Twitter Advertisement Advertisement LEAVE A REPLY Cancel replyLog in to leave a comment Advertisement TORONTO — The Toronto International Film Festival’s Wavelengths programme revealed today the lineup for its 19th edition, consisting of international shorts and features by established and emerging talents. With a total of 37 titles, this year’s selection is a testament to political fortitude and artistic experimentation, seen across a captivating mix of genres and perspectives.The selection comprises four programmes of experimental short films, two curated pairings, and 10 features, each contributing to a dynamic survey of some of today’s most exciting moving-image work. Wavelengths is curated and overseen by Andréa Picard, with contributions from members of TIFF’s international programming team — namely Brad Deane, Giovanna Fulvi, Dorota Lech, and Kiva Reardon — and programming associate Jesse Cumming.New profile and banner images courtesy Pedro Neves Marques’ THE BITE (A MORDIDA) and Mike Gibisser’s SLOW VOLUMES. pic.twitter.com/uX6PoC8WsP— WAVELENGTHS@TIFF (@WVLGTHS) August 13, 2019 Facebook Login/Register With: “As we approach the 20th anniversary of Wavelengths, one can discern an important shift in formal language and experimentation, and an even wider range of artistic expression, which reflects — in some cases seriously, and others surprisingly playfully — a refusal to be contained, confined, or even labelled,” said Picard. “As the world runs further amok, it is comforting and inspiring to see filmmakers and artists continue to make work that is personal, committed, generous, aesthetically alert, and rigorous. The films in this year’s programme perfectly exemplify the essential role art plays in resistance and resilience, but also in our capacity for imagination.”Wavelengths is pleased to host a number of alumni to present some of their most provocative and accomplished work to date, including Catalan artist-filmmaker Albert Serra with Liberté, his award-winning tale of 18th-century decadence and desire; Portuguese auteur Pedro Costa with Vitalina Varela, a continuation of his pathos-laden tales of life in Lisbon’s margins; Sergei Loznitsa with State Funeral, in which he repurposes footage shot in 1953, in the days following the death of Joseph Stalin, into a trenchant reflection on cults of personality; and Anocha Suwichakornpong and Ben Rivers, who return to TIFF with Krabi, 2562, a collaborative work on memory, landscape, and social awareness.Resistance and tenacity — both political and personal — are the theme of several Wavelengths selections, including two highlights from the burgeoning “Galician New Wave”: Oliver Laxe’s quietly monumental Fire Will Come, the follow-up to his Festival selection Mimosas (TIFF 2016), and Eloy Enciso’s Endless Night, set in the aftermath of the Spanish Civil War, with its script drawn from letters and other texts of the era. A different strength is exhibited in Hassen Ferhani’s understated documentary 143 Sahara Street, which presents the world in a microcosm as seen through a portrait of octogenarian Malika, who lives and works alone in her roadside diner in the Sahara Desert.Wavelengths 2019 also welcomes many newcomers to the programme, with a number of works that reflect on the state of contemporary geopolitics through a mix of styles that range from non-fiction to the speculative. Highlights from contemporary Brazil include The Fever by director Maya Da-Rin, an Indigenous-led tale of a father who must navigate his daughter’s imminent departure for medical school; Affonso Uchôa’s forceful yet elegant documentary experiment Seven Years in May (which screens with Gabino Rodríguez and Nicolás Pereda’s previously announced My Skin, Luminous); and the short film The Biteby artist Pedro Neves Marques, a science fiction–tinged story about a queer love triangle struggling to survive an encroaching mosquito epidemic in the rainforest.This year’s shorts programmes feature formally impressive and surprising work by a number of leading international talents, including World Premieres by Zachary Epcar, Luke Fowler, Gastón Solnicki, Mike Gibisser, and Tomonari Nishikawa, as well as the North American Premieres of Turner Prize–winning artist Charlotte Prodger’s entry in this year’s Venice Biennale, SaF05, and Marwa Arsanios’s Who’s Afraid of Ideology? Part 2,which premiered at the Sharjah Biennial. As ever, the programme is rounded out by a number of restorations and rediscoveries, including Edward Owens’s Remembrance: A Portrait Study (1967), a touching and playful tribute to the artist’s mother, and 2minutes40seconds (1975), an experimental documentary by Korean filmmaker Han Ok-hee, founding member of the feminist film collective Kaidu Club.The 44th Toronto International Film Festival runs September 5–15, 2019.Wavelengths’ complete 2019 lineup is as follows:SHORT FILM PROGRAMMESWavelengths 1: WLS19Austrian Pavilion Philipp Fleischmann | Austria | World PremiereSaF05 Charlotte Prodger | United Kingdom | North American PremiereSlow Volumes Mike Gibisser | USA | World PremiereThe Bite (A Mordida) Pedro Neves Marques | Portugal/Brazil | World PremiereWavelengths 2: Sun Rave2008 Blake Williams | Canada | World PremiereAmusement Ride Tomonari Nishikawa | Japan | World PremiereBlack Sun (Sol Negro) Maureen Fazendeiro | Portugal/France | International PremiereA Topography of Memory Burak Çevik | Turkey/Canada | North American PremiereSun Rave (Lafhat Shams) Roy Samaha | Lebanon | North American Premiere(tourism studies) Joshua Gen Solondz | USA | Canadian PremiereWavelengths 3: Look Around2minutes40seconds Han Ok-hee | South Korea | International PremiereHrvoji, Look at You From the Tower Ryan Ferko | Canada/Serbia/Croatia/Slovenia | World PremiereCircumplector Gastón Solnicki | Argentina | World PremiereCézanne Luke Fowler | United Kingdom/France | World PremiereSecond Generation Miryam Charles | Canada | North American PremiereTranscript (Lín Mó) Erica Sheu | USA/Taiwan | Canadian PremiereWho’s Afraid of Ideology? Part 2 Marwa Arsanios | Lebanon/Kurdistan/Syria | North American PremiereWavelengths 4: Lives of PerformersBilly Zachary Epcar | USA | World PremiereRemembrance: A Portrait Study Edward Owens | USA | Festival PremiereVever (for Barbara) Deborah Stratman | Guatemala/USA | Canadian PremiereBook of Hours Annie MacDonell | Canada | World PremiereWe Still Have to Close Our Eyes John Torres | Philippines | North American PremiereThis Action Lies (Cest Action Gist) James N. Kienitz Wilkins | USA/Switzerland | North American PremierePAIRINGSThose That, at a Distance, Resemble Another Jessica Sarah Rinland | United Kingdom/Argentina/SpainNorth American Premierepreceded byHeavy Metal Detox Josef Dabernig | AustriaWorld PremiereSeven Years in May (Sete Anos em Maio) Affonso Uchôa | Brazil/ArgentinaNorth American PremiereandMy Skin, Luminous (Mi Piel, Luminosa) Gabino Rodríguez, Nicolás Pereda | Mexico/CanadaNorth American PremiereFEATURES143 Sahara Street (143 rue du désert) Hassen Ferhani | AlgeriaNorth American PremiereEndless Night (Longa noite) Eloy Enciso | SpainNorth American PremiereThe Fever (A Febre) Maya Da-Rin | Brazil/France/GermanyNorth American PremiereFire Will Come (O que arde) Oliver Laxe | Spain/France/LuxembourgNorth American PremiereHeimat is a Space in Time (Heimat ist ein Raum aus Zeit) Thomas Heise | Germany/AustriaNorth American PremiereKrabi, 2562 Anocha Suwichakornpong, Ben Rivers | Thailand/United KingdomNorth American PremiereLiberté Albert Serra | France/Spain/Portugal/GermanyNorth American PremiereState Funeral Sergei Loznitsa | Netherlands/LithuaniaNorth American PremiereUn Film Dramatique Éric Baudelaire | FranceNorth American PremiereVitalina Varela Pedro Costa | PortugalNorth American PremiereFor film synopses, cast lists, images, and more information, see tiff.net/wavelengthsFestival tickets go on sale September 2 at 10am (TIFF Member pre-sale August 31, 10am–4pm). Buy tickets online at tiff.net, by phone at 416.599.2033 or 1.888.258.8433, or in person at a box office. See box office locations and hours at tiff.net/tickets.TIFF prefers Visa.Social Media:@TIFF_NET#TIFF19Facebook.com/TIFFAbout TIFFTIFF is a not-for-profit cultural organization whose mission is to transform the way people see the world through film. An international leader in film culture, TIFF projects include the annual Toronto International Film Festival in September; TIFF Bell Lightbox, which features five cinemas, major exhibitions, and learning and entertainment facilities; and innovative national distribution program Film Circuit. The organization generates an annual economic impact of $189 million CAD. TIFF Bell Lightbox is generously supported by contributors including Founding Sponsor Bell, the Province of Ontario, the Government of Canada, the City of Toronto, the Reitman family (Ivan Reitman, Agi Mandel and Susan Michaels), The Daniels Corporation and RBC. For more information, visit tiff.net.The Toronto International Film Festival is generously supported by Lead Sponsor Bell, Major Sponsors RBC, L’Oréal Paris and Visa, and Major Supporters the Government of Ontario, Telefilm Canada, and the City of Toronto.
The 2019 Ford F-150 gets more power with its luxurious Limited trim Even more ‘Murica: 2019 Ford F-150 Raptor 4:08 2019 Ford F-150 review: Popular pickup keeps on truckin’ 6 7 Photos Now playing: Watch this: 2019 Ford Raptor review: The off-road truck that does it all More From Roadshow Comments Share your voice Ford 2020 BMW M340i review: A dash of M makes everything better Enlarge ImageUntil now, you could only get Ford’s six-cylinder Powerstroke on the F-150’s more luxe trims. Emme Hall/Roadshow When Ford announced that it was going to put a brand-new diesel engine in its F-150 line in its F-150 line, we were excited, as probably were most of you. We got less excited when we found out that this torque-monster of an engine, ideal for doing real work, would only be available in the top Lariat, King Ranch and Platinum trim models.Ford, however, didn’t get to be one of the biggest car companies on Earth by being a bunch of dummies, so it decided to take customer criticism to heart and announced on Thursday that it would add the PowerStroke diesel to the list of available engines on the best-selling XLT trim F-150.”Customers and dealers told us they wanted the diesel on XLT, so we decided to expand the offering,” Dawn McKenzie, truck communications manager for Ford, told Roadshow. “Now, the 3.0-liter Power Stroke diesel will be available on 75% of our offerings, including XLT, which is our most popular series.”What does that mean from a real-dollars standpoint? Well, the base XLT starts at $34,160 while the Lariat trim, before options, goes for $41,700. The King Ranch goes for over $52,000. So it’s a massive reduction in price for someone to get into an F-150 diesel. If you want one, order books are open now. Trucks Diesel Cars Ford Tags
This story originally appeared on PCMag February 21, 2019 Nike’s new basketball smart shoes are apparently bricking due to a faulty firmware update.Android users who bought the Nike Adapt BB are taking to the Google Play Store to complain. “Right shoe won’t connect after update and battery dies within a couple of hours,” reads one review for the Nike Adapt app, which connects to the shoe.”Broke my $350 shoes with a Nike update,” reads another review.It isn’t clear how widespread the problem is for Android users; currently, Google Play shows 18 largely poor reviews for the app, all related to the update issues. But those appeared right after the shoes launched over the weekend.Nike didn’t immediately respond to a request for comment. However, the firmware update problems don’t appear to affect the iOS version of the Nike Adapt app, which has mostly positive reviews.The Nike Adapt BBs have generated hype for the footwear’s self-lacing system. Each sneaker can sense your foot’s measurements and automatically tighten around it as you play a game of basketball for a perfect fit. To do that, this so-called “power lacing” system needs the Nike Adapt app and battery power. Nike plans to issue routine firmware updates to support its cutting-edge basketball shoes, though the updates are intended to be opt-in, Nike said last month.Despite the faulty update, owners can still wear the Nike Adapt BBs without the app, but they’ll just be regular sneakers. To fix the problem, users are reporting you can try initiating a factory reset. One owner managed to resolve the issues by activating the shoes using his wife’s iPhone. This hands-on workshop will give you the tools to authentically connect with an increasingly skeptical online audience. Free Workshop | August 28: Get Better Engagement and Build Trust With Customers Now 2 min read Enroll Now for Free
Facebook has announced the open-source release of Sonar, their cross-platform debugging tool. Sonar is designed to aid developers, framework experts and engineers collaborate on the app development process. Sonar is built on Facebook’s Stetho, an Android debugging bridge built on Chrome’s developer tools. Sonar further adds more extensible features to Stetho such as plugins to help engineers develop new features, investigate bugs and optimize apps. Sonar is a cross-platform debugging tool. Hence developers can connect their mobile devices ( Android and iOS or an emulator) to a desktop client for inspection. Sonar works as a guide and interpreter to a running app providing developers with stats on what an app is doing to better understand bugs and system capabilities. Sonar is now available for the developer community at large, not just Facebook engineers, as an open-source software project via GitHub. As Sonar was designed with extensibility in focus, it made use of a lot of external plugins. With the open sourcing of Sonar, these plugins are also being open-sourced. Some of these include: Logs, a plugin that shows device logs without the need for additional setup. Layout Inspector, a debugging platform that provides deep dives into user interface hierarchies and supports Litho and ComponentKit components. Network, a plugin that enables the inspection of network packets as they pass into and out of the app in question. Sonar architecture Sonar’s architecture has two parts, a desktop client, and a mobile SDK. The desktop client is built on top of Electron, and Facebook’s projects such as React.js, Flow, Metro, RSocket, and Yarn. The mobile SDK is installed within the Android or iOS application and interacts with the desktop client. The mobile SDK makes use of Facebook open source projects such as Folly and RSocket. Plugins are available for both Desktop client and Mobile SDK. Desktop client plugins render the UI and a mobile SDK plugin exposes the data. A React component extends the desktop plugin class. This React component is in charge of communicating with the mobile SDK plugin and rendering any data it delivers. The mobile SDK plugin is developed in the language native to the platform on which it will run ( Swift/Objective-C on iOS or Java/ Kotlin on Android). It registers a set of handlers and defines responses for them. Source: Facebook Blog Emil Sjölander, Facebook software engineer hopes that “open-sourcing Sonar and the accompanying plugins will provide a useful tool for other engineers working on mobile applications.” He says that “As we’ve already seen Sonar prove useful internally at Facebook, we think Sonar’s APIs will help other engineers build great new experiences to improve their workflows.” You can read about the full release coverage on Facebook code blog. Read Next Jest 23, Facebook’s popular framework for testing React applications is now releasedFacebook’s F8 Conference – 5 key announcementsTesting Single Page Applications (SPAs) using Vue.js developer tools
Yesterday, the Deliveroo engineering team shared their experience about how they migrated their Tier 1 service from Ruby to Rust without breaking production. Deliveroo is an online food delivery company based in the United Kingdom. Why Deliveroo decided to part ways from Ruby for the Dispatcher service? The Logistics team at Deliveroo uses a service called Dispatcher. This service optimally offers an order to the rider, and it does this with the help of a timeline for each rider. This timeline helps in predicting where riders will be at a certain point of time. Knowing this information allows to efficiently suggest a rider for an order. Building these timelines requires a lot of computation. Though these computations are quick, they are a lot in number. The Dispatcher service was first written in Ruby as it was the company’s preferred language in the beginning. Earlier, it was performing fine because the business was not as big it is now. With time, when Deliveroo started growing, the number of orders increased. This is why the Dispatch service started taking much longer than before. Why they chose Rust as the replacement for Ruby? Instead of writing the whole thing in Rust, the team decided to identify the bottlenecks that were slowing down the Dispatcher service and rewrite them in a different programming language (Rust). They concluded that it would be easier if they built some sort of native extension written in Rust and make it work with the current code written in Ruby. The team chose Rust because it provides high performance than C and is memory safe. Rust also allowed them to build dynamic libraries, which can be later loaded into Ruby. Additionally, some of their team members also had experience with Rust and one part of the Dispatcher was already in Rust. How they migrated from Ruby to Rust? There are two options using which you can call Rust from Ruby. One, by writing a dynamic library in Rust with extern “C” interface and calling it using FFI. Second, writing a dynamic library, but using the Ruby API to register methods, so that you can call them from Ruby directly, just like any other Ruby code. The Deliveroo team chose the second approach of using Ruby API, as there are many libraries available to make it easier for them, for instance, ruru, rutie, and Helix. The team decided to use Rutie, which is a recent fork of Ruru and is under active development. The team planned to gradually replace all parts of the Ruby Dispatcher with Rust. They began the migration by replacing with Rust classes which did not have any dependencies on other parts of the Dispatcher and adding feature flags. As the API of both Ruby and Rust classes implementation were quite similar, they were able to use the same tests. With the help of Rust, the overall dispatch time was reduced significantly. For instance, in one of their larger zones, it dropped from ~4 sec to 0.8 sec. Out of these 0.8 seconds, the Rust part only consumed 0.2 seconds. Read the post shared by Andrii Dmytrenko, a Software Engineer at Deliveroo, for more details. Read Next Introducing RustPython, a Python 3 interpreter written in Rust Rust 1.32 released with a print debugger and other changes How has Rust and WebAssembly evolved in 2018