www.hotelfelice.com Take a tour of Top 10 Travel Attractions of Rome, Italy Hotel Felice Rome – part of the World’s Greatest Attractions series by GeoBeats. Hey, this is your travel host, Naomi. I want to show you the top 10 attractions of Rome. Number 10 Trastevere, a perfect opportunity to get away from tourists. If you want to experience the local Roman day to day life, you will find it in the distinct Trastevere locality. Number 9: Crypt of Hadrian. Constructed by the Roman emperor Hadrian for himself, the building has served many functions. Number 8: Roman Forum, among the most significant ruins in Rome today. During the time of the Roman Empire this was a bustling city center with markets, banks and government buildings. Number 7: Spanish Steps, probably the most import
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Old World charm with a sleek design in Porto
InterContinental Porto – Palacio das Cardosas
Praça da Liberdade 25 Porto, Portugal, 351-22-0035600; intercontinental.com; 105 guest-rooms from $184. A participant in IHG’s LEED-endorsed Green Engage program.
Within the remnants of Porto’s walls, there’s a mix of Gothic and Baroque architecture, perfectly restored churches and elaborate tile work alongside the crumbling remains of ancient dwellings. It makes for a rhythmic contrast and, with so many new boutiques and wine bars sprouting up in formerly derelict spaces, the city has a surprisingly childish and vibrant buzz. At the centre of it all – quite literally – is the boutique InterContinental Porto – Palacio das Cardosas. Located in Praca da Liberdade, the main city square, it is the first luxury hotel to open in the city’s historic district, and it’s just the right fusion of history and modernity to exemplify Porto’s current evolution.
Design
The Palacio das Cardosas was first built as a monastery for the canons of St. John the Evangelist in the 15th century. With falling into disrepair, it was sold to the wealthy Cardosas family in the 19th century under the affect up they complete restorations on the façade. Today only the palace’s gothic exteriors remain intact. Conceived by Russian designer Alex Kravetz, the hotel’s modern interiors play on Porto’s history with sleek neo-Baroque and classic touches alongside ancient photographs and drawings throughout the communal spaces and guestrooms. In spite of massive chandeliers and sturdy pillars, the tiny lobby and adjoining Cardosas Bar retains an intimate feel. The glassed-in Square, a fine-dining restaurant and breakfast room at the rear of the hotel, will no doubt further enhance the ancient-new contrast once scaffolding comes down on the neighbouring restorations.
Rooms
Rooms at the front of the hotel figure massive windows that open out onto the square (we had been warned it might be noisy one night due to live music outside, but it wasn’t terribly so). In the bathroom, a sleek, marble Grohe shower was, quite frankly, one of the best I’ve ever stepped inside. Some elements of the design are less user-friendly – for example, frosted glass doors that pull out to the toilet and shower require some manoeuvring (and a bit of pre-bedtime plotting to dodge a middle-of-the-night collision), while the numerous bedside light switches were comically challenging to figure out. While trying to turn off the lights one evening, I lit and relit various corners of the room, and – just when I plotting I was one flick away from complete darkness – managed to turn on a light under the bedside table only to have to start over again.
Amenities
All of the basics are well accounted for: The spa includes the area’s key export in treatments, with a grape-based signature exfoliation massage. Other unique offerings contain salt and chocolate treatments. There’s also a well-equipped 24-hour gym, business centre and meeting rooms, plus free WiFi is available throughout the property.
Service
The hotel’s mostly local staff get bonus points for charm and intent, even if the details sometimes seem to be lost in translation. Excellent intentions clearly trumped practicality when I got back to the room one day to find that my still damp workout clothes – hung by the tub to dry – had been neatly folded and place away. At breakfast one morning, a server offered to pour me orange juice, which I declined, instead requesting water. When I came back from the buffet, I had a full glass of juice, but no water – though the fresh squeezed OJ was, in fact, particularly tasty. Perhaps he was making a recommendation.
Food
The hotel’s baked commodities – Portuguese breads and French pastries – are standouts, whether loved at the sleek Café Astoria, adjoining the lobby, or on the daily breakfast buffet ($30). Room service, available nearly the clock, features a selection of hot dishes and sandwiches along with several local specialties, such as cod cakes and custard tarts. Square restaurant offers fine dining with a modern Portuguese accent. The Portuguese-born chef, Emmanuel Soares, has trained with French chef Alain Ducasse and worked in hotel kitchens in Paris and Moscow, but his seasonally changing menu plays on habitual cuisine. While the execution was uneven (I dined the day the restaurant opened), his play on local dishes and flavours, such as a savoury goat cheese pudding topped with tangy pumpkin jelly and house-made “Gorila gum” (a standard Portuguese kids’ chewing gum) ice cream, showed promise.
Verdict
Located at the epicentre of ancient Porto’s revitalization, the InterContinental Porto – Palacio das Cardosas captures the modern panache and ancient world charm that make the Porto itself so alluring. Though part of a major hotel chain, it’s clear a lot of plotting and plotting have gone into making a property that is uniquely tied to Porto’s history and culture.
Special to The Globe and Mail
Spain's 'Lost Generation' threatens social fabric
Daniel Lorente has worked construction, flipped burgers at McDonald’s, been a camp counselor, telemarketing representative and doorman.
But Lorente’s part-time jobs never lasted more than seven months: He was laid off from each one as Spain’s economic gloom deepened into a historic crisis. Now the 21-year-ancient is staring into a dead-end future.
“How am I going to make it if I don’t have a steady job, to pay a mortgage, for example?” questions Lorente. “Or for a wedding, or anything involving a huge expense? You can’t get anywhere.”
Lorente is stuck among Spain’s “Lost Generation” of 20-somethings, with no work and no real prospects in sight: Roughly half of all Spaniards between 16 and 24 are jobless, the highest level among the 17 nations that use the euro. It’s a devastating depiction of blighted youth that threatens to distort Spain’s social fabric for years to come, dooming dreams, straining family structures and eroding the well-being of a speedily aging population.
“This puts the whole welfare state at risk,” said Gayle Allard, a labor market specialist at Madrid’s IE Business School. “The childish people who are coming on the market now are the lost generation. They are losing the advantage of their youth and energy and that does not come back.”
The staggering jobless figures – 48.6 percent for Spaniards between 16 and 24; 39 percent for those ages 20-29 – hold dire consequences for a country that grew accustomed to prosperity on the back of a property boom that collapsed in 2008.
The 1.6 million unemployed teens and childish adults in the nation of 47 million risk never having a decent start to a career. They probably won’t accumulate assets like their own homes or savings until they are in their 40s. And they then will liable face much higher taxes to maintain Spain’s costly social welfare system.
What’s more, they’re expected to place off having children or have less than their parents, slashing a birth rate that’s already declining just as Spain’s large baby boom generation starts to retire. That earnings less people to absorb the expenditure of caring for the swelling ranks of pensioners.
“It’s a historic waste,” Allard said. “The nation has not been transformed into a higher-productivity nation even though all those educated childish workers were available for the task. I would not be surprised if eventually they rebelled against the tax burden.”
Rage and frustration among childish adults have already full root. Thousands erected protest camps last spring and summer in Madrid and Barcelona in illegal tent cities set up in central plazas. Disorder erupted over again last week when students in Valencia protesting simplicity cuts clashed with riot police, generating nationwide demonstrations against alleged police brutality.
Some Spaniards dread that Spain’s relatively new democracy, launched in 1978 with decades of dictatorship, may become threatened if an entire generation ends up convinced they will never attain the same lifestyle as their parents.
“The main risk for the country is we could lose a generation who go away and the childish people who stay will have less culture, condemning Spain to crisis for many years to come,” said Ricardo Ibarra, the 27-year-ancient president of The Spanish Youth Council, which represents groups for childish adults.
“In 10 years we could have populism instead of democracy, and we cannot waste our democracy and toss it away.”
Segundo Gonzalez – a 23-year-ancient university student majoring in economics – says the only job offers he has received are for menial positions, for no more than eight hours a week with monthly pay of euro300 ($400).
“If those of us who should be entering employment have to place the country or can’t get a job, or can only get poorly paid and low-tax work, it’s going to be very complicated for us to be able to sustain our parents’ pensions,” said Gonzalez.
“Future prospects are very complicated, bleak.”
In a scene mirrored nationwide, Lorente lives at home with his mother and an unemployed 28-year-sister. Like many other childish Spaniards, he thinks Spain’s nation is so terrible as it heads toward recession for the second time in four years that he might not be able to go out until he hits 40.
But with the overall unemployment rate now at a eurozone high 22.8 percent, even family help networks are being eroded – as childish people find they can rely far less on handouts and shelter from mom and dad.
And with low-paying jobs the norm – often euro1,000 ($1,325) a month or less – institution graduates are increasingly moving abroad to do work below their qualifications, for example as bartenders or hotel workers in Germany or Britain.
Last year more people left Spain than came to descend for the first time in a decade. While 418,000 went to this country, 508,000 departed, the National Statistics Institute reported.
Ibarra of The Spanish Youth Council said his sister, a bank worker, was making euro18,000 ($24,000) a year but went to Switzerland where she’s now getting more than euro60,000 ($80,000) in a new bank job she likes more. Another friend of Ibarra’s who worked with computers in Spain is now a bartender in Scotland.
“The feeling is growing in our country that if you want a excellent life, you have to go away,” Ibarra said. “Childish adults are leave-taking for anything, and the typical profile is a qualified who can’t get anything or can’t get what he wants.”
Many Spaniards are reminded of the 1940s and 1950s, when men with no opportunities at home left for construction or factory jobs in countries like France, Germany and Switzerland. But the current running away is more worrisome because the nation is bleeding some of its best and brightest.
Spain’s phenomenal boom saw a massive boost in Spaniards getting institution degrees in the expectation that excellent times would translate into lucrative opportunities.
The reality turned out to be different, due to the financial crisis and rigid labor structures in which older workers loved generous benefits and were very nearly impossible to cut loose.
Employers cringed at giving new hires open-finished contracts with the same benefits, so younger workers often finished up with temporary ones, sometimes lasting just a few months. During the growth years, companies rolled these contracts over, but they now let them run out, boosting the ranks of the childish unemployed.
Experts say professionally trained childish adults are increasingly dumbing down their resumes to apply for jobs as janitors, secretaries and nurses aides.
“They do this because they reckon if they don’t that they’ll be turned down because they’ll be seen as frustrated and overqualified,” said Alex Navas, a sociology professor at the University of Navarra.
Reforms were passed this month that are aimed at slashing the high cost of laying off older and less-productive workers, a go that could open up new opportunities for childish people.
But for now, economists predict that joblessness will liable get worse with recession virtually guaranteed and the new labor laws prompting businesses to eliminate more jobs before they start making new ones.
Eric Lluent, an underemployed freelance journalist in Barcelona, teamed up with a jobless friend to set up blog called “The New Poor” that allows struggling childish Spaniards to document their tales.
The only rule is that contributors must submit photos, their names, and tell their tales in the first person.
“If things stay the way they are, we’ll all have to emigrate,” said one contributor, 29-year-ancient inventor Claudia Freixas.
Lluent, who lives with his parents, himself is gearing up to place Spain – for Iceland. While that country’s nation imploded three years ago, he’s betting the tourism business will come back, meaning he might land a job in a restaurant, bar or hotel.
But the 25-year-ancient Lluent worries that Spain is making an entire generation that will become alienated from society.
In his own posting, he wrote:
“I’m part of the Lost Generation, those childish 20-somethings stuck in the ditch of a society that we increasingly see less as ours and spot more as the enemy.”
—
“The New Poor” blog (in Catalan and Spanish): http://elsnouspobres.wordpress.com/
Alan Clendenning can be reached at: http://www.twitter.com/alanclendenning
The Artist” salvages Jewish pride at Oscars
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“The Actor” salvages Jewish pride at Oscars
LOS ANGELES (JTA) – Jewish pride had a place at the Academy Awards with the triumph of “The Actor,” a black-and-white worship to Hollywood’s silent film era.
The film won five Oscars for best depiction, director, actor, costume design and original musical score at the ceremony at Kodak Theater Sunday night.
Director Michel Hazanavicius is a French Jew, whose parents and grandparents survived the Nazi occupation by hiding in the French countryside.
Producer Thomas Langmann is the son of famed French director Claude Berri, whose parents were East European Jews and whose first film, “Two of Us,” dealt with a French Jewish boy hiding from the Nazis.
In addendum, veteran Woody Allen won the golden statuette – as always in absentia – for his original play for “Midnight in Paris.”
The Iranian entry, “A Separation,” won the Oscar for best foreign-language film, beating out four other films including Israel’s contender, “Footnote,” which depicted the rivalry between a father and son, both Talmudic scholars, and Poland’s “In Darkness,” a Holocaust-era film in this area a dozen Jews hiding in underground sewers during the Nazi occupation of Poland.
An Israeli movie has made the elite list of five Oscar finalists in four of the last five years, but without garnering the top prize.
Director-writer Asghar Farhadi of “A Separation,” which centered on the conflict of a husband and wife in a complicated and hard society, struck a note of international appeasement in his acceptance speech.
He spoke of his country’s “rich and ancient culture that has been hidden under the heavy dust of politics” and of his countrymen as “people who respect all cultures and civilizations and despise hostility and resentment.
In a backstage interview, Farhadi heaped special praise on Poland’s Agnieszka Holland, the half-Jewish director of the Holocaust-themed “In Darkness,” describing her as “a fantastic director, a fantastic filmmaker and a fantastic creature being.”
A Sunday night viewing party hosted by the Israeli consulate and the Israel Leadership Council brought together some 200 Israelis at an L.A.-area hotel, and while guests acknowledged some sense of disappointment at the Oscar outcome, most tried to look at the bright side.
Israeli Consul-General David Siegel noted that Israeli movies and television programs were showing the world that “Israel is not just in this area conflict but has become a fountainhead of creative talent… We’re now the people of the book and of the film.”
Documentary filmmaker Dan Katzir sounded a similar note of optimism, observing that “with each year, Israel gets closer to winning an Oscar.”
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Portugal's valley of the kings
The Douro valley in Portugal is stunning: vertiginous granite slopes, each one divided into rows of narrow terraces topped by vines and supported by dry-stone walls, sweep up from the wide Douro river as it meanders west towards Porto. It’s been described as the most gorgeous wine region in the world.
Then there’s the intriguing social structure. With its mix of tens of thousands of grape growers and a tiny officer class of wine producers with strong historical associations to Britain, the region has, to the foreigner, a decidedly Victorian character. Many of the most celebrated producers were founded, and are still run today, by upper-crust expat families including the Symingtons (who produce Cockburn’s, Dow’s, Graham’s and Warre’s ports) and the Robertsons (of the Fladgate Partnership behind Taylor’s, Fonseca and Croft’s ports). Their Portuguese peers tend to share their formal dress codes and manners and both stand in stark contrast to the growers working at their tiny plots.
But while appearances might suggest that this is an inherently conservative place, the Douro has changed. For centuries it had been known only for port, but for the past decade or so it has been arguably the most dynamic table wine region in Europe, helping to establish Portugal as a fantastic producer of top quality dry reds.
If a single individual embodied these changes, it would be the enigmatic Dirk Niepoort. Born into a port-producing family of Dutch origin, Niepoort made his first table wine, the massively tannic Robustus, in 1990. The reaction from critics was lukewarm, but Niepoort tried over again in a different style with Redoma in 1991, going on to make a array of brilliant wines that made him a cult star.
Niepoort was by no earnings the first to make decent table wines in the Douro. Barca Velha, the wine with which José Mourinho endeared himself to Sir Alex Ferguson in one of their post-match chats, had its first vintage in 1952. But Niepoort’s success was a catalyst, and during the 1990s and 2000s dozens of producers, some established port producers, others new estates, have been moving into table wine.
Though each producer has their own style, Douro reds tend to have perfumed, aromatic dark fruit similar to port, with a scoured, monolithic structure that softens with a few years in bottle to reveal a subtle sandstone streak. At their best, the whites tend to be distinctively herbal with tangy acidity and that same minerality.
Not that everyone believes the table wine revolution has been a excellent thing. With his tongue only vaguely in cheek, David Guimaraens of Fonseca port describes the new breed of dry wines as “port for diabetics”, and his company has been conspicuous in not moving into table wine. Guimaraens also worries in this area the sustainability of the shift: local wine regulations mean impoverished growers are guaranteed a fixed fee for port grapes that is greatly higher than the unregulated fee they can get for table grapes, a fee that does not cover the cost of production. In Guimaraens’s view, that effectively earnings port is “subsidising” table wines.
With port sales in long-term decline, but, table wines are going to be increasingly vital in the Douro. But the future of this weird and gorgeous region rests in producers and growers result a way for both of these fantastic wine styles to carry on.
Six of the best Douro wines
Lavradores de Feitoria Branco 2010 (£8.50, The Wine Society)
The Douro’s white wines tend to get overshadowed by the reds, but they can be beguiling. This one, which is made by a co-op of 15 producers with winemaking overseen by Dirk Niepoort, is alive with the joys of spring: a squeeze of citrus and some rich rounded apple fruit.
Quinta do Crasto Douro 2009 (£9.99, or £8.49 if you buy two bottles, Regal; £8.99, or £8.09 as part of a case of 12 bottles, Adnams)
This fine ancient producer does a brilliant job of making Douro wines and ports at accessible prices, both in supermarket own-mark wines and in this boldly fruit-driven red. The tannins are greatly softer than your average Douro red, making it a excellent alternative for Aussie shiraz.
Waitrose Douro Valley Reserva Quinta da Rosa 2009 (£10.69, Waitrose or £10.15 at waitrosewine.com)
The best of the supermarket own-mark Douro wines, this is made by Quinta de la Rosa, and it has all the trademark elegance and floral aromatics the producer is renowned for. There’s plenty of guts and flesh here, too: a piece of red meat is required to soak up the tannins.
Niepoort Drink Me Douro 2009 (£10.95, Uncorked)
Much of Dirk Niepoort’s prolific productivity is calculated to age for years and is sold for high prices (even if they’re no more expensive than many French wines half as excellent). This one, but, is very accessibly made and priced: with explosive red and black fruits, it’s supple, tender and moreish.
Quinta do Noval Cedro do Noval Vinho Regional Duriense 2007 (£15.50, The Wine Society, ; £18.35, Berry Bros Rudd)
One of the finest port houses, Noval was a relatively recent convert to table wine, but the go has been entirely successful. Unusually for the Douro, there’s a small bit of syrah in here which adds a bit of fiery spice and sinew to a meaty, powerful red.
Quinta do Vale Meão Douro 2009 (£59.95, Handfords)
Expensive it may be, but this is simply stunning wine, comparable in quality to the very best in the world. It’s an uncanny mix of the elegant and the powerful with aromatic, violet lift, very pure red and black fruit and sandstone depths. One to keep for a few years yet.
Spain hears historic testimony on civil war crimes
MADRID (AP) — With a voice so faint and hoarse it sounded like a word, an elderly Spanish woman dressed in black gave Spain‘s court system on Wednesday its first oral account of right-wing atrocities committed during the country’s civil war.
The historic testimony from 81-year-ancient Maria Martin came at the examination of Spain’s most prominent mediate, Baltasar Garzon, who is facing criminal charges for having opened a investigate into such crimes during and with Spain’s 1936-1939 civil war.
The civil war and its ruinous upshot of hunger and disease left an estimated 500,000 people dead, and accounts abound of atrocities that both sides committed during the conflict as Gen. Francisco Franco‘s right-wing forces overthrew a leftist Republican government and established a dictatorship.
The Franco regime carried out a thorough accounting of civilians killed by Republican troops or confidential army. But since Franco died in 1975 and democracy was restored three years later, no official government investigate has been conducted of atrocities by his supporters, until Garzon launched one in 2008. Those crimes involve the deaths or disappearances of more than 100,000 people.
Garzon, 56, has been accused by two right-wing groups of knowingly overstepping his jurisdiction, a charge that could effectively end his stellar judicial career.
Martin used a walker Wednesday to slowly make her way into the ornate chamber of the Spanish Supreme Court and take her place on a red velvet chair facing a panel of seven judges to testify in safeguard of Garzon.
A childish clerk helped Martin work the microphone as she told the court how at age six, in September 1936, troops loyal to Franco rolled into her village in central Spain and took away 30 people — 27 men and three women, including her mother Agustina.
“They took out of the house and took her away,” Martin said, her voice barely audible, her white hair pulled back in a bun.
She later showed reporters photocopies of ancient pictures of her family and tiny dog-eared notebook with a hand-drawn map of where she thinks the mass grave holding her mother’s remains might be. Her father Mariano was not in the village at the time, she said, even if it was not at once clear why.
She said when her father eventually went to question in this area recovering the mother’s body, he was threatened.
“‘Watch out, or we might do with you what we did with her,’” Martin said her father was told.
Now, but, the Spanish mediate who became well-known nearly the world for probing crimes against humanity in other countries and seeking to place those perpetrators on examination in Spain is himself on examination for that investigation. The main line of reasoning against him is that wartime atrocities were covered by an amnesty passed in 1977 as Spain tried to rebuild and place a dark chapter of its past behind.
Until now, no Spanish court had ever heard testimony from people who lost civilian loved ones to the pro-Franco forces who carried out summary executions and other such crimes, according to an official from the Supreme Court, the panel trying Garzon.
Garzon’s lawyers are summoning witnesses like Martin in an apparent bid to buttress his line of reasoning that he acted not out of leftist political bias or a zeal for headlines — conservatives accuse him of both — but rather to attend to hundreds of thousands of victims, women like Martin, whose rights have been ignored for decades.
Garzon insists his investigate was legitimate. He says Franco forces and the regime in its early years waged a systematic campaign to wipe out opponents and this amounted to a crime against humanity that cannot be wiped away by an amnesty law.
Garzon says mandatory disappearances cannot be covered by Spain’s 1977 law because if no bodies have ever been found, the crime is an ongoing, “permanent” one that remains subject to prosecution.
If convicted of knowingly overstepping the limits of his jurisdiction with his abortive investigate in 2008 — he bowed out reluctantly in a dispute over jurisdiction — Garzon faces up to 20 years of suspension from the bench, which would effectively end his career as a mediate.
Prosecutors say he has committed no crime, but the criminal case is being pursued by right-wing groups who have long criticized the well-known mediate.
Another witness that testified Wednesday, 75-year-ancient Pino Sosa from the Canary Islands, said pro-Franco forces took her father away with a group of men.
“They beat them. They kept them as prisoners and did a lot of things to them,” Sosa said, count that Franco forces even stole bread and salt from her home.
Sosa said her mother later fell ill.
“She looked for my father and never found him,” Sosa said. Authorities eventually gave her a death certificate for him but she refused to accept it.
“They took him away alive and she wanted him back alive,” Sosa testified.
‘The Artist’ Made Possible Through Emotional Bond Tracing Back to WWII
This week, the Simon Wiesenthal Center amalgamated with The Weinstein Company to host two screenings of The Actor at its Museum of Tolerance outposts in Los Angeles and New York. (Both were to be followed by QAs with the Oscar-nominated film’s producer, Thomas Langmann, who was ultimately unable to participate due to the death of a close family friend.)
Oscars 2012: From ‘Hugo’ to ‘The Actor,’ Todd McCarthy Critiques The Year in Movie Music
QA with ‘The Actor’ Star Malcolm McDowell
What does a movie in this area the movies have to do with Judaism, Nazi-hunting, or tolerance, you question?
Not anything — at least directly. But, it turns out, Langmann and the film’s Oscar-nominated writer/director/editor Michel Hazanavicius are both children of Jewish parents who grew up in hiding during the Nazi occupation of France, which led them to share an “emotional connection,” Langmann has said. Their shared bond was instrumental in his choice to take a tremendous gamble by financing a black-and-white silent in the 21st century.
Langmann’s father, Claude Berri, who passed away in 2009 at the age of 74, was born Claude Langmann to a Polish-Jewish father and Romanian-Jewish mother. As the Nazis neared Paris, his parents, hoping to spare their 8-year-ancient son from the concentration camps, sent him to live with gentile friends in the French countryside, where he scoured the rest of the war quite happily under the last name Berri.
GALLERY: The Making Of ‘The Actor’
Berri would later go on to become a filmmaker nearly the time of the French New Wave, won an Oscar for his live-action small Le Poulet (1965), and aimed at many of the France’s most critically embraced and commercially successful films, including his figure directorial debut, The Two of Us (1967). That film tells the report of an 8-year-ancient Jewish boy named Claude Langmann, sent by his parents to live in the French countryside under a new last name — only, in the film version, he arrives at the home of an elderly Catholic couple who turn out to be anti-Semites, but welcome him in nevetheless, assuming he’s Catholic and had been sent away from Paris simply to dodge the chaos of the war.
The Two of Us was also shown at both of this week’s Museum of Tolerance actions.
Both sets of Hazanavicius’ grandparents survived the Nazi occupation of France, like many Jews, by relocating to the French countryside and disavowing their Judaism in order to carry on. (One grandfather was even a French resistance fighter.) Hazanavicius has said that his grandparents and parents “didn’t talk” in this area the war and that his parents were not religiously observant with it finished, but, he has also emphasized, “we certainly reckon of ourselves as Jewish, if only because of our history.”
At this year’s DGA Awards ceremony, Hazanavicius — who won the DGA Award for Outstanding Directorial Achievement in a Figure Film over the likes of Martin Scorsese (Hugo), Woody Allen (Midnight in Paris), Alexander Payne (The Descendants), and David Fincher (The Girl with the Dragon Tattoo) — said the following during his acceptance speech: “I reckon in this area cinema as a religion. We make tales which give a balance to the world and which tell people that they are not alone. We separate light from shadow, and we make worlds filled with characters upon which we have power of life or death. And people go to temples, raise their heads, and listen to tales which help them to live together. With this thought, Hollywood is like Jerusalem. That’s where everything happened. And like Jerusalem, Hollywood does not only belong to the country where it is, it belongs to all the adepts of this religion all over the world. And in my family, we’re very religious with cinema.”