Event ending early. it began peacefully, lighting up the bonfire in front of mostly ultra 0rthodox jews for thejoyous lag ba0merfestival, where a notable rabbi is buried. but now one with a haunting past. last year s mount meron disaster was declared one of the worst to befall the state of israel, a deadly crush in an overcrowded passageway in which 45 men and boys were killed and around 150 more injured. a tragedy that could have been prevented, according to some. so, this year, worshippers were under strict instructions to rotate in and out by bus on pre issued tickets. police said they would limit the number to 16,000 at any time, with each visit capped to four hours. i m standing here, we would be on the roof. i m talking about 25
Nobody knows what their pregnancy journey is going to look like or whether they will be able to have children at all. i know how blessed i am in so many ways. but from my conversations with families, doctors, midwives, campaigners, researchers, it is clear that so many people feel very alone on this journey. opening up though, being honest about the good, the bad, thejoyous and the painful experiences of pregnancy loss, all of us can perhaps feel a little less alone.
To do often with soliloquies, with the monologues, you hear them in voice over. and this really stays with the actors, it stays with the performances, and that s what drives the movie. more than just seeing macbeth, the new york film festival s opening night brought audiences thejoyous experience of connecting after tough pandemic times. we re all ready to be here and we re ready to be in the theatre together and have a communal experience. we need this. new york needs this film festival and we need each other. it s quite emotional to be here together. over the decades there have been numerous interpretations and adaptations of macbeth from different film makers, from kurosawa to polanski and many more. noah gittell has been looking back at cinema history to see how film makers have staged the so called scottish play in the past. you know your own degrees. orson welles directed and starred in the first significant adaptation of macbeth in 1948.
Closely to the language and the wording of the tragedy of macbeth, but it s refreshed in a certain way, refreshed with some of the people that are acting on screen, working behind the camera. this new macbeth won some great reviews and talk of possible oscar nominations for its leads, it was really seen as quite fine cinema. what s striking about this film is that it really turns shakespeare into something cinematic. it looks like a german expressionism film or something made by carl theodore dreyer, in the sense that you re looking at people s faces in this really striking detail up close, which is something that a lot of filmmakers, with shakespeare in general and with macbeth are afraid to do often with soliloquies, with the monologues, you hear them in voice over. and this really stays with the actors, it stays with the performances, and that s what drives the movie. more than just seeing macbeth, the new york film festival s opening night brought audiences thejoyous experience o