Palestinian Kamel al-Basha Wins Top Acting Prize at Venice Film Festival

Palestinian actor Kamel al-Basha holds aloft the Volpi Cup for best actor for his role in 'The Insult' during the award ceremony at the 74th Venice Film Festival. (AP)
Palestinian actor Kamel al-Basha holds aloft the Volpi Cup for best actor for his role in 'The Insult' during the award ceremony at the 74th Venice Film Festival. (AP)
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Palestinian Kamel al-Basha Wins Top Acting Prize at Venice Film Festival

Palestinian actor Kamel al-Basha holds aloft the Volpi Cup for best actor for his role in 'The Insult' during the award ceremony at the 74th Venice Film Festival. (AP)
Palestinian actor Kamel al-Basha holds aloft the Volpi Cup for best actor for his role in 'The Insult' during the award ceremony at the 74th Venice Film Festival. (AP)

Palestinian actor Kamel al-Basha won the top acting prize at the 74th edition of the Venice Film Festival on Saturday.

He earned the prize for the Lebanese film, “The Insult,” which also stars Lebanon’s Adel Karam.

The fact that this is the movie’s only award is an indication that it was discussed thoroughly by the jury, chaired by actress Annette Bening, before granting Basha the festival’s top acting honor.

The Golden Lion was awarded to critics’ favorite “The Shape of Water,” a dark fantasy directed by Mexico’s Guillermo del Toro and starring Sally Hawkins.

A trial is the common factor between three films that were in competition at the Venice festival, two of which earned prizes. The movies are Lebanon’s “The Insult”, France’s “Custody,” and Japan’s “The Third Murder.” The Lebanese movie was undoubtedly the best because it managed to avoid being political while addressing a strictly political issue.

The film focuses on two victims, each of whom claims that they were the victim of the other. The first is a Lebanese man, played by Karam, who is influenced by hateful sectarianism directed against Palestinians, believing that the entire system in Lebanon works for them and not the Lebanese people. The second is a Palestinian, played by Basha, who works for a municipal company when the Lebanese man dumps a bucket of water on him and then insults him. The rest of the movie depicts the ensuing trial between Karam and Basha’s characters.

Perhaps the prize went to Basha, who is a professional theater actor living in Jerusalem, because he deserves it for being Palestinian. This is likely because the Israeli film “Foxtrot”, which criticizes the Israeli military, won the festival’s Grand Jury Prize. The Venice jury and its chair, Bening, was mainly comprised of left-leaning members, which also fell in Basha’s favor. This does not undermine his acting achievement, which is fully deserved as he expressed the quiet despair endured while living in Lebanon.

Karam, in contrast, is an open book from the onset of the movie. This is not his fault as it would be difficult to portray him as a gray character given the negative values he stands for. Director Ziad Douery succeeded in allowing the audience to feel some empathy towards the character.

Given its film festival success, it seems likely that Lebanon will submit “The Insult” as a nominee for the Best Foreign Film category at next year’s Academy Awards. It remains to be seen if it will be selected from among the several dozen films that will be submitted from around the world.



Row Deepens Over Vanished River Wave in Munich

(FILES) Surfers ride the Eisbach (ice creek) wave during freezing conditions on the Isar River in the English Garden in Munich, southern Germany on January 4, 2017. (Photo by Mark RALSTON / AFP)
(FILES) Surfers ride the Eisbach (ice creek) wave during freezing conditions on the Isar River in the English Garden in Munich, southern Germany on January 4, 2017. (Photo by Mark RALSTON / AFP)
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Row Deepens Over Vanished River Wave in Munich

(FILES) Surfers ride the Eisbach (ice creek) wave during freezing conditions on the Isar River in the English Garden in Munich, southern Germany on January 4, 2017. (Photo by Mark RALSTON / AFP)
(FILES) Surfers ride the Eisbach (ice creek) wave during freezing conditions on the Isar River in the English Garden in Munich, southern Germany on January 4, 2017. (Photo by Mark RALSTON / AFP)

A row over the disappearance of a famous river surfing wave in Munich escalated on Sunday as authorities removed a beam inserted over Christmas to recreate the attraction.

The Eisbach wave on a side branch of the Isar River had been a landmark in the Bavarian city since the 1980s but it vanished in October after annual cleanup work along the riverbed.

Activists had placed a beam in the water early on December 25 to partially recreate the wave, according to German media reports, and hung a banner above the water that read "Merry Christmas".

But a spokesman for the Munich fire service told AFP the "installation was removed" on Sunday at the request of city authorities.

Activists have made several attempts to reinstate the wave in the city's Englischer Garten park since October -- only to see them reversed.

The local surfers' association IGSM on Thursday posted a statement on its website saying it had abandoned its campaign to save the wave, accusing city authorities of dragging their feet.

The Eisbach wave was considered the largest and most consistent river wave in the heart of a major city and had become a tourist attraction in Bavaria's state capital.

Franz Fasel, head of the IGSM, told AFP in July that 3,000 to 5,000 local surfers were using it.

Access to the wave was cut off for several months earlier this year after the death of a 33-year-old Munich woman who became trapped under the surface while surfing at night.


New York Subway Ends its MetroCard Era and Switches Fully to Tap-and-go Fares

Lev Radin, a MetroCard collector, shows his collection of Inaugural Limited Edition MetroCards, Dec. 10, 2025, in New York. (AP Photo/Yuki Iwamura)
Lev Radin, a MetroCard collector, shows his collection of Inaugural Limited Edition MetroCards, Dec. 10, 2025, in New York. (AP Photo/Yuki Iwamura)
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New York Subway Ends its MetroCard Era and Switches Fully to Tap-and-go Fares

Lev Radin, a MetroCard collector, shows his collection of Inaugural Limited Edition MetroCards, Dec. 10, 2025, in New York. (AP Photo/Yuki Iwamura)
Lev Radin, a MetroCard collector, shows his collection of Inaugural Limited Edition MetroCards, Dec. 10, 2025, in New York. (AP Photo/Yuki Iwamura)

When the MetroCard replaced the New York City subway token in 1994, the swipeable plastic card infused much-needed modernity into one of the world’s oldest and largest transit systems.

Now, more than three decades later, the gold-hued fare card and its notoriously finicky magnetic strip are following the token into retirement, The Associated Press reported.

The last day to buy or refill a MetroCard is Dec. 31, 2025, as the transit system fully transitions to OMNY, a contactless payment system that allows riders to tap their credit card, phone or other smart device to pay fares, much like they do for other everyday purchases.

Transit officials say more than 90% of subway and bus trips are now paid using the tap-and-go system, introduced in 2019.

Major cities around the world, including London and Singapore, have long used similar contactless systems. In the US, San Francisco launched a pay-go system earlier this year, joining Chicago and others.

MetroCards upended how New Yorkers commute The humble MetroCard may have outlasted its useful life, but in its day it was revolutionary, says Jodi Shapiro, curator at the New York Transit Museum in Brooklyn, which opened an exhibit earlier this month reflecting on the MetroCard’s legacy.

Before MetroCards, bus and subway riders relied on tokens, the brass-colored coins introduced in 1953 that were purchased from station booths. When the subway opened in 1904, paper tickets cost just a nickel, or about $1.82 in today’s dollars.

“There was a resistance to change from tokens to something else because tokens work,” Shapiro said on a recent visit to the museum, housed underground in a decommissioned subway station. “MetroCards introduced a whole other level of thinking for New Yorkers.”

The Metropolitan Transportation Authority launched public campaigns to teach commuters how to swipe the originally blue-colored cards correctly, hoping to avoid the dreaded error message or lost fares. Officials even briefly toyed with the idea of a quirky mascot, the Cardvaark, before coming to their senses.

The cards quickly became collectors items as the transit system rolled out special commemorative editions marking major events, such as the “Subway Series” between baseball’s New York Mets and the New York Yankees in the 2000 World Series. At the time, a fare cost $1.50.

Artists from David Bowie and Olivia Rodrigo to seminal New York hip hop acts, such as the Wu-Tang Clan, the Notorious B.I.G. and LL Cool J, have also graced the plastic card over the years, as have iconic New York shows like Seinfeld and Law & Order.

“For me, the most special cards are cards which present New York City to the world,” said Lev Radin, a collector in the Bronx. “Not only photos of landmarks, skylines, but also about people who live and make New York special.”

Perfecting the correct angle and velocity of the MetroCard swipe also became something of a point of pride separating real New Yorkers from those just visiting.

During her failed 2016 presidential campaign, Hillary Clinton, a former US Senator from New York, took an excruciating five swipes at a Bronx turnstile. In fairness, her chief Democratic opponent at the time, US Sen. Bernie Sanders of Vermont, a native Brooklynite, didn't even appear to realize tokens had been discontinued.

Cost savings and lingering concerns Unlike the MetroCard rollout, OMNY has required little adjustment.

Riders reluctant to use a credit card or smart device can purchase an OMNY card they can reload, similar to a MetroCard. Existing MetroCards will also continue to work into 2026, allowing riders to use remaining balances.

MTA spokespersons declined to comment, pointing instead to their many public statements as the deadline approaches.

The agency has said the changeover saves at least $20 million annually in MetroCard-related costs.

The new system also allows unlimited free rides within a seven-day period because the fare is capped after 12 rides. It'll max out at $35 a week once the fare rises to $3 in January.

Still, new changes come with tradeoffs, with some critics raising concerns about data collection and surveillance.

Near Times Square on a recent morning, Ronald Minor was among the dwindling group of "straphangers" still swiping MetroCards.

The 70-year-old Manhattan resident said he's sad to see them go. He has an OMNY card but found the vending machines to reload it more cumbersome.

“It’s hard for the elders,” Minor said as he caught a train to Brooklyn. “Don’t push us aside and make it like we don’t count. You push these machines away, you push us away.”

John Sacchetti, another MetroCard user at the Port Authority stop, said he likes being able to see his balance as he swipes through a turnstile so he knows how much he’s been spending on rides.

“It’s just like everything else, just something to get used to," he said as he headed uptown. "Once I get used to it, I think it’ll be okay.”


French Legend Brigitte Bardot Dead at 91

FILED - 01 April 1956, France, Cannes: Then French actress and singer Brigitte Bardot is photographed with a parrot in her hand on the beach during the Cannes Film Festival. Photo: -/AFP Intercontinentale/dpa
FILED - 01 April 1956, France, Cannes: Then French actress and singer Brigitte Bardot is photographed with a parrot in her hand on the beach during the Cannes Film Festival. Photo: -/AFP Intercontinentale/dpa
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French Legend Brigitte Bardot Dead at 91

FILED - 01 April 1956, France, Cannes: Then French actress and singer Brigitte Bardot is photographed with a parrot in her hand on the beach during the Cannes Film Festival. Photo: -/AFP Intercontinentale/dpa
FILED - 01 April 1956, France, Cannes: Then French actress and singer Brigitte Bardot is photographed with a parrot in her hand on the beach during the Cannes Film Festival. Photo: -/AFP Intercontinentale/dpa

French film legend Brigitte Bardot, a cinema icon of the 1950s and sixties who walked away from global stardom to become an animal rights protector, has died aged 91, her foundation said Sunday.

Bardot had rarely been seen in public in recent months but was hospitalized in October and in November released a statement denying rumors that she had died. The foundation did not say when or where she died.

"The Brigitte Bardot Foundation announces with immense sadness the death of its founder and president, Madame Brigitte Bardot, a world-renowned actress and singer, who chose to abandon her prestigious career to dedicate her life and energy to animal welfare and her foundation," it said in a statement sent to AFP.

Bardot became a global star after appearing in "And God created Woman" in 1956, and went on to appear in about 50 more movies before giving up acting.

She retired from film to settle permanently near the Riviera resort of Saint-Tropez where she devoted herself to fighting for animals.

Her calling apparently came when she encountered a goat on the set of her final film, "The Edifying and Joyous Story of Colinot.”

To save it from being killed, she bought the animal and kept it in her hotel room.