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Miami Herald
a day ago
- Miami Herald
Disgraced pastor turns down year offer and now faces a jury, life in prison
Eric Readon, a controversial Miami Gardens pastor arrested three years ago on charges of stealing an elderly man's Northwest Miami-Dade home, turned down a plea deal from the state Wednesday and now could spend the rest of his life in prison. By turning down the state's offer of a year in prison and a decade of probation, Readon, 49, could end up behind bars from anywhere between six years to more than six decades, for the crimes he is accused of committing. Before Readon decided to leave his fate in jurors' hands, Miami-Dade Circuit Court Judge Christine Hernandez warned the pastor of the vast gulf between the state's offer and a guilty verdict. 'This is your life,' Hernandez said. 'It's a decision you have to make with the consultation of your lawyer.' Readon, who has been out of jail since his February 2022 arrest, quickly left the court hearing, his attorney at his side. Hernandez set a trial date for July 7. The pastor is accused of swindling retiree Edward Fuller out of his $267,000 home on Northwest 19th Avenue. The scheme, state prosecutors said, involved Readon guaranteeing a loan to refurbish the home in exchange for the senior signing over the deed to the property and paying Readon a $15,000 fee. Readon is facing charges of exploitation of an elderly or disabled person, organized scheme to defraud, conspiracy to commit organized scheme to defraud, theft from a person 65 years or older, and grand theft. The disgraced pastor — who court records show served probation for strong-armed robbery and grand theft over two decades ago — led New Beginning Missionary Baptist Church in Northwest Miami-Dade. He made a name for himself fighting gun violence, often showing up at rallies and seen comforting grieving family members. A call to the church Wednesday said the number had been disconnected. According to WPLG-Channel 10, Readon reached a plea deal last month with the Broward State Attorney's Office over allegations that he also fraudulently stole properties in Davie and Lauderdale Lakes. The Davie property was worth $1.7 million. As part of the deal in which he avoided admitting guilt but agreed to a punishment, Readon paid one of the property owners $150,000 and the other $46,500. He also agreed to complete community control, five years of probation, and to repay all restitution before he can be considered for early termination of probation. Both victims won back their properties after legal battles. Readon was also arrested in April in Pembroke Pines. Charging documents say he used false paperwork in a wire transfer when he bought a Range Rover from Miami's Braman Motors. The case was later closed. Though the state prosecutor indicated Wednesday that if Readon didn't agree to the plea offer, the stolen vehicle charge could resurface.
Ya Biladi
22-05-2025
- Business
- Ya Biladi
Alhambra, Flamenco, and Sierra Nevada : Granada promotes itself in Rabat
On May 21, the Spanish Tourism Office, in partnership with the Provincial Council of Granada, hosted the event «Granada, the Alhambra Is Just the Beginning» at the Residence of the Spanish Ambassador in Rabat. The event aimed to showcase the diverse tourism offerings of this Andalusian province beyond its iconic landmark. The evening was attended by Ambassador Enrique Ojeda Vila, Francis Rodríguez, President of the Provincial Council of Granada, Moroccan government officials, ambassadors, tourism professionals, and journalists. In his speech, Ambassador Ojeda Vila emphasized the deep historical and cultural ties between Morocco and Andalusia, highlighting the region's warm hospitality, rich attractions, and close proximity. A screening of the documentary «Alhambra, the Treasure of the Last Andalusian Emirate», co-produced by RTVE and ARTE and awarded in Rabat, featured new research and digital reconstructions that offer fresh perspectives on the Alhambra. Additionally, Paolo Pinamonti, director of the 74th Granada Music and Dance Festival (June 19 – July 13, 2025), and Jesús Ibáñez, who presented updates on the Sierra Nevada ski resort, were part of the event. The evening was hosted by tourism advisor María José Gómez, who noted that in 2024, 767,000 Moroccans visited Spain, with Andalusia attracting 42% of these visitors, followed by Madrid (24%) and Catalonia (11%). The following day in Casablanca, a professional meeting will bring together over a dozen tourism companies accompanying the Granada delegation—including Barceló, El Corte Inglés, and various agencies—with more than forty Moroccan buyers.
Los Angeles Times
02-05-2025
- Entertainment
- Los Angeles Times
In the riveting, interior ‘April,' a doctor who helps women in need is targeted
In writer-director Déa Kulumbegashvili's disquieting second feature, a strange creature is on the loose. We glimpse it in the first moments of 'April' — this naked, human-like being whose body resembles a sagging skin bag. Possessing no eyes, no mouth and no face, with an almost alien lurching gait, that nightmarish figure will reappear every so often, its return always upsetting and unexplained. Remarkably, the creature is only slightly more unknowable than the film's fascinatingly opaque main character. To call 'April' an abortion drama is accurate and yet that description only barely brushes against this movie's blending and subversion of genres. Set in the country of Georgia, the movie (which won a Special Jury Prize at the Venice Film Festival) stars Ia Sukhitashvili as Nina, an expert obstetrician who, as the story begins, witnesses a tragedy. Kulumbegashvili plunges us into a delivery room as an expectant mother struggles to give birth, the filmmaker's camera shielding us from nothing as the hospital staff desperately try to extract the child. Soon after the baby is declared dead, Nina is blamed by the woman's husband and Nina's unsmiling supervisor (Merab Ninidze) launches an investigation into what went wrong. But Nina's concern extends beyond the possibility of losing her job. It's an open secret that Nina privately performs abortions for those in the impoverished outlying villages. Technically, abortion is legal for up to 12 weeks in Georgia, but in this conservative, patriarchal society, it's nonetheless practically verboten. Any investigation into Nina could expose her clandestine activities and ruin her career — not to mention her ability to help more women, either to bring life into this world or terminate it. Such a setup suggests the potential for a thriller, but Kulumbegashvili (who previously cast Sukhitashvili in her 2020 feature debut 'Beginning') is after something slipperier. And that starts with her conception of her protagonist, whose inner life she refuses to illuminate. Often shown on-screen in the middle distance or the background, her expressions always muted, Nina drifts through this slow-burn crisis without any palpable urgency or alarm. Emotionally, Sukhitashvili remains at arm's length, her character's actions inscrutable. One night, Nina drives into the countryside, picking up a random stranger and offering him a blowjob. Has she done this before? And if so, what's provoking it? The answers are left as teasingly cryptic as the shocking outcome of that nocturnal interaction. By stripping away genre conventions, 'April' eschews traditional storytelling to zero in on far more existential matters — namely, the oppressive gloom descending on Nina. Filmed in a boxy aspect ratio that visually imprisons her in her circumstances, the movie uses tracking shots as hints into its character's mindset. When the stoic Nina is off-screen during a scene, we occasionally hear her elevated breathing, proof of the silent stress choking her. This brilliant narrative stroke weaponizes even the film's most tranquil interludes, creating the sense that we're watching these moments through her eyes. Cinematographer Arseni Khachaturan's images of sumptuous Georgian landscapes — vibrant red flowers dotting an impossibly lush field — are undercut by the anxiety within the person soaking in those sights. Kulumbegashvili's realist style — the writer-director filmed actual births — emphasizes antiseptic hospital hallways and the cold procedural quality of Nina's work. (The process of delivering a baby is depicted as straightforwardly as performing an abortion.) Nina's demeanor is equally stark. Preferring to be invisible, she goes about her business assisting pregnant women while sporadically conferring with David (Kakha Kintsurashvili), a sympathetic colleague heading the fateful investigation. Nina and David were once lovers, a fact he has never gotten over. Seated across from each other, David finally asks, 'Why didn't you marry me?' Tellingly, Nina is once again off camera when she slowly answers: 'It would never have worked out. There's no space for anyone in my life.' We hear her, but we don't see her. Indeed, Nina often seems just out of reach. 'April' portrays her devotion to serving women in need as a noble but deadening calling, one that has caused her to withdraw into herself, perhaps as a coping mechanism to shut out the rage and helplessness she feels. With utter naturalism, Kulumbegashvili and her star dramatize a cruel, sexist reality that's as unescapable as that inexplicable creature that repeatedly invades the story, its faceless presence a chilling, surreal metaphor for a society preying on Nina and her patients. Not quite a thriller and not quite a horror movie, 'April' is all the more haunting for never pinning down the roots of Nina's retreat from life while dedicating herself to improving the lives of others. Near the film's end, she's scolded for her illegal activities, prompting Nina to offer a terse, weary reply: 'If it's not me, it'll be someone else.' Once again she's not on camera, but her voice of conscience reverberates.
Arab Times
26-04-2025
- Entertainment
- Arab Times
‘April' is shattering and essential
LOS ANGELES, April 26, (AP): Whatever cruelness you might assign to the month, Dea Kulumbegashvili's 'April' probably has it beat. Kulumbegashvili's shattering, sensational film is set in a hardscrabble, provincial region of Georgia, an Eastern European country. Nina (Ia Sukhitashvili) is the leading obstetrician at the local hospital, and she leads a punishing life. In the film's opening scenes, she delivers a baby - Kulumbegashvili films it from overhead - who doesn't cry once born. Sterile hallways and men demanding answers follow the stillbirth and the fleshy, bloody images of the operating room. Though Nina has done thousands of deliveries, the father calls for a police investigation. Left alone with Nina, he tells her he knows she gives abortions in the village. He calls her a murderer and spits on her. Nina experiences the moment with horror and silence, a pervading register in 'April.' Kulumbegashvili's film is formally composed and rigorously opaque, but it churns with an underlying, aching despair. Abortion - legal but fraught in Georgia - is central to 'April.' But Nina's predicament and loneliness stem from something even deeper. Again and again, 'April' places its solitary female protagonist in scenes where every gesture - professional or intimate - is treated as lesser, an imbalance that's violently and brutally impressed upon Nina. In 'April,' where Nina traverses a harsh, isolating landscape, the most resonant, disquieting sounds are the soft, sad murmurs of the deaf-mute teen (Roza Kancheishvili) for whom Nina performs a kitchen table abortion. It's a procedure, shot statically from the side with only half of her visible, necessitated by a mysterious rape. The girl's mother has no answers. In 'April,' even howls of pain go unuttered, and only the storm cloud skies cry. 'April' confirms Kulumbegashvili as among the most essential and uncompromising European filmmakers, extending the promise of her 2020 debut 'Beginning,' about the wife of a Jehovah's Witness leader. A prize-winner at last fall's Venice Film Festival, 'April' could be accused of leaning too much into an austere, art-film obliqueness. But Kulumbegashvili's absolute control over the camera and the intensity of her calling make her film a grimly spellbinding and unforgettable experience. Nina says little through the course of 'April,' but when she does, it's powerful. Being on the front lines of treating women in a place where their freedom is so restricted has brought Nina closer to desperation. When the investigation proceeds, she flatly tells her boss, 'Other than my job, I have nothing to lose.' Sukhitashvili's deft performance is most expressive in her yearning eyes. Cinematographer Arseni Khachaturan, trading objective and subjective perspectives, toggles between images of Nina alone - driving at night, looking for a partner - or crowded by men. When she explains the stillbirth circumstances, we see her view: three men, sitting in judgment. Mixed throughout are separate, unexplained scenes of a faceless, humanlike figure with drooping, unformed bags of skin. We see her slowly shifting from one foot to the other, and hear her breathing heavily. Who is this? Is it a malformed expression of Nina's tortured soul? Is it some adult fetus whose plight, in contrast to the unborn, has no sympathizers? These are some of the questions that this haunting film leaves you to ponder. 'April,' a Metrograph Pictures release, is unrated by the Motion Picture Association. In Georgian, with English subtitles. Running time: 134 minutes. Three and a half stars out of four
San Francisco Chronicle
26-04-2025
- Entertainment
- San Francisco Chronicle
Movie Review: 'April' is shattering and essential
Whatever cruelness you might assign to the month, Dea Kulumbegashvili's 'April' probably has it beat. Kulumbegashvili's shattering, sensational film is set in a hardscrabble, provincial region of Georgia, the Eastern European country. Nina (Ia Sukhitashvili) is the leading obstetrician at the local hospital and she leads a punishing life. In the film's opening scenes, she delivers a baby — Kulumbegashvili films it from overhead — who doesn't cry once born. Sterile hallways and men demanding answers follow the stillbirth and the fleshy, bloody images of the operating room. Though Nina has done thousands of deliveries, the father calls for a police investigation. Left alone with Nina, he tells her he knows she gives abortions in the village. He calls her a murderer and spits on her. Nina experiences the moment with horror and silence, a pervading register in 'April.' Kulumbegashvil's film is formally composed and rigorously opaque, but it churns with an underlying, aching despair. Abortion — legal but fraught in Georgia — is central to 'April.' But Nina's predicament and loneliness stem from something even deeper. Again and again, 'April' places its solitary female protagonist in scenes where every gesture — professional or intimate — is treated as lesser, an imbalance that's violently and brutally impressed upon Nina. In 'April,' where Nina traverses a harsh, isolating landscape, the most resonate, disquieting sounds are the soft, sad murmurs of the deaf-mute teen (Roza Kancheishvili) for whom Nina performs a kitchen table abortion. It's a procedure, shot statically from the side with only half of her visible, necessitated by a mysterious rape. The girl's mother has no answers. In 'April,' even howls of pain go unuttered, and only the storm cloud skies cry. 'April' confirms Kulumbegashvili as among the most essential and uncompromising European filmmakers, extending the promise of her 2020 debut 'Beginning,' about the wife of a Jehovah's Witness leader. A prize-winner at last fall's Venice Film Festival, 'April' could be accused of leaning too much into an austere, art-film obliqueness. But Kulumbegashvili's absolute control over the camera and the intensity of her calling make her film a grimly spellbinding and unforgettable experience. Nina says little through the course of 'April,' but when she does, it's powerful. Being on the front lines of treating women in a place where their freedom is so restricted has brought Nina closer to desperation. When the investigation proceeds, she flatly tells her boss, 'Other than my job, I have nothing to lose.' Sukhitashvili's deft performance is most expressive in her yearning eyes. Cinematographer Arseni Khachaturan, trading objective and subjective perspectives, toggles between images of Nina alone — driving at night, looking for a sexual partner — or crowded by men. When she explains the stillbirth circumstances, we see her view: three men, sitting in judgment. Mixed throughout are separate, unexplained scenes of a faceless, humanlike figure with drooping, unformed bags of skin. We see her slowly shifting from one foot to the other, and hear her breathing heavily. Who is this? Is it a malformed expression of Nina's tortured soul? Is it some adult fetus whose plight, in contrast to the unborn, has no sympathizers? These are some of the questions that this haunting film leave you to ponder. 'April,' a Metrograph Pictures release, is unrated by the Motion Picture Association. In Georgian, with English subtitles. Running time: 134 minutes. Three and a half stars out of four
