She wondered who could have helped Rafsanjani with his gold from Ceausescu’s corrupt deals and terrorist partnerships with Gaddafi, Arafat, Ali Bhutto, and North Korea’s Kim Jung Il. A billion dollars of gold from Romania, such a poor country, while the people lived for twenty-four years under a ruthless dictatorship with little food, little heat, little light, no rights, no freedom, no life. Marina wished she knew what had happened to that gold, deposited in Tehran.
Tyler Sloan arrived after most of the mourners had already been seated, and a standing-room-only crowd had formed. With his arrival unnoticed, he quietly observed his father, Mike, being escorted to his seat. He moved closer to locate a position where he could hold a clear view of the service. With his plainclothes security aide following close behind, Sloan walked past the numerous Nevada and Washington public officials sitting stiffly on folding chairs. As he proceeded, a synchronized nudging of elbows and whispers mounted in his direction.
On Election Night 2008, at an Obama campaign party, I had cried tears of joy. It wasn’t just because my side had won. It was because I believed the whole country had won, no matter how they had voted, because of the inspiring values Obama stood for and — as his campaign staff knew well — lived by. I cried in 2016 too, for very different reasons. But across the street, the Arizona Republicans were holding their election night party. From there, I heard a rising roar of exultation.
These questions, while separate, are indelibly intertwined. If the American people react to Donald Trump’s presidency with even a fraction of the disgust and anger the two of us feel, he’s almost sure to be a one-term president. But if we intend to sustain a Democratic governing majority over the long term, we’ll need an agenda (and an accompanying narrative) that stands on its own. Without a compelling message, we won’t be able to hold on to the power that the public’s revulsion to Trump may help us win. Then we’ll be back at square one.
The biggest laughs and most interesting moments come one after another towards the end of Film Fest. Film Fest shows that making a movie is just the tip of the iceberg for filmmakers and how crazy and seedy the marketing side of the industry can be even at the lower levels of the industry. It also shows the heart of the indie movie scene and how filmmakers will struggle through all the nonsense to see their vision realized.
The Mougins Center for Photography will present Munoz’s recent works: a series produced in Japan, the result of several trips between 2017 and 2020. Most of the photographs and videos have never been published before. They express the photographer’s preferred techniques, namely the platinum print and large formats.
