Senior VP of Operations at Berkeley College Executive Director of the Berkeley College Foundation Managing Director Office Division at RM Friedland and RM Friedland President Sarah Jones-Maturo RM Friedland is proud to announce a $50,000 donation to the Berkeley College Foundation celebrating the successful sale and forthcoming redevelopment of 99 Church Street and the adjacent 6 Cottage Place—properties formerly part of Berkeley College’s downtown White Plains campus Recognizing the site’s prime location and potential for transformation RM Friedland identified the properties as ideal candidates for adaptive reuse and redevelopment “This redevelopment will provide essential homeownership opportunities and represents another step forward in the revitalization of downtown White Plains for residents of all income levels.” said John Barrett Co-Managing Director of Investment Sales at RM Friedland Executive Director of the Berkeley College Foundation and Thomas Alessandrello Senior Vice President of Operations at Berkeley College The Berkeley College Foundation provides scholarship funding for need-based academically deserving students who otherwise would not have the financial means to pursue and complete their associate or bachelor’s degree at Berkeley College It also addresses the student food insecurity issue by subsidizing three campus food pantries at the Woodland Park Proceeds from RM Friedland’s donation will support direct financial aid for both the scholarships and food pantries for Berkeley College students The Berkeley College Foundation expressed deep appreciation for RM Friedland’s generosity and commitment to Berkeley College “We are incredibly fortunate to have a valued partner in RM Friedland whose generous financial support plays an integral role in advancing our mission.” To learn more about the Berkeley College Foundation visit: www.berkeleycollegefoundation.org. To learn more about RM Friedland Commercial Real Estate visit: rmfriedland.com Opinion and Editorial Board Managing Editor Ellie Fivas (24Ox 26C) and News Managing Editor Spencer Friedland (26C) were elected editors-in-chief of The Emory Wheel on Feb Fivas and Friedland ran against Opinion Editor Safa Wahidi (23Ox, 26C) and Arts & Life Editor Catherine Goodman (26C), leading to the first contested editor-in-chief election since 2020 They will assume the editor-in-chief position on March 10 This year’s race was a more complicated election than the Wheel has seen in previous years failed to officially declare their candidacy to the current editors-in-chief and the Wheel’s faculty adviser the candidates decided to persist in their campaign Fivas and Friedland proposed an amendment to the Wheel’s Constitution to allow for write-in candidates on the ballot The Board of Editors voted to pass the amendment on Feb Fivas and Friedland were the first write-in candidates to win the editor-in-chief position in the Wheel’s history “The fact they won as write-ins kind of shows how excited people were for them and how badly people wanted to vote for them,” outgoing Editor-in-Chief Sophia Peyser (25C) said and they found a way to make it back on the ballot Peyser said all the candidates were well-qualified providing some relief throughout the process “It was a choice between two really good options,” Peyser said “There was no way it was going to go poorly.” Outgoing Editor-in-Chief Madi Olivier (25C) praised Friedland and Fivas as hardworking and organized editors “I’m very proud of Spencer and Ellie,” Olivier said Sophia and I have dedicated a lot of time to [the Wheel] and really love this organization and I’m excited to see what they do with it.” The Fivas-Friedland platform details an extensive list of both long- and short-term goals such as exploring establishing the Wheel as an independent 501(c) nonprofit this would not only help facilitate fundraising efforts but also legitimize the Wheel as furthering a collective social benefit to the Emory University community Friedland also emphasized wanting to expand the Wheel’s multimedia presence — something that Sports and Multimedia Managing Editor Madeline Shapiro (26C) is looking forward to “They have a lot of ideas on how to bring the Wheel into a more digital news age and utilize multimedia platforms a bit more,” Shapiro said “I'm very excited to see how they use that to improve the Wheel.” Fivas added that they are both looking forward to giving the diversity, equity and inclusion (DEI) task force “a more individualized seat at the table” during a time when these values are being called into question on a national level The incoming editors-in-chief hope to assign the section its own managing editor Arts & Life and DEI Managing Editor Clément Lee (24Ox 26B) expressed high hopes for a prevailing culture of both efficiency and inclusivity under the new editors-in-chief.  “My biggest expectation for Ellie and Spencer … is a nuanced approach to balancing both aspects of culture since it is important for just fostering an environment where everyone can be friends and everyone can get along together,” Lee said 27C) said that the Fivas-Friedland platform was “very comprehensive” and had “achievable” goals for the Wheel “Spencer and Ellie are some of the most hardworking and dedicated people I know and I think they’ll do an incredible job leading,” Yee said “I’m excited to continue working with them.”  News Editor Jack Rutherford (27C) also voiced confidence in the incoming editors-in-chief they’re both incredibly talented editors,” Rutherford said.  “I’ve worked under Spencer I know he has a particular eye for good editing … I know that our paper will come out in good quality.” Rutherford was also enthusiastic about the idea of distributing the newspaper throughout the Decatur noting that this would mean a greater impact on the community beyond the University Editorial Board Editor Marc Goedemans (25C) said he believes Fivas and Friedland’s experience as managing editors of Opinion and News will “carry over really well” once they assume the position “I hope that they can build off the community that Sophia and Madi created and help contribute to and keep fostering connections between different sections and help onboard all the new editors in a way that continues that sense of community,” Goedemans said Friedland reflected on the “enormous” amount of time he and Fivas have spent in the newsroom adding that he hopes they will make a marked improvement to the newspaper “That experience will really help us when facing decisions that we haven't faced before or making decisions for the first time as the final say,” Friedland said but it's also part of the amazing experience that being a student journalist and being a student that’s editor in chief of an independent newspaper can provide.” Fivas echoed this sentiment and further emphasized the necessity of student journalism for the benefit of history “When we look back and reflect on institutional histories like that of Emory The Emory Wheel is an asset to the community in that we are an independent student-run newspaper that is reporting stories that nobody else is,” Fivas said “That’s really important and really special and I hope that the legacy we leave is that we continue to promote that as one of our priorities and we don't lose track of the bigger picture of why we're doing what we're doing.” Kimble Schiller (she/her) (26Ox,28C) is from Houston Texas and is majoring in economics and philosophy Connecting decision makers to a dynamic network of information, people and ideas, Bloomberg quickly and accurately delivers business and financial information, news and insight around the world is considering adopting technology being developed by Robert Friedland’s I-Pulse Inc said he had visited I-Pulse laboratories in Toulouse France and formed “very good relations” with Friedland the two companies “have a lot of interest in working together,” he said in an interview from Santiago 2024 /PRNewswire/ -- Freedman Normand Friedland LLP ("FNF") a leading litigation boutique with offices in New York proudly announces the acquisition of Kaye Spiegler PLLC This strategic move positions FNF at the forefront of art and cultural property law bringing on board a team of four exceptional attorneys: Lawrence Kaye The former Kaye Spiegler team brings a wealth of experience in art law having spent decades navigating complex legal issues in the art and cultural sectors Their expertise includes art restitution for Holocaust victims and their heirs cultural property disputes for foreign governments and broad litigation covering areas like trademark infringement They also represent clients in complex commercial art transactions domestic and international loans of significant objects of art and art collections.  Their unmatched reputation in the field makes them a powerful addition to FNF's expanding practice.  "Our combined capabilities will enable FNF to deliver unparalleled legal representation to clients in the art world," said Vel Freedman "The Kaye Spiegler team is not only known for their exceptional legal expertise but for their deep commitment to the art and cultural sector The Kaye Spiegler attorneys have built a distinguished track record of high-profile cases Lawrence Kaye and Howard Spiegler have championed the recovery of looted art and cultural property on behalf of individuals Their efforts include restitution claims for artwork stolen during the Holocaust and high-stakes disputes over antiquities Their cases have set precedents and changed the landscape of art law FNF’s named partners also have experience with art law cases including Vel Freedman’s work in Cassirer v a landmark Holocaust restitution case that went to the U.S Ted Normand represented a prominent Canadian attorney in his multi-year efforts in the New York state and appellate courts and the Ontario to rescind his sale of a Gerhard Richter painting Amos Friedland defended Yale University in a transnational dispute over ownership of Van Gogh’s “Night Café” painting.  He also represented Yale University against the Republic of Peru over the ownership of Machu Pichu artifacts and Richard Prince in his Second Circuit appeal ruling that the majority of works from Prince’s “Canal Zone” constituted Fair Use "Howard and I are excited to join forces with FNF," said Lawrence Kaye "This partnership will allow us to leverage FNF's vast litigation resources and reputation for handling complex we are poised to lead in this dynamic field." "We are looking forward to combining our resources to achieve superb results for our clients," said Howard Spiegler The acquisition marks a significant milestone for FNF which continues to build a reputation for its expertise in complex commercial litigation By bringing in Kaye Spiegler's world-renowned art law team FNF is now uniquely positioned to offer clients comprehensive legal services across an even broader range of industries and legal challenges Freedman Normand Friedland LLP is a premier litigation boutique with offices in Miami specializing in complex commercial litigation The firm is dedicated to providing strategic personalized representation that helps clients succeed in today's challenging legal landscape Contact: [email protected] is delighted to announce the promotion of.. SUMMARY NOTICE OF PENDENCY AND PROPOSED SETTLEMENT OF CLASS ACTION TO: ALL PERSONS AND ENTITIES WHO PURCHASED OR ACQUIRED SECURITIES OF SEQUENTIAL.. Art Entertainment Acquisitions, Mergers and Takeovers Do not sell or share my personal information: According to West Side Rag’s current Openings & Closings the chain fitness center that has served Upper West Siders since 1993 the reason is “the property owner’s long-term plans for the building.” The gym is located on the second floor of a commercial building on the corner of Broadway and 80th Street whose facade is emblazoned with red New York Sports Club letters and banners NYSC is the latest business to close in a series of departures from the building which first became visible to the public two years ago when Verizon and Canine Styles each left within a period of months And many tenants inside the building have been leaving as well the Friedlands want to sell the building to erect a residential high-rise while the Zabars oppose the plan and wish to preserve the historic building The dispute comes down to an oral agreement made by the two families when they purchased the building in 1979 with an understanding “that we would exclusively operate the property commercially for as long our families were connected to the property,” according to Stanley Zabar’s affidavit filed in response in September the Friedlands violated that oral agreement The Friedlands claim that that agreement is unenforceable Zabar’s affidavit states that in 2019 the gross annual rent was nearly $5 million the revenue had fallen by nearly 40% and with the departure of more tenants over the last few years this effort goes back to 2016 when William Friedland said he wanted to develop the property “as a residential tower.” Zabar said he wasn’t interested the Friedlands began devaluing the property by gradually emptying it out without his knowledge Since the initial complaint was filed in 2022 the two parties have been unable to reach a settlement According to the transcript of a recent hearing the lawyers vigorously presented their arguments and claims against each other before the judge who is trying to figure out how the law can be applied to the elaborate ins and outs of the complex case And although the Zabars do not want a forced sale of the property their lawyer said that in the event of a forced sale they want to keep intact the small three-story adjacent building on the site where they run their mail-order operation which they claim accounts for 25 percent of their revenue the judge said “it would be simpler not to have that little building in between these buildings but I don’t know the answer to that.”  The judge ended the hearing by encouraging both parties to proceed with discovery to gather more evidence before he made his ruling and said there is “not a lot of concrete guidance in a situation like this So it is something I want to mull a bit,” adding that he will issue a ruling as soon as possible Subscribe to West Side Rag’s FREE email newsletter here. 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Learn how your comment data is processed. an unenforceable agreement is still an agreement Either William Friedland is disputing the reality of such an agreement or he is without honor We need a neighborhood petition to be started We don’t need to lose another historic building to see another modern highrise go up The Friedlands are clearly emptying the building to devalue it I’m grateful to the Zabar family for wanting to preserve the building I agree wholeheartedly with those who wish to save Zabars We NEED to PRESERVE our historic buildings Paris is the most beautiful city in the world because it has lovingly preserved its glorious buildings including plaques to remind us of who has lived in them Likewise Rome… PLEASE let’s support the Landmarks Commission and lobby to keep alive the visual history of this most precious city in the land They remind us of times when the human hand was trained in the arts of sculptural decoration and when craftsmanship was cherished We all benefit aesthetically and spiritually from these buildings This is not about saving the Zabars building It’s about another fairly ugly building across the street that attracts a lot of homeless people on both the Bdwy & W80th sides and not to mention the wretched cart man who kept tearing down the signs of the hostages last year..over and over until new walls were put up Agree about the men who spend the day sleeping at that corner & in the doorways last week I turned the corner onto Broadway from 80th and luckily did not step on the man sprawled out into the sidewalk IF you understand that the Zabar brothers are 90 and how tax laws work you’ll understand why they want to sit on the property for now It’s not about ‘preservation,’ it’s about ‘stepped up basis at death.’ We desperately need more high rises and 70%+ of the neighborhood is already landmarked You may think the neighborhood does not need any new housing if you haven’t moved any time recently and don’t plan to any time soon but young people (which really includes anyone under 55 at this point) and families are getting absolutely crushed by the housing crisis Please try to preserve the future of our neighborhood as an affordable and diverse place to live and not just preserve its architectural past as a museum to be looked at We “desperately need” more highrises? I hear you and understand your concern and hope for the future of the neighborhood The reality is developers do not erect these buildings to alleviate the shortage and the high cost of housing They build to take advantage of the market and get themselves a piece of the pie New residential buildings will only cater to high income buyers/renters who are willing to shell out a million dollars for a 1 bedroom The amount of developable real estate is finite this equates to it beinging an unaffordable option for many And how are developers different than other businesspeople whose goals are to make a profit Is a farmer interested in the shortage and high cost of food on the UWS Developers are for-profit entities like any other Any high rise residential tower that the Friedlands develop on the site will be utterly unaffordable to the young people and middle-class families who are being “crushed.” Tearing down an historic building that has long housed a diverse collection of small businesses (I once attended an art school there) and replacing it with another boring-but-expensive tower will help destroy the unique character of the UWS without providing a solution to the housing problem Who are you to determine what the “unique character” of the neighborhood should be There’s nothing particularly attractive about it If the owners want to replace it with a shiny clean and modern tower then I’m all for it But the owners don’t want to replace it with a shiny Who are you to call out anyone else in these comments If one can’t take their comments being called out then maybe they shouldn’t post comments Building another expensive high rise is not going to help the housing crisis which is far more critical for middle and lower income families than the UWS upper echelon And how does leaving the building as is help housing At least there will be more housing units that someone can live in I just don’t understand why people think that not building anything helps anyone There’s no city in the world that functions any differently in terms of certain neighborhoods being too pricey for many Put up a high rise residential building and reserve 25% of the units at affordable rents for Zabar’s employees Zabars owns or has owned much of the local real estate and has been ;oath to allow high rise replacements They walked away from the Montana ,refused a chance to sell or develop the storefront where Barnes and Nable is when a developer wanted to build from WEA through to Broadway.I’m not sure I agree but there decision to forego RE development for neighborhood preservation is where they always are except when they needed the hotel behind their store for a kitchen and cleared our the tenants the building has an amazing history actually Top floor has been art studios for many years Roof is dotted with north-facing skylights Yes every building was built to serve some purpose and since this is NYC many extraordinary people will have interacted with it in some small way… that’s hardly an ‘amazing’ history But do you know who William Merritt Chase IS Are you familiar with Ashcan painters and the story of 20th century NYC art history Did you see the Hopper show at the Whitney There’s a well known 95 year old NY-school-artist named Paul Resika (studied with Hans Hoffmann) still working on the top floor of this incredible studio building It might kill him to have to vacate his studio at this age Just because it’s something you personally don’t care about “UWS Dad,” doesn’t make the building’s story “pedestrian;” that may just be your take… and not that it matters but I did in fact go to the Hopper show at the Whitney and greatly enjoyed the exhibit Not every old apartment building deserves to be preserved for all time even it great artists did use it at one point Affordable housing is not being built on the UWS Do you really think the rent or the sale price of the co-ops in this new tower will be anything but absurd Are you a member of Open New York-the hedge fund real estate lobby masquerading as an affordable housing advocacy non-profit? Building a better neighborhood means respecting your neighbors and making the UWS a better place to be I feel more safe in Paterson New Jersey than the UWS because of how condescending and discriminatory UWS residents can be I’m a neighbor of this building and support new housing as long as it’s respectful to current residents Don’t build it right up against the back of 410 WEA and it’s a good idea to do it Is the agreement (if it exists) to “exclusively operate the property commercially for as long our families were connected to the property” really (legally) at odds with developing the property as a residential tower Real estate development (even if they have to bring in external financing construction and other partners) strikes me as a distinctly commercial operation but even the “out” clause – “as long as our families are connected to the property” – is questionable to me Short of a family disappearing without heirs how else would they NOT be connected to the property Sounds to me like the agreement permits a sale Build more along the corridors of the LIRR and NJTransit that are nothing but disused parking lots and condemned 1 story buildings Manhattan at this point is saturated with luxury housing and not only has it done nothing to alleviate costs as the “let the market decide” crowd dictated but they have destroyed the character of the entire area The blocks with new buildings are literal deserts with no stores or foot traffic compared to before 78th-76th street is a great example of that most of the luxury high rise buildings in NYC are not really occupied by anyone as full time residences At best the apartments serve as pied-a-terres for wealthy people with multiple homes They do not contribute to local business or add to the NYC economy by shopping taking taxis or public transit or even eating at local (non Michelin) restaurants Building along the corridors of LIRR and NJT is not going to help anything People who live in dense housing by and large do not want suburbs or are aspiring single family homeowners Which young professional in New York for a few years wants to live in Great Neck or Westfield You want certain groups of people not worthy enough of being on the UWS to be seen and not heard and that is also a problem This building is over 125 years old and not particularly special in a architectural or historical sense and new / taller construction would add more housing to our neighborhood it would add expensive apartments only available to the rich they will mostly be 3rd or 4th “homes” and in some cases will be purchased to flip it means that demand shifts from older units to those newer units among those who can afford them and prefer the newer buildings and amenities And that in turn reduces demand at the lower end which can help keep pricing in check we should WANT many many expensive new units built that suck demand and reduce pricing for other units And let’s not kid ourselves – given the cost and complexity of building in the city the only units that are going to be built are pricey ones No developer is leaping at the chance to build “affordable” units Don’t expect a sane understanding of economics to sway this comment section Don’t confuse economics with invented rules that you learnt in B-school glad to see others like B D making a similar effort Jay people do actually live in expensive apartments believe it or not and as long as we are adding new units then those people aren’t out there bidding up other apartments New housing is certainly usually more expensive than older housing but it becomes more affordable as the building ages If you replacing old apartments with new ones then you don’t get affordable middle aged apartments 20+ years later and you only have a few super expensive new apts and a bunch of still really expensive run down old apartments I acknowledge that some super expensive apartments are lived in 20 million dollar apartments don’t become $700,000 in 20 years Anyone who has moved in the last 10 years knows that every apartment on the UWS is exorbitantly expensive and really only affordable to the rich There is no law that says rich people can only buy new apartments The problems you are describing are universal and caused by a severe housing shortage caused by the political faction that opposes every new building The Broadway Studio Building: let us know it before we hasten to demolish it: https://daytoninmanhattan.blogspot.com/2020/01/the-broadway-studio-building-2231-2239.html Thank you for posting…I knew I read something a while back Another iconic UWS building bites the bullet A “good thing” would be preserve what little history the UWS has left It is a desirable area…desirable for what it was I wonder how many posters here have even heard of William Merritt Chase Sounds like the building has a fairly commonplace history hopefully it can be redeveloped and continue to serve the neighborhood It is more of a eye sore than what would be belt here Heaven forbid they return the building to its original mission of providing affordable space to artists Do you want to see a neighborhood revitalized Have local artists and musicians be able to afford to rent space or to live in the area The UWS used to be home to all of that and small businesses for the locals It’s totally disgusting that the greedy landlords are destroying such a terrific neighborhood let alone allowing all the vacant storefronts to remain vacant in the name of greed “Local artists and musicians” being able to afford to live in the area is some undefined kumbaya pie in the sky Hollywood and Broadway stars of different prominence and world-class musicians live in the area and we see little benefit day-to-day from that Do we have to cater to every struggling budding 25-yr-old actor or painter or unremarkable talent now figure out if they’re talented enough) and pay their own way to living in the neighborhood The building looks disgusting and I would prefer a residential high rise There is a housing shortage in NYC because of disgusting old buildings like these but unlike many other old buildings in the neighborhood Friedland is committed to building affordable housing I live on the block in a back-facing apartment and am fine with a new tower as long as the back lot isn’t developed It lets in the only natural light in my apartment Does anyone know if that’s part of the plan I’m saying the project is ok by me because we need the housing I just want it to be respectful of residents This is a back door attack on not just that property Which leads to developers taking the entire block within 10 years The entire community needs to support Zabars on this one The Zabars family built a highrise literally across the street at 80th and Broadway And they’re committed to preserving the low profiles of buildings like the Barnes&Noble and P,C There are too many high rises on broadway that are 1) hideous 2) barely occupied This building has units that can and should be occupied by residents Friedland is engaged in avaricious and reprehensible behavior that is far too common in the city Thank you to the Zabar family for having some decency and backbone From my own experiences with the Friedlands Friedland is like Mr Burns from the Simpsons Many of these people who criticize “the changing character of the neighborhood” likely bought their apartments here in the 80s and spend most of their time at their CT or MA country houses themselves What we need is family sizes apartments to keep the next generations of the neighborhood We get more condos or co-ops that are unaffordable to any except the wealthiest No “affordable housing”; nothing for people who actually need housing NOW Because the cost of development is so high that developers can ONLY EVER build “luxury housing” for the wealthy Developing this property will NOT provide housing for the “next generations of the neighborhood.” Unless the next generations of the neighborhood are looking to live in a gated community there’s 843 acres just west of 5th Ave We should fill it with residential skyscrapers That would really solve the housing shortage having a space for the well-to-do to jog and have picnics or providing affordable housing for everyone It’s a “no-brainer”right Thank goodness for the Zabars and their effort to not destroy everything in sight for the pure sake of profit I’m with zabar all the way on this but I have a suggestion: Can they keep the original structure as is and renovate internally for residential use That would give more apartments without more ruination of the Upper West Side with light blocking towering high-rises made of paper wall boards & low ceilings Good luck to the Zabars for trying to preserve the sanctity of the Upper West Side.🍀 This is where the distinguished painter William Merritt Chase started The New York School of Fine and Applied Arts which became Parsons School of Design The Friedlands are evil people with no regard for their tenants or the neighborhood I fully support and encourage the Zabar’s to fight on Well said Carmella and many others re preserving for affordability and character building more homes in NYC is the best thing we can do Every New Yorker is one more person living a more sustainable lifestyle than almost anyone else in America Build a new high rise with much more housing The UWS significantly lags other neighborhoods in new housing The building has history and contributes to the aesthetic of the neighborhood leveling older buildings and erecting new modern buildings in their place essentially destroys that which makes the area desirable in the first place Thank you to the Zabars for trying to protect our historic buildings I wonder what Christopher Gray would have to say on this dispute He had his office in this building for a long time The housing shortage is to a great extent a fuction of rent control policy Its inherent price controls give tenants an economic reason not to move regardless of whether they need the amount of space in which they reside and whether they have the income to pay market rent the shortage of affordable rentals that price controls create forces free market renters to pay higher rent and thereby subsidize their rent controlled neighboors the entire tax base shares in the cost of subsidized housing rather than free market renters People should have a right to decent housing But they don’t have a right to decent housing in a particular neighboorhood Trevor rent regulation (the correct term) has existed in NYC for 100+ years Like many who attack it you don’t have a solid understanding of life in NYC or what in general constitutes decent housing; it’s not just about the building you live in (There are few Rent Control apartments left in NYC.) This is the same old attack on rent control and is belied by the past 40 years of housing deregulation Neoliberal policies are directly responsible for the affordability and housing crisis Sorry your econ degree didn’t force you to take history courses too God bless the Zabar’s and long may they live How rare it is to find people who care so deeply about their neighborhood and its character They have served it well over these many years and we are blessed to have them It’s very sad that the UWS has been so successful at pushing out the remaining middle and working classes for the Aspen class Many of those new homeowners not living in them for more than 2 weeks a time But that’s what big real estate wants Squash courts and Olympic size swimming pools as amenities for the uber rich While the rest cry for affordable housing which has been demolished to build these monuments to the multi-millionaire class The Zabar’s are fully aware of the real deal on their properties They know who their customers are now and have always been “We need more affordable housing on the Upper West Side!” Says who There is no mandate that says an area must be affordable to all I’d love a house in Malibu or West Palm Beach because I can’t afford to live in those places I will have look for an area that is affordable to me should we insist that the cities of Malibu and West Palm Beach squeeze in some “affordable” homes the Friedlands have never cared one whit for the UWS; the Zabars have cared for it in a way that is both deliberate and laudable The Zabars own many properties on the UWS Yet they have refused nearly continual offers of sometimes huge sums of money to allow development of their properties they were offered upwards of $100 million for the PC Richards property on 79th Street he pointed out that the developer could build a 50+ story building “as of right.” “Why would I want THAT?,” he asked “It would completely destroy the UWS.” When the Friedlands developed the property next door (the old Circuit City property) since they had an oral agreement that both properties would remain two-story the Friedlands don’t care about the UWS (as evidenced by their attempts to break the Agreement noted in the article); the Zabars do The Circuit City store is the new P-C Richard’s; it’s still 2 stories You’re thinking of a different address up Broadway a few doors I have been in Morningside Heights since 1985 It is just like the Upper West Side in an important way Since 1985 many low rises have been replaced by high rises there will be very few buildings on the avenues https://www.westsiderag.com/2023/07/31/two-families-battle-for-the-future-of-a-broadway-building-and-the-neighborhood © 2025 West Side Rag | All rights reserved © 2025 West Side Rag | All rights reserved please click the box below to let us know you're not a robot Get the most important global markets news at your fingertips with a Bloomberg.com subscription Click here to read our spring 2025 issue, featuring Caught by the Tides' Jia Zhangke and Zhao Tao, our annual spotlight on locations and more... Depicting aging and diminishing mental acuity essentially has become its own subgenre—the drama of descent or disappearance Sarah Friedland’s Familiar Touch feels like something different eschewing the conventions of linear decline to stay rooted in the present-tense bodily experience of its protagonist: Ruth Goldman Beyond the subjective design of the filmmaking—comprising not just what we hear but how we understand the premise of any given scene—this is a catalyzing collaboration between Chalfant storied veteran of both stage (Wit) and screen a student of choreography who sought out a movement-based approach to the subject matter For her debut feature, Friedland continued with her established team from her “Movement Exercises” trilogy including cinematographer Gabe C Elder (shooting on the ARRI Amira with Panavision Primo Lenses) and production designer Stephanie Osin Cohen Jon Benjamin as Ruth’s dutiful but quietly shattered son and Carolyn Michelle and Andy McQueen as patient careworkers at the home I spoke with Friedland in Venice a few days before Familiar Touch won won three prizes at the festival’s 81st edition—one for best debut feature another for Chalfant as best actress in the Orizzonti section (which the performer accepted in Italian) and a third for Friedland as best director Filmmaker: When did you realize you had a way to portray this experience Friedland: I started writing it about 10 years ago as a college student The first draft read more like a movement score It’s written in screenplay format but read almost as just a description of her movement [starting in] in her home of many decades—imagining her moving around that space for the last time and looking at that shift in rhythm and routine and physicality started working in production for other filmmakers and began working as a caregiver part-time to older adults specifically artists and creatives with memory loss I answered this ad for a sculptor with dementia who needed someone to be an artist’s assistant and caregiver I learned so much about our identity as humans in general many of them didn’t see me as younger than them It struck me how much more malleable age identity is—not just for older adults and memory loss but for all of us that can access these different versions of ourselves that accumulate in the present moment That was a big turning point in writing for me: realizing that Ruth was not going to just be 80 but was going to be all of the Ruths that she had been at these different ages I wanted to let that permeate her character not through flashbacks or ruptures in time Around the same time I was also really noticing how many of the older women in my life continued to be sexual and sensual beings depicting older adults as lacking sexuality or their sexuality being a joke I think it was the convergence of all of these realizations over a period of 13 years Filmmaker: Chalfant has such a vivid presence on screen What went into collaborating on portraying Ruth Friedland: Working with her has been one of the greatest gifts of my life this is my first time directing a professional cast She’s so present and curious and detailed and collaborative I was quite nervous not having worked with dialogue so extensively before and then having written a script that doesn’t have that much dialogue compared to your average film but is also much more narrative than the movement-based films I made in the past because Kathy has a long history working with choreographers like Yvonne Rainer and Pam Tanowitz—we were able to really speak about Ruth in her body That’s perhaps part of the sense of presence We were thinking about Ruth as being all ages and no ages at the same time but it’s not something I prescribed beforehand There were clues in the script of when a more impish child Ruth would come up and when [she’s] a professional young woman Filmmaker: You evidently clicked with each other but how did you know she would be so right Friedland: I was looking for our Ruth for many years Kathy and I had this wonderful conversation where we found ourselves not even really talking about the film or the script just about all of these shared connections Both of us spent very formative years in Italy We found a shared political affinity—she’s a huge lefty like me and I had seen some of her collaborations with Yvonne Rainer shortly before we cast her Her intelligence is so multidimensional in terms of her politics There’s no way when you meet her that you could imagine her fitting into a little old lady stereotype Filmmaker: How did you develop an audiovisual language to help express her character’s experience A lot of films do it in terms of a dramatic decline Friedland: The idea that grounded the visual language for us was wanting to capture Ruth’s sense-making not just in the sensory experience she’s having but literally how she makes sense of the world and herself through her body One of the ways in which the type of film you were describing is that the narrative of decline largely comes through thinking of a person solely through their cognitive self When cognitive faculties change or decline therefore the person is no longer themselves and I think part of my choreographic background is that I’m really interested in characters and the sense of self that comes through embodiment and through other senses Something a lot of people don’t know about experiences of memory loss is that for many people the other senses are intensified even as their cognitive faculties decline—touch experiences of body language and posture are all heightened not through her ocular perspective—there are only two literal POV shots in the film—but through her embodied perspective and to craft a visual language to capture Ruth through her touch That meant a lot of static shots that allow us to really tune in to the little details of her body These static scenes allow non-dancerly movements to be more vivid and more clear in their movement pattern We were also thinking a lot about how the camera could occupy a space that’s almost closer to a careworker’s intimate proximity One of the first things you learn when you train to be a memory caregiver is that differences in body language and experiences of other people’s physicality can be very intense and overwhelming for people with memory loss If someone is seated and someone is standing above you that can feel very threatening if you don’t have the social cues to understand why they’re standing next to you Most of the time the camera is at eye level with Ruth and everybody else comes in and out of frame so it’s tethered to her embodiment in this moment of transition Filmmaker: What’s an example of where the static camera is helping catch her movement with particular clarity Friedland: A lot of small gestures repeat or have an echo later in the film When her hand slips open as if to invite it to be held in the car with Steve on their drive to Villa Vista then again when she’s in the moment of fantasy in the exam room later on—that gesture’s so small Those little moments really needed a static frame for their choreography to be legible which is that because we were shooting in a real community the gear that you need to do complicated movements wasn’t safe to place in the hallways we really had to shoot almost everything on a tripod that could be easily moved away Filmmaker: Did shooting at Villa Gardens affect the production sequence Friedland: We shot very much out of sequence because we created this schedule to match the rhythms of Villa Gardens When would us being in the hallways be a hazard to people walking our schedule was really made to fit into life there We were seeing it as almost like an artist’s residency that we had been invited as guests into their home and workplace One of the unexpected benefits of shooting out of order is that unlike many films about aging memory loss where there’s a depiction of decline and the drama usually comes from this rapid descent into death or decrepitude in our case we really wanted to show Ruth’s experience of the present moment It wasn’t going to be a linear narrative of decline Kathy could have freedom in what age she was and how she was relating to the space around her The film has the scaffolding of the coming-of-age genre but I didn’t want the structure to be based on loss of memory but rather the experience of the self in present moment Filmmaker: Ruth is used to exerting a certain authority in relation to others Was that take-charge quality always a key part of the character I was thinking about the trope of the little old lady and how much the older women in my life do not fit in that characterization I was thinking in particular about the women coming of age now into late life including some of the artists that I worked for [who] were part of this wave of feminist women who spent their young adult lives fighting for independence and agency and power I was trying to imagine what it was like for that generation of women to then experience—because of the ageism in our society and how our care infrastructure is laid out—a loss of autonomy and agency What must that be like for this generation of women for whom independence was not something taken for granted What is their experience itself like and who’s caring for them One of the things I found as a careworker was that something universal among us is a desire to express our agency and autonomy in different ways Even as my clients needed care to exist in a social world and get through their day I was very moved by small ways in which they still expressed their autonomy and independence picking out her outfit every day was incredibly important making her own grocery list and picking each vegetable herself is very important There’s echoes of all of these people in Ruth I wanted to depict the continuity of these adults rather than their decline I think the way in which we ascribe this cuteness to older women is so sexist and infantilizing I wanted to see the continuity of Ruth’s power and her self-expression because that’s what I have known to be true about older women that I am close to Filmmaker: How did you conceive of a soundscape that could track with Ruth’s feelings and state moment to moment Friedland: The sound design was written into the script: that there wouldn’t be any score and we would hear the world as Ruth does The first component of that was imagining this transition from the soundscape of her home to the soundscape of her new home and one of the things that we talked about was this heightened sensitivity many people with memory loss have People have a harder time differentiating between sounds that are close and far away So we started thinking about how Ruth is experiencing this space in a way where that scale is a little bit distorted and how that could be expanded more broadly to also be temporal younger Ruths emerge in the present moment sounds from those experiences also emerged In thinking about what it would be like for Ruth to move from one home to another I sent out a survey to the residents we were collaborating with and asked them what sounds they noticed when they first moved there There were recurring themes in everyone’s responses So much labor goes into maintaining a retirement community or assisted living facility—the sounds of maintenance cleaning—and how distinct that was from living alone Multiple people remarked on the fear of hearing ambulance sounds and what that meant about the experience of some of their peers who that sound was for and the humming and buzzing of lights and air of an institutional space I wanted there to be these moments of surrealism because I think experiencing such a malleable sense of time and age produces a surreal experience of the present—not a rupture of reality or the present moment but to just let the present moment get slippery and to do that by heightening Ruth’s sensitivity Eli basically started creating these tones from air conditioning and humming lights pulling out lower and higher frequencies from them almost creating musical elements from institutional sounds like when the lights are switching on from motion sensors in the hallway at night Filmmaker: And for her home that she leaves Friedland: We tried to capture this specific Southern California canyon sound I took a lot of  field recordings in canyons in Pasadena that are used so that Ruth’s home would have a very specific sound that we hear the loss of Eli and I wanted to create these symphonies from the space that Ruth is moving in Filmmaker: I’m imagining a screenplay with all sorts of sonic notations I basically transferred it to another document for myself because that much level of detail can be a little bit cumbersome for scheduling and timing things I do a lot of scoring for myself outside of a screenplay format I wrote a sequence of every moment of physical contact so I like finding other ways of scripting that aren’t in screenplay format that allow me to then write a script that is legible for my crew Filmmaker: Ruth’s house is obviously only in a portion of the movie or how much of exterior or interior was built Friedland: I went door to door in Pasadena and Altadena looking for a house because we couldn’t afford the houses that are available to production services companies I knew that we weren’t going to come to know Ruth’s social milieu and history through flashbacks Ruth’s past had to be manifest in her house I come from a line of left-wing secular Jews who lived in California on my dad’s side There’s a long history of the relationship between modernist architecture and Los Angeles and socialist and utopian politics among Jewish immigrants in California that my paternal grandparents were very connected to I wanted her house to allude to her political and social background and also to show her professional background in her cooking She worked closely with the cook and cookbook author Mollie Katzen to pick every cookbook to create a kitchen that would express her history among this generation of female chefs who came of age professionally during the counterculture of the 60s and to let this confluence of her different histories come through in the physical objects of her home Mollie Katzen lent us her original notebooks from writing The Moosewood Cookbook so Ruth’s notebooks are Mollie’s notebooks from the ’60s and ’70s I feel like her house is just as much a character in the film Filmmaker: Do you have an idea for what you want to film next Friedland: I’ve optioned a novel that I’m in the middle of adapting but I’ll just say that it continues my work translating a movement-based way of filming to a story It’s sort of a continuation of a video installation I made called Crowds in a more narrative form but will continue to be looking at political and personal experiences through movement patterns « Back NEW YORK, Oct. 23, 2024 /PRNewswire/ -- On Sunday, Freedman Normand Friedland LLP ("FNF"), with co-counsel Christian Attar, filed a market manipulation case on behalf of firm client, Quantum Biopharma Ltd. (Nasdaq: QNTM) (CSE: QNTM) Quantum Biopharma alleges that the defendants manipulated the price of its stock more than a thousand times over a four-year period and that the defendants' manipulative trading practices caused significant harm to both Quantum Biopharma and its shareholders Quantum Biopharma alleges that the defendants repeatedly engaged in "spoofing"—a form of unlawful market manipulation whereby traders place sell-side orders they don't intend to fill in order to put downward pressure on the price of a security so they can purchase it at an artificially low price Quantum Biopharma further alleges that it was harmed by the defendants' "spoofing," because it sold shares of its stock during this period at artificially depressed prices damages to compensate it for its alleged losses Freedman Normand Friedland is a high-end litigation boutique with offices in New York and Boston. The firm and its attorneys have extensive experience in complex commercial litigation Contact: [email protected]  Banking & Financial Services The awards were handed out at the annual nominees brunch which this year came only four days after the death of longtime Film Independent president Josh Welsh The Film Independent Spirit Awards have given three $25,000 cash grants to emerging filmmakers Sarah Winshall Rachel Elizabeth Seed and Sarah Friedland at its annual Film Independent Spirit Awards Nominees Brunch which took place on Saturday at Casa Del Mara in Santa Monica the only Indie Spirit Award categories that offer cash prizes rather than trophies were announced with the rest of the Indie Spirit nominations on Dec but the winners are revealed in advance of the Feb which is given to an emerging producer working with limited resources Friedland was given the Someone to Watch Award which salutes “a talented filmmaker of singular vision who has not yet received appropriate recognition.” And Seed received the Truer Than Fiction Award which goes to an emerging director of nonfiction features The annual Nominees Brunch is typically a festive event that takes place not far from the beach where the Indie Spirit Awards are held in a tent coming only four days after the death of longtime Film Independent president Josh Welsh 31 after a five-year battle with colon cancer Welsh had headed Film Independent since 2012 and was an enormously popular figure in the independent film community he would have delivered opening remarks welcoming everyone to the brunch but this year that speech became a tribute to Welsh himself Brenda Robinson from Film Independent called Welsh “our friend and fierce advocate” and spoke of “overwhelming grief but also love.” To a teary audience This was one of his favorite things.” She added that he was planning to attend even in ill health: “He was meant to be an example today of what it means to persevere.” There was a long round of applause for Welsh Here is the list of nominees and winners:    PRODUCERS AWARD presented by Bulleit Frontier Whiskey – The Producers Award tenacity and vision required to produce quality independent films.Alex CocoSarah Winshall ** WINNERZoë Worth  SOMEONE TO WATCH AWARD  – The Someone to Watch Award recognizes a talented filmmaker of singular vision who has not yet received appropriate recognition.Nicholas ColiaDirector of “Griffin in Summer”Sarah Friedland ** WINNERDirector of “Familiar Touch”Pham Thien AnDirector of “Inside the Yellow Cocoon Shell” TRUER THAN FICTION AWARD – The Truer Than Fiction Award is presented to an emerging director of non-fiction features who has not yet received significant recognition.Julian Brave NoiseCat Emily KassieDirectors of “Sugarcane”Carla GutiérrezDirector of “Frida”Rachel Elizabeth Seed ** WINNERDirector of “A Photographic Memory” [This interview was conducted on April 27, 2024, regarding the film Dystopian and Alternate Realities] Isis Nusair (IN): How did the idea of the film come about Sarah Ema Friedland (SEF): I am Jewish American I read an article in 2015 about the Nakba in Lyd It was literally the first time I had been introduced to this topic and it kind of blew my mind I was very moved to try to do something in the way I know how It was obvious that I cannot do it on my own I reached out to a friend who does solidarity work in Palestine We started working together and it was originally going to be a short film it ended up being a thrilling science fiction documentary Rami Younis (RY): Sarah got me into filmmaking I do not know whether to thank her since I am a poor filmmaker now (laughs) I am a journalist and a writer born and raised in Lyd SEF: Lyd was one of the last cities to fall during the Nakba. People from all over historic Palestine came to Lyd to fight against the Palmach.[1] It was one of the first capitals of Palestine It is under talked about both in terms of its historical significance and what happened there in 1948 IN: The association with Lyd today is of crime and drugs We do not know much about the history of the place RY: That is another reason for why it was important to focus on Lyd and offer a different story We dedicated the film to my childhood friend who was murdered when he was 14 years old IN: I want to ask about the politics of naming The city itself is a protagonist in the film SEF: The politics of naming is important in the United States It includes glorifying the people who committed massacres or the heroes of the Civil War Those who have been the victors had the opportunity to build the world in public space for all of us to walk through in the way they want us to view the place You see the street signs in Lyd leading to Palmach Square where the massacre took place It is named after the people who committed the massacre the Zionist narrative of history that you are literally walking through That is why we refer to Lyd as Lyd and not Lod which is the Hebrew name for the city that Israelis use It is a choice in stating the position this film is coming from RY: It is about reclaiming the narrative. We are not the first to do so. DAM did that over twenty years ago.[3]They would never say Lod I always say Lyd Airport (not Ben-Gurion Airport) The insistence on naming is important here IN: The city is a protagonist in the film and a memory keeper. Maisa Abd Elhadi[4] does a great job in narrating the story of the city and remind the world that we are equal human beings who deserve to live in dignity and freedom We took this to the next level by also personifying and humanizing the city we wanted that character to speak in a certain way and say specific things in terms of the narrative of the film and because we have such a polyvocal film It would not work with the film aesthetically if we just had a regular voiceover and only relied on text cards but also a functional one to hold all the threads together RY: We started by making a straightforward documentary We wanted to tell the story of what has been happening in the city since 1948 How do you retell a story that has been told so many times IN: You chose for the narrator to be a woman and not a man We usually have this deep voiceover of the narrator who holds the truth Is it because of the association of femininity with the homeland SEF: The land is often personified as a woman You also have the trope of raping the land or colonists coming and pillaging the land Maybe in the back of our minds some of that was there How do you make this strong female character who represents the land advocate for herself and tell her own history IN: You finished the film just before October 7 One of the hardest things for me while watching the film was the constant reminder in many of the scenes of what we are witnessing today in Gaza It is as if we are reliving the Nakba of 1948 SEF: One of the things the film roots itself in is the horrific massacre that took place at the Dahmash Mosque in Lyd in 1948 This was only one of the violent occurrences that took place when the Palmach invaded the city It is the one that people talk about the most there is a plaque at the entrance to the mosque that says “A horrible massacre happened here.” It is one of the rare occurrences where the Palestinian narrative is part of the built environment We tell this story from the perspective of Palestinian survivors of the Nakba mainly Eissa Fanous who was twelve years old when the massacre took place It was important to get these testimonies from the generation that survived the Nakba We also want the film to be viewed as an archive of people who survived this moment RY: I keep thinking about the interview with Eissa and how surprising and shocking it was He was a young boy when the massacre happened he starts talking about being taken with four other children a week after the massacre to pull decomposed body parts out of the mosque so Palmach members can bury them It was a shock to us because we have not talked about this before We are grateful for him for sharing that account and for speaking up He wanted to speak but was very traumatized It breaks our heart that he passed away before the film was finished IN: You interview Lydians who live in the West Bank Lyd is an imaginary for them before you even present the science fiction part because it is something that is so close yet so impossible to reach or return to RY: We filmed in Balata and Askar refugee camps.[6] In regard to how different generations imagine the possibility of going back to Lyd The characters dubbed themselves and were part of the creative process of creating the alternate reality SEF: Another reason for why we chose Balata Refugee Camp is that we were working with the Jaffa Cultural Center and they connected us with the Lydian refugees in Balata RY: It was important to pay tribute to the refugee camp and to the people of the camp It was also important to show what it feels like to live there When I needed to record the voices of some of the characters IN: You can grow up within the Israeli educational system not knowing much about Palestinian history the daily reality itself is very politicizing it urges you to want to learn and create these alternative spaces RY: I am a product of the Israeli public school system You learn the history of the Jewish people by learning the Zionist narrative while not learning much about your own history My work as a journalist and writer revolves around identity issues We were asked the other day about what will prompt Palestinians to create an alternate reality We first need to go back to the roots and educate Palestinians to let them know they are Lydians After we know where we come from and solidify that shared collective identity then we can start talking about alternate realities The expectation was that the more time passes The children in the film show that unless you educate them Lyd was the epicenter of the Unity Intifada (هبة الكرامة) There were Palestinian flags and people demonstrating against Israeli settlers They were showing solidarity with what was happening in Sheikh Jarrah and the planned displacement and expulsion of Palestinians They were also showing solidarity with Gaza people in Lyd discover a shared collective unity that is not always made public IN: I want to ask about the archive and how it is linked to memory You use different drone shots and archival footage and speak about obtaining this kind of footage and the telling and retelling of these narratives and memories SEF: Accessing the footage was through the Palmach Archive in Ramat Aviv We told them that we were making a film about Lyd and 1948 Maybe because I am an American Jew and my name is Sarah Friedland they assumed that we were telling the story from a perspective that they would agree with We obtained the footage legally and people have different reactions to it It was important not to tell the story of the 1948 invasion of Lyd only from the Palmach perspective three different elders who tell different pieces of that history starting with Eissa Fanous and the massacre then continuing with the people in Balata Refugee Camp who talk about the expulsion That is part of the polyvocality of the film where somebody starts a story and then someone else picks it up along the way I initially did not want the drone footage since it is associated with the military and surveillance Hopefully it works differently than signaling surveillance or an overproduced documentary with fancy images To cut back and forth between the Palmach archival footage and present day Lyd we created matching shots to visually indicate that the Nakba is ongoing We were able to find that exact location and film there in the present and do these kind of match cuts so that when we go back and forth between the two time periods it is always with an awareness of the memory in this place IN: When did you get access to the Palmach archive It will probably be near impossible to have access now We looked for the footage and spent hours going through it I would never think of going to that place because it represents pain and atrocities Let's see what they have there.” We struggled but were able to find never seen footage of Palmach members essentially saying there were women and children in the mosque The official Zionist narrative when it comes to the Dahmash Mosque massacre is that there were only “jihadis” there We show in the film testimonies from the Palmach that it was not the case and that war crimes were committed IN: You were very creative in how you built this imaginary in the science fiction part I was fascinated by the reference to George Habash and Khalil Sakakini and what it said about the history of the city before and after 1948 SEF: We were originally making a straightforward documentary We were invited with the Palestinian Film Institute in 2018 to pitch at Cannes Film Festival as part of the first Palestinian Pavilion It was there that we thought that we would not want to watch the film we were making I mainly read but also watch science fiction films There is a long history associating science fiction with liberation and it is obviously very different for Rami we are literally taught an alternate reality The Zionist project of creating the state of Israel is a world building project The reality we live in is like science fiction and that surrealness was one of the biggest inspirations for the science fiction elements of the film The mythology of the state of Israel that we all are taught and kind of brainwashed with is what sustains the occupation We already talked about changing names on streets and calling Lyd Lod The name Lod comes from ancient Jewish biblical texts it is a process of resurrecting these ancient names to prove some kind of indigeneity There is also the process of resurrecting ancient biblical Jewish names for the same reason when Jewish people immigrate to Israel and change their names to become Israeli for example David Ben Gurion was born David Grün This is so interesting to me because when Jews immigrated here I see both as a form of erasing our diasporic Jewish cultures There is so much worldbuilding in the project of the nation state it was important to draw on these tools that have been used by the oppressor in building our own reality I had to do a lot of learning and unlearning throughout this process I was really inspired by Salim Tamari’s book Mountain Against the Sea and the memoirs of Palestinians before European colonization of Palestine Khalil Sakakini is talked about in that book together with the project he started in Christian schools where they would use the Quran to teach Arabic I believe in the diaspora and have always been inspired by Hannah Arendt and her essay “We Refugees.” The diaspora in this context is kind of an Avant Garde I wanted to pay homage to her and to the kind of breath she breathed into Jewish identity RY: The alternate reality that we created is not a utopia we started viewing the documentary footage with the actual reality as dystopian because it looks so depressing There is a scene at the school with the students not knowing their Palestinian identity We recreated that scene in the alternate reality It was about Palestinian privilege and helping the less fortunate We talk about George Habash and Khalil Sakakini We planted these hidden messages to get people to think about the “what if founder of the Popular Front (for the Liberation of Palestine) He was revered yet also demonized by so many He had a great influence on the global left In the alternate reality we examine what would have happened if there was no occupation in 1948 He would have no reason to start the Popular Front SEF: Since he was a scholar and a physician we figured he would have been a famous intellectual and why not name a university after him they took us for a tour in the city and showed us the clinic where George Habash used to work They also showed us the expulsion route towards Ramallah That was the only road refugees could take if they wanted to stay alive Can you speak about ruptures and rebuilding in the film RY: There is tension between the alternate reality and the dystopian reality where one reality is trying to take over the other We imagined that what happened in 1948 was so traumatizing that it created a rupture in space and time where one reality could seep into the other We figured that would be an entry point for introducing the science fiction part there are remnants of old soap factories that belonged to the big families in the city No one is renovating or maintaining them because they do not relate to the Zionist past and do not support the Zionist narrative The rebuilding part is within the dystopian reality These buildings deserve recognition because they are part of the history of the place It was very important for us to rebuild the old soap factories SEF: The whole thing is about the importance of radical imagination adrienne maree brown urges us to use the imagination to build the world we want to see we are seeing the alternate reality seep into the dystopian reality but not the other way around IN: That reminds me of the Saint George story in the film that before it became fashionable to see skinny blonde girls riding dragons and slaying them This was a holiday in which Muslims and Christian Palestinians celebrated the patron and symbol of the city It is no longer a holiday for the entire city because of the divide and conquer policies of the Israeli establishment we wanted to show that everyone celebrate that holiday including Muslims and Jews SEF: This is another place where the past informs the present and we know this from Ottoman census records We have records of Christians and Muslins celebrating Purim together but that is more than the percentage of the Jewish people in the US today Another thing that is kind of erased in the Zionist narrative is that there are and were and will continue to be Arab Jews We are told that Arab countries were never safe for the Jewish people IN: Tell us about your collaboration and how it kept the project going RY: We figured that we are making a film that is not very traditional and maybe its funding needs to be unorthodox We had an Indiegogo campaign and later Roger Waters became our executive producer Because it is a Palestinian and an American film we got support from the New York State Council on the Arts We also received support from the Religion Conflict and Peace Initiative at Harvard Divinity School When Palestinians talk about the occupation they talk about 1948 as the root of all evil in the West and especially liberal Zionists would want you to believe that the occupation started in 1967 and what had happened in 1948 was just a necessity I do not even have words to describe what is happening right now in Gaza RY: We decided for the premier to be in Amman Jordan (at the Amman International Film Festival in August 2023) We chose Amman because it has a large population of Palestinian and specifically Lydian refugees We saw the profound impact the film had on them Seeing this alternate reality of the place they were dreaming of was empowering The film contributes to imagining that place and how return might look like We did win the Feature Length Documentary Award in Amman The film sold out and we had to have a third screening The genocide is attracting more attention to the film When we screened the film last August in Amman it sold out and we needed to have an additional third screening  We had other people who believed in us like MAD Solutions Now we also have distribution in North America from Icarus Films We are getting so much interest in this film that nobody wanted to see before because of the genocide in Gaza This happens with documentary films all the time you start looking for something that speaks about what is happening I am happy we have a resource for people to put in context It is also devastating that it took a genocide to get the visibility we are getting now [1] The Palmach was a unit of the Jewish Haganah [2] See Elias Khoury’s novels about Lyd [3] DAM is a Palestinian hip-hop group founded in Lyd in 1999 and led by Tamer Nafar. They are known for their song Min Irhabii [4] Actress Maisa Abd Elhadi was put under house arrest by the Israeli authorities and prevented from using social media for comments she made online following the October 7 [5] Zochrot was founded in 2002 by a group of Jewish-Israeli activists calling for the recognition by Israeli society of the Nakba and the Palestinian refugees' right of return See https://www.zochrot.org/welcome/index/en [6] Both Balata and Askar refugee camps are outside Nablus in the northern part of the West Bank TrendingCommercialNew YorkAFriedland picks up Madison Ave building for north of $30MDuell Family sold property at 673 Madison Avenue Friedland Properties’ William Friedland and 673 Madison Avenue (Getty The Friedlands picked up a piece of the Duell family portfolio on Madison Avenue for north of $30 million already one of the biggest owners on Madison’s ritzy shopping stretch bought the building at 673 Madison Avenue for somewhere in the mid-$30 million range a source familiar with the sale told The Real Deal The five-story building at the corner of East 61st Street is home to the Viand Coffee Shop for the last 45 years The seller is the Duell family, which put the building up for sale earlier this year as part of a nine-building portfolio eyeing around $300 million The Duells decided to split the portfolio up and sell the properties separately SIGN UPA representative for the Duells declined to comment and Friedland could not be immediately reached. A CBRE team led by Daniel Kaplan and Darcy Stacom, now of Stacom CRE The acquisition adds to the Friedlands’ large presence on Madison The family already owns the building next door at 675 Madison Avenue as well as a number of other properties up and down the block The 675 Madison property sits catty corner to the home of the former Barneys New York department store at 660 Madison Avenue. There have been rumors that owner Ben Ashkenazy is in talks to sell the site to a deep-pocketed retail user GoldenTree Asset Management welcomed Sam Friedland to its New York office as principal and head of real estate credit origination partner and head of performing credit at the $55 billion firm Friedland brings almost 15 years of expertise and relationships in the real estate industry to GoldenTree He had been a managing director at Related Fund Management The firm has been making real estate credit investments for two decades “Our nimble approach allows us to commit in size which delivers value and differentiates GoldenTree,” said Kruter Managing Partner and Chief Investment Officer Steven Tananbaum “The opportunity set in real estate credit has expanded recently and we are confident that Sam’s significant experience will allow us to accelerate our sourcing and structuring opportunities while offering compelling risk-adjusted returns for our investors." Friedland for his part has had several long-standing relationships with GoldenTree team over the year.  “I am confident GoldenTree’s unique and time-tested approach to value investing across the credit spectrum as well as the firm’s leadership in product development will enable the firm to continue to drive value for investors in real estate,” he said Join industry leaders who rely on Alternatives Watch’s comprehensive coverage of alternative investments across asset classes © 2019-2024 BMV Digital Inc Customize your consent preferences for Cookie Categories and advertising tracking preferences for Purposes & Features and Vendors below You can give granular consent for each Third Party Vendor and Google Ad Tech Provider Most vendors require explicit consent for personal data processing you have the right to object to their use of legitimate interest Necessary cookies are required to enable the basic features of this site such as providing secure log-in or adjusting your consent 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"Do Not Sell or Share My Personal Information" and clicking the "Save My Preferences" button © 2019-2024 BMV Digital Inc Join industry leaders who rely on Alternatives Watch's comprehensive coverage of alternative investments across asset classes 2025 /PRNewswire/ -- Freedman Normand Friedland LLP is delighted to announce the promotion of Stephen Lagos to partner "Stephen exemplifies the qualities of an outstanding litigator—unwavering dedication and a steadfast commitment to achieving the best outcomes for our clients We are proud to welcome him to the partnership," said Vel Freedman Stephen brings a wealth of experience in high-stakes commercial litigation and leverages his strategic insight and problem-solving abilities to navigate the complexities of his clients' most challenging disputes He will continue to deliver exceptional results and strengthen the firm's reputation for excellence Freedman Normand Friedland is a leading litigation boutique based in Miami Our team of 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Personnel Announcements "We see a crisis coming in physical markets much higher copper prices,” Robert Friedland said at the Rule Symposium A copper crunch is coming as demand builds and the hunt for viable deposits comes up short That’s according to Robert Friedland, a well-known mining industry financier whose current roles include board leadership positions at Ivanhoe Mines (TSX:IVN,OTCQX:IVPAF) and Ivanhoe Electric (TSX:IE,NYSEAMERICAN:IE) much higher copper prices," he said in a recorded interview played at the Rule Symposium Friedland described it as “essentially infinite,” noting that growing the global economy at 3 percent a year for the next two decades would require more copper than the world has ever mined the red metal is the most important element on the periodic table for humanity but Friedland also highlighted its ability to conduct electricity and heat — those characteristics make it essential in new applications like electric cars artificial intelligence (AI) data centers and modern warfare “Military demand for this metal is going to go to infinity in the next few years,” he said telling the conference audience that demand from this sector will put an “infinite value” on copper Friedland pointed to the billions of people around the world that want to improve their quality of life with an electric fan or an air conditioner Air conditioners alone require “astronomic amounts of copper,” he explained but the red metal is also needed to generate and transmit the electricity they need to operate “There is no rational price for something you absolutely must have,” he said Friedland said the US is “ludicrously behind” other countries when it comes to copper and other raw materials and we really need to educate our children on the necessity of raw materials,” he told listeners at the Rule Symposium Friedland said performing a Google search uses the same amount of power that it takes to run a 100 watt light bulb for 10 seconds; an AI query uses enough power to run that same bulb for 2 to 3 minutes and is expected to reach steady state production in the third quarter Friedland thinks American ingenuity can provide supply solutions and Friedland said most of its efforts are directed at developing and commercializing technology that will make it much easier to find mines and mine them with much less energy “I think we may have hope for the future,” he said Investors looking to get exposure to copper can buy copper stocks but Friedland said those who have space to store it could also consider physical copper — the key is to figure out a form of exposure “I don't think any intelligent portfolio can be constructed without copper exposure,” he said He sees copper as a long-term play that investors can buy and hold for their grandchildren Friedland said that for the last few years a small community following mining stocks has traded copper equities between themselves he believes generalists are on the cusp of becoming interested and he advised listeners to make sure they are early and not a day late “There is no rational price for something you absolutely must have,” Friedland said Don't forget to follow us @INN_Resource for real-time updates hold no direct investment interest in any company mentioned in this article Get the trends and expert predictions you need to stay ahead of the markets Learn About Exciting Investing Opportunities in the Base Metals Sector With an eye for detail and over a decade of experience covering the mining and metals sector Charlotte is passionate about bringing investors accurate and insightful information that can help them make informed decisions She leads the Investing News Network's video and event coverage and guides a team of writers reporting on niche investment markets Investing News Network websites or approved third-party tools use cookies. Please refer to the cookie policy for collected data Editorial Director Learn about our editorial policies. Ruth prepares a sandwich with the muscle memory that only a lifetime allows Bread is toasted and left to cool; dill is picked and chopped efficiently; sour cream and salmon are arranged to resemble a blooming flower Jon Benjamin) who she doesn’t seem to recognize Maybe you’ll meet him one day.” Caught off-guard her son can only offer a loving smile and say “I’d like that.” part blur––is the subject of Sarah Friedland’s moving debut feature Familiar Touch It’s the story of an older woman whose dementia causes her to shift between age identities though sometimes a more gregarious and flirtatious 25 Friedland shot most of it in Villa Gardens a continuing care center in Pasadena where Steve brings Ruth during the opening sequence She will spend the film coming to terms with her situation there befriending care workers Brian (Andy McQueen) and Vanessa (Carolyn Michelle) while getting acquainted with the changing rhythms of her life It’s a wonderfully gentle piece of filmmaking––something of a low-key triumph that offers a novel perspective on a topic that had become Friedland’s deceptively complex approach is to tell Ruth’s story from her perspective instead of a loved one’s and without ever fully revealing what’s happening in there The film features no lengthy monologues and is sparing with its character’s suffering––at least not beyond the realities of her situation The experiences we witness in Villa Gardens are largely pleasant: finding some agency by helping out in the kitchen allowing herself some playful moments in her check-ups with Brian and making a genuine connection with Vanessa allowing Ruth to rally with dignity when despair seems the more likely outcome All of this is filmed (by Friedland’s regular collaborator Gabe Elder) with an intimacy that never feels intrusive or merely observational Friedland has rounded up an endearing troupe: McQueen and Jon Benjamin (the voice of no less than Bob from Bob’s Burgers) each find just the ratio of warmth and weariness required of their roles who brings a tremendous amount of inner life to a character who is not always clear which inner life is her own Chalfant began her career on stage (getting her big break in Angels in America and an Obie win for Wit in 1999) but is probably better known for her work in television (The Affair She appeared in The Last Days of Disco and more recently in Old Friedland began making films as far back as 2014 Her work to now has focused on bodies and movement with conceptual pieces that occasionally intersected with her work as caregiver for artists suffering neurodegenerative diseases the director draws from each of those experiences and memories of visiting her grandmother an artist and intellectual who developed dementia and became non-verbal some years ago Friedland has talked about the way her family would speak about her grandmother as if she was already gone even though her personality still came out in different ways That thoughtfulness and sensitivity are all over Friedland’s debut feature a film that announces the arrival of a new voice on an independent scene that will be richer for it Familiar Touch premiered at the 2024 Venice Film Festival Rory O'Connor has been covering the European film festival circuit since 2012 The local women's shelters she tried didn't have room she spent her paycheck on gas money as she bounced from one public park to another In church, Elizabeth, who declined to share her last name for her safety, learned about a new program offering free overnight parking to people who are homeless and sleeping in their vehicle. She applied and was accepted into Safe Park Indy an Indy native who also leads a network of free food pantries founded the program after learning about more than 40 similar models on the West Coast and places like Duluth Friedland said she wanted to do something simple to help people experiencing homelessness get a good night's rest while they search for their next living arrangement "There's this perception that people may have about people who live in their cars But it's everybody — we have several social workers who are on our list people with graduate degrees," Friedland said in a recent interview at the Safe Park site whose exact location IndyStar has agreed to keep private for the safety of guests "It's a series of financial emergencies that could happen to anybody," Friedland added and there's not a lot of affordable housing According to national estimates, Friedland said, more than 100,000 people live in their cars. More than 650,000 people are homeless in the United States, according to the National Alliance to End Homelessness nearly half reported that they're working full- or part-time Nearly 70% said they were experiencing homelessness for the first time Most said they had last lived either in a rental home or with friends or family a common disqualifier at most of the area's homeless shelters But Friedland said several churches and nonprofits have already reached out about offering their parking lots and she's looking to expand to multiple sites across the city Safe Park hired a part-time employee to monitor nightly check-in Homelessness: Indianapolis pilot program will help pay rents for some people who lack permanent housing On the program's second night, Friedland checked in several clients who had applied online and passed a background check Anyone with an active arrest warrant or past convictions for either violence or sexual abuse is barred Friedland has asked Indianapolis police from a nearby substation to patrol the Safe Park lot two women and a couple arrived for the night They ate donated snacks and drank coffee in an adjacent building where they could grab hygiene products and use the restroom which they can keep in the lot until 7 a.m and guests can access the building from 6 to 7 a.m to grab breakfast before heading out for the day a 47-year-old mother of four grown children felt like the only way to escape the fog of anxiety and depression that had trapped her for years after the sudden death of her younger sister was to leave California So she got in her van and drove until she ran out of money — in Indianapolis more than 2,000 miles away from where she began Mary found herself spending the night outside an east side gas station after the owner agreed to let her stay there in her van But she soon had to find someplace else to rest who asked that her last name not be used for her privacy met a kind woman who prayed for her and led her to Safe Park Indy She used the stability of the Safe Park site last week to call one of her sons a Marine stationed near Japan who sends her photos of the ocean and the mountains there Safe Park has already moved through about two dozen applicants because many people use it for a couple of nights and move on Safe Park will offer that spot to the next applicant Mary's story of traveling from out of state is a rarity among applicants Just 4% of people who have applied say their last address was outside Indiana have already formed a small core of returning guests She said those people have begun to self-police Elizabeth said Safe Park helps her to save money while she looks for another affordable place to live and takes classes for her high school equivalency diploma she works part-time on the night shift at an Amazon warehouse so she parks in the Safe Park lot on off nights and in the early morning hours following her shifts She said she's reassured that there's a police substation near the Safe Park site She once stayed up all night when a man parked his vehicle next to hers in a city park and stood looking at her car "than any other option that I would have." Email IndyStar Housing, Growth and Development Reporter Jordan Smith at JTsmith@gannett.com. Follow him on X: @jordantsmith09 Peter Routledge was appointed Superintendent of Financial Institutions in June 2021 He previously served as the President and Chief Executive Officer of Canada Deposit Insurance Corporation (CDIC) beginning in November 2018 Routledge led a successful transformation of CDIC’s culture Routledge has extensive experience in Canada’s financial sector he was a Senior Advisor at the Department of Finance where he provided advice on a range of policy issues including financial stability and competition in Canadian financial services Routledge has held a variety of leadership roles in the financial services industry He served as managing director of research at National Bank Financial where he led a team responsible for producing equity and derivatives research on Canadian financial institutions Routledge led the Canadian Financial Institutions Group at Moody’s Canada with responsibilities for covering issuers in the banking personal and commercial insurance and reinsurance industries in Canada and the United States Routledge holds an MBA from INSEAD in France and a bachelor’s degree in business and economics from Simon Fraser University Twitter: @OSFIBSIF_leader Executive Director - Risk Assessment and Intervention Hub Jacqueline Friedland joined the Office of the Superintendent of Financial Institutions (OSFI) as Senior Director, Property and Casualty Insurance Group in October 2020. On April 1, 2022, she became Executive Director, Risk Assessment and Intervention Hub, Supervision Sector. In this role, Ms. Friedland leads the supervision teams for all federally regulated financial institutions, including insurers and banks, and federally regulated pension plans.  Ms. Friedland holds a Bachelor of Business Administration from the University of Georgia, and is a Fellow of the Casualty Actuarial Society, the Canadian Institute of Actuaries, and the Society of Actuaries.  Assia Billig was appointed Chief Actuary within the Office of the Superintendent of Financial Institutions in April 2019. The Chief Actuary prepares actuarial reports on the Canada Pension Plan, the Old Age Security program, the Canada Student Loans Program, and pension and benefits plans for federal public servants, the Canadian Forces, the Royal Canadian Mounted Police, federally appointed judges and Members of Parliament. Ms. Billig joined the Office of the Chief Actuary (OCA) in 2008, where she was involved in the preparation of statutory actuarial reports on the Canada Pension Plan and Old Age Security Program, as well as of the various national and international actuarial studies. Prior to joining the OCA, she worked in private pension consulting. Ms. Billig is the vice-chair of the International Actuarial Association (IAA) Social Security Committee and the chair of the Technical Commission on Statistical, Actuarial and Financial Studies of the International Social Security Association. Ms. Billig is a Fellow of the Society of Actuaries and the Canadian Institute of Actuaries. She has completed her undergraduate studies in Moscow State University and has PhD in Mathematics from University of Alberta. Executive Director – Regulatory Affairs Directorate Theresa Hinz was appointed Executive Director, Regulatory Affairs Directorate in 2022. In this role, Ms. Hinz is responsible for regulatory guidance and non-financial risk management and accounting policy, regulatory approvals and legislation, and government relations. Since joining the Office of the Superintendent of Financial Institutions (OSFI) in 2017, Ms. Hinz has held various senior roles within OSFI’s Regulatory Affairs Directorate. Before joining OSFI, Ms. Hinz held senior legal positions in the financial industry, including Assistant General Counsel at Export Development Canada, and Senior Counsel at the global law firm Shearman & Sterling. She has extensive international experience in financial market regulation, supervision, and compliance. Ms. Hinz holds a Master of Business Administration from the School of Management at HEC Paris, a Bachelor of Common Law and Civil Law from McGill University, Canada, and a Bachelor of Arts (Political Science and Economics) also from McGill University. She is a qualified lawyer in Ontario, New York, and England and Wales, and is registered with the Paris Bar. Amar joined OSFI’s Regulation Sector in December 2020 as Senior Director, Capital with a focus on banking capital policy development. In this role, he led the domestic implementation of Basel 3 reforms and changes to the insurance capital guidelines (i.e., LICAT, MCT, MICAT) to address the new IFRS 17 accounting standard for insurers which was implemented in 2023. Before joining OSFI, Amar was Director, Capital Markets and Treasury Risk at the Canada Mortgage and Housing Corporation (CMHC), and was responsible for second line oversight of securitization, treasury, and investment risks. Prior to the CMHC, Amar worked for a large Canadian life insurer in various roles including asset liability management and asset management risks. Amar is a Chartered Financial Analyst charterholder and has been a Chartered Alternate Investment Analyst since 2007. He holds a Master of Business Administration from the School of Management at HEC, Paris, and a Bachelor of Electrical Engineering from the University of Mysore in India. Assistant Superintendent, Chief Operating Officer - Corporate Services Michelle Doucet was appointed Assistant Superintendent and Chief Operating Officer for Corporate Services in April 2022. In this executive role, she is responsible for internal OSFI-wide core operating functions including Human Resources, Communications and Stakeholder Affairs, Procurement and Contracting, Facilities and Administration, Security, IM/IT, Access to Information & Privacy, and Legal Services. Ms. Doucet served as the Assistant Superintendent of Corporate Services at OSFI from 2016 to 2022. She previously worked at the Privy Council Office, Employment and Social Development Canada, Treasury Board Secretariat, the Department of Fisheries and Oceans and Library and Archives Canada. Prior to joining the Federal Public Service in 1992, she worked as a lawyer in the private practice of Borden Ladner Gervais. Ms. Doucet holds a Bachelor of Law Degree from Dalhousie University as well as a Bachelor of Arts in Political Science from St. Francis Xavier University. Deputy Superintendent – Supervision Sector Ben Gully was named Deputy Superintendent of OSFI’s Supervision Sector in April 2022. In this executive role, Mr. Gully supervises federally regulated financial institutions and private pension plans. He assesses and responds to financial and operational risks while making capital and liquidity adequacy assessments. Before becoming Deputy Superintendent, Mr. Gully served as Assistant Superintendent of the Regulation Sector, as well as the Risk Support Sector. Prior to his appointment as Assistant Superintendent in 2017, he was Chief Risk Officer at the Australian Prudential Regulation Authority (APRA) where he was responsible for enterprise strategy and risk, performance and quality assurance. Previously, Mr. Gully spent 14 years at OSFI where he held senior roles with increasing responsibility, including as the head of large bank supervision. He played a lead role in developing OSFI’s supervisory practices in the areas of stress testing, risk management and risk analytics. Prior to joining OSFI, he worked at the Bank of England on financial stability. Mr. Gully holds a Doctorate in economics and a Master of Arts degree (Honours) from the University of St. Andrews, and a Master of Science degree in economics from the University of Glasgow. Executive Director – Communications, Engagement and Stakeholder Affairs Directorate Tracie Noftle was appointed Executive Director, Communications, Engagement and Stakeholder Affairs on April 1, 2022. In this role, she leads the Office of the Superintendent of Financial Institutions’ (OSFI) stakeholder affairs and communications functions. Ms. Noftle first joined OSFI in November 2018 as Managing Director, Communications and Consultations. Since that time, she has been responsible for all aspects of OSFI’s external and internal communications. Before joining OSFI, Ms. Noftle has held key executive positions in government communications and outreach since 2002, including at the Privy Council Office, Employment and Social Development Canada, Correctional Service Canada, and the Department of Justice. In these positions, she led enterprise-wide communications services and provided advice to effectively inform and engage with key audiences. Ms. Noftle holds an Honours Bachelor of Arts degree in Political Science with a minor in Philosophy from Acadia University and a Master of Arts in Public Administration from Dalhousie University. Executive Director – National Security Sector John Ommanney was appointed Executive Director, National Security Sector in 2024. In this role, Mr. Ommanney leads OSFI’s centralized intelligence function and is responsible for intelligence activities related to OSFI’s mandate to ensure Federally Regulated Financial Institutions protect themselves against threats to their integrity and security, including foreign interference. Mr. Ommanney has over 20 years of experience in working within the Canadian public service, primarily within the security and intelligence community. Since June 2022, he served as Associate Vice President of the Travellers Branch at the Canada Border Services Agency (CBSA), where he led the Agency’s Traveller Modernization Initiative. Prior to working for CBSA, Mr. Ommanney worked at the Treasury Board Secretariat of Canada and the Department of National Defence. He also spent 10 years at the Communications Security Establishment, and, prior to that, was with the Financial Transaction and Reports Analysis Center of Canada (FINTRAC) as it developed its intelligence and liaison functions. Mr. Ommanney holds a BA in Political Science, from McGill University, an MBA from Queens University, and is a Certified Professional Accountant. Assistant Superintendent and Chief Strategy and Risk Officer Angie Radiskovic was appointed to the position of Assistant Superintendent and Chief Strategy and Risk Officer (CSRO) in April of 2022. In this role, she is responsible for work related to strategic planning, enterprise risk management, risk surveillance and quantification, finance, as well as data and governance functions. The CSRO provides an independent oversight function to ensure proper risk-taking limits are in place. Ms. Radiskovic first joined OSFI in 1997 as a co-op student before going on to hold several positions related to the Canadian financial sector in both public and private organizations. Before being appointed to the role of CSRO, Ms. Radiskovic led the Non-Financial Risk Group. Prior to that, she supervised deposit-taking institutions, including as a Lead Supervisor for a Domestic Systemically Important Bank (DSIB). She also spent considerable time as an accounting policy advisor. Outside of OSFI, Ms. Radiskovic’s experience includes working in Financial Services Assurance at Ernst & Young and at the Canada Deposit Insurance Corporation (CDIC) as the Managing Director, Resolution Preparedness. Ms. Radiskovic holds a Bachelor of Arts from the University of Toronto and earned a Master of Business Administration from McMaster University. She is also a CPA and Chartered Accountant. Assistant Superintendent – National Security Sector Kathy Thompson was appointed to the position of Assistant Superintendent for the new National Security Sector (NSS) on November 3, 2023. In this role, she is responsible for developing the national security framework for OSFI to work with Government of Canada security and intelligence partners. She leads policy development and the provision of strategic advice and support to the Superintendent on national security matters related to Federally Regulated Financial Institutions. Ms. Thompson has extensive experience in national security, intelligence, public safety, and law enforcement, with over 30 years of experience leading strategic and operational policy and functions, including over 22 years in the Canadian public service. Ms. Thompson also has experience working in the financial intelligence sector as an executive at the Financial Transactions and Reports Analysis Centre of Canada (FINTRAC), where she led the development of FINTRAC’s original regulatory, strategic, operational, and accountability framework and policies. Ms. Thompson holds a Bachelor of Arts, Law and Psychology from Carleton University, with a focus on Criminology and Criminal Justice. Your Ads Privacy ChoicesIMDb You need a really great actor to pull off what “Familiar Touch” does and it’s no wonder why director Sarah Friedland brought in Kathleen Chalfant to play its central character Ruth For those that missed her legendary turn on stage in Margaret Edson’s “Wit” as a Lit professor who wasn’t about to concede to her likely fate as a cancer patient hints of that radiant performance have now been committed to film as she invests just as fully in playing a dementia-stricken senior who has to reengineer her life after her son Steve (H Jon Benjamin) places her in an assisted living facility In a situation where one would expect to see weakness drawing on a savvy script from Friedland where Ruth believes she’s in a different reality from moment to moment perhaps still cooking for herself while her parents were away at work as a teen or expecting her husband to come home when to anyone else it’s clear he passed away long ago Between the conviction in her voice and the casual quality of the conversations there’s little doubt that in spite of not being aligned with the world in front of her the one that’s in her mind is fully formed and the onus shifts to the recipient to comprehend particularly when Ruth insists she doesn’t have children by saying she never wanted them in front of Steve with such an intensity that you know at one point it was true but with such a nuanced performance from Chalfant Friedland manages to find a different way to see it without being patronizing Following the octogenarian to the Bella Vista retirement home where others also seem to be grasping at straws when their identities are a bit of a blur the moments where they can strongly grab hold of something are extraordinary with Ruth looking outside the window of her new living quarters for the first time only to see a fellow resident who could instantly be considered crazy for taking off his shirt to bathe himself in the sun Yet giving back as much light as is pouring onto his chest it looks like he’s found the key to happiness before being pulled away by a dutiful orderly “Familiar Touch” may be told from Ruth’s perspective but increasingly – and impressively – it opens up the space to contemplate how the people around those with such a shift in consciousness can meet them halfway When the film’s sensitivity is immediately evident it isn’t surprising to learn that Friedland herself had personally navigated these kinds of relationships herself in providing memory care and art lessons to aging adults yet the director went one step further in setting up the production in a real assisted living facility in California where many of the residents and staff end up on screen alongside Chalfant You’d be hard-pressed to tell the ringers from those for whom this is their everyday reality which becomes one beautiful coalescence of many in the film where a part of being compassionate is knowing when to indulge fantasies or offering the truth when people are confused Although the bond that Ruth works out with her primary caregiver Vanessa (Carolyn Michelle) becomes one of the film’s loveliest threads there are individual scenes between residents at Bella Vista that seem truly precious when people can become friends over breakfast and strangers again the next day One such moment where a pair are caught humming the same song forming a perfect harmony with one another feels like being let in on a secret language only they know and “Familiar Touch,” in its elegant pacing and gentle spirit forges such a connection with the audience establishing a language rooted in understanding rather than any fixed vocabulary that feels all the more special because the bond that it makes with each individual will be unique to them “Familiar Touch” will screen again at the Venice Film Festival on September 4th at the Astra 2 at 5 pm and the Astra 1 at 5:15 pm You must be logged in to post a comment the nonprofit arts organization celebrating its 40th anniversary announced the winners of its three Emerging Filmmaker Awards at its annual Spirit Awards Nominee Brunch on Saturday (1/4) held at Hotel Casa del Mar The Americans) served as host for the event and handed out the honors Winners for the remaining categories will be revealed at the 2025 Film Independent Spirit Awards on Saturday “As we enter our organization’s fifth decade the Emerging Filmmaker Awards have become an invaluable tool in Film Independent’s mission to support independent artists and allow them to develop new work on their own terms and vision,” said Brenda Robinson “This mission was central to the work our president Josh Welsh dedicated his life to and it couldn’t be more fitting to honor him as we celebrate these talented artists and the work they have and will continue to produce.” The Someone to Watch Award was given to Sarah Friedland The award recognizes a talented first-time narrative filmmaker of singular vision who has not yet received appropriate recognition The finalists for the award included Nicholas Colia for Griffin in Summer and Pham Thien An for Inside the Yellow Cocoon Shell The Truer Than Fiction Award was presented to Rachel Elizabeth Seed The award is presented to a first-time director of non-fiction features who has not received significant recognition The award is in its 30th year and includes a $25,000 unrestricted grant Julian Brave NoiseCat and Emily Kassie for Sugarcane and Carla Gutiérrez for Frida were also finalists for the award the Producers Award went to Sarah Winshall tenacity and vision required to produce quality includes a $25,000 unrestricted grant funded by Bulleit Frontier Whiskey Robinson took a moment to honor and celebrate the life and legacy of the organization’s beloved longtime president Josh Welsh who passed away recently after a courageous five-year battle with cancer A tireless advocate for artists and a pillar of support within the independent film world Welsh had been with the organization for over 20 years beginning as a volunteer before rising to president in 2012 In that time he personally spearheaded the expansion of Film Independent’s worldwide reach and commitment to championing independent cinema and promoting diversity and inclusion across the entire film industry Presenting the honors at the annual Spirit Awards Nominee Brunch was acclaimed artist Pittman She currently stars in The Morning Show on Apple TV+ for which she has earned an Emmy and Critics Choice Award nomination the pop culture phenomenon Yellowstone and Detroit the period crime drama from Oscar-winning director Kathryn Bigelow overseen by returning hose and Saturday Night Live alum Aidy Bryant will be streamed live on the IMDb and Film Independent YouTube channels The Spirit Awards are the primary fundraiser for Film Independent’s year-round slate of programs which cultivate the careers of emerging filmmakers and celebrate creative independence innovation and uniqueness of vision in independent film and television Fully integrated advertising agency AKA has promoted Sam McMenamin to sr “Sam and Lisa have been integral to shaping the creative identity of our campaigns and mentoring the next generation of talent,” said Miky Wolf “These promotions are not only well-earned but they also represent a strategic step forward in how we structure the creative studio to meet the demands of an evolving media landscape.” McMenamin--who’s been with AKA for the past decade--and Lewis an industry veteran who joined AKA three-and-a-half years ago will take on new leadership responsibilities McMenamin will oversee content and social innovation across the agency while Lewis will guide narrative development Both will continue to serve as cross-platform leads on high-profile client accounts bringing a hybrid lens of creativity and strategy to their work AKA has made several key hires to strengthen its multidisciplinary creative studio: “These new team members each... Read More OKA, a Brazilian biotech company, is raising awareness about the extreme dangers microplastics pose to… The Trusted Source For News, Information, Industry Trends, New ScreenWork, and The People Behind the Work in Film, TV, Commercial, Entertainment Production & Post Since 1960. ' + scriptOptions._localizedStrings.webview_notification_text + ' " + scriptOptions._localizedStrings.redirect_overlay_title + " " + scriptOptions._localizedStrings.redirect_overlay_text + " Volume 7 - 2020 | https://doi.org/10.3389/fmars.2020.567445 and chlorophyll concentration (CHL) have changed in the US Northeast Shelf ecosystem over recent decades The changes in these parameters were distinctly marked by change points around the year 2012 resulting in a 0.83°C increase in SST and decrease in CHL in excess of 0.4 mg m–3 Where temperature and salinity shifted in mean level around their respective change points Modeled data suggest that the shift in CHL resulted in a greater contribution of pico- and nanophytoplankton and a decreased contribution of microphytoplankton to overall CHL Complementary estimates of the contribution of different phytoplankton functional types suggest a diminished contribution of diatoms to the phytoplankton community not only is there evidence of a decline in the overall primary production capacity of the ecosystem but also evidence of a fundamental change in the size and quality of phytoplankton supporting food webs Two ecosystem responses to the observed changes in SST Both length and weight at age have declined for a number of species and both measures of growth appear to be negatively associated with temperature and positively associated with CHL Biomass of fish and macroinvertebrates has declined in recent years with a decrease in pelagic species associated with a decrease in CHL while the decline in demersal species was associated with an increase in temperature these ecosystem changes appear to be the result of the complex interactions of both thermal effects and changes at the base of the food web it is prudent to examine the response of both lower and upper trophic levels as proxies for the impacts of longer-term climate change effects instability in production in marine systems can translate to instability in economic systems The aim of this study was to examine contemporary trends in sea surface temperature and chlorophyll concentration from remote sensing data sources and salinity from observational data for the US Continental Shelf ecosystem these trends are scrutinized for time series change points as an indication of potential regime change The phytoplankton community was characterized by its size fraction composition Ecosystem response to both trend and events in the physical forcing and phytoplankton change was evaluated using growth and abundance data for fish and macroinvertebrates from a concomitant fisheries independent trawl survey We studied physical and biological changes occurring in the Northeast US Continental Shelf ecosystem (NES). The shaded portion of the continental shelf shown in Figure 1 denotes the study area. We characterized conditions and responses of the ecosystem based on five subdivisions as described in Friedland et al. (2015a) Gulf of Maine east and west (GOMe and GOMw and Middle Atlantic Bight north and south (MABn and MABs These five areas capture much of the variability of the system especially as related to the distribution and dynamics of primary producers and the fish populations that rely on them US Northeast Shelf study area (NES) highlighted with shading and delimited to five subareas including: Georges Bank (GBK); Gulf of Maine east and west (GOMe and GOMw Middle Atlantic Bight north and south (MABn and MABs High resolution sea surface temperature (SST) data for the ecosystem and subdivisions were sourced from the NOAA Optimum Interpolation (OISTT) 0.25 Degree Daily Sea Surface Temperature Analysis dataset (Reynolds et al., 2007) we calculated monthly means from the daily data while retaining its spatial resolution (see “Data Availability Statement”) These data provide time series of spring and fall salinity in all the subareas The spring and fall salinity time series were correlated (Spearman rank order correlation we combined the seasonal time series to produce an annual PSU time series by taking the mean Seasonal CHL time series were plotted as Z-scores (observation minus the mean and divided by the standard deviation) as were the phytoplankton size fraction and phytoplankton functional type data described below The performance of these approaches was compared for an individual time series with Akaike information criterion (AIC) using the simplified form intended for model comparison Where RSS is the residual sum of squares, n is the number of observations, and k is the number of independent parameters (Burnham and Anderson, 2004). To evaluate trends in the data, we applied a non-parametric test of time series trend using the R package “zyp” (version 0.10–1.1). We used the Yue and Pilon method to estimate Theil-Sen slopes and performs an auto-correlation corrected Mann-Kendall test of trend (Yue et al., 2002) Estimates of phytoplankton size fraction contribution to total CHL were based on the three-component model of phytoplankton size classes (Lamont et al., 2019) using the global parameters from Brewin et al. (2015) The model provides estimates of the contribution of microphytoplankton (> 20 μm) and picophytoplankton (< 2 μm) to total CHL Model equations provide an estimate of the CHL fraction that is associated with combined contribution of pico- and nanoplankton: Which by difference yield the nano- and the microplankton fractions The model was parameterized using the following global model estimates These parameters are similar to the average across regional and other global study estimates The individual phytoplankton absorption spectra values at each wavelength were modeled as a second order function with chlorophyll a as the independent variable In this study, the resulting SVD-derived pigment-specific absorption spectra and the wavelength-dependent, second order model coefficients for absorption spectra from Moisan et al. (2011) are used with the annual mean 1998–2019 chlorophyll a estimates for each of the five subareas to estimate the PFT time series The chlorophyll a values are used with the second-order linear model to estimate the phytoplankton absorption spectra These spectra are then used with the SVD-derived pigment-specific absorption spectra in the NNLS inverse process to estimate the 18 different phytoplankton pigments Once maps of the 18 phytoplankton pigments were derived, they were used to generate estimates of the various PFTs by using the estimation formulas outlined in Table 1 of Hirata et al. (2011) for diatoms The pigments necessary as inputs for these algorithms included: fucoxanthin A time series of these functional types were calculated for all five subareas the percent contribution of a PFT was estimated as the ratio of the area of NES with each PFT to the total Monthly means of the percent contributions of PFT were calculated over the course of each year Finally, as verification of modeled PFT data, we queried the abundance of total diatoms and dinoflagellates from the Continuous Plankton Recorder (CPR) Survey dataset. The CPR collects continuous measurements of zooplankton and phytoplankton taxa retained on the CPR mesh, hence it includes a partial sampling of the microphytoplankton (Batten et al., 2003) Monthly samples were collected in the NES during the period of 1998–2018 not all NES subareas were sampled over the entire period The GBK and MABn subareas were sampled in all 21 years the time series and GOMe was sample in 20 years GOMw and MABs were sampled in less than 7 years each The average number of annual sample units was 138; a sample consisted of a total number of diatoms and dinoflagellates from 68 to 35 taxa respectively (see “Data Availability Statement”) The general form of the size at age GLM was: Year factor coefficients were used to represent the rate of change over time The change in size at age was assessed with canonical correlation with temperature and chlorophyll concentration as environmental covariates The canonical correlation was fit using the CCA package in R (version 1.2) The spring and fall CPUE time series were correlated with Spearman rank order correlation reasoning that since many taxa are known to undertake seasonal migrations correlated spring and fall signals could be considered an indication of more reliable abundance data Similar to the change in size at age analysis the change in biomass was assessed with canonical correlation with temperature the highest system-wide CHL level occurred in 2011 The Theil–Sen slope for NES CHL was negative and significant Mean annual SST (A,D,G,J,M,P) for the Northeast Shelf (NES) and NES subareas (NES mean annual PSU (B,E,H,K,N,Q) and mean annual CHL (C,F,I,L,O,R) for the same areas Lines are either STARS or segmented regression model fits; 2012 is highlighted with vertical dotted line Theil–Sen slope estimates expressed in decadal rate of change for environmental variables by NES and NES subareas (NES The Theil–Sen slopes for the subareas follow the NES trend with the exception of Georges Bank SST which had a positive trend that was non-significant the NES and its regional subareas experienced a shift in SST Both SST and salinity started increasing around this change point while CHL decreased noting that the change in SST and salinity were generally more stepwise whereas the change in CHL was gradual localized minima around 2004 and maxima around 2011 varied between the data series The Theil–Sen slopes for the second half of the year CHL were all negative and significant with exception of the data for Gulf of Maine east Z-score of CHL for the first (A) and second (B) half of the year for the Northeast Shelf (NES) and NES subareas (NES The mean for each size class shown in the panel title with ± 1 SD; the NES time series is shown as a b-spline; 2012 is highlighted with vertical dotted line the shift in NES CHL likely also represents a shift in the size class composition of the phytoplankton community driven by the increasing availability of smaller cells vs Z-score of estimated phytoplankton size fractional contribution percentage of pico (A) and micro (C) plankton to total chlorophyll for the Northeast Shelf (NES) and NES subareas (NES The mean percentage for each size class shown in the panel title with ± 1 SD; the NES time series is shown as a b-spline; 2012 is highlighted with vertical dotted line Z-score of estimated percent contribution of PFT diatoms (A) and prokaryotes (E) for the Northeast Shelf (NES) and NES subareas (NES The mean percentage for each PFT shown in the panel title with ± 1 SD; the NES time series is shown as a b-spline; 2012 is highlighted with vertical dotted line had a significant positive trend in the Gulf of Mine east and a negative trend in the Middle Atlantic Bight south Z-score of percentage area where Nanoeucaryotes (A) Prochloroccocus (F) were the dominant PFT for the Northeast Shelf (NES) and NES subareas (NES using two model-based methods to characterize Phytoplankton Functional Types a shift was observed in functional types associated with the change in CHL in 2012 and most notably evidence to suggest a decline in diatoms in the plankton community The conclusion of a change in diatom population based on the model-based data is in part supported by in situ sampling data Z-score of the abundance of diatoms (A) and dinoflagellates (B) in a CPR sample unit for the Northeast Shelf (NES) and NES subareas (NES The mean for each abundance shown in the panel title with ± 1 SD; the NES time series is shown as a b-spline; 2012 is highlighted with vertical dotted line GLM model coefficients of length (A) and weight (B) for males and females of 15 species of fish during spring GLM model coefficients of length (C) and weight (D) for males and females of 15 species of fish during fall Lines are either STARS or segmented regression model fits; vertical dotted line marks 2012 Theil–Sen slope estimates expressed in decadal rates of change for growth variables by season and sex for the results of GLM models and by species Tests of Canonical Dimensions for environmental and growth and biomass data Canonical correlation two-dimensional plot of environmental factors vs Environmental variable (shown in red) include temperature (TEMP) Growth variables (shown in blue) are coded with first position as S for spring and F for fall second position as M for males and F for females and third positons as W for weight and L for length Biomass variables (shown in blue) include benthivores (BEN) Biomass as catch per unit effort for benthivores (A) and total biomass (E) during spring and fall time frames Dashed black line is mean of spring and fall curves rs is the Spearman correlation with associated p-value Dashed line are b-splines; solid line either STARS or segmented regression models; vertical dotted line marks 2012 Theil–Sen slope estimates expressed in decadal rates of change for CPUE variables by functional groups Coincident with this transition in temperature and salinity and then declined from a relatively stable pre-2011 level in excess of 1.5 mg m–3 progressively to a low value of ∼1.0 mg m–3 These broad scale ecosystem level changes were most evident in the northern segments of the ecosystem specifically in the Gulf of Maine and on Georges Bank a comprehensive analysis of stratification in recent high resolution downscaled models of the region coupled to the biogeochemical processes controlled by vertical mixing will be necessary step in projecting future climate induced changes in the productivity of the NES it is critical be circumspect about the reliability of the model fits and data output; hence we also stress that the model results are at lease consistent with the observational counts of diatoms from the CPR samples defining winners and losers under a thermal habitat regime shift especially those coupled to changes in primary production depends on more than just an individual species’ thermal tolerance; other ecological considerations need to be considered to fully understand and manage species under such changes to the habitat KF led the analysis and drafting of the manuscript RM and JRM assisted with data analysis and along with NS and JLM contributed to the drafting of the manuscript All authors contributed to the article and approved the submitted version Funding for JM’s effort was provided by the NASA Ecosystem Forecasting Program The Gordon and Betty Moore Foundation under Grant No and the NASA Applied Information Systems Technology Program under NNH18ZDA001N-AIST The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest Melrose for help in estimating phytoplankton functional type data Langan for comments on an early draft of the manuscript Seasonal distribution and succession of dominant phytoplankton groups in the global ocean: a satellite view Climate change impacts on mismatches between phytoplankton blooms and fish spawning phenology 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This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY) distribution or reproduction in other forums is permitted provided the original author(s) and the copyright owner(s) are credited and that the original publication in this journal is cited in accordance with accepted academic practice distribution or reproduction is permitted which does not comply with these terms *Correspondence: Kevin D. Friedland, a2V2aW4uZnJpZWRsYW5kQG5vYWEuZ292 Disclaimer: All claims expressed in this article are solely those of the authors and do not necessarily represent those of their affiliated organizations Any product that may be evaluated in this article or claim that may be made by its manufacturer is not guaranteed or endorsed by the publisher 94% of researchers rate our articles as excellent or goodLearn more about the work of our research integrity team to safeguard the quality of each article we publish