemble.A. Malikova performed in a number of foreign countries (Turkey, Egypt, Poland, France, England, Canada, Portugal, Germany, Spain, etc.).On April 11, 1975, she was awarded the honorary title of "Honored Artist of the Azerbaijan SSR", and on January 11, 1978, she was awarded the honorary title of "People's Artist of the Azerbaijan SSR". She was awarded the Azerbaijan Shohrat Order on December 28, 2001, and the Sharaf Order on May 16, 2017.
== References ==
|
occupation
|
{
"answer_start": [
157
],
"text": [
"dancer"
]
}
|
Afag Suleyman gizi Malikova (Azerbaijani: Afaq Süleyman qızı Məlikova, Russian: Меликова, Афаг Сулейман кызы; born January 18, 1947) is a Soviet Azerbaijani dancer. She was awarded the Honored Artist of the Azerbaijan SSR (1975), and People's Artiste of the Azerbaijan SSR (1978).
Biography
Afag Malikova was born on January 18, 1947, in Baku. In 1963–1974, she was a soloist of the Azerbaijan State Song and Dance Ensemble. Since 1974, she has been a soloist and coach pedagogue of the Azerbaijan State Dance Ensemble. Since 1982, she has been working as the artistic director of the State Dance Ensemble.A. Malikova performed in a number of foreign countries (Turkey, Egypt, Poland, France, England, Canada, Portugal, Germany, Spain, etc.).On April 11, 1975, she was awarded the honorary title of "Honored Artist of the Azerbaijan SSR", and on January 11, 1978, she was awarded the honorary title of "People's Artist of the Azerbaijan SSR". She was awarded the Azerbaijan Shohrat Order on December 28, 2001, and the Sharaf Order on May 16, 2017.
== References ==
|
award received
|
{
"answer_start": [
975
],
"text": [
"Shohrat Order"
]
}
|
This is the discography of American rapper Gorilla Zoe.
Albums
Studio albums
Extended plays
Mixtapes
Singles
As lead artist
As featured performer
Guest appearances
Music videos
See also
Boyz n da Hood discography
References
Derrtie Al Featuring Gorilla Zoe Soundcloud
|
instance of
|
{
"answer_start": [
12
],
"text": [
"discography"
]
}
|
This is the discography of American rapper Gorilla Zoe.
Albums
Studio albums
Extended plays
Mixtapes
Singles
As lead artist
As featured performer
Guest appearances
Music videos
See also
Boyz n da Hood discography
References
Derrtie Al Featuring Gorilla Zoe Soundcloud
|
performer
|
{
"answer_start": [
43
],
"text": [
"Gorilla Zoe"
]
}
|
Bonchis scoparioides is a species of snout moth in the genus Bonchis. It was described by Francis Walker in 1862. It is found in Pará, Brazil.
== References ==
|
taxon rank
|
{
"answer_start": [
26
],
"text": [
"species"
]
}
|
Bonchis scoparioides is a species of snout moth in the genus Bonchis. It was described by Francis Walker in 1862. It is found in Pará, Brazil.
== References ==
|
parent taxon
|
{
"answer_start": [
0
],
"text": [
"Bonchis"
]
}
|
Bonchis scoparioides is a species of snout moth in the genus Bonchis. It was described by Francis Walker in 1862. It is found in Pará, Brazil.
== References ==
|
taxon name
|
{
"answer_start": [
0
],
"text": [
"Bonchis scoparioides"
]
}
|
The Montrose Group is a stratigraphic group, a set of geological rock strata of Paleocene age, found beneath the North Sea and locally onshore in southeastern England. It was originally described from offshore exploration wells in the North Sea. The Thanet Formation in the London Basin has more recently been assigned to the group.
== References ==
|
instance of
|
{
"answer_start": [
38
],
"text": [
"group"
]
}
|
The Montrose Group is a stratigraphic group, a set of geological rock strata of Paleocene age, found beneath the North Sea and locally onshore in southeastern England. It was originally described from offshore exploration wells in the North Sea. The Thanet Formation in the London Basin has more recently been assigned to the group.
== References ==
|
named after
|
{
"answer_start": [
4
],
"text": [
"Montrose"
]
}
|
The Western Tri-State League was a professional baseball league, which was formed in 1912, and disbanded in 1914. It was a Class D league. Over its three-year existence, the league featured six teams from six different cities in Oregon, Idaho, and Washington. Two teams, the Pendleton Buckaroos, and the Walla Walla Bears, spent all three seasons in the league. The Pendleton Buckaroos won two league championships, the first coming in 1912, and the other in 1914. The Walla Walla Bears won the first-half league championship in 1913, while the Boise Irrigators were the second half champions. In 1913, the league opened with six teams, two more than the previous year. However, early into the league, two teams were dropped due to financial strains. In 1915, the league folded. Initially, it was attributed to financial difficulties. However, it was later said to be issues with the relations of team owners.
League history
1912 season
In 1912, the Western Tri-State League was recognized by the National Association of Professional Baseball Leagues, and classified as a Class D league. The league president was W. N. Sweet. The league opened with four teams: the Boise Irrigators, who represented Boise, Idaho; the La Grande Pippins, who represented La Grande, Oregon; the Pendleton Buckaroos, who represented Pendleton, Oregon; and the Walla Walla Bears, who represented Walla Walla, Washington. At the end of the 1912 season, the Pendleton Buckaroos won the league championship with a .622 winning percentage. Four players in the Western Tri-State League that season would eventually go on to play in Major League Baseball. Those players were Bob Smith, and Carl Mays of the Boise Irrigators; and Bob Jones, and Paul Strand of the Walla Walla Bears.
1913 season
At the start of the 1913 season, it was announced that there would be an addition of two teams to the Western Tri-State League. Those teams were the Baker City Golddiggers, of Baker City, Oregon; and the North Yakima Braves, of Yakima, Washington. Furthermore, the La Grande club changed their name from the Pippins to the Spuds. The league had considered adding a team in Spokane, Washington, but ruled it out until the 1914 season. W. N. Sweet returned as the league president. Early in the year, it was announced that two teams would be dropped from the league, to make it more economically effective to run the circuit. The teams that were cut were the newly formed Baker City Golddiggers, and the established Pendleton Buckaroos. In May, it was announced by league officials that the league's season would be split up into two halves. The intention of this move was to stimulate interests, and lower the cost of operation.
The Walla Walla Bears finished the first half of the season in first place with a record of 45–20. They were followed by the Boise Irrigators (40–23) in second, the Pendleton Buckaroos in third (31–29), and the North Yakima Braves (30–34) in fourth. During the second half of the season, the Boise club took home the pennant, finishing with a 32–22 record. They were followed by the second-place North Yakima club (27–27), the third-place Walla Walla club (26–28), and the fourth-place Pendleton club (23–31). Eight players who spent the 1913 season in the Western Tri-State League went on to play in Major League Baseball. Those players were Con Starkel of the Baker City club; Dad Clark, and Steve Melter of the Boise club; Milo Netzel of the North Yakima club; Howie Haworth, and Don Rader of the Pendleton club; and Elmer Leonard, and Earl Sheely of the Walla Walla club.
1914 season, and disbanding
Before the start of the 1914 season, it was announced that the Boise Irrigators were leaving the Western Tri-State League, and joining the Union Association. Therefore, W. N. Sweet, the president of the league, and president of the Boise club resigned his post. Before the start of the season, L. M. Brown, the secretary of the Western Tri-State League, announced that the league would be adopting a 98-game schedule, and that they would be adding another team due to the absence of Boise. Over a dozen requests were sent to secretary Brown requesting a baseball team. Brown selected Baker City, Oregon as the location for the new franchise.Local reports speculated that the 1914 season would be the league's most successful. In Walla Walla, Washington, the cities public schools were dismissed early, and admitted to the Walla Walla Bears game for free. There was also a parade, which led to the ball park. Attendance for all of the clubs opening day games were record-breaking that year. The Pendleton Walla Walla, Washington Minor League City Encyclopedia won the league title that season with a 59–37 record. In second place were the Walla Walla Bears with a record of 53–43. Behind them were the Baker City Miners with a 44–52 record. The North Yakima Braves, with a record of 36–50, finished last. Four players in the league that season had an MLB appearance some time in their professional career. Those players were: Ray French, and Suds Sutherland of the Baker City club; Ed Mensor of the Pendleton club; and Earl Sheely of the Walla Walla club.Before the start of the 1915 season, the Western Tri-State League failed to raise enough money to operate their league, effectively ending the league. League president R. W. Ritner later stated that the failure of the league was due to the North Yakama, and Walla Walla clubs who did not want to work together.
Teams
== References ==
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sport
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Argentina, 1985 is a 2022 Argentine historical legal drama film produced and directed by Santiago Mitre. Written by Mitre and Mariano Llinás, it stars Ricardo Darín, Peter Lanzani, Alejandra Flechner and Norman Briski. The film follows the Trial of the Juntas, the 1985 trial of members of the military government that ruled Argentina under the dictatorship of the Proceso de Reorganización Nacional, during which the torture, extrajudicial murder and forced disappearances of civilians was a systematic occurrence; it focuses on the perspective of the prosecution team led by Julio César Strassera and Luis Moreno Ocampo, including their investigation prior to the trial.
Co-produced by Argentina, the United Kingdom and the United States, Argentina, 1985 premiered in the main competition at the 79th Venice International Film Festival on 3 September 2022, where it won the FIPRESCI Award from the International Federation of Film Critics. Theatrically released in Argentina on 29 September 2022, and in the United Kingdom and United States on 21 October 2022, it was a commercial success, debuting at number one at the Argentine box office and becoming the most-watched Argentine film of 2022. It received critical acclaim, and won, among others, the Golden Globe Award for Best Foreign Language Film, the Goya Award for Best Ibero-American Film and the National Board of Review Freedom of Expression Award. It was also named one of the top five international films of 2022 by the National Board of Review, and received an Academy Award nomination for Best International Feature Film.
Plot
In 1985, Argentina has had a democratic government for less than two years after its last military dictatorship ended. Public prosecutor Julio César Strassera is chosen to make the government's case against the military junta for alleged crimes against humanity after the military courts declined to press charges. The junta have retained the services of senior, experienced lawyers, while Strassera struggles to find lawyers to form his prosecution team. Strassera meets Luis Moreno Ocampo, his assigned deputy prosecutor, but initially rejects his offer for help due to Ocampo's military family background. Strassera receives several death threats, and is assigned a security detail.
Finding no other lawyers, Strassera accepts Moreno Ocampo's help. Moreno Ocampo, a professor, suggests that they look for young law graduates and inexperienced lawyers, as senior lawyers are unwilling to risk their reputations or safety to sign on to a trial that is so divisive amongst the public.
Strassera and Moreno Ocampo interview and assemble a team, many of whom work in government offices and can use their access to materials to help the case. Because the atrocities were committed across the country, Strassera and his team seek victims and record their testimonies. Meanwhile, he and his team face risks to their safety. Moreno Ocampo's family turn on him for going against their military history.
On the first day of the trial, the court receives a bomb threat, but Strassera convinces the judges that the trial must proceed. The trial is recorded on cameras and parts of it are broadcast around the world. Many victims of the junta testify about torture they endured or witnessed. President Raúl Alfonsín invites Strassera to meet with him and informs him that he is keeping a close watch on the court events and was deeply moved by the testimony of the witnesses. Despite this, the Attorney General angers Strassera by intimating that he should be lenient with the Air Force.
For his closing argument, Strassera realizes that he will have the chance to make his case not just to the judges in the courtroom, but to the people of Argentina and those around the world. With the help of his family, he composes an eloquent closing statement, ending: "Your Honors: never again!".
The judges move into deliberations and Strassera's team await to hear the outcome.
A dying friend asks Strassera for details of the final sentences. Strassera lies and tells him that all the generals received life sentences. Shortly after, Strassera learns that the court is sentencing General Jorge Videla and Admiral Emilio Massera to life imprisonment, General Roberto Viola to seventeen years, Admiral Armando Lambruschini to eight years, and General Orlando Agosti to four and a half years. Dissatisfied with most of the outcomes, he begins typewriting an appeal.
Cast
Additionally, Pepe Arias portrays journalist Bernardo Neustadt, who interviews Moreno Ocampo.
Production
Work on the screenplay began around five years before the film's release. Originally, writer Mariano Llinás and co-writer and director Santiago Mitre conceived the film to be a more episodic hyperlink film, with "several intertwined stories", mixing genres and including fantastical elements, but producer Axel Kuschevatzky told them the film should be more classical in nature, "a film about the trial and nothing else", which Llinás described as "liberating". He nonetheless described it as a "very difficult script to do", given that it was based on real events, many of its characters were still alive, and the public's differing opinions on the subject.Darín suggested playing Strassera when Mitre first presented him the idea to adapt the events of the Trial of the Juntas. After reading the first draft of the script, Darín took the role, despite generally not being interested in playing characters based on real people, and became a producer on the film as well. Mitre chose Lanzani for Moreno Ocampo, as he considered him "one of the most interesting actors of his generation." Mariana Mitre, the film's casting director and the director's sister, opted to get unknown actors for the supporting roles of both the young investigators and the testifiers, in order to have "the best possibe sense of verisimilitude".Production company Amazon Studios stepped into the project once the script was already finished and the casting was already determined. The film didn't make use of funding by the National Institute of Cinema and Audiovisual Arts (INCAA), as suggested by Amazon given they could finance it on their own. Long-time Marvel Studios producer Victoria Alonso worked on the film, which she considered to be "a pending subject", and donated her salary to the making of the film.Production was originally scheduled to begin in 2020, but it was delayed due to the COVID-19 pandemic. Filming began in June 2021 and lasted 10 weeks until September, taking place primarily in Buenos Aires, as well as in Rosario, Santa Fe for two days and in Salta for four days. The film was shot at the locations where the real events took place, such as the original courtroom at Tribunales, which looked "practically the same" as it did in 1985. The same type of U-matic cameras that had originally been used to broadcast the trial were also used for its recreation during the trial scenes, in order to be able to seemlessly insert archive footage of the actual trial.Javier Juliá, the cinematographer, did not want the film to have "an aesthetic that looked old, or nostalgic", instead going for a more contemporary look. He also chose not to mimic the actual archive footage from the trial, in which witnesses were filmed from behind for protection, as he and Mitre wabted to create "an immersive experience" that made the audience "feel they were there bearing witness too". Juliá employed a large format lens with a shallower depth of field to focus on the witnesses instead of on the context around them; he then used wider lenses and "a certain texture and rawness" to the footage outside the courtroom for contrast. The film was shot in a 3:2 aspect ratio, commonly used by classic 35-mm film cameras, which Juliá considered "modern and different" and helped them avoid a nostalgic feeling.Argentina, 1985 was Micaela Saiegh's first time as an art director in a period film, having previously worked in the genre as an assistant. Mitre wanted the film not to have an aesthetic typical of the Eighties despite taking place in the 1980s. According to Saiegh, her job was "to be invisible", not to let her work stand out from the rest of the film and overshadow the story.
Music
Spanish composer Pedro Osuna started working with Mitre's team in March 2022, writing a draft for the music in four days, during post-production for the film. He announced in July 2022 that he would compose the soundtrack for the film, marking his first time as the main composer of a film score. Osuna was recommended by Alonso and composer Michael Giacchino, who served as musical producer for the film and had worked with Osuna in Thor: Love and Thunder (2022) and Lightyear (2022). Osuna said his purpose with the score was that "the music connected the viewer's subconscious with history" and to "convey the constant danger that haunted the participants of the trial throughout the process".The soundtrack's main song is titled "Nunca Más", co-written and co-produced by Osuna, Alonso, songwriter Rafa Arcaute, and Kany García, who performs the song as well. García described working on the song as "one of the greatest challenges" she had as a musician, "because I must look back, be sensitive and at the same time recognize there is a history that, even though I didn't experience it firsthand, must be treated that way".The soundtrack album was released on digital platforms on 20 October 2022.
Release
Argentina, 1985 had its world premiere in the main competition for the Golden Lion at the 79th Venice International Film Festival on 3 September 2022. The film was also screened as part of the 'Perlak' lineup at the 70th San Sebastián International Film Festival on 18 September 2022. It was theatrically released in Argentina on 29 September 2022. Amazon Studios released the film in select theaters in the United States on 30 September 2022, before it started streaming on Prime Video on 21 October 2022.In June 2022, distributor Sony Pictures label Stage 6 Films announced Argentina, 1985 would be released in Argentina on 29 September 2022. In August 2022, it was revealed that the film would be released on Prime Video on 21 October, being exclusively in theaters for three weeks only. Later in August, Sony announced it would no longer be distributing the film, with local company Digicine stepping in as distributor and keeping its original release date. Due to the short window of exclusivity, international theater chains Cinemark-Hoyts, Cinépolis, and Showcase Cinemas refused to show the film. However, local companies and independent theaters did screen the film.The film was made available to stream on Prime Video for free in Argentina for 24 March 2023, the Day of Remembrance for Truth and Justice.
Reception
Box office
The film was released theatrically in Argentina on 29 September 2022. In its first weekend in theaters, the film debuted at number one at the box office and was seen by over 200,000 spectators in 298 theaters, making it the best opening for a local film since the start of the COVID-19 pandemic. During its second weekend, the film maintained the top spot at the box office with over 211,000 viewers in 314 theaters. By November 2022, the film had sold over a million tickets in Argentina and grossed 592 million pesos. It was the most-watched Argentine film of 2022, and the ninth-most-watched film overall in Argentina in 2022. According to the National Institute of Cinema and Audiovisual Arts (INCAA), it ended its local theatrical run with 1,151,336 viewers and grossed 658,923,794 pesos.
Critical reception
According to the review aggregation website Rotten Tomatoes, Argentina, 1985 has a 95% approval rating based on 64 reviews from critics, with an average rating of 8/10. The site's consensus reads, "Justice is served in Argentina 1985, a crusading courtroom drama that shines a light on historically somber times with refreshing levity". On Metacritic, which uses a weighted average, the film holds a score of 78 out of 100 based on 11 reviews, indicating "generally favorable reviews".Guillermo Courau from La Nación gave the film a five-star review, calling it a "necessary film" and considering it "an honest story, faithful enough to reality to become a contemporary testimony, and unfaithful enough to work on a creative and dramatic level." Juan Pablo Cinelli of Página 12 wrote a positive review, praising the political approach to the subject, as well as Mitre's use of humor and classical cinema tropes to facilitate the audience's connection to the story. Pablo O. Scholz from Clarín praised the "risky bet" of using humor without letting the film "lose its way", he commended the performances of the cast as "so well played than they don't seem acted" and referred to the film as a crowd-pleaser. Mariana Mactas of TN praised the "impeccable" pacing and "perfect dialogue", considering that "every element, from the whole chast to the staging, dialogues and narrative resources, worked gracefully".Writing for The Guardian, Peter Bradshaw gave the film four-out-of-five stars, considering it a "forthright, muscular and potent movie", and praised Darín's "tremendous" and Lanzani's "attractive and sympathetic" performances. Michael Ordoña from Los Angeles Times commended the protagonist's characterization as "a lead who is interestingly uninteresting", as well as the "humanity of its characters" and the use of humor whilst giving the real events "every ounce of weight they demand". The Hollywood Reporter's Sheri Linden complimented Darín's performance of "restraint and intense focus", she praised Juliá's cinematography and the construction of a "mood of deep-in-the-bones unease" along with Pedro Osuna's musical score. However, she criticized some aspects of the screenplay, such as underdeveloped supporting characters, instances of flat dialogue and the occasional appearance of "generic tropes of the legal drama".Carlos Aguilar from TheWrap considered the film was "impeccably executed" and "an effective crowd-pleaser", praising the "dynamism" of the Andrés P. Estrada's editing and the insertion of real archive footage "as if past and present converged in the same instant". However, Aguilar considered the film lacked in innovation and resulted "overly familar", both visually and narratively. Guy Lodge at Variety thought Mitre opted for a "storytelling sensibility as robustly populist as anything by Sorkin or Spielberg". He praised Llinás's "cannily condensed" script and considered Juliá's cinematography, Saiegh's art direction, and Estrada's editing responsible for the film's "cinematic sweep and scope". He also commended Mitre's direction for balancing "emotionally raw material and more amped-up, tension-driven subplots" and highlighted Darín's performance for his final speech, which he considered "one of the most riveting, hair-raising scenes of speechifying in recent cinema". Writing for IndieWire, Sophie Monks Kaufman gave the film a "B+", praising Darín's performance as the main force uniting the different elements of the film, as well as the "nostalgic warmth" of the set design. Monks Kaufman also pointed out the shifts in tone, contrasting the "served straight" trial scenes with the "Ally McBeal-esque irreverence" of Strassera's personal life; she ultimately criticized the use of "Inconciente colectivo" by Charly García as a "triumphalist outro music" that collided with the "quiet way" in which the results of the trial are revealed.
Accolades
See also
List of Argentine films of 2022
List of submissions to the 95th Academy Awards for Best International Feature Film
List of Argentine submissions for the Academy Award for Best International Feature Film
The Official Story – 1985 film also dealing with the dictatorship that won the country's first Academy Award
References
External links
Argentina, 1985 at IMDb
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Argentina, 1985 is a 2022 Argentine historical legal drama film produced and directed by Santiago Mitre. Written by Mitre and Mariano Llinás, it stars Ricardo Darín, Peter Lanzani, Alejandra Flechner and Norman Briski. The film follows the Trial of the Juntas, the 1985 trial of members of the military government that ruled Argentina under the dictatorship of the Proceso de Reorganización Nacional, during which the torture, extrajudicial murder and forced disappearances of civilians was a systematic occurrence; it focuses on the perspective of the prosecution team led by Julio César Strassera and Luis Moreno Ocampo, including their investigation prior to the trial.
Co-produced by Argentina, the United Kingdom and the United States, Argentina, 1985 premiered in the main competition at the 79th Venice International Film Festival on 3 September 2022, where it won the FIPRESCI Award from the International Federation of Film Critics. Theatrically released in Argentina on 29 September 2022, and in the United Kingdom and United States on 21 October 2022, it was a commercial success, debuting at number one at the Argentine box office and becoming the most-watched Argentine film of 2022. It received critical acclaim, and won, among others, the Golden Globe Award for Best Foreign Language Film, the Goya Award for Best Ibero-American Film and the National Board of Review Freedom of Expression Award. It was also named one of the top five international films of 2022 by the National Board of Review, and received an Academy Award nomination for Best International Feature Film.
Plot
In 1985, Argentina has had a democratic government for less than two years after its last military dictatorship ended. Public prosecutor Julio César Strassera is chosen to make the government's case against the military junta for alleged crimes against humanity after the military courts declined to press charges. The junta have retained the services of senior, experienced lawyers, while Strassera struggles to find lawyers to form his prosecution team. Strassera meets Luis Moreno Ocampo, his assigned deputy prosecutor, but initially rejects his offer for help due to Ocampo's military family background. Strassera receives several death threats, and is assigned a security detail.
Finding no other lawyers, Strassera accepts Moreno Ocampo's help. Moreno Ocampo, a professor, suggests that they look for young law graduates and inexperienced lawyers, as senior lawyers are unwilling to risk their reputations or safety to sign on to a trial that is so divisive amongst the public.
Strassera and Moreno Ocampo interview and assemble a team, many of whom work in government offices and can use their access to materials to help the case. Because the atrocities were committed across the country, Strassera and his team seek victims and record their testimonies. Meanwhile, he and his team face risks to their safety. Moreno Ocampo's family turn on him for going against their military history.
On the first day of the trial, the court receives a bomb threat, but Strassera convinces the judges that the trial must proceed. The trial is recorded on cameras and parts of it are broadcast around the world. Many victims of the junta testify about torture they endured or witnessed. President Raúl Alfonsín invites Strassera to meet with him and informs him that he is keeping a close watch on the court events and was deeply moved by the testimony of the witnesses. Despite this, the Attorney General angers Strassera by intimating that he should be lenient with the Air Force.
For his closing argument, Strassera realizes that he will have the chance to make his case not just to the judges in the courtroom, but to the people of Argentina and those around the world. With the help of his family, he composes an eloquent closing statement, ending: "Your Honors: never again!".
The judges move into deliberations and Strassera's team await to hear the outcome.
A dying friend asks Strassera for details of the final sentences. Strassera lies and tells him that all the generals received life sentences. Shortly after, Strassera learns that the court is sentencing General Jorge Videla and Admiral Emilio Massera to life imprisonment, General Roberto Viola to seventeen years, Admiral Armando Lambruschini to eight years, and General Orlando Agosti to four and a half years. Dissatisfied with most of the outcomes, he begins typewriting an appeal.
Cast
Additionally, Pepe Arias portrays journalist Bernardo Neustadt, who interviews Moreno Ocampo.
Production
Work on the screenplay began around five years before the film's release. Originally, writer Mariano Llinás and co-writer and director Santiago Mitre conceived the film to be a more episodic hyperlink film, with "several intertwined stories", mixing genres and including fantastical elements, but producer Axel Kuschevatzky told them the film should be more classical in nature, "a film about the trial and nothing else", which Llinás described as "liberating". He nonetheless described it as a "very difficult script to do", given that it was based on real events, many of its characters were still alive, and the public's differing opinions on the subject.Darín suggested playing Strassera when Mitre first presented him the idea to adapt the events of the Trial of the Juntas. After reading the first draft of the script, Darín took the role, despite generally not being interested in playing characters based on real people, and became a producer on the film as well. Mitre chose Lanzani for Moreno Ocampo, as he considered him "one of the most interesting actors of his generation." Mariana Mitre, the film's casting director and the director's sister, opted to get unknown actors for the supporting roles of both the young investigators and the testifiers, in order to have "the best possibe sense of verisimilitude".Production company Amazon Studios stepped into the project once the script was already finished and the casting was already determined. The film didn't make use of funding by the National Institute of Cinema and Audiovisual Arts (INCAA), as suggested by Amazon given they could finance it on their own. Long-time Marvel Studios producer Victoria Alonso worked on the film, which she considered to be "a pending subject", and donated her salary to the making of the film.Production was originally scheduled to begin in 2020, but it was delayed due to the COVID-19 pandemic. Filming began in June 2021 and lasted 10 weeks until September, taking place primarily in Buenos Aires, as well as in Rosario, Santa Fe for two days and in Salta for four days. The film was shot at the locations where the real events took place, such as the original courtroom at Tribunales, which looked "practically the same" as it did in 1985. The same type of U-matic cameras that had originally been used to broadcast the trial were also used for its recreation during the trial scenes, in order to be able to seemlessly insert archive footage of the actual trial.Javier Juliá, the cinematographer, did not want the film to have "an aesthetic that looked old, or nostalgic", instead going for a more contemporary look. He also chose not to mimic the actual archive footage from the trial, in which witnesses were filmed from behind for protection, as he and Mitre wabted to create "an immersive experience" that made the audience "feel they were there bearing witness too". Juliá employed a large format lens with a shallower depth of field to focus on the witnesses instead of on the context around them; he then used wider lenses and "a certain texture and rawness" to the footage outside the courtroom for contrast. The film was shot in a 3:2 aspect ratio, commonly used by classic 35-mm film cameras, which Juliá considered "modern and different" and helped them avoid a nostalgic feeling.Argentina, 1985 was Micaela Saiegh's first time as an art director in a period film, having previously worked in the genre as an assistant. Mitre wanted the film not to have an aesthetic typical of the Eighties despite taking place in the 1980s. According to Saiegh, her job was "to be invisible", not to let her work stand out from the rest of the film and overshadow the story.
Music
Spanish composer Pedro Osuna started working with Mitre's team in March 2022, writing a draft for the music in four days, during post-production for the film. He announced in July 2022 that he would compose the soundtrack for the film, marking his first time as the main composer of a film score. Osuna was recommended by Alonso and composer Michael Giacchino, who served as musical producer for the film and had worked with Osuna in Thor: Love and Thunder (2022) and Lightyear (2022). Osuna said his purpose with the score was that "the music connected the viewer's subconscious with history" and to "convey the constant danger that haunted the participants of the trial throughout the process".The soundtrack's main song is titled "Nunca Más", co-written and co-produced by Osuna, Alonso, songwriter Rafa Arcaute, and Kany García, who performs the song as well. García described working on the song as "one of the greatest challenges" she had as a musician, "because I must look back, be sensitive and at the same time recognize there is a history that, even though I didn't experience it firsthand, must be treated that way".The soundtrack album was released on digital platforms on 20 October 2022.
Release
Argentina, 1985 had its world premiere in the main competition for the Golden Lion at the 79th Venice International Film Festival on 3 September 2022. The film was also screened as part of the 'Perlak' lineup at the 70th San Sebastián International Film Festival on 18 September 2022. It was theatrically released in Argentina on 29 September 2022. Amazon Studios released the film in select theaters in the United States on 30 September 2022, before it started streaming on Prime Video on 21 October 2022.In June 2022, distributor Sony Pictures label Stage 6 Films announced Argentina, 1985 would be released in Argentina on 29 September 2022. In August 2022, it was revealed that the film would be released on Prime Video on 21 October, being exclusively in theaters for three weeks only. Later in August, Sony announced it would no longer be distributing the film, with local company Digicine stepping in as distributor and keeping its original release date. Due to the short window of exclusivity, international theater chains Cinemark-Hoyts, Cinépolis, and Showcase Cinemas refused to show the film. However, local companies and independent theaters did screen the film.The film was made available to stream on Prime Video for free in Argentina for 24 March 2023, the Day of Remembrance for Truth and Justice.
Reception
Box office
The film was released theatrically in Argentina on 29 September 2022. In its first weekend in theaters, the film debuted at number one at the box office and was seen by over 200,000 spectators in 298 theaters, making it the best opening for a local film since the start of the COVID-19 pandemic. During its second weekend, the film maintained the top spot at the box office with over 211,000 viewers in 314 theaters. By November 2022, the film had sold over a million tickets in Argentina and grossed 592 million pesos. It was the most-watched Argentine film of 2022, and the ninth-most-watched film overall in Argentina in 2022. According to the National Institute of Cinema and Audiovisual Arts (INCAA), it ended its local theatrical run with 1,151,336 viewers and grossed 658,923,794 pesos.
Critical reception
According to the review aggregation website Rotten Tomatoes, Argentina, 1985 has a 95% approval rating based on 64 reviews from critics, with an average rating of 8/10. The site's consensus reads, "Justice is served in Argentina 1985, a crusading courtroom drama that shines a light on historically somber times with refreshing levity". On Metacritic, which uses a weighted average, the film holds a score of 78 out of 100 based on 11 reviews, indicating "generally favorable reviews".Guillermo Courau from La Nación gave the film a five-star review, calling it a "necessary film" and considering it "an honest story, faithful enough to reality to become a contemporary testimony, and unfaithful enough to work on a creative and dramatic level." Juan Pablo Cinelli of Página 12 wrote a positive review, praising the political approach to the subject, as well as Mitre's use of humor and classical cinema tropes to facilitate the audience's connection to the story. Pablo O. Scholz from Clarín praised the "risky bet" of using humor without letting the film "lose its way", he commended the performances of the cast as "so well played than they don't seem acted" and referred to the film as a crowd-pleaser. Mariana Mactas of TN praised the "impeccable" pacing and "perfect dialogue", considering that "every element, from the whole chast to the staging, dialogues and narrative resources, worked gracefully".Writing for The Guardian, Peter Bradshaw gave the film four-out-of-five stars, considering it a "forthright, muscular and potent movie", and praised Darín's "tremendous" and Lanzani's "attractive and sympathetic" performances. Michael Ordoña from Los Angeles Times commended the protagonist's characterization as "a lead who is interestingly uninteresting", as well as the "humanity of its characters" and the use of humor whilst giving the real events "every ounce of weight they demand". The Hollywood Reporter's Sheri Linden complimented Darín's performance of "restraint and intense focus", she praised Juliá's cinematography and the construction of a "mood of deep-in-the-bones unease" along with Pedro Osuna's musical score. However, she criticized some aspects of the screenplay, such as underdeveloped supporting characters, instances of flat dialogue and the occasional appearance of "generic tropes of the legal drama".Carlos Aguilar from TheWrap considered the film was "impeccably executed" and "an effective crowd-pleaser", praising the "dynamism" of the Andrés P. Estrada's editing and the insertion of real archive footage "as if past and present converged in the same instant". However, Aguilar considered the film lacked in innovation and resulted "overly familar", both visually and narratively. Guy Lodge at Variety thought Mitre opted for a "storytelling sensibility as robustly populist as anything by Sorkin or Spielberg". He praised Llinás's "cannily condensed" script and considered Juliá's cinematography, Saiegh's art direction, and Estrada's editing responsible for the film's "cinematic sweep and scope". He also commended Mitre's direction for balancing "emotionally raw material and more amped-up, tension-driven subplots" and highlighted Darín's performance for his final speech, which he considered "one of the most riveting, hair-raising scenes of speechifying in recent cinema". Writing for IndieWire, Sophie Monks Kaufman gave the film a "B+", praising Darín's performance as the main force uniting the different elements of the film, as well as the "nostalgic warmth" of the set design. Monks Kaufman also pointed out the shifts in tone, contrasting the "served straight" trial scenes with the "Ally McBeal-esque irreverence" of Strassera's personal life; she ultimately criticized the use of "Inconciente colectivo" by Charly García as a "triumphalist outro music" that collided with the "quiet way" in which the results of the trial are revealed.
Accolades
See also
List of Argentine films of 2022
List of submissions to the 95th Academy Awards for Best International Feature Film
List of Argentine submissions for the Academy Award for Best International Feature Film
The Official Story – 1985 film also dealing with the dictatorship that won the country's first Academy Award
References
External links
Argentina, 1985 at IMDb
|
director
|
{
"answer_start": [
89
],
"text": [
"Santiago Mitre"
]
}
|
Argentina, 1985 is a 2022 Argentine historical legal drama film produced and directed by Santiago Mitre. Written by Mitre and Mariano Llinás, it stars Ricardo Darín, Peter Lanzani, Alejandra Flechner and Norman Briski. The film follows the Trial of the Juntas, the 1985 trial of members of the military government that ruled Argentina under the dictatorship of the Proceso de Reorganización Nacional, during which the torture, extrajudicial murder and forced disappearances of civilians was a systematic occurrence; it focuses on the perspective of the prosecution team led by Julio César Strassera and Luis Moreno Ocampo, including their investigation prior to the trial.
Co-produced by Argentina, the United Kingdom and the United States, Argentina, 1985 premiered in the main competition at the 79th Venice International Film Festival on 3 September 2022, where it won the FIPRESCI Award from the International Federation of Film Critics. Theatrically released in Argentina on 29 September 2022, and in the United Kingdom and United States on 21 October 2022, it was a commercial success, debuting at number one at the Argentine box office and becoming the most-watched Argentine film of 2022. It received critical acclaim, and won, among others, the Golden Globe Award for Best Foreign Language Film, the Goya Award for Best Ibero-American Film and the National Board of Review Freedom of Expression Award. It was also named one of the top five international films of 2022 by the National Board of Review, and received an Academy Award nomination for Best International Feature Film.
Plot
In 1985, Argentina has had a democratic government for less than two years after its last military dictatorship ended. Public prosecutor Julio César Strassera is chosen to make the government's case against the military junta for alleged crimes against humanity after the military courts declined to press charges. The junta have retained the services of senior, experienced lawyers, while Strassera struggles to find lawyers to form his prosecution team. Strassera meets Luis Moreno Ocampo, his assigned deputy prosecutor, but initially rejects his offer for help due to Ocampo's military family background. Strassera receives several death threats, and is assigned a security detail.
Finding no other lawyers, Strassera accepts Moreno Ocampo's help. Moreno Ocampo, a professor, suggests that they look for young law graduates and inexperienced lawyers, as senior lawyers are unwilling to risk their reputations or safety to sign on to a trial that is so divisive amongst the public.
Strassera and Moreno Ocampo interview and assemble a team, many of whom work in government offices and can use their access to materials to help the case. Because the atrocities were committed across the country, Strassera and his team seek victims and record their testimonies. Meanwhile, he and his team face risks to their safety. Moreno Ocampo's family turn on him for going against their military history.
On the first day of the trial, the court receives a bomb threat, but Strassera convinces the judges that the trial must proceed. The trial is recorded on cameras and parts of it are broadcast around the world. Many victims of the junta testify about torture they endured or witnessed. President Raúl Alfonsín invites Strassera to meet with him and informs him that he is keeping a close watch on the court events and was deeply moved by the testimony of the witnesses. Despite this, the Attorney General angers Strassera by intimating that he should be lenient with the Air Force.
For his closing argument, Strassera realizes that he will have the chance to make his case not just to the judges in the courtroom, but to the people of Argentina and those around the world. With the help of his family, he composes an eloquent closing statement, ending: "Your Honors: never again!".
The judges move into deliberations and Strassera's team await to hear the outcome.
A dying friend asks Strassera for details of the final sentences. Strassera lies and tells him that all the generals received life sentences. Shortly after, Strassera learns that the court is sentencing General Jorge Videla and Admiral Emilio Massera to life imprisonment, General Roberto Viola to seventeen years, Admiral Armando Lambruschini to eight years, and General Orlando Agosti to four and a half years. Dissatisfied with most of the outcomes, he begins typewriting an appeal.
Cast
Additionally, Pepe Arias portrays journalist Bernardo Neustadt, who interviews Moreno Ocampo.
Production
Work on the screenplay began around five years before the film's release. Originally, writer Mariano Llinás and co-writer and director Santiago Mitre conceived the film to be a more episodic hyperlink film, with "several intertwined stories", mixing genres and including fantastical elements, but producer Axel Kuschevatzky told them the film should be more classical in nature, "a film about the trial and nothing else", which Llinás described as "liberating". He nonetheless described it as a "very difficult script to do", given that it was based on real events, many of its characters were still alive, and the public's differing opinions on the subject.Darín suggested playing Strassera when Mitre first presented him the idea to adapt the events of the Trial of the Juntas. After reading the first draft of the script, Darín took the role, despite generally not being interested in playing characters based on real people, and became a producer on the film as well. Mitre chose Lanzani for Moreno Ocampo, as he considered him "one of the most interesting actors of his generation." Mariana Mitre, the film's casting director and the director's sister, opted to get unknown actors for the supporting roles of both the young investigators and the testifiers, in order to have "the best possibe sense of verisimilitude".Production company Amazon Studios stepped into the project once the script was already finished and the casting was already determined. The film didn't make use of funding by the National Institute of Cinema and Audiovisual Arts (INCAA), as suggested by Amazon given they could finance it on their own. Long-time Marvel Studios producer Victoria Alonso worked on the film, which she considered to be "a pending subject", and donated her salary to the making of the film.Production was originally scheduled to begin in 2020, but it was delayed due to the COVID-19 pandemic. Filming began in June 2021 and lasted 10 weeks until September, taking place primarily in Buenos Aires, as well as in Rosario, Santa Fe for two days and in Salta for four days. The film was shot at the locations where the real events took place, such as the original courtroom at Tribunales, which looked "practically the same" as it did in 1985. The same type of U-matic cameras that had originally been used to broadcast the trial were also used for its recreation during the trial scenes, in order to be able to seemlessly insert archive footage of the actual trial.Javier Juliá, the cinematographer, did not want the film to have "an aesthetic that looked old, or nostalgic", instead going for a more contemporary look. He also chose not to mimic the actual archive footage from the trial, in which witnesses were filmed from behind for protection, as he and Mitre wabted to create "an immersive experience" that made the audience "feel they were there bearing witness too". Juliá employed a large format lens with a shallower depth of field to focus on the witnesses instead of on the context around them; he then used wider lenses and "a certain texture and rawness" to the footage outside the courtroom for contrast. The film was shot in a 3:2 aspect ratio, commonly used by classic 35-mm film cameras, which Juliá considered "modern and different" and helped them avoid a nostalgic feeling.Argentina, 1985 was Micaela Saiegh's first time as an art director in a period film, having previously worked in the genre as an assistant. Mitre wanted the film not to have an aesthetic typical of the Eighties despite taking place in the 1980s. According to Saiegh, her job was "to be invisible", not to let her work stand out from the rest of the film and overshadow the story.
Music
Spanish composer Pedro Osuna started working with Mitre's team in March 2022, writing a draft for the music in four days, during post-production for the film. He announced in July 2022 that he would compose the soundtrack for the film, marking his first time as the main composer of a film score. Osuna was recommended by Alonso and composer Michael Giacchino, who served as musical producer for the film and had worked with Osuna in Thor: Love and Thunder (2022) and Lightyear (2022). Osuna said his purpose with the score was that "the music connected the viewer's subconscious with history" and to "convey the constant danger that haunted the participants of the trial throughout the process".The soundtrack's main song is titled "Nunca Más", co-written and co-produced by Osuna, Alonso, songwriter Rafa Arcaute, and Kany García, who performs the song as well. García described working on the song as "one of the greatest challenges" she had as a musician, "because I must look back, be sensitive and at the same time recognize there is a history that, even though I didn't experience it firsthand, must be treated that way".The soundtrack album was released on digital platforms on 20 October 2022.
Release
Argentina, 1985 had its world premiere in the main competition for the Golden Lion at the 79th Venice International Film Festival on 3 September 2022. The film was also screened as part of the 'Perlak' lineup at the 70th San Sebastián International Film Festival on 18 September 2022. It was theatrically released in Argentina on 29 September 2022. Amazon Studios released the film in select theaters in the United States on 30 September 2022, before it started streaming on Prime Video on 21 October 2022.In June 2022, distributor Sony Pictures label Stage 6 Films announced Argentina, 1985 would be released in Argentina on 29 September 2022. In August 2022, it was revealed that the film would be released on Prime Video on 21 October, being exclusively in theaters for three weeks only. Later in August, Sony announced it would no longer be distributing the film, with local company Digicine stepping in as distributor and keeping its original release date. Due to the short window of exclusivity, international theater chains Cinemark-Hoyts, Cinépolis, and Showcase Cinemas refused to show the film. However, local companies and independent theaters did screen the film.The film was made available to stream on Prime Video for free in Argentina for 24 March 2023, the Day of Remembrance for Truth and Justice.
Reception
Box office
The film was released theatrically in Argentina on 29 September 2022. In its first weekend in theaters, the film debuted at number one at the box office and was seen by over 200,000 spectators in 298 theaters, making it the best opening for a local film since the start of the COVID-19 pandemic. During its second weekend, the film maintained the top spot at the box office with over 211,000 viewers in 314 theaters. By November 2022, the film had sold over a million tickets in Argentina and grossed 592 million pesos. It was the most-watched Argentine film of 2022, and the ninth-most-watched film overall in Argentina in 2022. According to the National Institute of Cinema and Audiovisual Arts (INCAA), it ended its local theatrical run with 1,151,336 viewers and grossed 658,923,794 pesos.
Critical reception
According to the review aggregation website Rotten Tomatoes, Argentina, 1985 has a 95% approval rating based on 64 reviews from critics, with an average rating of 8/10. The site's consensus reads, "Justice is served in Argentina 1985, a crusading courtroom drama that shines a light on historically somber times with refreshing levity". On Metacritic, which uses a weighted average, the film holds a score of 78 out of 100 based on 11 reviews, indicating "generally favorable reviews".Guillermo Courau from La Nación gave the film a five-star review, calling it a "necessary film" and considering it "an honest story, faithful enough to reality to become a contemporary testimony, and unfaithful enough to work on a creative and dramatic level." Juan Pablo Cinelli of Página 12 wrote a positive review, praising the political approach to the subject, as well as Mitre's use of humor and classical cinema tropes to facilitate the audience's connection to the story. Pablo O. Scholz from Clarín praised the "risky bet" of using humor without letting the film "lose its way", he commended the performances of the cast as "so well played than they don't seem acted" and referred to the film as a crowd-pleaser. Mariana Mactas of TN praised the "impeccable" pacing and "perfect dialogue", considering that "every element, from the whole chast to the staging, dialogues and narrative resources, worked gracefully".Writing for The Guardian, Peter Bradshaw gave the film four-out-of-five stars, considering it a "forthright, muscular and potent movie", and praised Darín's "tremendous" and Lanzani's "attractive and sympathetic" performances. Michael Ordoña from Los Angeles Times commended the protagonist's characterization as "a lead who is interestingly uninteresting", as well as the "humanity of its characters" and the use of humor whilst giving the real events "every ounce of weight they demand". The Hollywood Reporter's Sheri Linden complimented Darín's performance of "restraint and intense focus", she praised Juliá's cinematography and the construction of a "mood of deep-in-the-bones unease" along with Pedro Osuna's musical score. However, she criticized some aspects of the screenplay, such as underdeveloped supporting characters, instances of flat dialogue and the occasional appearance of "generic tropes of the legal drama".Carlos Aguilar from TheWrap considered the film was "impeccably executed" and "an effective crowd-pleaser", praising the "dynamism" of the Andrés P. Estrada's editing and the insertion of real archive footage "as if past and present converged in the same instant". However, Aguilar considered the film lacked in innovation and resulted "overly familar", both visually and narratively. Guy Lodge at Variety thought Mitre opted for a "storytelling sensibility as robustly populist as anything by Sorkin or Spielberg". He praised Llinás's "cannily condensed" script and considered Juliá's cinematography, Saiegh's art direction, and Estrada's editing responsible for the film's "cinematic sweep and scope". He also commended Mitre's direction for balancing "emotionally raw material and more amped-up, tension-driven subplots" and highlighted Darín's performance for his final speech, which he considered "one of the most riveting, hair-raising scenes of speechifying in recent cinema". Writing for IndieWire, Sophie Monks Kaufman gave the film a "B+", praising Darín's performance as the main force uniting the different elements of the film, as well as the "nostalgic warmth" of the set design. Monks Kaufman also pointed out the shifts in tone, contrasting the "served straight" trial scenes with the "Ally McBeal-esque irreverence" of Strassera's personal life; she ultimately criticized the use of "Inconciente colectivo" by Charly García as a "triumphalist outro music" that collided with the "quiet way" in which the results of the trial are revealed.
Accolades
See also
List of Argentine films of 2022
List of submissions to the 95th Academy Awards for Best International Feature Film
List of Argentine submissions for the Academy Award for Best International Feature Film
The Official Story – 1985 film also dealing with the dictatorship that won the country's first Academy Award
References
External links
Argentina, 1985 at IMDb
|
screenwriter
|
{
"answer_start": [
126
],
"text": [
"Mariano Llinás"
]
}
|
Argentina, 1985 is a 2022 Argentine historical legal drama film produced and directed by Santiago Mitre. Written by Mitre and Mariano Llinás, it stars Ricardo Darín, Peter Lanzani, Alejandra Flechner and Norman Briski. The film follows the Trial of the Juntas, the 1985 trial of members of the military government that ruled Argentina under the dictatorship of the Proceso de Reorganización Nacional, during which the torture, extrajudicial murder and forced disappearances of civilians was a systematic occurrence; it focuses on the perspective of the prosecution team led by Julio César Strassera and Luis Moreno Ocampo, including their investigation prior to the trial.
Co-produced by Argentina, the United Kingdom and the United States, Argentina, 1985 premiered in the main competition at the 79th Venice International Film Festival on 3 September 2022, where it won the FIPRESCI Award from the International Federation of Film Critics. Theatrically released in Argentina on 29 September 2022, and in the United Kingdom and United States on 21 October 2022, it was a commercial success, debuting at number one at the Argentine box office and becoming the most-watched Argentine film of 2022. It received critical acclaim, and won, among others, the Golden Globe Award for Best Foreign Language Film, the Goya Award for Best Ibero-American Film and the National Board of Review Freedom of Expression Award. It was also named one of the top five international films of 2022 by the National Board of Review, and received an Academy Award nomination for Best International Feature Film.
Plot
In 1985, Argentina has had a democratic government for less than two years after its last military dictatorship ended. Public prosecutor Julio César Strassera is chosen to make the government's case against the military junta for alleged crimes against humanity after the military courts declined to press charges. The junta have retained the services of senior, experienced lawyers, while Strassera struggles to find lawyers to form his prosecution team. Strassera meets Luis Moreno Ocampo, his assigned deputy prosecutor, but initially rejects his offer for help due to Ocampo's military family background. Strassera receives several death threats, and is assigned a security detail.
Finding no other lawyers, Strassera accepts Moreno Ocampo's help. Moreno Ocampo, a professor, suggests that they look for young law graduates and inexperienced lawyers, as senior lawyers are unwilling to risk their reputations or safety to sign on to a trial that is so divisive amongst the public.
Strassera and Moreno Ocampo interview and assemble a team, many of whom work in government offices and can use their access to materials to help the case. Because the atrocities were committed across the country, Strassera and his team seek victims and record their testimonies. Meanwhile, he and his team face risks to their safety. Moreno Ocampo's family turn on him for going against their military history.
On the first day of the trial, the court receives a bomb threat, but Strassera convinces the judges that the trial must proceed. The trial is recorded on cameras and parts of it are broadcast around the world. Many victims of the junta testify about torture they endured or witnessed. President Raúl Alfonsín invites Strassera to meet with him and informs him that he is keeping a close watch on the court events and was deeply moved by the testimony of the witnesses. Despite this, the Attorney General angers Strassera by intimating that he should be lenient with the Air Force.
For his closing argument, Strassera realizes that he will have the chance to make his case not just to the judges in the courtroom, but to the people of Argentina and those around the world. With the help of his family, he composes an eloquent closing statement, ending: "Your Honors: never again!".
The judges move into deliberations and Strassera's team await to hear the outcome.
A dying friend asks Strassera for details of the final sentences. Strassera lies and tells him that all the generals received life sentences. Shortly after, Strassera learns that the court is sentencing General Jorge Videla and Admiral Emilio Massera to life imprisonment, General Roberto Viola to seventeen years, Admiral Armando Lambruschini to eight years, and General Orlando Agosti to four and a half years. Dissatisfied with most of the outcomes, he begins typewriting an appeal.
Cast
Additionally, Pepe Arias portrays journalist Bernardo Neustadt, who interviews Moreno Ocampo.
Production
Work on the screenplay began around five years before the film's release. Originally, writer Mariano Llinás and co-writer and director Santiago Mitre conceived the film to be a more episodic hyperlink film, with "several intertwined stories", mixing genres and including fantastical elements, but producer Axel Kuschevatzky told them the film should be more classical in nature, "a film about the trial and nothing else", which Llinás described as "liberating". He nonetheless described it as a "very difficult script to do", given that it was based on real events, many of its characters were still alive, and the public's differing opinions on the subject.Darín suggested playing Strassera when Mitre first presented him the idea to adapt the events of the Trial of the Juntas. After reading the first draft of the script, Darín took the role, despite generally not being interested in playing characters based on real people, and became a producer on the film as well. Mitre chose Lanzani for Moreno Ocampo, as he considered him "one of the most interesting actors of his generation." Mariana Mitre, the film's casting director and the director's sister, opted to get unknown actors for the supporting roles of both the young investigators and the testifiers, in order to have "the best possibe sense of verisimilitude".Production company Amazon Studios stepped into the project once the script was already finished and the casting was already determined. The film didn't make use of funding by the National Institute of Cinema and Audiovisual Arts (INCAA), as suggested by Amazon given they could finance it on their own. Long-time Marvel Studios producer Victoria Alonso worked on the film, which she considered to be "a pending subject", and donated her salary to the making of the film.Production was originally scheduled to begin in 2020, but it was delayed due to the COVID-19 pandemic. Filming began in June 2021 and lasted 10 weeks until September, taking place primarily in Buenos Aires, as well as in Rosario, Santa Fe for two days and in Salta for four days. The film was shot at the locations where the real events took place, such as the original courtroom at Tribunales, which looked "practically the same" as it did in 1985. The same type of U-matic cameras that had originally been used to broadcast the trial were also used for its recreation during the trial scenes, in order to be able to seemlessly insert archive footage of the actual trial.Javier Juliá, the cinematographer, did not want the film to have "an aesthetic that looked old, or nostalgic", instead going for a more contemporary look. He also chose not to mimic the actual archive footage from the trial, in which witnesses were filmed from behind for protection, as he and Mitre wabted to create "an immersive experience" that made the audience "feel they were there bearing witness too". Juliá employed a large format lens with a shallower depth of field to focus on the witnesses instead of on the context around them; he then used wider lenses and "a certain texture and rawness" to the footage outside the courtroom for contrast. The film was shot in a 3:2 aspect ratio, commonly used by classic 35-mm film cameras, which Juliá considered "modern and different" and helped them avoid a nostalgic feeling.Argentina, 1985 was Micaela Saiegh's first time as an art director in a period film, having previously worked in the genre as an assistant. Mitre wanted the film not to have an aesthetic typical of the Eighties despite taking place in the 1980s. According to Saiegh, her job was "to be invisible", not to let her work stand out from the rest of the film and overshadow the story.
Music
Spanish composer Pedro Osuna started working with Mitre's team in March 2022, writing a draft for the music in four days, during post-production for the film. He announced in July 2022 that he would compose the soundtrack for the film, marking his first time as the main composer of a film score. Osuna was recommended by Alonso and composer Michael Giacchino, who served as musical producer for the film and had worked with Osuna in Thor: Love and Thunder (2022) and Lightyear (2022). Osuna said his purpose with the score was that "the music connected the viewer's subconscious with history" and to "convey the constant danger that haunted the participants of the trial throughout the process".The soundtrack's main song is titled "Nunca Más", co-written and co-produced by Osuna, Alonso, songwriter Rafa Arcaute, and Kany García, who performs the song as well. García described working on the song as "one of the greatest challenges" she had as a musician, "because I must look back, be sensitive and at the same time recognize there is a history that, even though I didn't experience it firsthand, must be treated that way".The soundtrack album was released on digital platforms on 20 October 2022.
Release
Argentina, 1985 had its world premiere in the main competition for the Golden Lion at the 79th Venice International Film Festival on 3 September 2022. The film was also screened as part of the 'Perlak' lineup at the 70th San Sebastián International Film Festival on 18 September 2022. It was theatrically released in Argentina on 29 September 2022. Amazon Studios released the film in select theaters in the United States on 30 September 2022, before it started streaming on Prime Video on 21 October 2022.In June 2022, distributor Sony Pictures label Stage 6 Films announced Argentina, 1985 would be released in Argentina on 29 September 2022. In August 2022, it was revealed that the film would be released on Prime Video on 21 October, being exclusively in theaters for three weeks only. Later in August, Sony announced it would no longer be distributing the film, with local company Digicine stepping in as distributor and keeping its original release date. Due to the short window of exclusivity, international theater chains Cinemark-Hoyts, Cinépolis, and Showcase Cinemas refused to show the film. However, local companies and independent theaters did screen the film.The film was made available to stream on Prime Video for free in Argentina for 24 March 2023, the Day of Remembrance for Truth and Justice.
Reception
Box office
The film was released theatrically in Argentina on 29 September 2022. In its first weekend in theaters, the film debuted at number one at the box office and was seen by over 200,000 spectators in 298 theaters, making it the best opening for a local film since the start of the COVID-19 pandemic. During its second weekend, the film maintained the top spot at the box office with over 211,000 viewers in 314 theaters. By November 2022, the film had sold over a million tickets in Argentina and grossed 592 million pesos. It was the most-watched Argentine film of 2022, and the ninth-most-watched film overall in Argentina in 2022. According to the National Institute of Cinema and Audiovisual Arts (INCAA), it ended its local theatrical run with 1,151,336 viewers and grossed 658,923,794 pesos.
Critical reception
According to the review aggregation website Rotten Tomatoes, Argentina, 1985 has a 95% approval rating based on 64 reviews from critics, with an average rating of 8/10. The site's consensus reads, "Justice is served in Argentina 1985, a crusading courtroom drama that shines a light on historically somber times with refreshing levity". On Metacritic, which uses a weighted average, the film holds a score of 78 out of 100 based on 11 reviews, indicating "generally favorable reviews".Guillermo Courau from La Nación gave the film a five-star review, calling it a "necessary film" and considering it "an honest story, faithful enough to reality to become a contemporary testimony, and unfaithful enough to work on a creative and dramatic level." Juan Pablo Cinelli of Página 12 wrote a positive review, praising the political approach to the subject, as well as Mitre's use of humor and classical cinema tropes to facilitate the audience's connection to the story. Pablo O. Scholz from Clarín praised the "risky bet" of using humor without letting the film "lose its way", he commended the performances of the cast as "so well played than they don't seem acted" and referred to the film as a crowd-pleaser. Mariana Mactas of TN praised the "impeccable" pacing and "perfect dialogue", considering that "every element, from the whole chast to the staging, dialogues and narrative resources, worked gracefully".Writing for The Guardian, Peter Bradshaw gave the film four-out-of-five stars, considering it a "forthright, muscular and potent movie", and praised Darín's "tremendous" and Lanzani's "attractive and sympathetic" performances. Michael Ordoña from Los Angeles Times commended the protagonist's characterization as "a lead who is interestingly uninteresting", as well as the "humanity of its characters" and the use of humor whilst giving the real events "every ounce of weight they demand". The Hollywood Reporter's Sheri Linden complimented Darín's performance of "restraint and intense focus", she praised Juliá's cinematography and the construction of a "mood of deep-in-the-bones unease" along with Pedro Osuna's musical score. However, she criticized some aspects of the screenplay, such as underdeveloped supporting characters, instances of flat dialogue and the occasional appearance of "generic tropes of the legal drama".Carlos Aguilar from TheWrap considered the film was "impeccably executed" and "an effective crowd-pleaser", praising the "dynamism" of the Andrés P. Estrada's editing and the insertion of real archive footage "as if past and present converged in the same instant". However, Aguilar considered the film lacked in innovation and resulted "overly familar", both visually and narratively. Guy Lodge at Variety thought Mitre opted for a "storytelling sensibility as robustly populist as anything by Sorkin or Spielberg". He praised Llinás's "cannily condensed" script and considered Juliá's cinematography, Saiegh's art direction, and Estrada's editing responsible for the film's "cinematic sweep and scope". He also commended Mitre's direction for balancing "emotionally raw material and more amped-up, tension-driven subplots" and highlighted Darín's performance for his final speech, which he considered "one of the most riveting, hair-raising scenes of speechifying in recent cinema". Writing for IndieWire, Sophie Monks Kaufman gave the film a "B+", praising Darín's performance as the main force uniting the different elements of the film, as well as the "nostalgic warmth" of the set design. Monks Kaufman also pointed out the shifts in tone, contrasting the "served straight" trial scenes with the "Ally McBeal-esque irreverence" of Strassera's personal life; she ultimately criticized the use of "Inconciente colectivo" by Charly García as a "triumphalist outro music" that collided with the "quiet way" in which the results of the trial are revealed.
Accolades
See also
List of Argentine films of 2022
List of submissions to the 95th Academy Awards for Best International Feature Film
List of Argentine submissions for the Academy Award for Best International Feature Film
The Official Story – 1985 film also dealing with the dictatorship that won the country's first Academy Award
References
External links
Argentina, 1985 at IMDb
|
genre
|
{
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"drama film"
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Argentina, 1985 is a 2022 Argentine historical legal drama film produced and directed by Santiago Mitre. Written by Mitre and Mariano Llinás, it stars Ricardo Darín, Peter Lanzani, Alejandra Flechner and Norman Briski. The film follows the Trial of the Juntas, the 1985 trial of members of the military government that ruled Argentina under the dictatorship of the Proceso de Reorganización Nacional, during which the torture, extrajudicial murder and forced disappearances of civilians was a systematic occurrence; it focuses on the perspective of the prosecution team led by Julio César Strassera and Luis Moreno Ocampo, including their investigation prior to the trial.
Co-produced by Argentina, the United Kingdom and the United States, Argentina, 1985 premiered in the main competition at the 79th Venice International Film Festival on 3 September 2022, where it won the FIPRESCI Award from the International Federation of Film Critics. Theatrically released in Argentina on 29 September 2022, and in the United Kingdom and United States on 21 October 2022, it was a commercial success, debuting at number one at the Argentine box office and becoming the most-watched Argentine film of 2022. It received critical acclaim, and won, among others, the Golden Globe Award for Best Foreign Language Film, the Goya Award for Best Ibero-American Film and the National Board of Review Freedom of Expression Award. It was also named one of the top five international films of 2022 by the National Board of Review, and received an Academy Award nomination for Best International Feature Film.
Plot
In 1985, Argentina has had a democratic government for less than two years after its last military dictatorship ended. Public prosecutor Julio César Strassera is chosen to make the government's case against the military junta for alleged crimes against humanity after the military courts declined to press charges. The junta have retained the services of senior, experienced lawyers, while Strassera struggles to find lawyers to form his prosecution team. Strassera meets Luis Moreno Ocampo, his assigned deputy prosecutor, but initially rejects his offer for help due to Ocampo's military family background. Strassera receives several death threats, and is assigned a security detail.
Finding no other lawyers, Strassera accepts Moreno Ocampo's help. Moreno Ocampo, a professor, suggests that they look for young law graduates and inexperienced lawyers, as senior lawyers are unwilling to risk their reputations or safety to sign on to a trial that is so divisive amongst the public.
Strassera and Moreno Ocampo interview and assemble a team, many of whom work in government offices and can use their access to materials to help the case. Because the atrocities were committed across the country, Strassera and his team seek victims and record their testimonies. Meanwhile, he and his team face risks to their safety. Moreno Ocampo's family turn on him for going against their military history.
On the first day of the trial, the court receives a bomb threat, but Strassera convinces the judges that the trial must proceed. The trial is recorded on cameras and parts of it are broadcast around the world. Many victims of the junta testify about torture they endured or witnessed. President Raúl Alfonsín invites Strassera to meet with him and informs him that he is keeping a close watch on the court events and was deeply moved by the testimony of the witnesses. Despite this, the Attorney General angers Strassera by intimating that he should be lenient with the Air Force.
For his closing argument, Strassera realizes that he will have the chance to make his case not just to the judges in the courtroom, but to the people of Argentina and those around the world. With the help of his family, he composes an eloquent closing statement, ending: "Your Honors: never again!".
The judges move into deliberations and Strassera's team await to hear the outcome.
A dying friend asks Strassera for details of the final sentences. Strassera lies and tells him that all the generals received life sentences. Shortly after, Strassera learns that the court is sentencing General Jorge Videla and Admiral Emilio Massera to life imprisonment, General Roberto Viola to seventeen years, Admiral Armando Lambruschini to eight years, and General Orlando Agosti to four and a half years. Dissatisfied with most of the outcomes, he begins typewriting an appeal.
Cast
Additionally, Pepe Arias portrays journalist Bernardo Neustadt, who interviews Moreno Ocampo.
Production
Work on the screenplay began around five years before the film's release. Originally, writer Mariano Llinás and co-writer and director Santiago Mitre conceived the film to be a more episodic hyperlink film, with "several intertwined stories", mixing genres and including fantastical elements, but producer Axel Kuschevatzky told them the film should be more classical in nature, "a film about the trial and nothing else", which Llinás described as "liberating". He nonetheless described it as a "very difficult script to do", given that it was based on real events, many of its characters were still alive, and the public's differing opinions on the subject.Darín suggested playing Strassera when Mitre first presented him the idea to adapt the events of the Trial of the Juntas. After reading the first draft of the script, Darín took the role, despite generally not being interested in playing characters based on real people, and became a producer on the film as well. Mitre chose Lanzani for Moreno Ocampo, as he considered him "one of the most interesting actors of his generation." Mariana Mitre, the film's casting director and the director's sister, opted to get unknown actors for the supporting roles of both the young investigators and the testifiers, in order to have "the best possibe sense of verisimilitude".Production company Amazon Studios stepped into the project once the script was already finished and the casting was already determined. The film didn't make use of funding by the National Institute of Cinema and Audiovisual Arts (INCAA), as suggested by Amazon given they could finance it on their own. Long-time Marvel Studios producer Victoria Alonso worked on the film, which she considered to be "a pending subject", and donated her salary to the making of the film.Production was originally scheduled to begin in 2020, but it was delayed due to the COVID-19 pandemic. Filming began in June 2021 and lasted 10 weeks until September, taking place primarily in Buenos Aires, as well as in Rosario, Santa Fe for two days and in Salta for four days. The film was shot at the locations where the real events took place, such as the original courtroom at Tribunales, which looked "practically the same" as it did in 1985. The same type of U-matic cameras that had originally been used to broadcast the trial were also used for its recreation during the trial scenes, in order to be able to seemlessly insert archive footage of the actual trial.Javier Juliá, the cinematographer, did not want the film to have "an aesthetic that looked old, or nostalgic", instead going for a more contemporary look. He also chose not to mimic the actual archive footage from the trial, in which witnesses were filmed from behind for protection, as he and Mitre wabted to create "an immersive experience" that made the audience "feel they were there bearing witness too". Juliá employed a large format lens with a shallower depth of field to focus on the witnesses instead of on the context around them; he then used wider lenses and "a certain texture and rawness" to the footage outside the courtroom for contrast. The film was shot in a 3:2 aspect ratio, commonly used by classic 35-mm film cameras, which Juliá considered "modern and different" and helped them avoid a nostalgic feeling.Argentina, 1985 was Micaela Saiegh's first time as an art director in a period film, having previously worked in the genre as an assistant. Mitre wanted the film not to have an aesthetic typical of the Eighties despite taking place in the 1980s. According to Saiegh, her job was "to be invisible", not to let her work stand out from the rest of the film and overshadow the story.
Music
Spanish composer Pedro Osuna started working with Mitre's team in March 2022, writing a draft for the music in four days, during post-production for the film. He announced in July 2022 that he would compose the soundtrack for the film, marking his first time as the main composer of a film score. Osuna was recommended by Alonso and composer Michael Giacchino, who served as musical producer for the film and had worked with Osuna in Thor: Love and Thunder (2022) and Lightyear (2022). Osuna said his purpose with the score was that "the music connected the viewer's subconscious with history" and to "convey the constant danger that haunted the participants of the trial throughout the process".The soundtrack's main song is titled "Nunca Más", co-written and co-produced by Osuna, Alonso, songwriter Rafa Arcaute, and Kany García, who performs the song as well. García described working on the song as "one of the greatest challenges" she had as a musician, "because I must look back, be sensitive and at the same time recognize there is a history that, even though I didn't experience it firsthand, must be treated that way".The soundtrack album was released on digital platforms on 20 October 2022.
Release
Argentina, 1985 had its world premiere in the main competition for the Golden Lion at the 79th Venice International Film Festival on 3 September 2022. The film was also screened as part of the 'Perlak' lineup at the 70th San Sebastián International Film Festival on 18 September 2022. It was theatrically released in Argentina on 29 September 2022. Amazon Studios released the film in select theaters in the United States on 30 September 2022, before it started streaming on Prime Video on 21 October 2022.In June 2022, distributor Sony Pictures label Stage 6 Films announced Argentina, 1985 would be released in Argentina on 29 September 2022. In August 2022, it was revealed that the film would be released on Prime Video on 21 October, being exclusively in theaters for three weeks only. Later in August, Sony announced it would no longer be distributing the film, with local company Digicine stepping in as distributor and keeping its original release date. Due to the short window of exclusivity, international theater chains Cinemark-Hoyts, Cinépolis, and Showcase Cinemas refused to show the film. However, local companies and independent theaters did screen the film.The film was made available to stream on Prime Video for free in Argentina for 24 March 2023, the Day of Remembrance for Truth and Justice.
Reception
Box office
The film was released theatrically in Argentina on 29 September 2022. In its first weekend in theaters, the film debuted at number one at the box office and was seen by over 200,000 spectators in 298 theaters, making it the best opening for a local film since the start of the COVID-19 pandemic. During its second weekend, the film maintained the top spot at the box office with over 211,000 viewers in 314 theaters. By November 2022, the film had sold over a million tickets in Argentina and grossed 592 million pesos. It was the most-watched Argentine film of 2022, and the ninth-most-watched film overall in Argentina in 2022. According to the National Institute of Cinema and Audiovisual Arts (INCAA), it ended its local theatrical run with 1,151,336 viewers and grossed 658,923,794 pesos.
Critical reception
According to the review aggregation website Rotten Tomatoes, Argentina, 1985 has a 95% approval rating based on 64 reviews from critics, with an average rating of 8/10. The site's consensus reads, "Justice is served in Argentina 1985, a crusading courtroom drama that shines a light on historically somber times with refreshing levity". On Metacritic, which uses a weighted average, the film holds a score of 78 out of 100 based on 11 reviews, indicating "generally favorable reviews".Guillermo Courau from La Nación gave the film a five-star review, calling it a "necessary film" and considering it "an honest story, faithful enough to reality to become a contemporary testimony, and unfaithful enough to work on a creative and dramatic level." Juan Pablo Cinelli of Página 12 wrote a positive review, praising the political approach to the subject, as well as Mitre's use of humor and classical cinema tropes to facilitate the audience's connection to the story. Pablo O. Scholz from Clarín praised the "risky bet" of using humor without letting the film "lose its way", he commended the performances of the cast as "so well played than they don't seem acted" and referred to the film as a crowd-pleaser. Mariana Mactas of TN praised the "impeccable" pacing and "perfect dialogue", considering that "every element, from the whole chast to the staging, dialogues and narrative resources, worked gracefully".Writing for The Guardian, Peter Bradshaw gave the film four-out-of-five stars, considering it a "forthright, muscular and potent movie", and praised Darín's "tremendous" and Lanzani's "attractive and sympathetic" performances. Michael Ordoña from Los Angeles Times commended the protagonist's characterization as "a lead who is interestingly uninteresting", as well as the "humanity of its characters" and the use of humor whilst giving the real events "every ounce of weight they demand". The Hollywood Reporter's Sheri Linden complimented Darín's performance of "restraint and intense focus", she praised Juliá's cinematography and the construction of a "mood of deep-in-the-bones unease" along with Pedro Osuna's musical score. However, she criticized some aspects of the screenplay, such as underdeveloped supporting characters, instances of flat dialogue and the occasional appearance of "generic tropes of the legal drama".Carlos Aguilar from TheWrap considered the film was "impeccably executed" and "an effective crowd-pleaser", praising the "dynamism" of the Andrés P. Estrada's editing and the insertion of real archive footage "as if past and present converged in the same instant". However, Aguilar considered the film lacked in innovation and resulted "overly familar", both visually and narratively. Guy Lodge at Variety thought Mitre opted for a "storytelling sensibility as robustly populist as anything by Sorkin or Spielberg". He praised Llinás's "cannily condensed" script and considered Juliá's cinematography, Saiegh's art direction, and Estrada's editing responsible for the film's "cinematic sweep and scope". He also commended Mitre's direction for balancing "emotionally raw material and more amped-up, tension-driven subplots" and highlighted Darín's performance for his final speech, which he considered "one of the most riveting, hair-raising scenes of speechifying in recent cinema". Writing for IndieWire, Sophie Monks Kaufman gave the film a "B+", praising Darín's performance as the main force uniting the different elements of the film, as well as the "nostalgic warmth" of the set design. Monks Kaufman also pointed out the shifts in tone, contrasting the "served straight" trial scenes with the "Ally McBeal-esque irreverence" of Strassera's personal life; she ultimately criticized the use of "Inconciente colectivo" by Charly García as a "triumphalist outro music" that collided with the "quiet way" in which the results of the trial are revealed.
Accolades
See also
List of Argentine films of 2022
List of submissions to the 95th Academy Awards for Best International Feature Film
List of Argentine submissions for the Academy Award for Best International Feature Film
The Official Story – 1985 film also dealing with the dictatorship that won the country's first Academy Award
References
External links
Argentina, 1985 at IMDb
|
cast member
|
{
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"text": [
"Ricardo Darín"
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Argentina, 1985 is a 2022 Argentine historical legal drama film produced and directed by Santiago Mitre. Written by Mitre and Mariano Llinás, it stars Ricardo Darín, Peter Lanzani, Alejandra Flechner and Norman Briski. The film follows the Trial of the Juntas, the 1985 trial of members of the military government that ruled Argentina under the dictatorship of the Proceso de Reorganización Nacional, during which the torture, extrajudicial murder and forced disappearances of civilians was a systematic occurrence; it focuses on the perspective of the prosecution team led by Julio César Strassera and Luis Moreno Ocampo, including their investigation prior to the trial.
Co-produced by Argentina, the United Kingdom and the United States, Argentina, 1985 premiered in the main competition at the 79th Venice International Film Festival on 3 September 2022, where it won the FIPRESCI Award from the International Federation of Film Critics. Theatrically released in Argentina on 29 September 2022, and in the United Kingdom and United States on 21 October 2022, it was a commercial success, debuting at number one at the Argentine box office and becoming the most-watched Argentine film of 2022. It received critical acclaim, and won, among others, the Golden Globe Award for Best Foreign Language Film, the Goya Award for Best Ibero-American Film and the National Board of Review Freedom of Expression Award. It was also named one of the top five international films of 2022 by the National Board of Review, and received an Academy Award nomination for Best International Feature Film.
Plot
In 1985, Argentina has had a democratic government for less than two years after its last military dictatorship ended. Public prosecutor Julio César Strassera is chosen to make the government's case against the military junta for alleged crimes against humanity after the military courts declined to press charges. The junta have retained the services of senior, experienced lawyers, while Strassera struggles to find lawyers to form his prosecution team. Strassera meets Luis Moreno Ocampo, his assigned deputy prosecutor, but initially rejects his offer for help due to Ocampo's military family background. Strassera receives several death threats, and is assigned a security detail.
Finding no other lawyers, Strassera accepts Moreno Ocampo's help. Moreno Ocampo, a professor, suggests that they look for young law graduates and inexperienced lawyers, as senior lawyers are unwilling to risk their reputations or safety to sign on to a trial that is so divisive amongst the public.
Strassera and Moreno Ocampo interview and assemble a team, many of whom work in government offices and can use their access to materials to help the case. Because the atrocities were committed across the country, Strassera and his team seek victims and record their testimonies. Meanwhile, he and his team face risks to their safety. Moreno Ocampo's family turn on him for going against their military history.
On the first day of the trial, the court receives a bomb threat, but Strassera convinces the judges that the trial must proceed. The trial is recorded on cameras and parts of it are broadcast around the world. Many victims of the junta testify about torture they endured or witnessed. President Raúl Alfonsín invites Strassera to meet with him and informs him that he is keeping a close watch on the court events and was deeply moved by the testimony of the witnesses. Despite this, the Attorney General angers Strassera by intimating that he should be lenient with the Air Force.
For his closing argument, Strassera realizes that he will have the chance to make his case not just to the judges in the courtroom, but to the people of Argentina and those around the world. With the help of his family, he composes an eloquent closing statement, ending: "Your Honors: never again!".
The judges move into deliberations and Strassera's team await to hear the outcome.
A dying friend asks Strassera for details of the final sentences. Strassera lies and tells him that all the generals received life sentences. Shortly after, Strassera learns that the court is sentencing General Jorge Videla and Admiral Emilio Massera to life imprisonment, General Roberto Viola to seventeen years, Admiral Armando Lambruschini to eight years, and General Orlando Agosti to four and a half years. Dissatisfied with most of the outcomes, he begins typewriting an appeal.
Cast
Additionally, Pepe Arias portrays journalist Bernardo Neustadt, who interviews Moreno Ocampo.
Production
Work on the screenplay began around five years before the film's release. Originally, writer Mariano Llinás and co-writer and director Santiago Mitre conceived the film to be a more episodic hyperlink film, with "several intertwined stories", mixing genres and including fantastical elements, but producer Axel Kuschevatzky told them the film should be more classical in nature, "a film about the trial and nothing else", which Llinás described as "liberating". He nonetheless described it as a "very difficult script to do", given that it was based on real events, many of its characters were still alive, and the public's differing opinions on the subject.Darín suggested playing Strassera when Mitre first presented him the idea to adapt the events of the Trial of the Juntas. After reading the first draft of the script, Darín took the role, despite generally not being interested in playing characters based on real people, and became a producer on the film as well. Mitre chose Lanzani for Moreno Ocampo, as he considered him "one of the most interesting actors of his generation." Mariana Mitre, the film's casting director and the director's sister, opted to get unknown actors for the supporting roles of both the young investigators and the testifiers, in order to have "the best possibe sense of verisimilitude".Production company Amazon Studios stepped into the project once the script was already finished and the casting was already determined. The film didn't make use of funding by the National Institute of Cinema and Audiovisual Arts (INCAA), as suggested by Amazon given they could finance it on their own. Long-time Marvel Studios producer Victoria Alonso worked on the film, which she considered to be "a pending subject", and donated her salary to the making of the film.Production was originally scheduled to begin in 2020, but it was delayed due to the COVID-19 pandemic. Filming began in June 2021 and lasted 10 weeks until September, taking place primarily in Buenos Aires, as well as in Rosario, Santa Fe for two days and in Salta for four days. The film was shot at the locations where the real events took place, such as the original courtroom at Tribunales, which looked "practically the same" as it did in 1985. The same type of U-matic cameras that had originally been used to broadcast the trial were also used for its recreation during the trial scenes, in order to be able to seemlessly insert archive footage of the actual trial.Javier Juliá, the cinematographer, did not want the film to have "an aesthetic that looked old, or nostalgic", instead going for a more contemporary look. He also chose not to mimic the actual archive footage from the trial, in which witnesses were filmed from behind for protection, as he and Mitre wabted to create "an immersive experience" that made the audience "feel they were there bearing witness too". Juliá employed a large format lens with a shallower depth of field to focus on the witnesses instead of on the context around them; he then used wider lenses and "a certain texture and rawness" to the footage outside the courtroom for contrast. The film was shot in a 3:2 aspect ratio, commonly used by classic 35-mm film cameras, which Juliá considered "modern and different" and helped them avoid a nostalgic feeling.Argentina, 1985 was Micaela Saiegh's first time as an art director in a period film, having previously worked in the genre as an assistant. Mitre wanted the film not to have an aesthetic typical of the Eighties despite taking place in the 1980s. According to Saiegh, her job was "to be invisible", not to let her work stand out from the rest of the film and overshadow the story.
Music
Spanish composer Pedro Osuna started working with Mitre's team in March 2022, writing a draft for the music in four days, during post-production for the film. He announced in July 2022 that he would compose the soundtrack for the film, marking his first time as the main composer of a film score. Osuna was recommended by Alonso and composer Michael Giacchino, who served as musical producer for the film and had worked with Osuna in Thor: Love and Thunder (2022) and Lightyear (2022). Osuna said his purpose with the score was that "the music connected the viewer's subconscious with history" and to "convey the constant danger that haunted the participants of the trial throughout the process".The soundtrack's main song is titled "Nunca Más", co-written and co-produced by Osuna, Alonso, songwriter Rafa Arcaute, and Kany García, who performs the song as well. García described working on the song as "one of the greatest challenges" she had as a musician, "because I must look back, be sensitive and at the same time recognize there is a history that, even though I didn't experience it firsthand, must be treated that way".The soundtrack album was released on digital platforms on 20 October 2022.
Release
Argentina, 1985 had its world premiere in the main competition for the Golden Lion at the 79th Venice International Film Festival on 3 September 2022. The film was also screened as part of the 'Perlak' lineup at the 70th San Sebastián International Film Festival on 18 September 2022. It was theatrically released in Argentina on 29 September 2022. Amazon Studios released the film in select theaters in the United States on 30 September 2022, before it started streaming on Prime Video on 21 October 2022.In June 2022, distributor Sony Pictures label Stage 6 Films announced Argentina, 1985 would be released in Argentina on 29 September 2022. In August 2022, it was revealed that the film would be released on Prime Video on 21 October, being exclusively in theaters for three weeks only. Later in August, Sony announced it would no longer be distributing the film, with local company Digicine stepping in as distributor and keeping its original release date. Due to the short window of exclusivity, international theater chains Cinemark-Hoyts, Cinépolis, and Showcase Cinemas refused to show the film. However, local companies and independent theaters did screen the film.The film was made available to stream on Prime Video for free in Argentina for 24 March 2023, the Day of Remembrance for Truth and Justice.
Reception
Box office
The film was released theatrically in Argentina on 29 September 2022. In its first weekend in theaters, the film debuted at number one at the box office and was seen by over 200,000 spectators in 298 theaters, making it the best opening for a local film since the start of the COVID-19 pandemic. During its second weekend, the film maintained the top spot at the box office with over 211,000 viewers in 314 theaters. By November 2022, the film had sold over a million tickets in Argentina and grossed 592 million pesos. It was the most-watched Argentine film of 2022, and the ninth-most-watched film overall in Argentina in 2022. According to the National Institute of Cinema and Audiovisual Arts (INCAA), it ended its local theatrical run with 1,151,336 viewers and grossed 658,923,794 pesos.
Critical reception
According to the review aggregation website Rotten Tomatoes, Argentina, 1985 has a 95% approval rating based on 64 reviews from critics, with an average rating of 8/10. The site's consensus reads, "Justice is served in Argentina 1985, a crusading courtroom drama that shines a light on historically somber times with refreshing levity". On Metacritic, which uses a weighted average, the film holds a score of 78 out of 100 based on 11 reviews, indicating "generally favorable reviews".Guillermo Courau from La Nación gave the film a five-star review, calling it a "necessary film" and considering it "an honest story, faithful enough to reality to become a contemporary testimony, and unfaithful enough to work on a creative and dramatic level." Juan Pablo Cinelli of Página 12 wrote a positive review, praising the political approach to the subject, as well as Mitre's use of humor and classical cinema tropes to facilitate the audience's connection to the story. Pablo O. Scholz from Clarín praised the "risky bet" of using humor without letting the film "lose its way", he commended the performances of the cast as "so well played than they don't seem acted" and referred to the film as a crowd-pleaser. Mariana Mactas of TN praised the "impeccable" pacing and "perfect dialogue", considering that "every element, from the whole chast to the staging, dialogues and narrative resources, worked gracefully".Writing for The Guardian, Peter Bradshaw gave the film four-out-of-five stars, considering it a "forthright, muscular and potent movie", and praised Darín's "tremendous" and Lanzani's "attractive and sympathetic" performances. Michael Ordoña from Los Angeles Times commended the protagonist's characterization as "a lead who is interestingly uninteresting", as well as the "humanity of its characters" and the use of humor whilst giving the real events "every ounce of weight they demand". The Hollywood Reporter's Sheri Linden complimented Darín's performance of "restraint and intense focus", she praised Juliá's cinematography and the construction of a "mood of deep-in-the-bones unease" along with Pedro Osuna's musical score. However, she criticized some aspects of the screenplay, such as underdeveloped supporting characters, instances of flat dialogue and the occasional appearance of "generic tropes of the legal drama".Carlos Aguilar from TheWrap considered the film was "impeccably executed" and "an effective crowd-pleaser", praising the "dynamism" of the Andrés P. Estrada's editing and the insertion of real archive footage "as if past and present converged in the same instant". However, Aguilar considered the film lacked in innovation and resulted "overly familar", both visually and narratively. Guy Lodge at Variety thought Mitre opted for a "storytelling sensibility as robustly populist as anything by Sorkin or Spielberg". He praised Llinás's "cannily condensed" script and considered Juliá's cinematography, Saiegh's art direction, and Estrada's editing responsible for the film's "cinematic sweep and scope". He also commended Mitre's direction for balancing "emotionally raw material and more amped-up, tension-driven subplots" and highlighted Darín's performance for his final speech, which he considered "one of the most riveting, hair-raising scenes of speechifying in recent cinema". Writing for IndieWire, Sophie Monks Kaufman gave the film a "B+", praising Darín's performance as the main force uniting the different elements of the film, as well as the "nostalgic warmth" of the set design. Monks Kaufman also pointed out the shifts in tone, contrasting the "served straight" trial scenes with the "Ally McBeal-esque irreverence" of Strassera's personal life; she ultimately criticized the use of "Inconciente colectivo" by Charly García as a "triumphalist outro music" that collided with the "quiet way" in which the results of the trial are revealed.
Accolades
See also
List of Argentine films of 2022
List of submissions to the 95th Academy Awards for Best International Feature Film
List of Argentine submissions for the Academy Award for Best International Feature Film
The Official Story – 1985 film also dealing with the dictatorship that won the country's first Academy Award
References
External links
Argentina, 1985 at IMDb
|
depicts
|
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Argentina, 1985 is a 2022 Argentine historical legal drama film produced and directed by Santiago Mitre. Written by Mitre and Mariano Llinás, it stars Ricardo Darín, Peter Lanzani, Alejandra Flechner and Norman Briski. The film follows the Trial of the Juntas, the 1985 trial of members of the military government that ruled Argentina under the dictatorship of the Proceso de Reorganización Nacional, during which the torture, extrajudicial murder and forced disappearances of civilians was a systematic occurrence; it focuses on the perspective of the prosecution team led by Julio César Strassera and Luis Moreno Ocampo, including their investigation prior to the trial.
Co-produced by Argentina, the United Kingdom and the United States, Argentina, 1985 premiered in the main competition at the 79th Venice International Film Festival on 3 September 2022, where it won the FIPRESCI Award from the International Federation of Film Critics. Theatrically released in Argentina on 29 September 2022, and in the United Kingdom and United States on 21 October 2022, it was a commercial success, debuting at number one at the Argentine box office and becoming the most-watched Argentine film of 2022. It received critical acclaim, and won, among others, the Golden Globe Award for Best Foreign Language Film, the Goya Award for Best Ibero-American Film and the National Board of Review Freedom of Expression Award. It was also named one of the top five international films of 2022 by the National Board of Review, and received an Academy Award nomination for Best International Feature Film.
Plot
In 1985, Argentina has had a democratic government for less than two years after its last military dictatorship ended. Public prosecutor Julio César Strassera is chosen to make the government's case against the military junta for alleged crimes against humanity after the military courts declined to press charges. The junta have retained the services of senior, experienced lawyers, while Strassera struggles to find lawyers to form his prosecution team. Strassera meets Luis Moreno Ocampo, his assigned deputy prosecutor, but initially rejects his offer for help due to Ocampo's military family background. Strassera receives several death threats, and is assigned a security detail.
Finding no other lawyers, Strassera accepts Moreno Ocampo's help. Moreno Ocampo, a professor, suggests that they look for young law graduates and inexperienced lawyers, as senior lawyers are unwilling to risk their reputations or safety to sign on to a trial that is so divisive amongst the public.
Strassera and Moreno Ocampo interview and assemble a team, many of whom work in government offices and can use their access to materials to help the case. Because the atrocities were committed across the country, Strassera and his team seek victims and record their testimonies. Meanwhile, he and his team face risks to their safety. Moreno Ocampo's family turn on him for going against their military history.
On the first day of the trial, the court receives a bomb threat, but Strassera convinces the judges that the trial must proceed. The trial is recorded on cameras and parts of it are broadcast around the world. Many victims of the junta testify about torture they endured or witnessed. President Raúl Alfonsín invites Strassera to meet with him and informs him that he is keeping a close watch on the court events and was deeply moved by the testimony of the witnesses. Despite this, the Attorney General angers Strassera by intimating that he should be lenient with the Air Force.
For his closing argument, Strassera realizes that he will have the chance to make his case not just to the judges in the courtroom, but to the people of Argentina and those around the world. With the help of his family, he composes an eloquent closing statement, ending: "Your Honors: never again!".
The judges move into deliberations and Strassera's team await to hear the outcome.
A dying friend asks Strassera for details of the final sentences. Strassera lies and tells him that all the generals received life sentences. Shortly after, Strassera learns that the court is sentencing General Jorge Videla and Admiral Emilio Massera to life imprisonment, General Roberto Viola to seventeen years, Admiral Armando Lambruschini to eight years, and General Orlando Agosti to four and a half years. Dissatisfied with most of the outcomes, he begins typewriting an appeal.
Cast
Additionally, Pepe Arias portrays journalist Bernardo Neustadt, who interviews Moreno Ocampo.
Production
Work on the screenplay began around five years before the film's release. Originally, writer Mariano Llinás and co-writer and director Santiago Mitre conceived the film to be a more episodic hyperlink film, with "several intertwined stories", mixing genres and including fantastical elements, but producer Axel Kuschevatzky told them the film should be more classical in nature, "a film about the trial and nothing else", which Llinás described as "liberating". He nonetheless described it as a "very difficult script to do", given that it was based on real events, many of its characters were still alive, and the public's differing opinions on the subject.Darín suggested playing Strassera when Mitre first presented him the idea to adapt the events of the Trial of the Juntas. After reading the first draft of the script, Darín took the role, despite generally not being interested in playing characters based on real people, and became a producer on the film as well. Mitre chose Lanzani for Moreno Ocampo, as he considered him "one of the most interesting actors of his generation." Mariana Mitre, the film's casting director and the director's sister, opted to get unknown actors for the supporting roles of both the young investigators and the testifiers, in order to have "the best possibe sense of verisimilitude".Production company Amazon Studios stepped into the project once the script was already finished and the casting was already determined. The film didn't make use of funding by the National Institute of Cinema and Audiovisual Arts (INCAA), as suggested by Amazon given they could finance it on their own. Long-time Marvel Studios producer Victoria Alonso worked on the film, which she considered to be "a pending subject", and donated her salary to the making of the film.Production was originally scheduled to begin in 2020, but it was delayed due to the COVID-19 pandemic. Filming began in June 2021 and lasted 10 weeks until September, taking place primarily in Buenos Aires, as well as in Rosario, Santa Fe for two days and in Salta for four days. The film was shot at the locations where the real events took place, such as the original courtroom at Tribunales, which looked "practically the same" as it did in 1985. The same type of U-matic cameras that had originally been used to broadcast the trial were also used for its recreation during the trial scenes, in order to be able to seemlessly insert archive footage of the actual trial.Javier Juliá, the cinematographer, did not want the film to have "an aesthetic that looked old, or nostalgic", instead going for a more contemporary look. He also chose not to mimic the actual archive footage from the trial, in which witnesses were filmed from behind for protection, as he and Mitre wabted to create "an immersive experience" that made the audience "feel they were there bearing witness too". Juliá employed a large format lens with a shallower depth of field to focus on the witnesses instead of on the context around them; he then used wider lenses and "a certain texture and rawness" to the footage outside the courtroom for contrast. The film was shot in a 3:2 aspect ratio, commonly used by classic 35-mm film cameras, which Juliá considered "modern and different" and helped them avoid a nostalgic feeling.Argentina, 1985 was Micaela Saiegh's first time as an art director in a period film, having previously worked in the genre as an assistant. Mitre wanted the film not to have an aesthetic typical of the Eighties despite taking place in the 1980s. According to Saiegh, her job was "to be invisible", not to let her work stand out from the rest of the film and overshadow the story.
Music
Spanish composer Pedro Osuna started working with Mitre's team in March 2022, writing a draft for the music in four days, during post-production for the film. He announced in July 2022 that he would compose the soundtrack for the film, marking his first time as the main composer of a film score. Osuna was recommended by Alonso and composer Michael Giacchino, who served as musical producer for the film and had worked with Osuna in Thor: Love and Thunder (2022) and Lightyear (2022). Osuna said his purpose with the score was that "the music connected the viewer's subconscious with history" and to "convey the constant danger that haunted the participants of the trial throughout the process".The soundtrack's main song is titled "Nunca Más", co-written and co-produced by Osuna, Alonso, songwriter Rafa Arcaute, and Kany García, who performs the song as well. García described working on the song as "one of the greatest challenges" she had as a musician, "because I must look back, be sensitive and at the same time recognize there is a history that, even though I didn't experience it firsthand, must be treated that way".The soundtrack album was released on digital platforms on 20 October 2022.
Release
Argentina, 1985 had its world premiere in the main competition for the Golden Lion at the 79th Venice International Film Festival on 3 September 2022. The film was also screened as part of the 'Perlak' lineup at the 70th San Sebastián International Film Festival on 18 September 2022. It was theatrically released in Argentina on 29 September 2022. Amazon Studios released the film in select theaters in the United States on 30 September 2022, before it started streaming on Prime Video on 21 October 2022.In June 2022, distributor Sony Pictures label Stage 6 Films announced Argentina, 1985 would be released in Argentina on 29 September 2022. In August 2022, it was revealed that the film would be released on Prime Video on 21 October, being exclusively in theaters for three weeks only. Later in August, Sony announced it would no longer be distributing the film, with local company Digicine stepping in as distributor and keeping its original release date. Due to the short window of exclusivity, international theater chains Cinemark-Hoyts, Cinépolis, and Showcase Cinemas refused to show the film. However, local companies and independent theaters did screen the film.The film was made available to stream on Prime Video for free in Argentina for 24 March 2023, the Day of Remembrance for Truth and Justice.
Reception
Box office
The film was released theatrically in Argentina on 29 September 2022. In its first weekend in theaters, the film debuted at number one at the box office and was seen by over 200,000 spectators in 298 theaters, making it the best opening for a local film since the start of the COVID-19 pandemic. During its second weekend, the film maintained the top spot at the box office with over 211,000 viewers in 314 theaters. By November 2022, the film had sold over a million tickets in Argentina and grossed 592 million pesos. It was the most-watched Argentine film of 2022, and the ninth-most-watched film overall in Argentina in 2022. According to the National Institute of Cinema and Audiovisual Arts (INCAA), it ended its local theatrical run with 1,151,336 viewers and grossed 658,923,794 pesos.
Critical reception
According to the review aggregation website Rotten Tomatoes, Argentina, 1985 has a 95% approval rating based on 64 reviews from critics, with an average rating of 8/10. The site's consensus reads, "Justice is served in Argentina 1985, a crusading courtroom drama that shines a light on historically somber times with refreshing levity". On Metacritic, which uses a weighted average, the film holds a score of 78 out of 100 based on 11 reviews, indicating "generally favorable reviews".Guillermo Courau from La Nación gave the film a five-star review, calling it a "necessary film" and considering it "an honest story, faithful enough to reality to become a contemporary testimony, and unfaithful enough to work on a creative and dramatic level." Juan Pablo Cinelli of Página 12 wrote a positive review, praising the political approach to the subject, as well as Mitre's use of humor and classical cinema tropes to facilitate the audience's connection to the story. Pablo O. Scholz from Clarín praised the "risky bet" of using humor without letting the film "lose its way", he commended the performances of the cast as "so well played than they don't seem acted" and referred to the film as a crowd-pleaser. Mariana Mactas of TN praised the "impeccable" pacing and "perfect dialogue", considering that "every element, from the whole chast to the staging, dialogues and narrative resources, worked gracefully".Writing for The Guardian, Peter Bradshaw gave the film four-out-of-five stars, considering it a "forthright, muscular and potent movie", and praised Darín's "tremendous" and Lanzani's "attractive and sympathetic" performances. Michael Ordoña from Los Angeles Times commended the protagonist's characterization as "a lead who is interestingly uninteresting", as well as the "humanity of its characters" and the use of humor whilst giving the real events "every ounce of weight they demand". The Hollywood Reporter's Sheri Linden complimented Darín's performance of "restraint and intense focus", she praised Juliá's cinematography and the construction of a "mood of deep-in-the-bones unease" along with Pedro Osuna's musical score. However, she criticized some aspects of the screenplay, such as underdeveloped supporting characters, instances of flat dialogue and the occasional appearance of "generic tropes of the legal drama".Carlos Aguilar from TheWrap considered the film was "impeccably executed" and "an effective crowd-pleaser", praising the "dynamism" of the Andrés P. Estrada's editing and the insertion of real archive footage "as if past and present converged in the same instant". However, Aguilar considered the film lacked in innovation and resulted "overly familar", both visually and narratively. Guy Lodge at Variety thought Mitre opted for a "storytelling sensibility as robustly populist as anything by Sorkin or Spielberg". He praised Llinás's "cannily condensed" script and considered Juliá's cinematography, Saiegh's art direction, and Estrada's editing responsible for the film's "cinematic sweep and scope". He also commended Mitre's direction for balancing "emotionally raw material and more amped-up, tension-driven subplots" and highlighted Darín's performance for his final speech, which he considered "one of the most riveting, hair-raising scenes of speechifying in recent cinema". Writing for IndieWire, Sophie Monks Kaufman gave the film a "B+", praising Darín's performance as the main force uniting the different elements of the film, as well as the "nostalgic warmth" of the set design. Monks Kaufman also pointed out the shifts in tone, contrasting the "served straight" trial scenes with the "Ally McBeal-esque irreverence" of Strassera's personal life; she ultimately criticized the use of "Inconciente colectivo" by Charly García as a "triumphalist outro music" that collided with the "quiet way" in which the results of the trial are revealed.
Accolades
See also
List of Argentine films of 2022
List of submissions to the 95th Academy Awards for Best International Feature Film
List of Argentine submissions for the Academy Award for Best International Feature Film
The Official Story – 1985 film also dealing with the dictatorship that won the country's first Academy Award
References
External links
Argentina, 1985 at IMDb
|
original language of film or TV show
|
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Argentina, 1985 is a 2022 Argentine historical legal drama film produced and directed by Santiago Mitre. Written by Mitre and Mariano Llinás, it stars Ricardo Darín, Peter Lanzani, Alejandra Flechner and Norman Briski. The film follows the Trial of the Juntas, the 1985 trial of members of the military government that ruled Argentina under the dictatorship of the Proceso de Reorganización Nacional, during which the torture, extrajudicial murder and forced disappearances of civilians was a systematic occurrence; it focuses on the perspective of the prosecution team led by Julio César Strassera and Luis Moreno Ocampo, including their investigation prior to the trial.
Co-produced by Argentina, the United Kingdom and the United States, Argentina, 1985 premiered in the main competition at the 79th Venice International Film Festival on 3 September 2022, where it won the FIPRESCI Award from the International Federation of Film Critics. Theatrically released in Argentina on 29 September 2022, and in the United Kingdom and United States on 21 October 2022, it was a commercial success, debuting at number one at the Argentine box office and becoming the most-watched Argentine film of 2022. It received critical acclaim, and won, among others, the Golden Globe Award for Best Foreign Language Film, the Goya Award for Best Ibero-American Film and the National Board of Review Freedom of Expression Award. It was also named one of the top five international films of 2022 by the National Board of Review, and received an Academy Award nomination for Best International Feature Film.
Plot
In 1985, Argentina has had a democratic government for less than two years after its last military dictatorship ended. Public prosecutor Julio César Strassera is chosen to make the government's case against the military junta for alleged crimes against humanity after the military courts declined to press charges. The junta have retained the services of senior, experienced lawyers, while Strassera struggles to find lawyers to form his prosecution team. Strassera meets Luis Moreno Ocampo, his assigned deputy prosecutor, but initially rejects his offer for help due to Ocampo's military family background. Strassera receives several death threats, and is assigned a security detail.
Finding no other lawyers, Strassera accepts Moreno Ocampo's help. Moreno Ocampo, a professor, suggests that they look for young law graduates and inexperienced lawyers, as senior lawyers are unwilling to risk their reputations or safety to sign on to a trial that is so divisive amongst the public.
Strassera and Moreno Ocampo interview and assemble a team, many of whom work in government offices and can use their access to materials to help the case. Because the atrocities were committed across the country, Strassera and his team seek victims and record their testimonies. Meanwhile, he and his team face risks to their safety. Moreno Ocampo's family turn on him for going against their military history.
On the first day of the trial, the court receives a bomb threat, but Strassera convinces the judges that the trial must proceed. The trial is recorded on cameras and parts of it are broadcast around the world. Many victims of the junta testify about torture they endured or witnessed. President Raúl Alfonsín invites Strassera to meet with him and informs him that he is keeping a close watch on the court events and was deeply moved by the testimony of the witnesses. Despite this, the Attorney General angers Strassera by intimating that he should be lenient with the Air Force.
For his closing argument, Strassera realizes that he will have the chance to make his case not just to the judges in the courtroom, but to the people of Argentina and those around the world. With the help of his family, he composes an eloquent closing statement, ending: "Your Honors: never again!".
The judges move into deliberations and Strassera's team await to hear the outcome.
A dying friend asks Strassera for details of the final sentences. Strassera lies and tells him that all the generals received life sentences. Shortly after, Strassera learns that the court is sentencing General Jorge Videla and Admiral Emilio Massera to life imprisonment, General Roberto Viola to seventeen years, Admiral Armando Lambruschini to eight years, and General Orlando Agosti to four and a half years. Dissatisfied with most of the outcomes, he begins typewriting an appeal.
Cast
Additionally, Pepe Arias portrays journalist Bernardo Neustadt, who interviews Moreno Ocampo.
Production
Work on the screenplay began around five years before the film's release. Originally, writer Mariano Llinás and co-writer and director Santiago Mitre conceived the film to be a more episodic hyperlink film, with "several intertwined stories", mixing genres and including fantastical elements, but producer Axel Kuschevatzky told them the film should be more classical in nature, "a film about the trial and nothing else", which Llinás described as "liberating". He nonetheless described it as a "very difficult script to do", given that it was based on real events, many of its characters were still alive, and the public's differing opinions on the subject.Darín suggested playing Strassera when Mitre first presented him the idea to adapt the events of the Trial of the Juntas. After reading the first draft of the script, Darín took the role, despite generally not being interested in playing characters based on real people, and became a producer on the film as well. Mitre chose Lanzani for Moreno Ocampo, as he considered him "one of the most interesting actors of his generation." Mariana Mitre, the film's casting director and the director's sister, opted to get unknown actors for the supporting roles of both the young investigators and the testifiers, in order to have "the best possibe sense of verisimilitude".Production company Amazon Studios stepped into the project once the script was already finished and the casting was already determined. The film didn't make use of funding by the National Institute of Cinema and Audiovisual Arts (INCAA), as suggested by Amazon given they could finance it on their own. Long-time Marvel Studios producer Victoria Alonso worked on the film, which she considered to be "a pending subject", and donated her salary to the making of the film.Production was originally scheduled to begin in 2020, but it was delayed due to the COVID-19 pandemic. Filming began in June 2021 and lasted 10 weeks until September, taking place primarily in Buenos Aires, as well as in Rosario, Santa Fe for two days and in Salta for four days. The film was shot at the locations where the real events took place, such as the original courtroom at Tribunales, which looked "practically the same" as it did in 1985. The same type of U-matic cameras that had originally been used to broadcast the trial were also used for its recreation during the trial scenes, in order to be able to seemlessly insert archive footage of the actual trial.Javier Juliá, the cinematographer, did not want the film to have "an aesthetic that looked old, or nostalgic", instead going for a more contemporary look. He also chose not to mimic the actual archive footage from the trial, in which witnesses were filmed from behind for protection, as he and Mitre wabted to create "an immersive experience" that made the audience "feel they were there bearing witness too". Juliá employed a large format lens with a shallower depth of field to focus on the witnesses instead of on the context around them; he then used wider lenses and "a certain texture and rawness" to the footage outside the courtroom for contrast. The film was shot in a 3:2 aspect ratio, commonly used by classic 35-mm film cameras, which Juliá considered "modern and different" and helped them avoid a nostalgic feeling.Argentina, 1985 was Micaela Saiegh's first time as an art director in a period film, having previously worked in the genre as an assistant. Mitre wanted the film not to have an aesthetic typical of the Eighties despite taking place in the 1980s. According to Saiegh, her job was "to be invisible", not to let her work stand out from the rest of the film and overshadow the story.
Music
Spanish composer Pedro Osuna started working with Mitre's team in March 2022, writing a draft for the music in four days, during post-production for the film. He announced in July 2022 that he would compose the soundtrack for the film, marking his first time as the main composer of a film score. Osuna was recommended by Alonso and composer Michael Giacchino, who served as musical producer for the film and had worked with Osuna in Thor: Love and Thunder (2022) and Lightyear (2022). Osuna said his purpose with the score was that "the music connected the viewer's subconscious with history" and to "convey the constant danger that haunted the participants of the trial throughout the process".The soundtrack's main song is titled "Nunca Más", co-written and co-produced by Osuna, Alonso, songwriter Rafa Arcaute, and Kany García, who performs the song as well. García described working on the song as "one of the greatest challenges" she had as a musician, "because I must look back, be sensitive and at the same time recognize there is a history that, even though I didn't experience it firsthand, must be treated that way".The soundtrack album was released on digital platforms on 20 October 2022.
Release
Argentina, 1985 had its world premiere in the main competition for the Golden Lion at the 79th Venice International Film Festival on 3 September 2022. The film was also screened as part of the 'Perlak' lineup at the 70th San Sebastián International Film Festival on 18 September 2022. It was theatrically released in Argentina on 29 September 2022. Amazon Studios released the film in select theaters in the United States on 30 September 2022, before it started streaming on Prime Video on 21 October 2022.In June 2022, distributor Sony Pictures label Stage 6 Films announced Argentina, 1985 would be released in Argentina on 29 September 2022. In August 2022, it was revealed that the film would be released on Prime Video on 21 October, being exclusively in theaters for three weeks only. Later in August, Sony announced it would no longer be distributing the film, with local company Digicine stepping in as distributor and keeping its original release date. Due to the short window of exclusivity, international theater chains Cinemark-Hoyts, Cinépolis, and Showcase Cinemas refused to show the film. However, local companies and independent theaters did screen the film.The film was made available to stream on Prime Video for free in Argentina for 24 March 2023, the Day of Remembrance for Truth and Justice.
Reception
Box office
The film was released theatrically in Argentina on 29 September 2022. In its first weekend in theaters, the film debuted at number one at the box office and was seen by over 200,000 spectators in 298 theaters, making it the best opening for a local film since the start of the COVID-19 pandemic. During its second weekend, the film maintained the top spot at the box office with over 211,000 viewers in 314 theaters. By November 2022, the film had sold over a million tickets in Argentina and grossed 592 million pesos. It was the most-watched Argentine film of 2022, and the ninth-most-watched film overall in Argentina in 2022. According to the National Institute of Cinema and Audiovisual Arts (INCAA), it ended its local theatrical run with 1,151,336 viewers and grossed 658,923,794 pesos.
Critical reception
According to the review aggregation website Rotten Tomatoes, Argentina, 1985 has a 95% approval rating based on 64 reviews from critics, with an average rating of 8/10. The site's consensus reads, "Justice is served in Argentina 1985, a crusading courtroom drama that shines a light on historically somber times with refreshing levity". On Metacritic, which uses a weighted average, the film holds a score of 78 out of 100 based on 11 reviews, indicating "generally favorable reviews".Guillermo Courau from La Nación gave the film a five-star review, calling it a "necessary film" and considering it "an honest story, faithful enough to reality to become a contemporary testimony, and unfaithful enough to work on a creative and dramatic level." Juan Pablo Cinelli of Página 12 wrote a positive review, praising the political approach to the subject, as well as Mitre's use of humor and classical cinema tropes to facilitate the audience's connection to the story. Pablo O. Scholz from Clarín praised the "risky bet" of using humor without letting the film "lose its way", he commended the performances of the cast as "so well played than they don't seem acted" and referred to the film as a crowd-pleaser. Mariana Mactas of TN praised the "impeccable" pacing and "perfect dialogue", considering that "every element, from the whole chast to the staging, dialogues and narrative resources, worked gracefully".Writing for The Guardian, Peter Bradshaw gave the film four-out-of-five stars, considering it a "forthright, muscular and potent movie", and praised Darín's "tremendous" and Lanzani's "attractive and sympathetic" performances. Michael Ordoña from Los Angeles Times commended the protagonist's characterization as "a lead who is interestingly uninteresting", as well as the "humanity of its characters" and the use of humor whilst giving the real events "every ounce of weight they demand". The Hollywood Reporter's Sheri Linden complimented Darín's performance of "restraint and intense focus", she praised Juliá's cinematography and the construction of a "mood of deep-in-the-bones unease" along with Pedro Osuna's musical score. However, she criticized some aspects of the screenplay, such as underdeveloped supporting characters, instances of flat dialogue and the occasional appearance of "generic tropes of the legal drama".Carlos Aguilar from TheWrap considered the film was "impeccably executed" and "an effective crowd-pleaser", praising the "dynamism" of the Andrés P. Estrada's editing and the insertion of real archive footage "as if past and present converged in the same instant". However, Aguilar considered the film lacked in innovation and resulted "overly familar", both visually and narratively. Guy Lodge at Variety thought Mitre opted for a "storytelling sensibility as robustly populist as anything by Sorkin or Spielberg". He praised Llinás's "cannily condensed" script and considered Juliá's cinematography, Saiegh's art direction, and Estrada's editing responsible for the film's "cinematic sweep and scope". He also commended Mitre's direction for balancing "emotionally raw material and more amped-up, tension-driven subplots" and highlighted Darín's performance for his final speech, which he considered "one of the most riveting, hair-raising scenes of speechifying in recent cinema". Writing for IndieWire, Sophie Monks Kaufman gave the film a "B+", praising Darín's performance as the main force uniting the different elements of the film, as well as the "nostalgic warmth" of the set design. Monks Kaufman also pointed out the shifts in tone, contrasting the "served straight" trial scenes with the "Ally McBeal-esque irreverence" of Strassera's personal life; she ultimately criticized the use of "Inconciente colectivo" by Charly García as a "triumphalist outro music" that collided with the "quiet way" in which the results of the trial are revealed.
Accolades
See also
List of Argentine films of 2022
List of submissions to the 95th Academy Awards for Best International Feature Film
List of Argentine submissions for the Academy Award for Best International Feature Film
The Official Story – 1985 film also dealing with the dictatorship that won the country's first Academy Award
References
External links
Argentina, 1985 at IMDb
|
Commons category
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Argentina, 1985 is a 2022 Argentine historical legal drama film produced and directed by Santiago Mitre. Written by Mitre and Mariano Llinás, it stars Ricardo Darín, Peter Lanzani, Alejandra Flechner and Norman Briski. The film follows the Trial of the Juntas, the 1985 trial of members of the military government that ruled Argentina under the dictatorship of the Proceso de Reorganización Nacional, during which the torture, extrajudicial murder and forced disappearances of civilians was a systematic occurrence; it focuses on the perspective of the prosecution team led by Julio César Strassera and Luis Moreno Ocampo, including their investigation prior to the trial.
Co-produced by Argentina, the United Kingdom and the United States, Argentina, 1985 premiered in the main competition at the 79th Venice International Film Festival on 3 September 2022, where it won the FIPRESCI Award from the International Federation of Film Critics. Theatrically released in Argentina on 29 September 2022, and in the United Kingdom and United States on 21 October 2022, it was a commercial success, debuting at number one at the Argentine box office and becoming the most-watched Argentine film of 2022. It received critical acclaim, and won, among others, the Golden Globe Award for Best Foreign Language Film, the Goya Award for Best Ibero-American Film and the National Board of Review Freedom of Expression Award. It was also named one of the top five international films of 2022 by the National Board of Review, and received an Academy Award nomination for Best International Feature Film.
Plot
In 1985, Argentina has had a democratic government for less than two years after its last military dictatorship ended. Public prosecutor Julio César Strassera is chosen to make the government's case against the military junta for alleged crimes against humanity after the military courts declined to press charges. The junta have retained the services of senior, experienced lawyers, while Strassera struggles to find lawyers to form his prosecution team. Strassera meets Luis Moreno Ocampo, his assigned deputy prosecutor, but initially rejects his offer for help due to Ocampo's military family background. Strassera receives several death threats, and is assigned a security detail.
Finding no other lawyers, Strassera accepts Moreno Ocampo's help. Moreno Ocampo, a professor, suggests that they look for young law graduates and inexperienced lawyers, as senior lawyers are unwilling to risk their reputations or safety to sign on to a trial that is so divisive amongst the public.
Strassera and Moreno Ocampo interview and assemble a team, many of whom work in government offices and can use their access to materials to help the case. Because the atrocities were committed across the country, Strassera and his team seek victims and record their testimonies. Meanwhile, he and his team face risks to their safety. Moreno Ocampo's family turn on him for going against their military history.
On the first day of the trial, the court receives a bomb threat, but Strassera convinces the judges that the trial must proceed. The trial is recorded on cameras and parts of it are broadcast around the world. Many victims of the junta testify about torture they endured or witnessed. President Raúl Alfonsín invites Strassera to meet with him and informs him that he is keeping a close watch on the court events and was deeply moved by the testimony of the witnesses. Despite this, the Attorney General angers Strassera by intimating that he should be lenient with the Air Force.
For his closing argument, Strassera realizes that he will have the chance to make his case not just to the judges in the courtroom, but to the people of Argentina and those around the world. With the help of his family, he composes an eloquent closing statement, ending: "Your Honors: never again!".
The judges move into deliberations and Strassera's team await to hear the outcome.
A dying friend asks Strassera for details of the final sentences. Strassera lies and tells him that all the generals received life sentences. Shortly after, Strassera learns that the court is sentencing General Jorge Videla and Admiral Emilio Massera to life imprisonment, General Roberto Viola to seventeen years, Admiral Armando Lambruschini to eight years, and General Orlando Agosti to four and a half years. Dissatisfied with most of the outcomes, he begins typewriting an appeal.
Cast
Additionally, Pepe Arias portrays journalist Bernardo Neustadt, who interviews Moreno Ocampo.
Production
Work on the screenplay began around five years before the film's release. Originally, writer Mariano Llinás and co-writer and director Santiago Mitre conceived the film to be a more episodic hyperlink film, with "several intertwined stories", mixing genres and including fantastical elements, but producer Axel Kuschevatzky told them the film should be more classical in nature, "a film about the trial and nothing else", which Llinás described as "liberating". He nonetheless described it as a "very difficult script to do", given that it was based on real events, many of its characters were still alive, and the public's differing opinions on the subject.Darín suggested playing Strassera when Mitre first presented him the idea to adapt the events of the Trial of the Juntas. After reading the first draft of the script, Darín took the role, despite generally not being interested in playing characters based on real people, and became a producer on the film as well. Mitre chose Lanzani for Moreno Ocampo, as he considered him "one of the most interesting actors of his generation." Mariana Mitre, the film's casting director and the director's sister, opted to get unknown actors for the supporting roles of both the young investigators and the testifiers, in order to have "the best possibe sense of verisimilitude".Production company Amazon Studios stepped into the project once the script was already finished and the casting was already determined. The film didn't make use of funding by the National Institute of Cinema and Audiovisual Arts (INCAA), as suggested by Amazon given they could finance it on their own. Long-time Marvel Studios producer Victoria Alonso worked on the film, which she considered to be "a pending subject", and donated her salary to the making of the film.Production was originally scheduled to begin in 2020, but it was delayed due to the COVID-19 pandemic. Filming began in June 2021 and lasted 10 weeks until September, taking place primarily in Buenos Aires, as well as in Rosario, Santa Fe for two days and in Salta for four days. The film was shot at the locations where the real events took place, such as the original courtroom at Tribunales, which looked "practically the same" as it did in 1985. The same type of U-matic cameras that had originally been used to broadcast the trial were also used for its recreation during the trial scenes, in order to be able to seemlessly insert archive footage of the actual trial.Javier Juliá, the cinematographer, did not want the film to have "an aesthetic that looked old, or nostalgic", instead going for a more contemporary look. He also chose not to mimic the actual archive footage from the trial, in which witnesses were filmed from behind for protection, as he and Mitre wabted to create "an immersive experience" that made the audience "feel they were there bearing witness too". Juliá employed a large format lens with a shallower depth of field to focus on the witnesses instead of on the context around them; he then used wider lenses and "a certain texture and rawness" to the footage outside the courtroom for contrast. The film was shot in a 3:2 aspect ratio, commonly used by classic 35-mm film cameras, which Juliá considered "modern and different" and helped them avoid a nostalgic feeling.Argentina, 1985 was Micaela Saiegh's first time as an art director in a period film, having previously worked in the genre as an assistant. Mitre wanted the film not to have an aesthetic typical of the Eighties despite taking place in the 1980s. According to Saiegh, her job was "to be invisible", not to let her work stand out from the rest of the film and overshadow the story.
Music
Spanish composer Pedro Osuna started working with Mitre's team in March 2022, writing a draft for the music in four days, during post-production for the film. He announced in July 2022 that he would compose the soundtrack for the film, marking his first time as the main composer of a film score. Osuna was recommended by Alonso and composer Michael Giacchino, who served as musical producer for the film and had worked with Osuna in Thor: Love and Thunder (2022) and Lightyear (2022). Osuna said his purpose with the score was that "the music connected the viewer's subconscious with history" and to "convey the constant danger that haunted the participants of the trial throughout the process".The soundtrack's main song is titled "Nunca Más", co-written and co-produced by Osuna, Alonso, songwriter Rafa Arcaute, and Kany García, who performs the song as well. García described working on the song as "one of the greatest challenges" she had as a musician, "because I must look back, be sensitive and at the same time recognize there is a history that, even though I didn't experience it firsthand, must be treated that way".The soundtrack album was released on digital platforms on 20 October 2022.
Release
Argentina, 1985 had its world premiere in the main competition for the Golden Lion at the 79th Venice International Film Festival on 3 September 2022. The film was also screened as part of the 'Perlak' lineup at the 70th San Sebastián International Film Festival on 18 September 2022. It was theatrically released in Argentina on 29 September 2022. Amazon Studios released the film in select theaters in the United States on 30 September 2022, before it started streaming on Prime Video on 21 October 2022.In June 2022, distributor Sony Pictures label Stage 6 Films announced Argentina, 1985 would be released in Argentina on 29 September 2022. In August 2022, it was revealed that the film would be released on Prime Video on 21 October, being exclusively in theaters for three weeks only. Later in August, Sony announced it would no longer be distributing the film, with local company Digicine stepping in as distributor and keeping its original release date. Due to the short window of exclusivity, international theater chains Cinemark-Hoyts, Cinépolis, and Showcase Cinemas refused to show the film. However, local companies and independent theaters did screen the film.The film was made available to stream on Prime Video for free in Argentina for 24 March 2023, the Day of Remembrance for Truth and Justice.
Reception
Box office
The film was released theatrically in Argentina on 29 September 2022. In its first weekend in theaters, the film debuted at number one at the box office and was seen by over 200,000 spectators in 298 theaters, making it the best opening for a local film since the start of the COVID-19 pandemic. During its second weekend, the film maintained the top spot at the box office with over 211,000 viewers in 314 theaters. By November 2022, the film had sold over a million tickets in Argentina and grossed 592 million pesos. It was the most-watched Argentine film of 2022, and the ninth-most-watched film overall in Argentina in 2022. According to the National Institute of Cinema and Audiovisual Arts (INCAA), it ended its local theatrical run with 1,151,336 viewers and grossed 658,923,794 pesos.
Critical reception
According to the review aggregation website Rotten Tomatoes, Argentina, 1985 has a 95% approval rating based on 64 reviews from critics, with an average rating of 8/10. The site's consensus reads, "Justice is served in Argentina 1985, a crusading courtroom drama that shines a light on historically somber times with refreshing levity". On Metacritic, which uses a weighted average, the film holds a score of 78 out of 100 based on 11 reviews, indicating "generally favorable reviews".Guillermo Courau from La Nación gave the film a five-star review, calling it a "necessary film" and considering it "an honest story, faithful enough to reality to become a contemporary testimony, and unfaithful enough to work on a creative and dramatic level." Juan Pablo Cinelli of Página 12 wrote a positive review, praising the political approach to the subject, as well as Mitre's use of humor and classical cinema tropes to facilitate the audience's connection to the story. Pablo O. Scholz from Clarín praised the "risky bet" of using humor without letting the film "lose its way", he commended the performances of the cast as "so well played than they don't seem acted" and referred to the film as a crowd-pleaser. Mariana Mactas of TN praised the "impeccable" pacing and "perfect dialogue", considering that "every element, from the whole chast to the staging, dialogues and narrative resources, worked gracefully".Writing for The Guardian, Peter Bradshaw gave the film four-out-of-five stars, considering it a "forthright, muscular and potent movie", and praised Darín's "tremendous" and Lanzani's "attractive and sympathetic" performances. Michael Ordoña from Los Angeles Times commended the protagonist's characterization as "a lead who is interestingly uninteresting", as well as the "humanity of its characters" and the use of humor whilst giving the real events "every ounce of weight they demand". The Hollywood Reporter's Sheri Linden complimented Darín's performance of "restraint and intense focus", she praised Juliá's cinematography and the construction of a "mood of deep-in-the-bones unease" along with Pedro Osuna's musical score. However, she criticized some aspects of the screenplay, such as underdeveloped supporting characters, instances of flat dialogue and the occasional appearance of "generic tropes of the legal drama".Carlos Aguilar from TheWrap considered the film was "impeccably executed" and "an effective crowd-pleaser", praising the "dynamism" of the Andrés P. Estrada's editing and the insertion of real archive footage "as if past and present converged in the same instant". However, Aguilar considered the film lacked in innovation and resulted "overly familar", both visually and narratively. Guy Lodge at Variety thought Mitre opted for a "storytelling sensibility as robustly populist as anything by Sorkin or Spielberg". He praised Llinás's "cannily condensed" script and considered Juliá's cinematography, Saiegh's art direction, and Estrada's editing responsible for the film's "cinematic sweep and scope". He also commended Mitre's direction for balancing "emotionally raw material and more amped-up, tension-driven subplots" and highlighted Darín's performance for his final speech, which he considered "one of the most riveting, hair-raising scenes of speechifying in recent cinema". Writing for IndieWire, Sophie Monks Kaufman gave the film a "B+", praising Darín's performance as the main force uniting the different elements of the film, as well as the "nostalgic warmth" of the set design. Monks Kaufman also pointed out the shifts in tone, contrasting the "served straight" trial scenes with the "Ally McBeal-esque irreverence" of Strassera's personal life; she ultimately criticized the use of "Inconciente colectivo" by Charly García as a "triumphalist outro music" that collided with the "quiet way" in which the results of the trial are revealed.
Accolades
See also
List of Argentine films of 2022
List of submissions to the 95th Academy Awards for Best International Feature Film
List of Argentine submissions for the Academy Award for Best International Feature Film
The Official Story – 1985 film also dealing with the dictatorship that won the country's first Academy Award
References
External links
Argentina, 1985 at IMDb
|
country of origin
|
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Argentina, 1985 is a 2022 Argentine historical legal drama film produced and directed by Santiago Mitre. Written by Mitre and Mariano Llinás, it stars Ricardo Darín, Peter Lanzani, Alejandra Flechner and Norman Briski. The film follows the Trial of the Juntas, the 1985 trial of members of the military government that ruled Argentina under the dictatorship of the Proceso de Reorganización Nacional, during which the torture, extrajudicial murder and forced disappearances of civilians was a systematic occurrence; it focuses on the perspective of the prosecution team led by Julio César Strassera and Luis Moreno Ocampo, including their investigation prior to the trial.
Co-produced by Argentina, the United Kingdom and the United States, Argentina, 1985 premiered in the main competition at the 79th Venice International Film Festival on 3 September 2022, where it won the FIPRESCI Award from the International Federation of Film Critics. Theatrically released in Argentina on 29 September 2022, and in the United Kingdom and United States on 21 October 2022, it was a commercial success, debuting at number one at the Argentine box office and becoming the most-watched Argentine film of 2022. It received critical acclaim, and won, among others, the Golden Globe Award for Best Foreign Language Film, the Goya Award for Best Ibero-American Film and the National Board of Review Freedom of Expression Award. It was also named one of the top five international films of 2022 by the National Board of Review, and received an Academy Award nomination for Best International Feature Film.
Plot
In 1985, Argentina has had a democratic government for less than two years after its last military dictatorship ended. Public prosecutor Julio César Strassera is chosen to make the government's case against the military junta for alleged crimes against humanity after the military courts declined to press charges. The junta have retained the services of senior, experienced lawyers, while Strassera struggles to find lawyers to form his prosecution team. Strassera meets Luis Moreno Ocampo, his assigned deputy prosecutor, but initially rejects his offer for help due to Ocampo's military family background. Strassera receives several death threats, and is assigned a security detail.
Finding no other lawyers, Strassera accepts Moreno Ocampo's help. Moreno Ocampo, a professor, suggests that they look for young law graduates and inexperienced lawyers, as senior lawyers are unwilling to risk their reputations or safety to sign on to a trial that is so divisive amongst the public.
Strassera and Moreno Ocampo interview and assemble a team, many of whom work in government offices and can use their access to materials to help the case. Because the atrocities were committed across the country, Strassera and his team seek victims and record their testimonies. Meanwhile, he and his team face risks to their safety. Moreno Ocampo's family turn on him for going against their military history.
On the first day of the trial, the court receives a bomb threat, but Strassera convinces the judges that the trial must proceed. The trial is recorded on cameras and parts of it are broadcast around the world. Many victims of the junta testify about torture they endured or witnessed. President Raúl Alfonsín invites Strassera to meet with him and informs him that he is keeping a close watch on the court events and was deeply moved by the testimony of the witnesses. Despite this, the Attorney General angers Strassera by intimating that he should be lenient with the Air Force.
For his closing argument, Strassera realizes that he will have the chance to make his case not just to the judges in the courtroom, but to the people of Argentina and those around the world. With the help of his family, he composes an eloquent closing statement, ending: "Your Honors: never again!".
The judges move into deliberations and Strassera's team await to hear the outcome.
A dying friend asks Strassera for details of the final sentences. Strassera lies and tells him that all the generals received life sentences. Shortly after, Strassera learns that the court is sentencing General Jorge Videla and Admiral Emilio Massera to life imprisonment, General Roberto Viola to seventeen years, Admiral Armando Lambruschini to eight years, and General Orlando Agosti to four and a half years. Dissatisfied with most of the outcomes, he begins typewriting an appeal.
Cast
Additionally, Pepe Arias portrays journalist Bernardo Neustadt, who interviews Moreno Ocampo.
Production
Work on the screenplay began around five years before the film's release. Originally, writer Mariano Llinás and co-writer and director Santiago Mitre conceived the film to be a more episodic hyperlink film, with "several intertwined stories", mixing genres and including fantastical elements, but producer Axel Kuschevatzky told them the film should be more classical in nature, "a film about the trial and nothing else", which Llinás described as "liberating". He nonetheless described it as a "very difficult script to do", given that it was based on real events, many of its characters were still alive, and the public's differing opinions on the subject.Darín suggested playing Strassera when Mitre first presented him the idea to adapt the events of the Trial of the Juntas. After reading the first draft of the script, Darín took the role, despite generally not being interested in playing characters based on real people, and became a producer on the film as well. Mitre chose Lanzani for Moreno Ocampo, as he considered him "one of the most interesting actors of his generation." Mariana Mitre, the film's casting director and the director's sister, opted to get unknown actors for the supporting roles of both the young investigators and the testifiers, in order to have "the best possibe sense of verisimilitude".Production company Amazon Studios stepped into the project once the script was already finished and the casting was already determined. The film didn't make use of funding by the National Institute of Cinema and Audiovisual Arts (INCAA), as suggested by Amazon given they could finance it on their own. Long-time Marvel Studios producer Victoria Alonso worked on the film, which she considered to be "a pending subject", and donated her salary to the making of the film.Production was originally scheduled to begin in 2020, but it was delayed due to the COVID-19 pandemic. Filming began in June 2021 and lasted 10 weeks until September, taking place primarily in Buenos Aires, as well as in Rosario, Santa Fe for two days and in Salta for four days. The film was shot at the locations where the real events took place, such as the original courtroom at Tribunales, which looked "practically the same" as it did in 1985. The same type of U-matic cameras that had originally been used to broadcast the trial were also used for its recreation during the trial scenes, in order to be able to seemlessly insert archive footage of the actual trial.Javier Juliá, the cinematographer, did not want the film to have "an aesthetic that looked old, or nostalgic", instead going for a more contemporary look. He also chose not to mimic the actual archive footage from the trial, in which witnesses were filmed from behind for protection, as he and Mitre wabted to create "an immersive experience" that made the audience "feel they were there bearing witness too". Juliá employed a large format lens with a shallower depth of field to focus on the witnesses instead of on the context around them; he then used wider lenses and "a certain texture and rawness" to the footage outside the courtroom for contrast. The film was shot in a 3:2 aspect ratio, commonly used by classic 35-mm film cameras, which Juliá considered "modern and different" and helped them avoid a nostalgic feeling.Argentina, 1985 was Micaela Saiegh's first time as an art director in a period film, having previously worked in the genre as an assistant. Mitre wanted the film not to have an aesthetic typical of the Eighties despite taking place in the 1980s. According to Saiegh, her job was "to be invisible", not to let her work stand out from the rest of the film and overshadow the story.
Music
Spanish composer Pedro Osuna started working with Mitre's team in March 2022, writing a draft for the music in four days, during post-production for the film. He announced in July 2022 that he would compose the soundtrack for the film, marking his first time as the main composer of a film score. Osuna was recommended by Alonso and composer Michael Giacchino, who served as musical producer for the film and had worked with Osuna in Thor: Love and Thunder (2022) and Lightyear (2022). Osuna said his purpose with the score was that "the music connected the viewer's subconscious with history" and to "convey the constant danger that haunted the participants of the trial throughout the process".The soundtrack's main song is titled "Nunca Más", co-written and co-produced by Osuna, Alonso, songwriter Rafa Arcaute, and Kany García, who performs the song as well. García described working on the song as "one of the greatest challenges" she had as a musician, "because I must look back, be sensitive and at the same time recognize there is a history that, even though I didn't experience it firsthand, must be treated that way".The soundtrack album was released on digital platforms on 20 October 2022.
Release
Argentina, 1985 had its world premiere in the main competition for the Golden Lion at the 79th Venice International Film Festival on 3 September 2022. The film was also screened as part of the 'Perlak' lineup at the 70th San Sebastián International Film Festival on 18 September 2022. It was theatrically released in Argentina on 29 September 2022. Amazon Studios released the film in select theaters in the United States on 30 September 2022, before it started streaming on Prime Video on 21 October 2022.In June 2022, distributor Sony Pictures label Stage 6 Films announced Argentina, 1985 would be released in Argentina on 29 September 2022. In August 2022, it was revealed that the film would be released on Prime Video on 21 October, being exclusively in theaters for three weeks only. Later in August, Sony announced it would no longer be distributing the film, with local company Digicine stepping in as distributor and keeping its original release date. Due to the short window of exclusivity, international theater chains Cinemark-Hoyts, Cinépolis, and Showcase Cinemas refused to show the film. However, local companies and independent theaters did screen the film.The film was made available to stream on Prime Video for free in Argentina for 24 March 2023, the Day of Remembrance for Truth and Justice.
Reception
Box office
The film was released theatrically in Argentina on 29 September 2022. In its first weekend in theaters, the film debuted at number one at the box office and was seen by over 200,000 spectators in 298 theaters, making it the best opening for a local film since the start of the COVID-19 pandemic. During its second weekend, the film maintained the top spot at the box office with over 211,000 viewers in 314 theaters. By November 2022, the film had sold over a million tickets in Argentina and grossed 592 million pesos. It was the most-watched Argentine film of 2022, and the ninth-most-watched film overall in Argentina in 2022. According to the National Institute of Cinema and Audiovisual Arts (INCAA), it ended its local theatrical run with 1,151,336 viewers and grossed 658,923,794 pesos.
Critical reception
According to the review aggregation website Rotten Tomatoes, Argentina, 1985 has a 95% approval rating based on 64 reviews from critics, with an average rating of 8/10. The site's consensus reads, "Justice is served in Argentina 1985, a crusading courtroom drama that shines a light on historically somber times with refreshing levity". On Metacritic, which uses a weighted average, the film holds a score of 78 out of 100 based on 11 reviews, indicating "generally favorable reviews".Guillermo Courau from La Nación gave the film a five-star review, calling it a "necessary film" and considering it "an honest story, faithful enough to reality to become a contemporary testimony, and unfaithful enough to work on a creative and dramatic level." Juan Pablo Cinelli of Página 12 wrote a positive review, praising the political approach to the subject, as well as Mitre's use of humor and classical cinema tropes to facilitate the audience's connection to the story. Pablo O. Scholz from Clarín praised the "risky bet" of using humor without letting the film "lose its way", he commended the performances of the cast as "so well played than they don't seem acted" and referred to the film as a crowd-pleaser. Mariana Mactas of TN praised the "impeccable" pacing and "perfect dialogue", considering that "every element, from the whole chast to the staging, dialogues and narrative resources, worked gracefully".Writing for The Guardian, Peter Bradshaw gave the film four-out-of-five stars, considering it a "forthright, muscular and potent movie", and praised Darín's "tremendous" and Lanzani's "attractive and sympathetic" performances. Michael Ordoña from Los Angeles Times commended the protagonist's characterization as "a lead who is interestingly uninteresting", as well as the "humanity of its characters" and the use of humor whilst giving the real events "every ounce of weight they demand". The Hollywood Reporter's Sheri Linden complimented Darín's performance of "restraint and intense focus", she praised Juliá's cinematography and the construction of a "mood of deep-in-the-bones unease" along with Pedro Osuna's musical score. However, she criticized some aspects of the screenplay, such as underdeveloped supporting characters, instances of flat dialogue and the occasional appearance of "generic tropes of the legal drama".Carlos Aguilar from TheWrap considered the film was "impeccably executed" and "an effective crowd-pleaser", praising the "dynamism" of the Andrés P. Estrada's editing and the insertion of real archive footage "as if past and present converged in the same instant". However, Aguilar considered the film lacked in innovation and resulted "overly familar", both visually and narratively. Guy Lodge at Variety thought Mitre opted for a "storytelling sensibility as robustly populist as anything by Sorkin or Spielberg". He praised Llinás's "cannily condensed" script and considered Juliá's cinematography, Saiegh's art direction, and Estrada's editing responsible for the film's "cinematic sweep and scope". He also commended Mitre's direction for balancing "emotionally raw material and more amped-up, tension-driven subplots" and highlighted Darín's performance for his final speech, which he considered "one of the most riveting, hair-raising scenes of speechifying in recent cinema". Writing for IndieWire, Sophie Monks Kaufman gave the film a "B+", praising Darín's performance as the main force uniting the different elements of the film, as well as the "nostalgic warmth" of the set design. Monks Kaufman also pointed out the shifts in tone, contrasting the "served straight" trial scenes with the "Ally McBeal-esque irreverence" of Strassera's personal life; she ultimately criticized the use of "Inconciente colectivo" by Charly García as a "triumphalist outro music" that collided with the "quiet way" in which the results of the trial are revealed.
Accolades
See also
List of Argentine films of 2022
List of submissions to the 95th Academy Awards for Best International Feature Film
List of Argentine submissions for the Academy Award for Best International Feature Film
The Official Story – 1985 film also dealing with the dictatorship that won the country's first Academy Award
References
External links
Argentina, 1985 at IMDb
|
inspired by
|
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"Trial of the Juntas"
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Argentina, 1985 is a 2022 Argentine historical legal drama film produced and directed by Santiago Mitre. Written by Mitre and Mariano Llinás, it stars Ricardo Darín, Peter Lanzani, Alejandra Flechner and Norman Briski. The film follows the Trial of the Juntas, the 1985 trial of members of the military government that ruled Argentina under the dictatorship of the Proceso de Reorganización Nacional, during which the torture, extrajudicial murder and forced disappearances of civilians was a systematic occurrence; it focuses on the perspective of the prosecution team led by Julio César Strassera and Luis Moreno Ocampo, including their investigation prior to the trial.
Co-produced by Argentina, the United Kingdom and the United States, Argentina, 1985 premiered in the main competition at the 79th Venice International Film Festival on 3 September 2022, where it won the FIPRESCI Award from the International Federation of Film Critics. Theatrically released in Argentina on 29 September 2022, and in the United Kingdom and United States on 21 October 2022, it was a commercial success, debuting at number one at the Argentine box office and becoming the most-watched Argentine film of 2022. It received critical acclaim, and won, among others, the Golden Globe Award for Best Foreign Language Film, the Goya Award for Best Ibero-American Film and the National Board of Review Freedom of Expression Award. It was also named one of the top five international films of 2022 by the National Board of Review, and received an Academy Award nomination for Best International Feature Film.
Plot
In 1985, Argentina has had a democratic government for less than two years after its last military dictatorship ended. Public prosecutor Julio César Strassera is chosen to make the government's case against the military junta for alleged crimes against humanity after the military courts declined to press charges. The junta have retained the services of senior, experienced lawyers, while Strassera struggles to find lawyers to form his prosecution team. Strassera meets Luis Moreno Ocampo, his assigned deputy prosecutor, but initially rejects his offer for help due to Ocampo's military family background. Strassera receives several death threats, and is assigned a security detail.
Finding no other lawyers, Strassera accepts Moreno Ocampo's help. Moreno Ocampo, a professor, suggests that they look for young law graduates and inexperienced lawyers, as senior lawyers are unwilling to risk their reputations or safety to sign on to a trial that is so divisive amongst the public.
Strassera and Moreno Ocampo interview and assemble a team, many of whom work in government offices and can use their access to materials to help the case. Because the atrocities were committed across the country, Strassera and his team seek victims and record their testimonies. Meanwhile, he and his team face risks to their safety. Moreno Ocampo's family turn on him for going against their military history.
On the first day of the trial, the court receives a bomb threat, but Strassera convinces the judges that the trial must proceed. The trial is recorded on cameras and parts of it are broadcast around the world. Many victims of the junta testify about torture they endured or witnessed. President Raúl Alfonsín invites Strassera to meet with him and informs him that he is keeping a close watch on the court events and was deeply moved by the testimony of the witnesses. Despite this, the Attorney General angers Strassera by intimating that he should be lenient with the Air Force.
For his closing argument, Strassera realizes that he will have the chance to make his case not just to the judges in the courtroom, but to the people of Argentina and those around the world. With the help of his family, he composes an eloquent closing statement, ending: "Your Honors: never again!".
The judges move into deliberations and Strassera's team await to hear the outcome.
A dying friend asks Strassera for details of the final sentences. Strassera lies and tells him that all the generals received life sentences. Shortly after, Strassera learns that the court is sentencing General Jorge Videla and Admiral Emilio Massera to life imprisonment, General Roberto Viola to seventeen years, Admiral Armando Lambruschini to eight years, and General Orlando Agosti to four and a half years. Dissatisfied with most of the outcomes, he begins typewriting an appeal.
Cast
Additionally, Pepe Arias portrays journalist Bernardo Neustadt, who interviews Moreno Ocampo.
Production
Work on the screenplay began around five years before the film's release. Originally, writer Mariano Llinás and co-writer and director Santiago Mitre conceived the film to be a more episodic hyperlink film, with "several intertwined stories", mixing genres and including fantastical elements, but producer Axel Kuschevatzky told them the film should be more classical in nature, "a film about the trial and nothing else", which Llinás described as "liberating". He nonetheless described it as a "very difficult script to do", given that it was based on real events, many of its characters were still alive, and the public's differing opinions on the subject.Darín suggested playing Strassera when Mitre first presented him the idea to adapt the events of the Trial of the Juntas. After reading the first draft of the script, Darín took the role, despite generally not being interested in playing characters based on real people, and became a producer on the film as well. Mitre chose Lanzani for Moreno Ocampo, as he considered him "one of the most interesting actors of his generation." Mariana Mitre, the film's casting director and the director's sister, opted to get unknown actors for the supporting roles of both the young investigators and the testifiers, in order to have "the best possibe sense of verisimilitude".Production company Amazon Studios stepped into the project once the script was already finished and the casting was already determined. The film didn't make use of funding by the National Institute of Cinema and Audiovisual Arts (INCAA), as suggested by Amazon given they could finance it on their own. Long-time Marvel Studios producer Victoria Alonso worked on the film, which she considered to be "a pending subject", and donated her salary to the making of the film.Production was originally scheduled to begin in 2020, but it was delayed due to the COVID-19 pandemic. Filming began in June 2021 and lasted 10 weeks until September, taking place primarily in Buenos Aires, as well as in Rosario, Santa Fe for two days and in Salta for four days. The film was shot at the locations where the real events took place, such as the original courtroom at Tribunales, which looked "practically the same" as it did in 1985. The same type of U-matic cameras that had originally been used to broadcast the trial were also used for its recreation during the trial scenes, in order to be able to seemlessly insert archive footage of the actual trial.Javier Juliá, the cinematographer, did not want the film to have "an aesthetic that looked old, or nostalgic", instead going for a more contemporary look. He also chose not to mimic the actual archive footage from the trial, in which witnesses were filmed from behind for protection, as he and Mitre wabted to create "an immersive experience" that made the audience "feel they were there bearing witness too". Juliá employed a large format lens with a shallower depth of field to focus on the witnesses instead of on the context around them; he then used wider lenses and "a certain texture and rawness" to the footage outside the courtroom for contrast. The film was shot in a 3:2 aspect ratio, commonly used by classic 35-mm film cameras, which Juliá considered "modern and different" and helped them avoid a nostalgic feeling.Argentina, 1985 was Micaela Saiegh's first time as an art director in a period film, having previously worked in the genre as an assistant. Mitre wanted the film not to have an aesthetic typical of the Eighties despite taking place in the 1980s. According to Saiegh, her job was "to be invisible", not to let her work stand out from the rest of the film and overshadow the story.
Music
Spanish composer Pedro Osuna started working with Mitre's team in March 2022, writing a draft for the music in four days, during post-production for the film. He announced in July 2022 that he would compose the soundtrack for the film, marking his first time as the main composer of a film score. Osuna was recommended by Alonso and composer Michael Giacchino, who served as musical producer for the film and had worked with Osuna in Thor: Love and Thunder (2022) and Lightyear (2022). Osuna said his purpose with the score was that "the music connected the viewer's subconscious with history" and to "convey the constant danger that haunted the participants of the trial throughout the process".The soundtrack's main song is titled "Nunca Más", co-written and co-produced by Osuna, Alonso, songwriter Rafa Arcaute, and Kany García, who performs the song as well. García described working on the song as "one of the greatest challenges" she had as a musician, "because I must look back, be sensitive and at the same time recognize there is a history that, even though I didn't experience it firsthand, must be treated that way".The soundtrack album was released on digital platforms on 20 October 2022.
Release
Argentina, 1985 had its world premiere in the main competition for the Golden Lion at the 79th Venice International Film Festival on 3 September 2022. The film was also screened as part of the 'Perlak' lineup at the 70th San Sebastián International Film Festival on 18 September 2022. It was theatrically released in Argentina on 29 September 2022. Amazon Studios released the film in select theaters in the United States on 30 September 2022, before it started streaming on Prime Video on 21 October 2022.In June 2022, distributor Sony Pictures label Stage 6 Films announced Argentina, 1985 would be released in Argentina on 29 September 2022. In August 2022, it was revealed that the film would be released on Prime Video on 21 October, being exclusively in theaters for three weeks only. Later in August, Sony announced it would no longer be distributing the film, with local company Digicine stepping in as distributor and keeping its original release date. Due to the short window of exclusivity, international theater chains Cinemark-Hoyts, Cinépolis, and Showcase Cinemas refused to show the film. However, local companies and independent theaters did screen the film.The film was made available to stream on Prime Video for free in Argentina for 24 March 2023, the Day of Remembrance for Truth and Justice.
Reception
Box office
The film was released theatrically in Argentina on 29 September 2022. In its first weekend in theaters, the film debuted at number one at the box office and was seen by over 200,000 spectators in 298 theaters, making it the best opening for a local film since the start of the COVID-19 pandemic. During its second weekend, the film maintained the top spot at the box office with over 211,000 viewers in 314 theaters. By November 2022, the film had sold over a million tickets in Argentina and grossed 592 million pesos. It was the most-watched Argentine film of 2022, and the ninth-most-watched film overall in Argentina in 2022. According to the National Institute of Cinema and Audiovisual Arts (INCAA), it ended its local theatrical run with 1,151,336 viewers and grossed 658,923,794 pesos.
Critical reception
According to the review aggregation website Rotten Tomatoes, Argentina, 1985 has a 95% approval rating based on 64 reviews from critics, with an average rating of 8/10. The site's consensus reads, "Justice is served in Argentina 1985, a crusading courtroom drama that shines a light on historically somber times with refreshing levity". On Metacritic, which uses a weighted average, the film holds a score of 78 out of 100 based on 11 reviews, indicating "generally favorable reviews".Guillermo Courau from La Nación gave the film a five-star review, calling it a "necessary film" and considering it "an honest story, faithful enough to reality to become a contemporary testimony, and unfaithful enough to work on a creative and dramatic level." Juan Pablo Cinelli of Página 12 wrote a positive review, praising the political approach to the subject, as well as Mitre's use of humor and classical cinema tropes to facilitate the audience's connection to the story. Pablo O. Scholz from Clarín praised the "risky bet" of using humor without letting the film "lose its way", he commended the performances of the cast as "so well played than they don't seem acted" and referred to the film as a crowd-pleaser. Mariana Mactas of TN praised the "impeccable" pacing and "perfect dialogue", considering that "every element, from the whole chast to the staging, dialogues and narrative resources, worked gracefully".Writing for The Guardian, Peter Bradshaw gave the film four-out-of-five stars, considering it a "forthright, muscular and potent movie", and praised Darín's "tremendous" and Lanzani's "attractive and sympathetic" performances. Michael Ordoña from Los Angeles Times commended the protagonist's characterization as "a lead who is interestingly uninteresting", as well as the "humanity of its characters" and the use of humor whilst giving the real events "every ounce of weight they demand". The Hollywood Reporter's Sheri Linden complimented Darín's performance of "restraint and intense focus", she praised Juliá's cinematography and the construction of a "mood of deep-in-the-bones unease" along with Pedro Osuna's musical score. However, she criticized some aspects of the screenplay, such as underdeveloped supporting characters, instances of flat dialogue and the occasional appearance of "generic tropes of the legal drama".Carlos Aguilar from TheWrap considered the film was "impeccably executed" and "an effective crowd-pleaser", praising the "dynamism" of the Andrés P. Estrada's editing and the insertion of real archive footage "as if past and present converged in the same instant". However, Aguilar considered the film lacked in innovation and resulted "overly familar", both visually and narratively. Guy Lodge at Variety thought Mitre opted for a "storytelling sensibility as robustly populist as anything by Sorkin or Spielberg". He praised Llinás's "cannily condensed" script and considered Juliá's cinematography, Saiegh's art direction, and Estrada's editing responsible for the film's "cinematic sweep and scope". He also commended Mitre's direction for balancing "emotionally raw material and more amped-up, tension-driven subplots" and highlighted Darín's performance for his final speech, which he considered "one of the most riveting, hair-raising scenes of speechifying in recent cinema". Writing for IndieWire, Sophie Monks Kaufman gave the film a "B+", praising Darín's performance as the main force uniting the different elements of the film, as well as the "nostalgic warmth" of the set design. Monks Kaufman also pointed out the shifts in tone, contrasting the "served straight" trial scenes with the "Ally McBeal-esque irreverence" of Strassera's personal life; she ultimately criticized the use of "Inconciente colectivo" by Charly García as a "triumphalist outro music" that collided with the "quiet way" in which the results of the trial are revealed.
Accolades
See also
List of Argentine films of 2022
List of submissions to the 95th Academy Awards for Best International Feature Film
List of Argentine submissions for the Academy Award for Best International Feature Film
The Official Story – 1985 film also dealing with the dictatorship that won the country's first Academy Award
References
External links
Argentina, 1985 at IMDb
|
nominated for
|
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Argentina, 1985 is a 2022 Argentine historical legal drama film produced and directed by Santiago Mitre. Written by Mitre and Mariano Llinás, it stars Ricardo Darín, Peter Lanzani, Alejandra Flechner and Norman Briski. The film follows the Trial of the Juntas, the 1985 trial of members of the military government that ruled Argentina under the dictatorship of the Proceso de Reorganización Nacional, during which the torture, extrajudicial murder and forced disappearances of civilians was a systematic occurrence; it focuses on the perspective of the prosecution team led by Julio César Strassera and Luis Moreno Ocampo, including their investigation prior to the trial.
Co-produced by Argentina, the United Kingdom and the United States, Argentina, 1985 premiered in the main competition at the 79th Venice International Film Festival on 3 September 2022, where it won the FIPRESCI Award from the International Federation of Film Critics. Theatrically released in Argentina on 29 September 2022, and in the United Kingdom and United States on 21 October 2022, it was a commercial success, debuting at number one at the Argentine box office and becoming the most-watched Argentine film of 2022. It received critical acclaim, and won, among others, the Golden Globe Award for Best Foreign Language Film, the Goya Award for Best Ibero-American Film and the National Board of Review Freedom of Expression Award. It was also named one of the top five international films of 2022 by the National Board of Review, and received an Academy Award nomination for Best International Feature Film.
Plot
In 1985, Argentina has had a democratic government for less than two years after its last military dictatorship ended. Public prosecutor Julio César Strassera is chosen to make the government's case against the military junta for alleged crimes against humanity after the military courts declined to press charges. The junta have retained the services of senior, experienced lawyers, while Strassera struggles to find lawyers to form his prosecution team. Strassera meets Luis Moreno Ocampo, his assigned deputy prosecutor, but initially rejects his offer for help due to Ocampo's military family background. Strassera receives several death threats, and is assigned a security detail.
Finding no other lawyers, Strassera accepts Moreno Ocampo's help. Moreno Ocampo, a professor, suggests that they look for young law graduates and inexperienced lawyers, as senior lawyers are unwilling to risk their reputations or safety to sign on to a trial that is so divisive amongst the public.
Strassera and Moreno Ocampo interview and assemble a team, many of whom work in government offices and can use their access to materials to help the case. Because the atrocities were committed across the country, Strassera and his team seek victims and record their testimonies. Meanwhile, he and his team face risks to their safety. Moreno Ocampo's family turn on him for going against their military history.
On the first day of the trial, the court receives a bomb threat, but Strassera convinces the judges that the trial must proceed. The trial is recorded on cameras and parts of it are broadcast around the world. Many victims of the junta testify about torture they endured or witnessed. President Raúl Alfonsín invites Strassera to meet with him and informs him that he is keeping a close watch on the court events and was deeply moved by the testimony of the witnesses. Despite this, the Attorney General angers Strassera by intimating that he should be lenient with the Air Force.
For his closing argument, Strassera realizes that he will have the chance to make his case not just to the judges in the courtroom, but to the people of Argentina and those around the world. With the help of his family, he composes an eloquent closing statement, ending: "Your Honors: never again!".
The judges move into deliberations and Strassera's team await to hear the outcome.
A dying friend asks Strassera for details of the final sentences. Strassera lies and tells him that all the generals received life sentences. Shortly after, Strassera learns that the court is sentencing General Jorge Videla and Admiral Emilio Massera to life imprisonment, General Roberto Viola to seventeen years, Admiral Armando Lambruschini to eight years, and General Orlando Agosti to four and a half years. Dissatisfied with most of the outcomes, he begins typewriting an appeal.
Cast
Additionally, Pepe Arias portrays journalist Bernardo Neustadt, who interviews Moreno Ocampo.
Production
Work on the screenplay began around five years before the film's release. Originally, writer Mariano Llinás and co-writer and director Santiago Mitre conceived the film to be a more episodic hyperlink film, with "several intertwined stories", mixing genres and including fantastical elements, but producer Axel Kuschevatzky told them the film should be more classical in nature, "a film about the trial and nothing else", which Llinás described as "liberating". He nonetheless described it as a "very difficult script to do", given that it was based on real events, many of its characters were still alive, and the public's differing opinions on the subject.Darín suggested playing Strassera when Mitre first presented him the idea to adapt the events of the Trial of the Juntas. After reading the first draft of the script, Darín took the role, despite generally not being interested in playing characters based on real people, and became a producer on the film as well. Mitre chose Lanzani for Moreno Ocampo, as he considered him "one of the most interesting actors of his generation." Mariana Mitre, the film's casting director and the director's sister, opted to get unknown actors for the supporting roles of both the young investigators and the testifiers, in order to have "the best possibe sense of verisimilitude".Production company Amazon Studios stepped into the project once the script was already finished and the casting was already determined. The film didn't make use of funding by the National Institute of Cinema and Audiovisual Arts (INCAA), as suggested by Amazon given they could finance it on their own. Long-time Marvel Studios producer Victoria Alonso worked on the film, which she considered to be "a pending subject", and donated her salary to the making of the film.Production was originally scheduled to begin in 2020, but it was delayed due to the COVID-19 pandemic. Filming began in June 2021 and lasted 10 weeks until September, taking place primarily in Buenos Aires, as well as in Rosario, Santa Fe for two days and in Salta for four days. The film was shot at the locations where the real events took place, such as the original courtroom at Tribunales, which looked "practically the same" as it did in 1985. The same type of U-matic cameras that had originally been used to broadcast the trial were also used for its recreation during the trial scenes, in order to be able to seemlessly insert archive footage of the actual trial.Javier Juliá, the cinematographer, did not want the film to have "an aesthetic that looked old, or nostalgic", instead going for a more contemporary look. He also chose not to mimic the actual archive footage from the trial, in which witnesses were filmed from behind for protection, as he and Mitre wabted to create "an immersive experience" that made the audience "feel they were there bearing witness too". Juliá employed a large format lens with a shallower depth of field to focus on the witnesses instead of on the context around them; he then used wider lenses and "a certain texture and rawness" to the footage outside the courtroom for contrast. The film was shot in a 3:2 aspect ratio, commonly used by classic 35-mm film cameras, which Juliá considered "modern and different" and helped them avoid a nostalgic feeling.Argentina, 1985 was Micaela Saiegh's first time as an art director in a period film, having previously worked in the genre as an assistant. Mitre wanted the film not to have an aesthetic typical of the Eighties despite taking place in the 1980s. According to Saiegh, her job was "to be invisible", not to let her work stand out from the rest of the film and overshadow the story.
Music
Spanish composer Pedro Osuna started working with Mitre's team in March 2022, writing a draft for the music in four days, during post-production for the film. He announced in July 2022 that he would compose the soundtrack for the film, marking his first time as the main composer of a film score. Osuna was recommended by Alonso and composer Michael Giacchino, who served as musical producer for the film and had worked with Osuna in Thor: Love and Thunder (2022) and Lightyear (2022). Osuna said his purpose with the score was that "the music connected the viewer's subconscious with history" and to "convey the constant danger that haunted the participants of the trial throughout the process".The soundtrack's main song is titled "Nunca Más", co-written and co-produced by Osuna, Alonso, songwriter Rafa Arcaute, and Kany García, who performs the song as well. García described working on the song as "one of the greatest challenges" she had as a musician, "because I must look back, be sensitive and at the same time recognize there is a history that, even though I didn't experience it firsthand, must be treated that way".The soundtrack album was released on digital platforms on 20 October 2022.
Release
Argentina, 1985 had its world premiere in the main competition for the Golden Lion at the 79th Venice International Film Festival on 3 September 2022. The film was also screened as part of the 'Perlak' lineup at the 70th San Sebastián International Film Festival on 18 September 2022. It was theatrically released in Argentina on 29 September 2022. Amazon Studios released the film in select theaters in the United States on 30 September 2022, before it started streaming on Prime Video on 21 October 2022.In June 2022, distributor Sony Pictures label Stage 6 Films announced Argentina, 1985 would be released in Argentina on 29 September 2022. In August 2022, it was revealed that the film would be released on Prime Video on 21 October, being exclusively in theaters for three weeks only. Later in August, Sony announced it would no longer be distributing the film, with local company Digicine stepping in as distributor and keeping its original release date. Due to the short window of exclusivity, international theater chains Cinemark-Hoyts, Cinépolis, and Showcase Cinemas refused to show the film. However, local companies and independent theaters did screen the film.The film was made available to stream on Prime Video for free in Argentina for 24 March 2023, the Day of Remembrance for Truth and Justice.
Reception
Box office
The film was released theatrically in Argentina on 29 September 2022. In its first weekend in theaters, the film debuted at number one at the box office and was seen by over 200,000 spectators in 298 theaters, making it the best opening for a local film since the start of the COVID-19 pandemic. During its second weekend, the film maintained the top spot at the box office with over 211,000 viewers in 314 theaters. By November 2022, the film had sold over a million tickets in Argentina and grossed 592 million pesos. It was the most-watched Argentine film of 2022, and the ninth-most-watched film overall in Argentina in 2022. According to the National Institute of Cinema and Audiovisual Arts (INCAA), it ended its local theatrical run with 1,151,336 viewers and grossed 658,923,794 pesos.
Critical reception
According to the review aggregation website Rotten Tomatoes, Argentina, 1985 has a 95% approval rating based on 64 reviews from critics, with an average rating of 8/10. The site's consensus reads, "Justice is served in Argentina 1985, a crusading courtroom drama that shines a light on historically somber times with refreshing levity". On Metacritic, which uses a weighted average, the film holds a score of 78 out of 100 based on 11 reviews, indicating "generally favorable reviews".Guillermo Courau from La Nación gave the film a five-star review, calling it a "necessary film" and considering it "an honest story, faithful enough to reality to become a contemporary testimony, and unfaithful enough to work on a creative and dramatic level." Juan Pablo Cinelli of Página 12 wrote a positive review, praising the political approach to the subject, as well as Mitre's use of humor and classical cinema tropes to facilitate the audience's connection to the story. Pablo O. Scholz from Clarín praised the "risky bet" of using humor without letting the film "lose its way", he commended the performances of the cast as "so well played than they don't seem acted" and referred to the film as a crowd-pleaser. Mariana Mactas of TN praised the "impeccable" pacing and "perfect dialogue", considering that "every element, from the whole chast to the staging, dialogues and narrative resources, worked gracefully".Writing for The Guardian, Peter Bradshaw gave the film four-out-of-five stars, considering it a "forthright, muscular and potent movie", and praised Darín's "tremendous" and Lanzani's "attractive and sympathetic" performances. Michael Ordoña from Los Angeles Times commended the protagonist's characterization as "a lead who is interestingly uninteresting", as well as the "humanity of its characters" and the use of humor whilst giving the real events "every ounce of weight they demand". The Hollywood Reporter's Sheri Linden complimented Darín's performance of "restraint and intense focus", she praised Juliá's cinematography and the construction of a "mood of deep-in-the-bones unease" along with Pedro Osuna's musical score. However, she criticized some aspects of the screenplay, such as underdeveloped supporting characters, instances of flat dialogue and the occasional appearance of "generic tropes of the legal drama".Carlos Aguilar from TheWrap considered the film was "impeccably executed" and "an effective crowd-pleaser", praising the "dynamism" of the Andrés P. Estrada's editing and the insertion of real archive footage "as if past and present converged in the same instant". However, Aguilar considered the film lacked in innovation and resulted "overly familar", both visually and narratively. Guy Lodge at Variety thought Mitre opted for a "storytelling sensibility as robustly populist as anything by Sorkin or Spielberg". He praised Llinás's "cannily condensed" script and considered Juliá's cinematography, Saiegh's art direction, and Estrada's editing responsible for the film's "cinematic sweep and scope". He also commended Mitre's direction for balancing "emotionally raw material and more amped-up, tension-driven subplots" and highlighted Darín's performance for his final speech, which he considered "one of the most riveting, hair-raising scenes of speechifying in recent cinema". Writing for IndieWire, Sophie Monks Kaufman gave the film a "B+", praising Darín's performance as the main force uniting the different elements of the film, as well as the "nostalgic warmth" of the set design. Monks Kaufman also pointed out the shifts in tone, contrasting the "served straight" trial scenes with the "Ally McBeal-esque irreverence" of Strassera's personal life; she ultimately criticized the use of "Inconciente colectivo" by Charly García as a "triumphalist outro music" that collided with the "quiet way" in which the results of the trial are revealed.
Accolades
See also
List of Argentine films of 2022
List of submissions to the 95th Academy Awards for Best International Feature Film
List of Argentine submissions for the Academy Award for Best International Feature Film
The Official Story – 1985 film also dealing with the dictatorship that won the country's first Academy Award
References
External links
Argentina, 1985 at IMDb
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title
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Argentina, 1985 is a 2022 Argentine historical legal drama film produced and directed by Santiago Mitre. Written by Mitre and Mariano Llinás, it stars Ricardo Darín, Peter Lanzani, Alejandra Flechner and Norman Briski. The film follows the Trial of the Juntas, the 1985 trial of members of the military government that ruled Argentina under the dictatorship of the Proceso de Reorganización Nacional, during which the torture, extrajudicial murder and forced disappearances of civilians was a systematic occurrence; it focuses on the perspective of the prosecution team led by Julio César Strassera and Luis Moreno Ocampo, including their investigation prior to the trial.
Co-produced by Argentina, the United Kingdom and the United States, Argentina, 1985 premiered in the main competition at the 79th Venice International Film Festival on 3 September 2022, where it won the FIPRESCI Award from the International Federation of Film Critics. Theatrically released in Argentina on 29 September 2022, and in the United Kingdom and United States on 21 October 2022, it was a commercial success, debuting at number one at the Argentine box office and becoming the most-watched Argentine film of 2022. It received critical acclaim, and won, among others, the Golden Globe Award for Best Foreign Language Film, the Goya Award for Best Ibero-American Film and the National Board of Review Freedom of Expression Award. It was also named one of the top five international films of 2022 by the National Board of Review, and received an Academy Award nomination for Best International Feature Film.
Plot
In 1985, Argentina has had a democratic government for less than two years after its last military dictatorship ended. Public prosecutor Julio César Strassera is chosen to make the government's case against the military junta for alleged crimes against humanity after the military courts declined to press charges. The junta have retained the services of senior, experienced lawyers, while Strassera struggles to find lawyers to form his prosecution team. Strassera meets Luis Moreno Ocampo, his assigned deputy prosecutor, but initially rejects his offer for help due to Ocampo's military family background. Strassera receives several death threats, and is assigned a security detail.
Finding no other lawyers, Strassera accepts Moreno Ocampo's help. Moreno Ocampo, a professor, suggests that they look for young law graduates and inexperienced lawyers, as senior lawyers are unwilling to risk their reputations or safety to sign on to a trial that is so divisive amongst the public.
Strassera and Moreno Ocampo interview and assemble a team, many of whom work in government offices and can use their access to materials to help the case. Because the atrocities were committed across the country, Strassera and his team seek victims and record their testimonies. Meanwhile, he and his team face risks to their safety. Moreno Ocampo's family turn on him for going against their military history.
On the first day of the trial, the court receives a bomb threat, but Strassera convinces the judges that the trial must proceed. The trial is recorded on cameras and parts of it are broadcast around the world. Many victims of the junta testify about torture they endured or witnessed. President Raúl Alfonsín invites Strassera to meet with him and informs him that he is keeping a close watch on the court events and was deeply moved by the testimony of the witnesses. Despite this, the Attorney General angers Strassera by intimating that he should be lenient with the Air Force.
For his closing argument, Strassera realizes that he will have the chance to make his case not just to the judges in the courtroom, but to the people of Argentina and those around the world. With the help of his family, he composes an eloquent closing statement, ending: "Your Honors: never again!".
The judges move into deliberations and Strassera's team await to hear the outcome.
A dying friend asks Strassera for details of the final sentences. Strassera lies and tells him that all the generals received life sentences. Shortly after, Strassera learns that the court is sentencing General Jorge Videla and Admiral Emilio Massera to life imprisonment, General Roberto Viola to seventeen years, Admiral Armando Lambruschini to eight years, and General Orlando Agosti to four and a half years. Dissatisfied with most of the outcomes, he begins typewriting an appeal.
Cast
Additionally, Pepe Arias portrays journalist Bernardo Neustadt, who interviews Moreno Ocampo.
Production
Work on the screenplay began around five years before the film's release. Originally, writer Mariano Llinás and co-writer and director Santiago Mitre conceived the film to be a more episodic hyperlink film, with "several intertwined stories", mixing genres and including fantastical elements, but producer Axel Kuschevatzky told them the film should be more classical in nature, "a film about the trial and nothing else", which Llinás described as "liberating". He nonetheless described it as a "very difficult script to do", given that it was based on real events, many of its characters were still alive, and the public's differing opinions on the subject.Darín suggested playing Strassera when Mitre first presented him the idea to adapt the events of the Trial of the Juntas. After reading the first draft of the script, Darín took the role, despite generally not being interested in playing characters based on real people, and became a producer on the film as well. Mitre chose Lanzani for Moreno Ocampo, as he considered him "one of the most interesting actors of his generation." Mariana Mitre, the film's casting director and the director's sister, opted to get unknown actors for the supporting roles of both the young investigators and the testifiers, in order to have "the best possibe sense of verisimilitude".Production company Amazon Studios stepped into the project once the script was already finished and the casting was already determined. The film didn't make use of funding by the National Institute of Cinema and Audiovisual Arts (INCAA), as suggested by Amazon given they could finance it on their own. Long-time Marvel Studios producer Victoria Alonso worked on the film, which she considered to be "a pending subject", and donated her salary to the making of the film.Production was originally scheduled to begin in 2020, but it was delayed due to the COVID-19 pandemic. Filming began in June 2021 and lasted 10 weeks until September, taking place primarily in Buenos Aires, as well as in Rosario, Santa Fe for two days and in Salta for four days. The film was shot at the locations where the real events took place, such as the original courtroom at Tribunales, which looked "practically the same" as it did in 1985. The same type of U-matic cameras that had originally been used to broadcast the trial were also used for its recreation during the trial scenes, in order to be able to seemlessly insert archive footage of the actual trial.Javier Juliá, the cinematographer, did not want the film to have "an aesthetic that looked old, or nostalgic", instead going for a more contemporary look. He also chose not to mimic the actual archive footage from the trial, in which witnesses were filmed from behind for protection, as he and Mitre wabted to create "an immersive experience" that made the audience "feel they were there bearing witness too". Juliá employed a large format lens with a shallower depth of field to focus on the witnesses instead of on the context around them; he then used wider lenses and "a certain texture and rawness" to the footage outside the courtroom for contrast. The film was shot in a 3:2 aspect ratio, commonly used by classic 35-mm film cameras, which Juliá considered "modern and different" and helped them avoid a nostalgic feeling.Argentina, 1985 was Micaela Saiegh's first time as an art director in a period film, having previously worked in the genre as an assistant. Mitre wanted the film not to have an aesthetic typical of the Eighties despite taking place in the 1980s. According to Saiegh, her job was "to be invisible", not to let her work stand out from the rest of the film and overshadow the story.
Music
Spanish composer Pedro Osuna started working with Mitre's team in March 2022, writing a draft for the music in four days, during post-production for the film. He announced in July 2022 that he would compose the soundtrack for the film, marking his first time as the main composer of a film score. Osuna was recommended by Alonso and composer Michael Giacchino, who served as musical producer for the film and had worked with Osuna in Thor: Love and Thunder (2022) and Lightyear (2022). Osuna said his purpose with the score was that "the music connected the viewer's subconscious with history" and to "convey the constant danger that haunted the participants of the trial throughout the process".The soundtrack's main song is titled "Nunca Más", co-written and co-produced by Osuna, Alonso, songwriter Rafa Arcaute, and Kany García, who performs the song as well. García described working on the song as "one of the greatest challenges" she had as a musician, "because I must look back, be sensitive and at the same time recognize there is a history that, even though I didn't experience it firsthand, must be treated that way".The soundtrack album was released on digital platforms on 20 October 2022.
Release
Argentina, 1985 had its world premiere in the main competition for the Golden Lion at the 79th Venice International Film Festival on 3 September 2022. The film was also screened as part of the 'Perlak' lineup at the 70th San Sebastián International Film Festival on 18 September 2022. It was theatrically released in Argentina on 29 September 2022. Amazon Studios released the film in select theaters in the United States on 30 September 2022, before it started streaming on Prime Video on 21 October 2022.In June 2022, distributor Sony Pictures label Stage 6 Films announced Argentina, 1985 would be released in Argentina on 29 September 2022. In August 2022, it was revealed that the film would be released on Prime Video on 21 October, being exclusively in theaters for three weeks only. Later in August, Sony announced it would no longer be distributing the film, with local company Digicine stepping in as distributor and keeping its original release date. Due to the short window of exclusivity, international theater chains Cinemark-Hoyts, Cinépolis, and Showcase Cinemas refused to show the film. However, local companies and independent theaters did screen the film.The film was made available to stream on Prime Video for free in Argentina for 24 March 2023, the Day of Remembrance for Truth and Justice.
Reception
Box office
The film was released theatrically in Argentina on 29 September 2022. In its first weekend in theaters, the film debuted at number one at the box office and was seen by over 200,000 spectators in 298 theaters, making it the best opening for a local film since the start of the COVID-19 pandemic. During its second weekend, the film maintained the top spot at the box office with over 211,000 viewers in 314 theaters. By November 2022, the film had sold over a million tickets in Argentina and grossed 592 million pesos. It was the most-watched Argentine film of 2022, and the ninth-most-watched film overall in Argentina in 2022. According to the National Institute of Cinema and Audiovisual Arts (INCAA), it ended its local theatrical run with 1,151,336 viewers and grossed 658,923,794 pesos.
Critical reception
According to the review aggregation website Rotten Tomatoes, Argentina, 1985 has a 95% approval rating based on 64 reviews from critics, with an average rating of 8/10. The site's consensus reads, "Justice is served in Argentina 1985, a crusading courtroom drama that shines a light on historically somber times with refreshing levity". On Metacritic, which uses a weighted average, the film holds a score of 78 out of 100 based on 11 reviews, indicating "generally favorable reviews".Guillermo Courau from La Nación gave the film a five-star review, calling it a "necessary film" and considering it "an honest story, faithful enough to reality to become a contemporary testimony, and unfaithful enough to work on a creative and dramatic level." Juan Pablo Cinelli of Página 12 wrote a positive review, praising the political approach to the subject, as well as Mitre's use of humor and classical cinema tropes to facilitate the audience's connection to the story. Pablo O. Scholz from Clarín praised the "risky bet" of using humor without letting the film "lose its way", he commended the performances of the cast as "so well played than they don't seem acted" and referred to the film as a crowd-pleaser. Mariana Mactas of TN praised the "impeccable" pacing and "perfect dialogue", considering that "every element, from the whole chast to the staging, dialogues and narrative resources, worked gracefully".Writing for The Guardian, Peter Bradshaw gave the film four-out-of-five stars, considering it a "forthright, muscular and potent movie", and praised Darín's "tremendous" and Lanzani's "attractive and sympathetic" performances. Michael Ordoña from Los Angeles Times commended the protagonist's characterization as "a lead who is interestingly uninteresting", as well as the "humanity of its characters" and the use of humor whilst giving the real events "every ounce of weight they demand". The Hollywood Reporter's Sheri Linden complimented Darín's performance of "restraint and intense focus", she praised Juliá's cinematography and the construction of a "mood of deep-in-the-bones unease" along with Pedro Osuna's musical score. However, she criticized some aspects of the screenplay, such as underdeveloped supporting characters, instances of flat dialogue and the occasional appearance of "generic tropes of the legal drama".Carlos Aguilar from TheWrap considered the film was "impeccably executed" and "an effective crowd-pleaser", praising the "dynamism" of the Andrés P. Estrada's editing and the insertion of real archive footage "as if past and present converged in the same instant". However, Aguilar considered the film lacked in innovation and resulted "overly familar", both visually and narratively. Guy Lodge at Variety thought Mitre opted for a "storytelling sensibility as robustly populist as anything by Sorkin or Spielberg". He praised Llinás's "cannily condensed" script and considered Juliá's cinematography, Saiegh's art direction, and Estrada's editing responsible for the film's "cinematic sweep and scope". He also commended Mitre's direction for balancing "emotionally raw material and more amped-up, tension-driven subplots" and highlighted Darín's performance for his final speech, which he considered "one of the most riveting, hair-raising scenes of speechifying in recent cinema". Writing for IndieWire, Sophie Monks Kaufman gave the film a "B+", praising Darín's performance as the main force uniting the different elements of the film, as well as the "nostalgic warmth" of the set design. Monks Kaufman also pointed out the shifts in tone, contrasting the "served straight" trial scenes with the "Ally McBeal-esque irreverence" of Strassera's personal life; she ultimately criticized the use of "Inconciente colectivo" by Charly García as a "triumphalist outro music" that collided with the "quiet way" in which the results of the trial are revealed.
Accolades
See also
List of Argentine films of 2022
List of submissions to the 95th Academy Awards for Best International Feature Film
List of Argentine submissions for the Academy Award for Best International Feature Film
The Official Story – 1985 film also dealing with the dictatorship that won the country's first Academy Award
References
External links
Argentina, 1985 at IMDb
|
MPA film rating
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Argentina, 1985 is a 2022 Argentine historical legal drama film produced and directed by Santiago Mitre. Written by Mitre and Mariano Llinás, it stars Ricardo Darín, Peter Lanzani, Alejandra Flechner and Norman Briski. The film follows the Trial of the Juntas, the 1985 trial of members of the military government that ruled Argentina under the dictatorship of the Proceso de Reorganización Nacional, during which the torture, extrajudicial murder and forced disappearances of civilians was a systematic occurrence; it focuses on the perspective of the prosecution team led by Julio César Strassera and Luis Moreno Ocampo, including their investigation prior to the trial.
Co-produced by Argentina, the United Kingdom and the United States, Argentina, 1985 premiered in the main competition at the 79th Venice International Film Festival on 3 September 2022, where it won the FIPRESCI Award from the International Federation of Film Critics. Theatrically released in Argentina on 29 September 2022, and in the United Kingdom and United States on 21 October 2022, it was a commercial success, debuting at number one at the Argentine box office and becoming the most-watched Argentine film of 2022. It received critical acclaim, and won, among others, the Golden Globe Award for Best Foreign Language Film, the Goya Award for Best Ibero-American Film and the National Board of Review Freedom of Expression Award. It was also named one of the top five international films of 2022 by the National Board of Review, and received an Academy Award nomination for Best International Feature Film.
Plot
In 1985, Argentina has had a democratic government for less than two years after its last military dictatorship ended. Public prosecutor Julio César Strassera is chosen to make the government's case against the military junta for alleged crimes against humanity after the military courts declined to press charges. The junta have retained the services of senior, experienced lawyers, while Strassera struggles to find lawyers to form his prosecution team. Strassera meets Luis Moreno Ocampo, his assigned deputy prosecutor, but initially rejects his offer for help due to Ocampo's military family background. Strassera receives several death threats, and is assigned a security detail.
Finding no other lawyers, Strassera accepts Moreno Ocampo's help. Moreno Ocampo, a professor, suggests that they look for young law graduates and inexperienced lawyers, as senior lawyers are unwilling to risk their reputations or safety to sign on to a trial that is so divisive amongst the public.
Strassera and Moreno Ocampo interview and assemble a team, many of whom work in government offices and can use their access to materials to help the case. Because the atrocities were committed across the country, Strassera and his team seek victims and record their testimonies. Meanwhile, he and his team face risks to their safety. Moreno Ocampo's family turn on him for going against their military history.
On the first day of the trial, the court receives a bomb threat, but Strassera convinces the judges that the trial must proceed. The trial is recorded on cameras and parts of it are broadcast around the world. Many victims of the junta testify about torture they endured or witnessed. President Raúl Alfonsín invites Strassera to meet with him and informs him that he is keeping a close watch on the court events and was deeply moved by the testimony of the witnesses. Despite this, the Attorney General angers Strassera by intimating that he should be lenient with the Air Force.
For his closing argument, Strassera realizes that he will have the chance to make his case not just to the judges in the courtroom, but to the people of Argentina and those around the world. With the help of his family, he composes an eloquent closing statement, ending: "Your Honors: never again!".
The judges move into deliberations and Strassera's team await to hear the outcome.
A dying friend asks Strassera for details of the final sentences. Strassera lies and tells him that all the generals received life sentences. Shortly after, Strassera learns that the court is sentencing General Jorge Videla and Admiral Emilio Massera to life imprisonment, General Roberto Viola to seventeen years, Admiral Armando Lambruschini to eight years, and General Orlando Agosti to four and a half years. Dissatisfied with most of the outcomes, he begins typewriting an appeal.
Cast
Additionally, Pepe Arias portrays journalist Bernardo Neustadt, who interviews Moreno Ocampo.
Production
Work on the screenplay began around five years before the film's release. Originally, writer Mariano Llinás and co-writer and director Santiago Mitre conceived the film to be a more episodic hyperlink film, with "several intertwined stories", mixing genres and including fantastical elements, but producer Axel Kuschevatzky told them the film should be more classical in nature, "a film about the trial and nothing else", which Llinás described as "liberating". He nonetheless described it as a "very difficult script to do", given that it was based on real events, many of its characters were still alive, and the public's differing opinions on the subject.Darín suggested playing Strassera when Mitre first presented him the idea to adapt the events of the Trial of the Juntas. After reading the first draft of the script, Darín took the role, despite generally not being interested in playing characters based on real people, and became a producer on the film as well. Mitre chose Lanzani for Moreno Ocampo, as he considered him "one of the most interesting actors of his generation." Mariana Mitre, the film's casting director and the director's sister, opted to get unknown actors for the supporting roles of both the young investigators and the testifiers, in order to have "the best possibe sense of verisimilitude".Production company Amazon Studios stepped into the project once the script was already finished and the casting was already determined. The film didn't make use of funding by the National Institute of Cinema and Audiovisual Arts (INCAA), as suggested by Amazon given they could finance it on their own. Long-time Marvel Studios producer Victoria Alonso worked on the film, which she considered to be "a pending subject", and donated her salary to the making of the film.Production was originally scheduled to begin in 2020, but it was delayed due to the COVID-19 pandemic. Filming began in June 2021 and lasted 10 weeks until September, taking place primarily in Buenos Aires, as well as in Rosario, Santa Fe for two days and in Salta for four days. The film was shot at the locations where the real events took place, such as the original courtroom at Tribunales, which looked "practically the same" as it did in 1985. The same type of U-matic cameras that had originally been used to broadcast the trial were also used for its recreation during the trial scenes, in order to be able to seemlessly insert archive footage of the actual trial.Javier Juliá, the cinematographer, did not want the film to have "an aesthetic that looked old, or nostalgic", instead going for a more contemporary look. He also chose not to mimic the actual archive footage from the trial, in which witnesses were filmed from behind for protection, as he and Mitre wabted to create "an immersive experience" that made the audience "feel they were there bearing witness too". Juliá employed a large format lens with a shallower depth of field to focus on the witnesses instead of on the context around them; he then used wider lenses and "a certain texture and rawness" to the footage outside the courtroom for contrast. The film was shot in a 3:2 aspect ratio, commonly used by classic 35-mm film cameras, which Juliá considered "modern and different" and helped them avoid a nostalgic feeling.Argentina, 1985 was Micaela Saiegh's first time as an art director in a period film, having previously worked in the genre as an assistant. Mitre wanted the film not to have an aesthetic typical of the Eighties despite taking place in the 1980s. According to Saiegh, her job was "to be invisible", not to let her work stand out from the rest of the film and overshadow the story.
Music
Spanish composer Pedro Osuna started working with Mitre's team in March 2022, writing a draft for the music in four days, during post-production for the film. He announced in July 2022 that he would compose the soundtrack for the film, marking his first time as the main composer of a film score. Osuna was recommended by Alonso and composer Michael Giacchino, who served as musical producer for the film and had worked with Osuna in Thor: Love and Thunder (2022) and Lightyear (2022). Osuna said his purpose with the score was that "the music connected the viewer's subconscious with history" and to "convey the constant danger that haunted the participants of the trial throughout the process".The soundtrack's main song is titled "Nunca Más", co-written and co-produced by Osuna, Alonso, songwriter Rafa Arcaute, and Kany García, who performs the song as well. García described working on the song as "one of the greatest challenges" she had as a musician, "because I must look back, be sensitive and at the same time recognize there is a history that, even though I didn't experience it firsthand, must be treated that way".The soundtrack album was released on digital platforms on 20 October 2022.
Release
Argentina, 1985 had its world premiere in the main competition for the Golden Lion at the 79th Venice International Film Festival on 3 September 2022. The film was also screened as part of the 'Perlak' lineup at the 70th San Sebastián International Film Festival on 18 September 2022. It was theatrically released in Argentina on 29 September 2022. Amazon Studios released the film in select theaters in the United States on 30 September 2022, before it started streaming on Prime Video on 21 October 2022.In June 2022, distributor Sony Pictures label Stage 6 Films announced Argentina, 1985 would be released in Argentina on 29 September 2022. In August 2022, it was revealed that the film would be released on Prime Video on 21 October, being exclusively in theaters for three weeks only. Later in August, Sony announced it would no longer be distributing the film, with local company Digicine stepping in as distributor and keeping its original release date. Due to the short window of exclusivity, international theater chains Cinemark-Hoyts, Cinépolis, and Showcase Cinemas refused to show the film. However, local companies and independent theaters did screen the film.The film was made available to stream on Prime Video for free in Argentina for 24 March 2023, the Day of Remembrance for Truth and Justice.
Reception
Box office
The film was released theatrically in Argentina on 29 September 2022. In its first weekend in theaters, the film debuted at number one at the box office and was seen by over 200,000 spectators in 298 theaters, making it the best opening for a local film since the start of the COVID-19 pandemic. During its second weekend, the film maintained the top spot at the box office with over 211,000 viewers in 314 theaters. By November 2022, the film had sold over a million tickets in Argentina and grossed 592 million pesos. It was the most-watched Argentine film of 2022, and the ninth-most-watched film overall in Argentina in 2022. According to the National Institute of Cinema and Audiovisual Arts (INCAA), it ended its local theatrical run with 1,151,336 viewers and grossed 658,923,794 pesos.
Critical reception
According to the review aggregation website Rotten Tomatoes, Argentina, 1985 has a 95% approval rating based on 64 reviews from critics, with an average rating of 8/10. The site's consensus reads, "Justice is served in Argentina 1985, a crusading courtroom drama that shines a light on historically somber times with refreshing levity". On Metacritic, which uses a weighted average, the film holds a score of 78 out of 100 based on 11 reviews, indicating "generally favorable reviews".Guillermo Courau from La Nación gave the film a five-star review, calling it a "necessary film" and considering it "an honest story, faithful enough to reality to become a contemporary testimony, and unfaithful enough to work on a creative and dramatic level." Juan Pablo Cinelli of Página 12 wrote a positive review, praising the political approach to the subject, as well as Mitre's use of humor and classical cinema tropes to facilitate the audience's connection to the story. Pablo O. Scholz from Clarín praised the "risky bet" of using humor without letting the film "lose its way", he commended the performances of the cast as "so well played than they don't seem acted" and referred to the film as a crowd-pleaser. Mariana Mactas of TN praised the "impeccable" pacing and "perfect dialogue", considering that "every element, from the whole chast to the staging, dialogues and narrative resources, worked gracefully".Writing for The Guardian, Peter Bradshaw gave the film four-out-of-five stars, considering it a "forthright, muscular and potent movie", and praised Darín's "tremendous" and Lanzani's "attractive and sympathetic" performances. Michael Ordoña from Los Angeles Times commended the protagonist's characterization as "a lead who is interestingly uninteresting", as well as the "humanity of its characters" and the use of humor whilst giving the real events "every ounce of weight they demand". The Hollywood Reporter's Sheri Linden complimented Darín's performance of "restraint and intense focus", she praised Juliá's cinematography and the construction of a "mood of deep-in-the-bones unease" along with Pedro Osuna's musical score. However, she criticized some aspects of the screenplay, such as underdeveloped supporting characters, instances of flat dialogue and the occasional appearance of "generic tropes of the legal drama".Carlos Aguilar from TheWrap considered the film was "impeccably executed" and "an effective crowd-pleaser", praising the "dynamism" of the Andrés P. Estrada's editing and the insertion of real archive footage "as if past and present converged in the same instant". However, Aguilar considered the film lacked in innovation and resulted "overly familar", both visually and narratively. Guy Lodge at Variety thought Mitre opted for a "storytelling sensibility as robustly populist as anything by Sorkin or Spielberg". He praised Llinás's "cannily condensed" script and considered Juliá's cinematography, Saiegh's art direction, and Estrada's editing responsible for the film's "cinematic sweep and scope". He also commended Mitre's direction for balancing "emotionally raw material and more amped-up, tension-driven subplots" and highlighted Darín's performance for his final speech, which he considered "one of the most riveting, hair-raising scenes of speechifying in recent cinema". Writing for IndieWire, Sophie Monks Kaufman gave the film a "B+", praising Darín's performance as the main force uniting the different elements of the film, as well as the "nostalgic warmth" of the set design. Monks Kaufman also pointed out the shifts in tone, contrasting the "served straight" trial scenes with the "Ally McBeal-esque irreverence" of Strassera's personal life; she ultimately criticized the use of "Inconciente colectivo" by Charly García as a "triumphalist outro music" that collided with the "quiet way" in which the results of the trial are revealed.
Accolades
See also
List of Argentine films of 2022
List of submissions to the 95th Academy Awards for Best International Feature Film
List of Argentine submissions for the Academy Award for Best International Feature Film
The Official Story – 1985 film also dealing with the dictatorship that won the country's first Academy Award
References
External links
Argentina, 1985 at IMDb
|
location of first performance
|
{
"answer_start": [
798
],
"text": [
"79th Venice International Film Festival"
]
}
|
The James Cook Medal is awarded on an occasional basis by the Royal Society of New South Wales for "outstanding contributions to science and human welfare in and for the Southern Hemisphere". It was established in 1947 from funds donated by Henry Ferdinand Halloran, a member of the Society.
Recipients
Source: RSNSW
See also
List of general science and technology awards
List of prizes named after people
== References ==
|
named after
|
{
"answer_start": [
4
],
"text": [
"James Cook"
]
}
|
The James Cook Medal is awarded on an occasional basis by the Royal Society of New South Wales for "outstanding contributions to science and human welfare in and for the Southern Hemisphere". It was established in 1947 from funds donated by Henry Ferdinand Halloran, a member of the Society.
Recipients
Source: RSNSW
See also
List of general science and technology awards
List of prizes named after people
== References ==
|
conferred by
|
{
"answer_start": [
62
],
"text": [
"Royal Society of New South Wales"
]
}
|
Chen Zijie (Chinese: 陈子介; Pinyin: Chén Zǐjiè; born 24 December 1989) is a Chinese footballer who plays for Zibo Qisheng in China League Two.
Club career
Chen Zijie began his football career when he played for Shaanxi National Power's youth team and in 2007, he moved to Shaanxi Baorong Chanba's youth team after his previous club dissolved. He was then loaned to China League Two club Shaanxi Star for one season. Chen was promoted to Shaanxi Baorong Chanba (later moved to Guizhou and renamed Guizhou Renhe)'s first team squad by Cheng Yaodong in 2009, however, as Shaanxi struggled at the bottom of the league, he did not appear for the club in the 2009 league season.
Chen was loaned to China League One club Shanghai East Asia for the 2011 season. Although he just made ten appearances in the league, Shanghai East Asia extended his loan deal for an additional year in 2012. On 8 April 2012, he scored his first goal for Shanghai East Asia in a 2–0 home victory against Yanbian Changbai Tiger. He played 25 matches and scored three goals in the second tier that season as Shanghai East Asia won the 2012 China League One titles and were promoted to the top flight. Chen returned to Guizhou after 2012 league season, but in July 2013, he was loaned to third-tier side Hebei Zhongji until 31 December 2013.On 16 February 2014, Chen made his debut for Guizhou in the 2014 Chinese FA Super Cup against Guangzhou Evergrande with 1–0 victory, coming on as a substitute for the injured Zlatan Muslimović in the 59th minute. His first tier debut came on 8 March 2014, in the first league match of the season in a goalless away draw against Jiangsu Sainty. On 15 March 2014, he scored his first goal for Guizhou in a 2–0 home win over Tianjin Teda.On 7 February 2015, Chen signed a four-year contract with China League One side Hunan Billows. In February 2017, he transferred to Super League side Henan Jianye after Hunan relegated to the third tier. He made his debut for Henan on 7 April 2017 in a 1–0 away defeat against Beijing Guoan, coming on as a substitute for Christian Bassogog in the 75th minute. On 3 May 2017, he scored his first goal for the club in a 5–1 away win against League Two club Shanghai Sunfun in the 2017 Chinese FA Cup.
International career
Chen made his debut for the Chinese national team on 18 June 2014 in a 2-0 win against Macedonia.
Career statistics
Statistics accurate as of match played 31 December 2019.
Honours
Club
Shanghai East AsiaChina League One: 2012Guizhou RenheChinese FA Super Cup: 2014
== References ==
|
family name
|
{
"answer_start": [
34
],
"text": [
"Chén"
]
}
|
Chen Zijie (Chinese: 陈子介; Pinyin: Chén Zǐjiè; born 24 December 1989) is a Chinese footballer who plays for Zibo Qisheng in China League Two.
Club career
Chen Zijie began his football career when he played for Shaanxi National Power's youth team and in 2007, he moved to Shaanxi Baorong Chanba's youth team after his previous club dissolved. He was then loaned to China League Two club Shaanxi Star for one season. Chen was promoted to Shaanxi Baorong Chanba (later moved to Guizhou and renamed Guizhou Renhe)'s first team squad by Cheng Yaodong in 2009, however, as Shaanxi struggled at the bottom of the league, he did not appear for the club in the 2009 league season.
Chen was loaned to China League One club Shanghai East Asia for the 2011 season. Although he just made ten appearances in the league, Shanghai East Asia extended his loan deal for an additional year in 2012. On 8 April 2012, he scored his first goal for Shanghai East Asia in a 2–0 home victory against Yanbian Changbai Tiger. He played 25 matches and scored three goals in the second tier that season as Shanghai East Asia won the 2012 China League One titles and were promoted to the top flight. Chen returned to Guizhou after 2012 league season, but in July 2013, he was loaned to third-tier side Hebei Zhongji until 31 December 2013.On 16 February 2014, Chen made his debut for Guizhou in the 2014 Chinese FA Super Cup against Guangzhou Evergrande with 1–0 victory, coming on as a substitute for the injured Zlatan Muslimović in the 59th minute. His first tier debut came on 8 March 2014, in the first league match of the season in a goalless away draw against Jiangsu Sainty. On 15 March 2014, he scored his first goal for Guizhou in a 2–0 home win over Tianjin Teda.On 7 February 2015, Chen signed a four-year contract with China League One side Hunan Billows. In February 2017, he transferred to Super League side Henan Jianye after Hunan relegated to the third tier. He made his debut for Henan on 7 April 2017 in a 1–0 away defeat against Beijing Guoan, coming on as a substitute for Christian Bassogog in the 75th minute. On 3 May 2017, he scored his first goal for the club in a 5–1 away win against League Two club Shanghai Sunfun in the 2017 Chinese FA Cup.
International career
Chen made his debut for the Chinese national team on 18 June 2014 in a 2-0 win against Macedonia.
Career statistics
Statistics accurate as of match played 31 December 2019.
Honours
Club
Shanghai East AsiaChina League One: 2012Guizhou RenheChinese FA Super Cup: 2014
== References ==
|
sport number
|
{
"answer_start": [
256
],
"text": [
"7"
]
}
|
Sita Devi Yadav is a Nepalese politician, belonging to the Nepali Congress currently serving as the member of the 1st Federal Parliament of Nepal. In the 2017 Nepalese general election she was elected as a proportional representative from Madheshi category.
== References ==
|
country of citizenship
|
{
"answer_start": [
21
],
"text": [
"Nepal"
]
}
|
Sita Devi Yadav is a Nepalese politician, belonging to the Nepali Congress currently serving as the member of the 1st Federal Parliament of Nepal. In the 2017 Nepalese general election she was elected as a proportional representative from Madheshi category.
== References ==
|
member of political party
|
{
"answer_start": [
59
],
"text": [
"Nepali Congress"
]
}
|
Sita Devi Yadav is a Nepalese politician, belonging to the Nepali Congress currently serving as the member of the 1st Federal Parliament of Nepal. In the 2017 Nepalese general election she was elected as a proportional representative from Madheshi category.
== References ==
|
occupation
|
{
"answer_start": [
30
],
"text": [
"politician"
]
}
|
Sita Devi Yadav is a Nepalese politician, belonging to the Nepali Congress currently serving as the member of the 1st Federal Parliament of Nepal. In the 2017 Nepalese general election she was elected as a proportional representative from Madheshi category.
== References ==
|
given name
|
{
"answer_start": [
0
],
"text": [
"Sita"
]
}
|
Hildegard Bleyler (November 12, 1899 – February 6, 1984) was a German politician of the Christian Democratic Union (CDU) and former member of the German Bundestag.
Life
From 1945 onwards, she participated in the building of the CDU. She became chairwoman of the regional women's advisory council of the Baden CDU and member of the regional executive committee. She was a member of the German Bundestag from 1953 to 1965.
Literature
Herbst, Ludolf; Jahn, Bruno (2002). Vierhaus, Rudolf (ed.). Biographisches Handbuch der Mitglieder des Deutschen Bundestages. 1949–2002 [Biographical Handbook of the Members of the German Bundestag. 1949–2002] (in German). München: De Gruyter - De Gruyter Saur. p. 1715. ISBN 978-3-11-184511-1.
== References ==
|
position held
|
{
"answer_start": [
132
],
"text": [
"member of the German Bundestag"
]
}
|
Hildegard Bleyler (November 12, 1899 – February 6, 1984) was a German politician of the Christian Democratic Union (CDU) and former member of the German Bundestag.
Life
From 1945 onwards, she participated in the building of the CDU. She became chairwoman of the regional women's advisory council of the Baden CDU and member of the regional executive committee. She was a member of the German Bundestag from 1953 to 1965.
Literature
Herbst, Ludolf; Jahn, Bruno (2002). Vierhaus, Rudolf (ed.). Biographisches Handbuch der Mitglieder des Deutschen Bundestages. 1949–2002 [Biographical Handbook of the Members of the German Bundestag. 1949–2002] (in German). München: De Gruyter - De Gruyter Saur. p. 1715. ISBN 978-3-11-184511-1.
== References ==
|
member of political party
|
{
"answer_start": [
88
],
"text": [
"Christian Democratic Union"
]
}
|
Hildegard Bleyler (November 12, 1899 – February 6, 1984) was a German politician of the Christian Democratic Union (CDU) and former member of the German Bundestag.
Life
From 1945 onwards, she participated in the building of the CDU. She became chairwoman of the regional women's advisory council of the Baden CDU and member of the regional executive committee. She was a member of the German Bundestag from 1953 to 1965.
Literature
Herbst, Ludolf; Jahn, Bruno (2002). Vierhaus, Rudolf (ed.). Biographisches Handbuch der Mitglieder des Deutschen Bundestages. 1949–2002 [Biographical Handbook of the Members of the German Bundestag. 1949–2002] (in German). München: De Gruyter - De Gruyter Saur. p. 1715. ISBN 978-3-11-184511-1.
== References ==
|
native language
|
{
"answer_start": [
63
],
"text": [
"German"
]
}
|
Hildegard Bleyler (November 12, 1899 – February 6, 1984) was a German politician of the Christian Democratic Union (CDU) and former member of the German Bundestag.
Life
From 1945 onwards, she participated in the building of the CDU. She became chairwoman of the regional women's advisory council of the Baden CDU and member of the regional executive committee. She was a member of the German Bundestag from 1953 to 1965.
Literature
Herbst, Ludolf; Jahn, Bruno (2002). Vierhaus, Rudolf (ed.). Biographisches Handbuch der Mitglieder des Deutschen Bundestages. 1949–2002 [Biographical Handbook of the Members of the German Bundestag. 1949–2002] (in German). München: De Gruyter - De Gruyter Saur. p. 1715. ISBN 978-3-11-184511-1.
== References ==
|
occupation
|
{
"answer_start": [
70
],
"text": [
"politician"
]
}
|
Hildegard Bleyler (November 12, 1899 – February 6, 1984) was a German politician of the Christian Democratic Union (CDU) and former member of the German Bundestag.
Life
From 1945 onwards, she participated in the building of the CDU. She became chairwoman of the regional women's advisory council of the Baden CDU and member of the regional executive committee. She was a member of the German Bundestag from 1953 to 1965.
Literature
Herbst, Ludolf; Jahn, Bruno (2002). Vierhaus, Rudolf (ed.). Biographisches Handbuch der Mitglieder des Deutschen Bundestages. 1949–2002 [Biographical Handbook of the Members of the German Bundestag. 1949–2002] (in German). München: De Gruyter - De Gruyter Saur. p. 1715. ISBN 978-3-11-184511-1.
== References ==
|
Commons category
|
{
"answer_start": [
0
],
"text": [
"Hildegard Bleyler"
]
}
|
Hildegard Bleyler (November 12, 1899 – February 6, 1984) was a German politician of the Christian Democratic Union (CDU) and former member of the German Bundestag.
Life
From 1945 onwards, she participated in the building of the CDU. She became chairwoman of the regional women's advisory council of the Baden CDU and member of the regional executive committee. She was a member of the German Bundestag from 1953 to 1965.
Literature
Herbst, Ludolf; Jahn, Bruno (2002). Vierhaus, Rudolf (ed.). Biographisches Handbuch der Mitglieder des Deutschen Bundestages. 1949–2002 [Biographical Handbook of the Members of the German Bundestag. 1949–2002] (in German). München: De Gruyter - De Gruyter Saur. p. 1715. ISBN 978-3-11-184511-1.
== References ==
|
given name
|
{
"answer_start": [
0
],
"text": [
"Hildegard"
]
}
|
Hildegard Bleyler (November 12, 1899 – February 6, 1984) was a German politician of the Christian Democratic Union (CDU) and former member of the German Bundestag.
Life
From 1945 onwards, she participated in the building of the CDU. She became chairwoman of the regional women's advisory council of the Baden CDU and member of the regional executive committee. She was a member of the German Bundestag from 1953 to 1965.
Literature
Herbst, Ludolf; Jahn, Bruno (2002). Vierhaus, Rudolf (ed.). Biographisches Handbuch der Mitglieder des Deutschen Bundestages. 1949–2002 [Biographical Handbook of the Members of the German Bundestag. 1949–2002] (in German). München: De Gruyter - De Gruyter Saur. p. 1715. ISBN 978-3-11-184511-1.
== References ==
|
languages spoken, written or signed
|
{
"answer_start": [
63
],
"text": [
"German"
]
}
|
Hildegard Bleyler (November 12, 1899 – February 6, 1984) was a German politician of the Christian Democratic Union (CDU) and former member of the German Bundestag.
Life
From 1945 onwards, she participated in the building of the CDU. She became chairwoman of the regional women's advisory council of the Baden CDU and member of the regional executive committee. She was a member of the German Bundestag from 1953 to 1965.
Literature
Herbst, Ludolf; Jahn, Bruno (2002). Vierhaus, Rudolf (ed.). Biographisches Handbuch der Mitglieder des Deutschen Bundestages. 1949–2002 [Biographical Handbook of the Members of the German Bundestag. 1949–2002] (in German). München: De Gruyter - De Gruyter Saur. p. 1715. ISBN 978-3-11-184511-1.
== References ==
|
name in native language
|
{
"answer_start": [
0
],
"text": [
"Hildegard Bleyler"
]
}
|
The Heusweiler Schichten Formation is a geologic formation in Germany. It preserves fossils dating back to the Carboniferous period.
See also
List of fossiliferous stratigraphic units in Germany
References
Various Contributors to the Paleobiology Database. "Fossilworks: Gateway to the Paleobiology Database". Retrieved 17 December 2021.
|
country
|
{
"answer_start": [
62
],
"text": [
"Germany"
]
}
|
The Heusweiler Schichten Formation is a geologic formation in Germany. It preserves fossils dating back to the Carboniferous period.
See also
List of fossiliferous stratigraphic units in Germany
References
Various Contributors to the Paleobiology Database. "Fossilworks: Gateway to the Paleobiology Database". Retrieved 17 December 2021.
|
instance of
|
{
"answer_start": [
49
],
"text": [
"formation"
]
}
|
The Borei class, alternate transliteration Borey, Russian designation Project 955 Borei and Project 955A Borei-A (Russian: Борей, lit. 'Boreas', NATO reporting name Dolgorukiy), are a series of nuclear-powered ballistic missile submarines being constructed by Sevmash for the Russian Navy. The class is projected to replace the Soviet-era Delta III, Delta IV and Typhoon classes in Russian Navy service.
Despite being a replacement for many types of SSBNs, Borei-class submarines are much smaller than those of the Typhoon class in both volume and crew (24,000 tons opposed to 48,000 tons and 107 personnel as opposed to 160 for the Typhoons). In terms of class, they are more accurately a follow-on for the Delta IV-class SSBNs.
History
The first design work on the project started in the mid-1980s and the construction of the first vessel started in 1996. Previously, a short-lived, smaller parallel design appeared in 1980s with designation Project 935 Borei II. A new submarine-launched ballistic missile (SLBM) called the R-39UTTH Bark was developed in parallel. However, the work on this missile was abandoned and a new missile, the RSM-56 Bulava, was designed. The submarine needed to be redesigned to accommodate the new missile, and the design name was changed to Project 955. The vessels were developed by Rubin Design Bureau are being built by Russia's Northern shipyard Sevmash in Severodvinsk.It was reported in 2013 that the arrival of the Borei class will enable the Russian Navy to resume strategic patrols in southern latitudes that had not seen a Russian missile submarine for 20 years.
Launch and trials
The launch of the first submarine of the class, Yury Dolgorukiy (Юрий Долгорукий), was scheduled for 2002 but was delayed because of budget constraints. The vessel was eventually rolled out of its construction hall on 15 April 2007 in a ceremony attended by many senior military and industrial personnel. Yuriy Dolgorukiy was the first Russian strategic missile submarine to be launched in seventeen years since the end of the Cold War. The planned contingent of eight strategic submarines was expected to be commissioned within the next decade, with five Project 955 planned for purchase through 2015.Yuriy Dolgorukiy was not put into the water until February 2008. By July 2009, it had yet to be armed with Bulava missiles and was therefore not fully operational, although it was ready for sea trials on 24 October 2008.
On 21 November 2008 the reactor on Yuriy Dolgorukiy was activated and on 19 June 2009, the submarine began its sea trials in the White Sea.
In August 2009 it was reported that the submarine would undergo up to six trials before being commissioned, but the problem with the Bulava missile could delay it even more.On 28 September 2010 Yuriy Dolgorukiy completed company sea trials. By late October the Russian Pacific Fleet was fully prepared to host Russia's new Borei-class strategic nuclear-powered submarines. It is expected that four subs will be deployed in the Northern Fleet and four subs in the Pacific Fleet. On 9 November 2010 Yuriy Dolgorukiy passed all sea trials directed to new equipment and systems.Initially, the plan was to conduct the first torpedo launches during the ongoing state trials in December 2010 and then in the same month conduct the first launch of the main weapon system, RSM-56 Bulava SLBM. The plan was then postponed to mid-summer 2011 due to ice conditions in the White Sea.On 2 December 2010 the second Borei-class submarine, Alexander Nevskiy, was moved to a floating dock in Sevmash shipyard. There the final preparations took place before the submarine was launched. The submarine was launched on 6 December 2010 and began sea trials on 24 October 2011.On 28 June 2011 a Bulava missile was launched for the first time from the Borei-class submarine Yuriy Dolgorukiy. The test was announced as a success. After long delays finally the lead vessel, Yuriy Dolgorukiy, joined the Russian Navy on 10 January 2013. The official ceremony raising the Russian Navy colors on the submarine was led by Russian Defense Minister Sergey Shoygu. It was actively deployed in 2014 after a series of exercises.On 17 November 2017, the fourth Borei-class submarine and the first of the improved Project 955A, the Knyaz Vladimir was moved out of the construction hall at the SEVMASH shipyard. The submarine was launched a year later and subsequently started its factory trials.On 25 October 2022, the first photo of the Generalissimus Suvorov, the sixth vessel in the class, were published while performing sea trials. On 7 November, all trials were finished and she was being prepared for commissioning.
Design
Borei class includes a compact and integrated hydrodynamically efficient hull for reduced broadband noise and the first ever use of pump-jet propulsion on a Russian nuclear submarine. Russian news service TASS claimed the noise level is to be five times lower when compared to the third-generation nuclear-powered Akula-class submarines and two times lower than that of the U.S. Virginia-class submarines. The acoustic signature of Borei is significantly stealthier than that of the previous generations of Russian SSBNs, but it has been reported that their hydraulic pumps become noisier after a relatively short period of operation, reducing the stealth capabilities of the submarine.The Borei submarines are approximately 170 metres (560 ft) long, 13 metres (43 ft) in diameter, and have a maximum submerged speed of at least 46 kilometres per hour (25 kn; 29 mph). They are equipped with a floating rescue chamber designed to fit in the whole crew. Smaller than the Typhoon class, the Boreis were initially reported to carry 12 missiles but are able to carry four more due to the decrease in mass of the 36-ton Bulava SLBM (a modified version of the Topol-M ICBM) over the originally proposed R-39UTTH Bark. Cost was estimated in 2010 at some ₽23 billion (USD$734 million, equivalent to US$863 million in 2020 terms). In comparison the cost of an Ohio-class SSBN was around US$2 billion per boat (1997 prices, equivalent to over US$3 billion in 2020 terms).Each Borei is constructed with 1.3 million components and mechanisms. Its construction requires 17 thousand tons of metal which is 50% more than the Eiffel Tower. The total length of piping is 109 km and the length of wiring is 600 km. Ten thousand rubber plates cover the hull of the boat.
Versions
Project 955A (Borei-A)
Units of the Project 955A include improved communication and detection systems, improved acoustic signature and have major structural changes such as addition of all moving rudders and vertical endplates to the hydroplanes for higher maneuverability, and a different sail geometry. Besides, they are equipped with hydraulic jets and improved screws that allow them to sail at nearly 30 knots while submerged with minimal noise. Although first reported to carry 20 Bulava SLBMs, the 955A will be armed with 16 SLBMs with 6-10 nuclear warheads atop each, just like the project 955 submarines.The contract for five modified 955A submarines was delayed several times due to price dispute between the Russian Defence Ministry and the United Shipbuilding Corporation. The contract was formally signed on 28 May 2012.The first 955A submarine, Knyaz Vladimir, was laid down on 30 July 2012, during a ceremony attended by the Russian President Vladimir Putin. Two additional project 955A submarines were laid down in 2014, one in late 2015, and one in late 2016.
According to Sevmash official, Vitaliy Bukovskiy, all Borei-A submarines are to be equipped with aspen banyas able to accommodate 3-4 people.
Project 955B (Borei-B)
The Project 955B was expected to feature a new water jet propulsion system, an upgraded hull, and new noise reduction technology. The concept design was to be initiated by the Rubin Design Bureau in 2018 and four project 955B boats were proposed with the first unit to be delivered to the Russian Navy in 2026. However, the project wasn't reportedly included in the Russia's State Armament Programme for 2018–2027 due to cost-efficiency. Instead, six more Borei-A submarines were to be built after 2023. According to a 2018 report, Russia's State Armament Programme for 2018–2027 includes construction of two more Borei-A submarines by 2028. The construction should take place at Sevmash starting in 2024 with deliveries to the Russian Navy in 2026 and 2027 respectively.
Borei-K
A proposed version armed with cruise missiles instead of SLBMs, similar to the American Ohio-class nuclear-powered cruise missile submarines (SSGNs), is under consideration by the Russian Defence Ministry.
Units
See also
List of Soviet and Russian submarine classes
Future of the Russian Navy
List of submarine classes in service
Submarine-launched ballistic missile
Khabarovsk-class submarine
References
External links
Yury Dolgorukiy picture gallery
Photo of Yury Dolgorukiy on sea trials June 2009
Yury Dolgorukiy in dry dock, Sevmash, Severodvinsk (satellite photo)
New pictures of Yury Dolgorukiy
Announcement that the first boat will be launched in April 2007
Announcement (in Russian) that first boat would not be ready until 2007.
Borei-class missile complement
Photos of Alexander Nevsky while the sub was launched at Sevmash shipyard
|
instance of
|
{
"answer_start": [
8716
],
"text": [
"submarine class"
]
}
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