Virdee is a new detective series based on AA Dhand’s best-selling crime novels. 　　The series introduces Detective Harry Virdee (Sacha Dhawan), a Bradford cop disowned by his Sikh family for marrying Saima, who is Muslim. Harry struggles with the abandonment, constantly attempting to reunite with his family. With his personal life in chaos, he must hunt down a killer targeting the Asian community. 　　When the murderer kidnaps a local MP’s daughter in Bradford and holds the entire city to ransom, Harry realises that he is going to need the help of his brother-in-law Riaz, a drugs kingpin who runs the largest cartel in the county. Pulled together in an alliance that could ruin them both, Harry must make a choice: save himself and his family or save his city. He will not be able to do both.

Virdee is a new detective series based on AA Dhand’s best-selling crime novels. The series introduces Detective Harry Virdee (Sacha Dhawan), a Bradford cop disowned by his Sikh family for marrying Saima, who is Muslim. Harry struggles with the abandonment, constantly attempting to reunite with his family. With his personal life in chaos, he must hunt down a killer targeting the...

Virdee is a new detective series based on AA Dhand’s best-selling crime novels. 　　The series introduces Detective Harry Virdee (Sacha Dhawan), a Bradford cop disowned by his Sikh family for marrying Saima, who is Muslim. Harry struggles with the abandonment, constantly attempting to reunite with his family. With his personal life in chaos, he must hunt down a killer targeting the Asian community. 　　When the murderer kidnaps a local MP’s daughter in Bradford and holds the entire city to ransom, Harry realises that he is going to need the help of his brother-in-law Riaz, a drugs kingpin who runs the largest cartel in the county. Pulled together in an alliance that could ruin them both, Harry must make a choice: save himself and his family or save his city. He will not be able to do both.

An idealistic artist, a celebrated opera singer, and a corrupt police chief engage in a fierce battle of wills in this tempestuous tale of cruelty and deception. Puccini’s great melodrama may be set in 1800, but its tale of intrigue, hypocrisy, and the courage of convictions is anything but dated. In story, song, and ethical challenge, Tosca offers your students an afternoon of extreme opera. 　　In his new Met production, director Luc Bondy presents Tosca not only as a thriller but also as an intimate drama of devotion, courage, and resilience. “Tosca,” says James Levine, the Met’s Music Director and conductor of this Live in HD performance, “combines Puccini’s glorious musical inspiration with the melodramatic vitality of one of the great Hitchcock films. From the very first bar of the piece, Tosca seizes you and keeps you on the edge of your seat until the last note.” 　　The acclaimed Finnish soprano Karita Mattila, seen in the 2008 Live in HD transmission of Puccini’s Manon Lescaut, sings the title role of Floria Tosca—a high point in any soprano’s career. The excitement is not only musical. “At first I thought, ‘How will it feel to kill somebody on stage?’” Mattila says. “But Tosca is like an action movie, and the drama just happens.”

John Dexter’s riveting production, designed by Tanya Moiseiwitsch, captures the dark passions of Verdi’s ever popular opera. Cornell MacNeil, in the role of his sensational Met debut, is the tortured hunchback jester, desperate to protect his daughter, Gilda, from the lascivious Duke of Mantua. Ileana Cotrubas is at her most affecting as the innocent girl who sacrifices herself for love. Plácido Domingo’s golden voice and suave appeal are perfect for the charming but faithless Duke. James Levine conducts.

伊万洁利亚的纪录片是白日梦般的电影诗篇。《朦胧的巴洛克》记录了一位在巴西颇有影响力的变性人，卢安娜穆尼斯的生活点滴。伊万洁利亚试图描绘一座城市的社会现状，是如何影响个体的追求与改变。笼罩在这座城市上方的是争论不休的极端主义、政治冲突，还有层出不穷的变装嘉年华。而在这片笼罩下的，是行走的变装小丑，是跳着巴西热舞的异装癖者，是夹缝生存的变性者。

伊万洁利亚的纪录片是白日梦般的电影诗篇。《朦胧的巴洛克》记录了一位在巴西颇有影响力的变性人，卢安娜穆尼斯的生活点滴。伊万洁利亚试图描绘一座城市的社会现状，是如何影响个体的追求与改变。笼罩在这座城市上方的是争论不休的极端主义、政治冲突，还有层出不穷的变装嘉年华。而在这片笼罩下的，是行走的变装小丑，是跳着巴西热舞的异装癖者，是夹缝生存的变性者。

STATEMENT 　　Here and now 　　In the film Balkan Baroque, one has the impression that the character invents the past as she speaks, here and now. This past seems to have no reality outside the moment it is evoked with the force that is characteristic of film work. Here, in Balkan Baroque, it has become the present, the present of the film unwinding before the viewer's eyes. 　　What we see on the screen is in the process of happening-it is the very gesture that is given to us and not a report on it. The universe of the film is given in a perpetual present. In other words, this biography of Marina Abramovic, which implies a number of past things, is in process of unfolding before our eyes, here and now, as we watch Balkan Baroque. 'Elsewhere' and 'formerly' do not exist. There is no longer a true reality, inherent and external to the film, so there is no longer anything but the sole reality of the projected images. The film, the universe that it reveals, suffices by itself, at every instant, erasing itself as it goes along, within a loop that is literally never-ending. 　　We are therefore dealing with a subjective, mental unwinding. The work Balkan Baroque is not account of an exterior reality; it is its own reality. The only time to be considered for this biography is the projection time (63'). Balkan Baroque is pure fiction, an imaginary production in which Marina Abramovic plays different roles, including the role of the artist doing performances.

STATEMENT 　　Here and now 　　In the film Balkan Baroque, one has the impression that the character invents the past as she speaks, here and now. This past seems to have no reality outside the moment it is evoked with the force that is characteristic of film work. Here, in Balkan Baroque, it has become the present, the present of the film unwinding before the viewer's eyes. 　　What we see on the screen is in the process of happening-it is the very gesture that is given to us and not a report on it. The universe of the film is given in a perpetual present. In other words, this biography of Marina Abramovic, which implies a number of past things, is in process of unfolding before our eyes, here and now, as we watch Balkan Baroque. 'Elsewhere' and 'formerly' do not exist. There is no longer a true reality, inherent and external to the film, so there is no longer anything but the sole reality of the projected images. The film, the universe that it reveals, suffices by itself, at every instant, erasing itself as it goes along, within a loop that is literally never-ending. 　　We are therefore dealing with a subjective, mental unwinding. The work Balkan Baroque is not account of an exterior reality; it is its own reality. The only time to be considered for this biography is the projection time (63'). Balkan Baroque is pure fiction, an imaginary production in which Marina Abramovic plays different roles, including the role of the artist doing performances.