Latest news with #migrantes
Fox News
6 days ago
- General
- Fox News
Seven migrants drown as boat capsizes at Spain's Canary Islands dock
Spanish emergency services say four women and three girls died when a small boat carrying migrants capsized while arriving to port at one of Spain's Canary Islands on Wednesday. Spain's maritime rescue service, which located the boat some 6 miles (9.6 kilometers) from the shore, said the boat tipped over as rescuers started removing minors as it arrived at a dock on the island of El Hierro. The movement of people on the boat caused it to tip and then turn over, dumping the occupants into the water, the service said. Emergency services for the Canary Islands said four women, a teenage girl and two younger girls perished in the accident. One of the girls was found by a rescue diver. A helicopter evacuated two more children, a girl and a boy, to a local hospital in serious condition after they nearly drowned, the service added. Local media reports said the small boat appeared to be packed with over 100 people. Spanish rescuers and members of the Red Cross pulled people out of the water. The Spanish archipelago located off Africa's western coast has for years been a main route for migrants who risk their lives in dinghies and rubber boats unfit for long journeys in the open sea. Thousands have been known to die on the way to European territory. Nearly 47,000 people who made the crossing last year reached the archipelago, surpassing previous records for a second time. Most were citizens of Mali, Senegal and Morocco, with many boarding boats to Spain from the coast of Mauritania. The arrivals include thousands of unaccompanied minors. Some 10,800 people had arrived via the Atlantic to the Canary Islands by mid-May, which was down by 34% compared to the same period in 2024.
CNN
7 days ago
- General
- CNN
7 women and girls die when boat capsizes while arriving at port in Canary Islands
Spanish emergency services say four women and three girls died when a small boat carrying migrants capsized while arriving in a port at one of Spain's Canary Islands on Wednesday. Spain's maritime rescue service, which located the boat some 6 miles (9.6 kilometers) from shore, said the boat tipped over as rescuers started removing minors as it arrived at a dock on the island of El Hierro. The movement of people on the boat caused it to tip and then turn over, dumping the occupants into the water, the service said. Emergency services for the Canary Islands said four women, a teenage girl and two younger girls perished in the accident. One of the girls was found by a rescue diver. A helicopter evacuated two more children, a girl and a boy, to a local hospital in serious condition after they nearly drowned, the service added. Local media reports said the small boat appeared to be packed with over 100 people. Spanish rescuers and members of the Red Cross pulled people out of the water. The Spanish archipelago located off Africa's western coast has for years been a main route for migrants who risk their lives in dinghies and rubber boats unfit for long journeys in the open sea. Thousands have been known to die on the way to European territory. Nearly 47,000 people who made the crossing last year reached the archipelago, surpassing previous records for a second time. Most were citizens of Mali, Senegal and Morocco, with many boarding boats to Spain from the coast of Mauritania. The arrivals include thousands of unaccompanied minors. Some 10,800 people had arrived via the Atlantic to the Canary Islands by mid-May, which was down by 34% compared to the same period in 2024.
CNN
7 days ago
- Health
- CNN
7 women and girls die when boat capsizes while arriving at port in Canary Islands
Spanish emergency services say four women and three girls died when a small boat carrying migrants capsized while arriving in a port at one of Spain's Canary Islands on Wednesday. Spain's maritime rescue service, which located the boat some 6 miles (9.6 kilometers) from shore, said the boat tipped over as rescuers started removing minors as it arrived at a dock on the island of El Hierro. The movement of people on the boat caused it to tip and then turn over, dumping the occupants into the water, the service said. Emergency services for the Canary Islands said four women, a teenage girl and two younger girls perished in the accident. One of the girls was found by a rescue diver. A helicopter evacuated two more children, a girl and a boy, to a local hospital in serious condition after they nearly drowned, the service added. Local media reports said the small boat appeared to be packed with over 100 people. Spanish rescuers and members of the Red Cross pulled people out of the water. The Spanish archipelago located off Africa's western coast has for years been a main route for migrants who risk their lives in dinghies and rubber boats unfit for long journeys in the open sea. Thousands have been known to die on the way to European territory. Nearly 47,000 people who made the crossing last year reached the archipelago, surpassing previous records for a second time. Most were citizens of Mali, Senegal and Morocco, with many boarding boats to Spain from the coast of Mauritania. The arrivals include thousands of unaccompanied minors. Some 10,800 people had arrived via the Atlantic to the Canary Islands by mid-May, which was down by 34% compared to the same period in 2024.
ABC News
18-05-2025
- Entertainment
- ABC News
La Cocina shows the chaotic lives of undocumented migrants working in the underbelly of US commercial kitchens
Translating from Spanish to mean 'the kitchen', the title of Mexican writer-director Alonso Ruizpalacios's latest work reflects its central preoccupation: undocumented Hispanic migrants who seek to better their lives in the underbelly of American commercial kitchens. What: 24 hours inside the pressure cooker that is a commercial kitchen staffed mostly by undocumented migrants. Directed by: Alonso Ruizpalacios Starring: Raúl Briones, Rooney Mara, Anna Díaz, Motell Foster Where: In cinemas now Likely to make you feel: Struck by its interludes of beauty, but mostly stressed Times Square tourist trap The Grill is the site of our focus, and we follow Estela Ramos (Anna Díaz) as she haphazardly navigates the subway system and American employment practices armed with a smattering of English and the name of someone who'll purportedly be able to get her a job: a fellow Mexican chef by the name of Pedro (the heart of the film, played by a mercurial Raúl Briones). But something is up at The Grill. More than $800 went missing from the cash register the night before, and management is in a frenzy. Certain it was one of their precariously employed staff, management takes to interrogating each and every one of them. Meanwhile, Pedro's American waiter girlfriend, Julia (a striking Rooney Mara), is pregnant with his child and at odds with what she wants to do about it. Severely homesick and hopeful that this child is the best thing that may happen to him, Pedro gives Julia money while beseeching her to not get an abortion. All the while, orders keep spitting out of a receipt printer — evoking The Bear (I'm sorry, it had to be mentioned sooner or later). Dishes get forgotten, food is perilously dropped, equipment malfunctions (resulting in one of the more surreal scenes of the film), food burns, tempers are lost. It's impossible to write about La Cocina — shot entirely in black-and-white except for a few key moments — without referencing Juan Pablo Ramírez's stunning camera work and exquisite framing of the film's subjects. Reflecting Estela's discombobulation in the film's first few scenes, the slow-motion shots are juddering and gauzy, culminating in a feeling of being sick and adrift. Once she finds The Grill, the camera stills, favouring rapid to-and-fros between various people — heightening the urgency. There are close-ups of a sandwich being assembled with the utmost care (unlike the miscellaneous dishes on the restaurant menu), of people chewing, of a viscous substance dripping off meat. Food is rendered into something almost abject — reduced to the basest, most primal desires of the people consuming it. This is perhaps reflective of the hospitality industry, where questionable ethics underpin aspirational dining experiences entirely divorced from the people who produce them. Slicing through the scenes are Tomás Barreiro's majestic score and Javier Umpierrez's dramatic sound design. Every noise, thud and reverberation — water gurgling from a soft drink dispenser, meat cleaved into thick slivers, the din of playful cusses — is magnified to exacerbate the claustrophobia of being in a small kitchen. Often, this reflects the inner chaos of the characters — a soothing chant is disrupted by discordant instruments as Pedro descends into a state of crisis. Swathes of the film are cloaked in silence as characters monologue or in moments of extreme tension. A hierarchy of sorts becomes evident in The Grill, where undocumented migrants from places like Mexico, Colombia, the Dominican Republic and Morocco butt up against an American underclass. Spanish is the lingua franca of the kitchen, while English is spoken in the restaurant's public façade. The restaurant's manager is a second-generation migrant, himself the son of undocumented migrants. In the kitchen, men occupy a position of supremacy over the women; female waiters are sexualised and Pedro's rapscallion quality gives way to coercive streaks of cruelty and violence when he's under pressure. This dynamic is complicated through Pedro and Julia's relationship. Julia is a white American citizen, but her womanhood imperils her. Pedro has no legal rights in America and speaks in a tongue foreign to him; in a memorable scene, he tells Julia: "I have to cry in English because you will not come to me. I have to come to you always." Yet he also exemplifies the dominance of the patriarchy. Legal papers are dangled over Pedro like a carrot, but he will never obtain them. The entire kitchen crew are in varying positions of stasis, doomed to repeat the same movements day after day without any hope of escape or ascendancy. The American Dream is such; an enduring hope that powers the economy while fatally depleting those who dare believe in it. The arrested scope of La Cocina and the highly stylised and choreographed formations of actors as they cook, dish and serve is reminiscent of a play, so it's not surprising that this film is loosely based on Arnold Wesker's 1957 British play 'The Kitchen'. But the medium of film is employed adroitly to capture that which theatre cannot. The phone through which Pedro calls his family in Mexico becomes a portal through which he can see and hear his home. The most transcendent scene of the film occurs when Pedro and Julia lock eyes through a lobster tank to the baleful tune of Lee Hazlewood's 'Your Sweet Love'. Pedro is a "f***ing time bomb" in one character's words, and the same could be said of La Cocina. The escalating pressure needs a release valve, and we see the film reach its fateful end in a single-take, 10-minute final sequence. It's breathtakingly gripping, simultaneously horrible and cathartic. La Cocina is in cinemas now.
