Latest news with #Happening
Hamilton Spectator
13 hours ago
- Entertainment
- Hamilton Spectator
Happening In Grimsby expected to draw thousands of people this weekend
More than 30,000 people are expected to visit downtown Grimsby this weekend as Happening In Grimsby returns for three days of food, music, vendors and family-friendly fun. The event starts Thursday at 1 p.m. with Grimsby Farmers Market and runs through to 11 p.m. Saturday. Activities will take place along Main Street between Christie and Ontario streets. 'It's a kickoff to summer and celebrate all we have in town here,' said event chair Simon Duong, also chair of Grimsby Downtown Business Improvement Area , the major sponsor of the event. 'Visitors might not shop (during the event), but if they see a nice boutique shop they may come back and shop another day.' Duong said as many as 35,000 people attended last year's event . The main stage will feature a variety of musical entertainment, starting with Grimsby Idol at 5:30 p.m. Friday. There be a kids zone at nearby Coronation Park on Saturday 10 a.m. to 4 p.m. with activities and entertainment for youngsters. Also Saturday, Vendor Alley will be set up on Main Street between Christie and Patton streets, featuring about 70 local artisans and businesses. 'Most of the merchants on the street are going to participate with a tent or a promotion to highlight their business,' Duong said. The three-day event also means road closures to all but emergency vehicles. Happening In Grimsby chair Simon Duong says more than 30,000 people are expected to attend the three-day event that starts with Grimsby Farmers Market on Thursday. Duong said Main Street will be closed 11 a.m. on Thursday to 2 a.m. Sunday and a one-block area of Main between Christie and Patton will be closed 6 a.m. to 6 p.m. Saturday to accommodate Vendor Alley. See for event information and showtimes. Ben Vandenberg, owner of Pie in the Sky Farm Market , said the event is good for local businesses. 'It helps support us at the beginning of a very busy season,' Vandenberg said. 'It helps promote all of the downtown.' Lisa Sproston, owner of Farm Gate to Your Plate , said Happening In Grimsby is a great way to promote downtown businesses. 'The sheer amount of people that come into the town is phenomenal,' Sproston said. 'It's a really nice way for people who don't know about us to find out about us.' Happening In Grimsby grew out of The Happening at the Forty (with other iterations including Pioneer Days and The Happening) that dates back more than 40 years. The committee overseeing the event disbanded in 2018, and the event was reborn as Happening In Grimsby the following year.
Press and Journal
29-05-2025
- Entertainment
- Press and Journal
Midsummer Beer Happening 2025: All you need to know about the Stonehaven festival
Stonehaven will be the place to be for beer lovers once again as the annual Midsummer Beer Happening (MSBH) returns next month. The beer festival, which began in November 2009 as the Stonehaven Real Ale Festival, will return for a three-day event from June 12-14. It is now the north-east's biggest and most popular beer festival and one of, if not the biggest, in Scotland. Somewhere in the region of 6,000 people will attend, enjoying an array of drinks, good food and entertainment. Here is all you need to know about the event. The Midsummer Beer Happening will take place at the purpose built marquee in Stonehaven's Baird Park. The fun will start at 4.30pm on Thursday June 12, with the festival running until 11pm. Friday's festivities will follow the same timetable, before a bumper final fling on Saturday 14, when the event opens at noon. Beer lovers and those of a cider persuasion are well catered for at the festival, as there will be over 120 beers and ciders to choose from. Produced by some of the UK's finest brewers – and with a number of continental guests too – they range from zingy, fruity ciders to dark stout and everything in between. There will also be non-alcoholic drinks for those that are driving or are teetotal. There is live music throughout the day, with a variety of local talent lined-up to keep eventgoers entertained. When the sun sets, organisers said it will be 'time to put on your dancing shoes and let your hair down', with visitors encouraged to 'boogie with their brews'. It'll be an eclectic mix, with 16 acts hitting the high notes at the Happening this year. They include Aberdeenshire's own 'supergroup' The Broken Creels and perennial crowd-pleaser and folk hero, Ray Moore. Stonehaven band The Sapiens, the Spiorad Trad Band and Happening favourites Funk Connection will also appear. And you can also enjoy the Blues Jam Aberdeen House Band, fresh from Aberdeen's iconic Blue Lamp. If top beers and excellent entertainment were't enough, the Midsummer Beer Happening will also serve up an array of street food too. Organisers have assembled a line-up of 'some of the finest local purveyors of street food'. On offer will be fresh woodfired pizza, fish and chips, farm made pies, burgers, Spanish bocadillos (sandwiches) and empanadas, as well as ice cream. The fish and chips are from the Bay in Stonehaven, while the ice cream also comes from a local source as well – the town's Giulianotti's. Wark Farm Pies, Smoke and Soul, Hadyns, Picos and The Bay on the Road will be other well-known names serving up treats. Tickets cost £29 individually for each day, or you can pick up a three-day pass for £45. As well as entry, all tickets include a commemorative festival glass and one half of festival beer. Last year, the not-for-profit Midsummer Beer Happening raised £61,000, bringing the total it has raised over the past 15 years for local causes to £375,000. And this year will be no different, with an array of Stonehaven charities and groups to benefit. If you fancy a bit of cycling during the weekend, there are four different routes starting and finishing in Baird Park. The MSBH Sportive has become a 'huge' social day out for many. It includes six refreshment pit stops along the way – and some free cakes. Starting in waves from 8am (meeting at 7.30am) on Saturday June 14, tickets cost £40 and includes entry into the festival, a beer and 'sore legs'. Festival manager Robert Lindsay said: 'The Midsummer Beer Happening in Stonehaven prides itself on creating a vibrant, fun and unforgettable three-day celebration of beer. 'We can't wait to welcome some 6,000 visitors to our marquee in the town's Baird Park. 'We've curated 120 of the finest beers from across the country – with some special guests from Belgium, too, along with an al fresco food court chock full of award-winning street food vendors, plus the cream of north-east musicians ready to provide the soundtrack for the festival. 'All we need now is the people to come along and help make unforgettable memories at the Midsummer Beer Happening in Stonehaven 2025. 'See you in the marquee.'
Yahoo
14-05-2025
- Entertainment
- Yahoo
‘Adam's Sake' Review: Tense Belgian Hospital Drama Positions Director Laura Wandel as Dardenne Brothers' Heir
Who decides what's best for a child? In 'Adam's Sake,' a scrawny 4-year-old boy is admitted to the pediatric ward with a broken arm, which the doctors attribute to malnutrition. A social worker is called, and Adam's mother — who's hardly more than a child herself — is forbidden access to her son while hospital staff try to nurse him back to health. But Adam refuses to eat unless his mother is present, fighting against the feeding tubes the doctors have ordered. All that is backstory that we piece together on the trot during the opening minutes of Belgian director Laura Wandel's emotionally wrenching whirlwind, which is bolstered by a pair of terrific performances from Léa Drucker as Lucy, the pediatric department's head nurse, and 'Happening' star Anamaria Vartolomei as Adam's mom, Rebecca — to say nothing of soulful newcomer Jules Delsart, the remarkable young actor who plays Adam. More from Variety Brazil Comes Strong to Cannes to Bank on 'I'm Still Here' Oscar Momentum: 'A Defining Moment For Brazilian Production' Knowledgeable Producers and 'Unprecedented' Government Incentives Turn Brazil Into a Burgeoning Co-Production Power Kleber Mendonça Filho on Why 'The Secret Agent' Is His First 'Political' Film, Casting 'Classic Movie Star' Wagner Moura From the get-go, we see Lucy attempting to mediate between the impatient doctor (Laurent Capelluto), an inflexible social worker (Claire Bodson) and desperate Rebecca, who's been granted a narrow window of visitation on a probationary basis. The boy in turn clings to his mom's neck, plaintively asking any who will listen whether she might be permitted to stay the night. Over the course of a tight, intense 70-odd minutes, Wandel plunges audiences into the frantic hustle of this overtaxed hospital, observing through fresh eyes a world we know from countless TV dramas — much as she did the daunting turf of an elementary schoolyard in her stunning 2021 debut, 'Playground.' In that film, Wandel developed a formal approach perfectly suited to her milieu, adopting the perspective of her 7-year-old protagonist as the first grader tried to make sense of her intimidating new surroundings. Adults, when seen, were either cropped at the waist (à la the teacher in 'Peanuts' cartoons) or obliged to bend down into frame, engaging with the girl at eye level. Wandel could have repeated that same tactic in 'Adam's Sake,' but instead of portraying the action from the poor kid's point of view, she aligns herself with Lucy, employing a similarly dynamic observational style to that of her producer-mentor Luc Dardenne. Nimbly covering the action via a small handheld camera, cinematographer Frédéric Noirhomme shadows Lucy and the other characters via long unbroken takes, occasionally staring at the back of her protagonist's head (as Dardenne often did in 'Rosetta'). It's an audacious strategy — the way 'Birdman' and 'The Studio' deploy it, at least — though Wandel intends it not so much to impress as to immerse, and one that distinguishes 'Adam's Sake' from countless hospital-set procedurals. Wandel wants her audience to weigh the philosophical aspects of the situation, revealing the behind-the-scenes power struggles and split-second decisions that complicate Lucy and her superiors' ability to spare Adam. The stakes are enormous, as the medical staff makes clear, referring to Adam's situation as if his life depended on it. Meanwhile, Rebecca works at cross-purposes, smuggling in plastic containers of a runny porridge-like goop she insists on feeding Adam instead of the hospital food. Without proper sustenance, the boy risks additional fractures, which makes it especially difficult to watch the scene in which Rebecca throws out the prescribed meal while Lucy's back is turned. Parents in particular may have a tough time dealing with Rebecca's self-defeating behavior, which springs from a place of panic. Abandoned by Adam's father, she has raised the boy this far on her own, but her instincts are off. While it's not clear whether what's she's feeding him is vegan or some kind of religiously sanctioned alternative, Wandel has explicitly said that's beside the point. Her focus is on the various hierarchies at play in this hospital, where parents typically have authority — and which this mom has somehow lost to the legal system. Rebecca has cultivated a codependent dynamic with Adam whereby neither can stand to be apart from the other; she goes so far as to lock herself in the hospital bathroom with her son one moment, then all but kidnaps him the next. No wonder practically everyone on staff seems determined to restrain Rebecca and limit access to her son. Only Lucy seems to recognize that they need the mother's cooperation in order for Adam to pull through, and her heroism goes all but unrecognized as she bends the rules for his benefit. Lucy may have Adam's best interests in mind, but she finds herself at the bottom of a chain of command, in which Adam's doctor, the ward supervisor (Alex Descas) and eventually the law stand in her way. The movie can feel a bit melodramatic at times, especially when Adam finally speaks his truth — a chilling line it's hard to believe any child actually saying — and yet Wandel respects both the audience and her characters enough not to pass judgment. In the end, 'Adam's Sake' is not quite as effective a film as 'Playground,' but it most certainly confirms Wandel as a filmmaker to be reckoned with. Best of Variety The Best Albums of the Decade
Yahoo
14-05-2025
- Entertainment
- Yahoo
‘Adam's Sake' Review: Tense Belgian Hospital Drama Positions Director Laura Wandel as Dardenne Brothers' Heir
Who decides what's best for a child? In 'Adam's Sake,' a scrawny 4-year-old boy is admitted to the pediatric ward with a broken arm, which the doctors attribute to malnutrition. A social worker is called, and Adam's mother — who's hardly more than a child herself — is forbidden access to her son while hospital staff try to nurse him back to health. But Adam refuses to eat unless his mother is present, fighting against the feeding tubes the doctors have ordered. All that is backstory that we piece together on the trot during the opening minutes of Belgian director Laura Wandel's emotionally wrenching whirlwind, which is bolstered by a pair of terrific performances from Léa Drucker as Lucy, the pediatric department's head nurse, and 'Happening' star Anamaria Vartolomei as Adam's mom, Rebecca — to say nothing of soulful newcomer Jules Delsart, the remarkable young actor who plays Adam. More from Variety Brazil Comes Strong to Cannes to Bank on 'I'm Still Here' Oscar Momentum: 'A Defining Moment For Brazilian Production' Knowledgeable Producers and 'Unprecedented' Government Incentives Turn Brazil Into a Burgeoning Co-Production Power Kleber Mendonça Filho on Why 'The Secret Agent' Is His First 'Political' Film, Casting 'Classic Movie Star' Wagner Moura From the get-go, we see Lucy attempting to mediate between the impatient doctor (Laurent Capelluto), an inflexible social worker (Claire Bodson) and desperate Rebecca, who's been granted a narrow window of visitation on a probationary basis. The boy in turn clings to his mom's neck, plaintively asking any who will listen whether she might be permitted to stay the night. Over the course of a tight, intense 70-odd minutes, Wandel plunges audiences into the frantic hustle of this overtaxed hospital, observing through fresh eyes a world we know from countless TV dramas — much as she did the daunting turf of an elementary schoolyard in her stunning 2021 debut, 'Playground.' In that film, Wandel developed a formal approach perfectly suited to her milieu, adopting the perspective of her 7-year-old protagonist as the first grader tried to make sense of her intimidating new surroundings. Adults, when seen, were either cropped at the waist (à la the teacher in 'Peanuts' cartoons) or obliged to bend down into frame, engaging with the girl at eye level. Wandel could have repeated that same tactic in 'Adam's Sake,' but instead of portraying the action from the poor kid's point of view, she aligns herself with Lucy, employing a similarly dynamic observational style to that of her producer-mentor Luc Dardenne. Nimbly covering the action via a small handheld camera, cinematographer Frédéric Noirhomme shadows Lucy and the other characters via long unbroken takes, occasionally staring at the back of her protagonist's head (as Dardenne often did in 'Rosetta'). It's an audacious strategy — the way 'Birdman' and 'The Studio' deploy it, at least — though Wandel intends it not so much to impress as to immerse, and one that distinguishes 'Adam's Sake' from countless hospital-set procedurals. Wandel wants her audience to weigh the philosophical aspects of the situation, revealing the behind-the-scenes power struggles and split-second decisions that complicate Lucy and her superiors' ability to spare Adam. The stakes are enormous, as the medical staff makes clear, referring to Adam's situation as if his life depended on it. Meanwhile, Rebecca works at cross-purposes, smuggling in plastic containers of a runny porridge-like goop she insists on feeding Adam instead of the hospital food. Without proper sustenance, the boy risks additional fractures, which makes it especially difficult to watch the scene in which Rebecca throws out the prescribed meal while Lucy's back is turned. Parents in particular may have a tough time dealing with Rebecca's self-defeating behavior, which springs from a place of panic. Abandoned by Adam's father, she has raised the boy this far on her own, but her instincts are off. While it's not clear whether what's she's feeding him is vegan or some kind of religiously sanctioned alternative, Wandel has explicitly said that's beside the point. Her focus is on the various hierarchies at play in this hospital, where parents typically have authority — and which this mom has somehow lost to the legal system. Rebecca has cultivated a codependent dynamic with Adam whereby neither can stand to be apart from the other; she goes so far as to lock herself in the hospital bathroom with her son one moment, then all but kidnaps him the next. No wonder practically everyone on staff seems determined to restrain Rebecca and limit access to her son. Only Lucy seems to recognize that they need the mother's cooperation in order for Adam to pull through, and her heroism goes all but unrecognized as she bends the rules for his benefit. Lucy may have Adam's best interests in mind, but she finds herself at the bottom of a chain of command, in which Adam's doctor, the ward supervisor (Alex Descas) and eventually the law stand in her way. The movie can feel a bit melodramatic at times, especially when Adam finally speaks his truth — a chilling line it's hard to believe any child actually saying — and yet Wandel respects both the audience and her characters enough not to pass judgment. In the end, 'Adam's Sake' is not quite as effective a film as 'Playground,' but it most certainly confirms Wandel as a filmmaker to be reckoned with. Best of Variety The Best Albums of the Decade
New York Times
12-05-2025
- Entertainment
- New York Times
Anamaria Vartolomei Brings a Fearless Streak to Her Roles
Anamaria Vartolomei began her film career when she was 12 opposite Isabelle Huppert in a film about a controversial photographer and her daughter. And in the past few years, Vartolomei, now 26, has blazed through a slate so ambitious that it resembles one of Huppert's typically prolific runs — each film different from the last. The Romanian-born actress's recent rise began with a heartbreaking starring role in 'Happening' as a French university student in the 1960s who seeks an abortion. It won the Golden Lion for best film at the 2021 Venice Film Festival — where the director Bong Joon Ho was the head of the jury. Bong cast Vartolomei in the dystopian film 'Mickey 17' as a shrewd shipmate of Robert Pattinson's repeatedly replicated drone. By the time 'Mickey 17' came out earlier this year, she'd projected a mesmerizing mystique in the French blockbuster 'The Count of Monte Cristo.' Her fearless streak was also recently on display in 'Being Maria,' in which she plays the actress Maria Schneider, star of 'Last Tango in Paris,' and 'The Empire,' a loopy intergalactic yarn set in rural France. Her latest movie, 'Adam's Interest,' opens the Critics' Week showcase at the Cannes Film Festival, which runs through May 24. Vartolomei plays a mother who risks losing custody of her child after he is hospitalized. In a video interview — seated beneath a wall of pictures featuring 'Breakfast at Tiffany's,' 'Breathless' and 'Scarface' — she explained why the film's raw realism appealed to her and how it was achieved. The following conversation has been edited and condensed. In your career, you tend to choose characters who have limited power or autonomy. But they do what they can with what they have. Yeah, I love this. It speaks to me personally, and I think it speaks to everyone in a way. I mean, freedom belongs to us, but it's hard to admit that we have power over it. Sometimes we feel like we depend on others' perspectives regarding our freedom. You think about pleasing others, and you forget what you really want. I like characters that know they want something, but they don't really know how to obtain it. They finally find a way because if they find their truth, they will find peace. What drew you to 'Adam's Interest'? I loved the construction of the script, and I felt it was very raw and real. It was nice for me after doing 'Monte Cristo' and 'Mickey 17.' But I told my agent, I don't even know how I'm going to portray this woman because I don't have kids. I was sort of afraid of it, but I was very moved by her obsession. I asked myself during the whole shooting experience: I don't even know who is clinging to whom — the kid to his mom or the mom to her kid. The movie seems to fit into a French tradition of social dramas, like the Dardenne brothers. Do you have a particular appreciation for this genre? Yeah, I do like it, because cinema to me is the expression of life, and sometimes you can make it political just when you talk about reality. I like the Dardennes, but also [the Romanian filmmaker] Cristian Mungiu. I love these movies because you go back to your life, but the movie still lives with you after seeing it. 'Adam's Interest' is interesting for what it says about motherhood in society. Sometimes you may forget yourself because you give everything to your children. You have to heal yourself, too, in order to be a good mother. But you have to admit that you have the right to ask for help. I wanted to make her somebody that disappeared behind her child. Somebody who's the girl next door, the mother next door. The director, Laura Wandel, was good at getting inside the perspectives of children in 'Playground.' What was it like shooting 'Adam's Interest' with her? It's intense, the way you follow the character, and this tension grows during the movie. You discover things as the characters discover them. Each time she opens a door, a new movie could be created, because you never know what's behind it. It's almost like a documentary. I felt so moved in the theater, physically. I like this physical experience for the people who will see it. And it was a very nice and interesting collaboration, together with Léa [Drucker, who also stars]. We were this trio, hand in hand. Did you shoot in an actual hospital? It was a functional hospital. We had an area that was dedicated to shooting, but we could hear people from other sections. That was so helpful for building the characters, because you felt right inside the subject: It felt real. Actually, I received the script two weeks before starting shooting. I just wanted to be surprised by what happens, because this woman is so vulnerable that I also wanted to be [vulnerable] and step into an unknown world.
