Sena flays BJP’s ‘double standard’ on citizenship to Adnan Sami

Los Angeles, May 2: Pop diva Madonna has revealed that she has tested positive for the COVID-19 anitbodies.

The singer shared the news in the 14th edition of her “Quarantine Diary” on Instagram TV.

“Took a test the other day and I found out that I have the antibodies. So tomorrow I’m just going to go for a long drive in the car, and I’m gonna roll down the window and I’m gonna breathe in the COVID-19 air. Yup. I hope the sun is shining,” Madonna said.

According to Centers for Disease Control and Prevention (CDC), US, antibody tests are used to determine whether or not a person has been exposed to COVID-19 by finding proteins the body produces to fight the virus.

However, the CDC has yet to confirm if the possession of antibodies is equal to immunity.

Feb 10: Bong Joon-ho’s film “Parasite” starts in a dingy, half-basement apartment with a family of four barely able to scratch out a life. There must be no place to go but up, right? Yes and no. There’s nothing predictable when the South Korean director is on his game.

This dark, socially conscious film about the intertwining of two families is an intricately plotted, adult thriller. We can go up, for sure, but Bong can also take us deeper down. There’s always an extra floor somewhere in this masterpiece.

It tells the story of the impoverished four-person Kim family who, one by one, and with careful and devious planning, all get employed by the four-person affluent Park family — as a tutor, an art teacher, a driver and a housekeeper. They are imposters stunned by the way wealth can make things easier: “Money is an iron. It smooths out all the creases,” says the Park patriarch with wonder.

Bong, who directed and wrote the story for “Parasite,” has picked his title carefully, of course. Naturally, he’s alluding to the sycophantic relationship by a clan of scammers to the clueless rich who have unwittingly opened the doors of their home on a hill. But it’s not that simple. The rich family seem incapable of doing anything — from dishes to sex — without help. Who’s scamming who?

Bong’s previous films play with film genres and never hide their social commentary — think of the environmentalist pig-caper “Okja” and the dystopian sci-fi global warming scream “Snowpiercer.” But this time, Bong’s canvas is a thousand times smaller and his focus light-years more intense. There are no CGI train chases on mountains or car chases through cities. (There is also, thankfully, 100% less Tilda Swinton, a frequent, over-the-top Bong collaborator.

The two Korean families first make contact when a friend of the Kim’s son asks him to take over English lessons for the Park daughter. Soon the son (a dreamy Choi Woo-sik) convinces them to hire his sister (the excellent Park So-dam) as an art teacher, but doesn’t reveal it’s his sis. She forges her diploma and spews arty nonsense she learned on the internet, impressing the polite but firm Park matriarch (a superb Jo Yeo-jeong.)

The Park’s regular chauffer is soon let go and replaced by the Kim patriarch (a steely Lee Sun-kyun). Ditto the housemaid, who is dumped in favor of the Kims’ mother (a feisty Jang Hye-jin.) All eight people seem happy with the new arrangement until Bong reveals a twist: There are more parasites than you imagined. The clean, impeccably furnished Park home will have some blood splashing about.

Bong’s trademark slapstick is still here but the rough edges of his often too-loud lessons are shaved down nicely and his actors step forward. “Keep it focused,” the Kim’s son counsels his father at one point. Bong has followed that advice.

There are typically dazzling Bong touches throughout. Just look for all the insect references — stink bugs at the beginning to flies at the end, and a preoccupation with odor across the frames. And there’s a scene in which the rich matriarch skillfully winds noodles in a bowl while, in another room, duct tape is being wrapped around a victim and classical music plays.

Bong could have been more strident in his social critique but hasn’t. There are no villains in “Parasite” — and also no heroes. Both families are forever broken after chafing against each other, a bleak message about the classes ever really co-existing (Take that, “Downton Abbey”).

“Parasite” is a worthy winner of the Palme d’Or at the Cannes Film Festival, the first South Korean movie to win the prestigious top prize. The director has called it an “unstoppably fierce tragicomedy.” We just call it brilliant.

Hollywood star Joaquin Phoenix finally ended his dry run at the Oscars as he picked up the best actor trophy for his performance in and as "Joker" at the 92nd Academy Awards.

The 45-year-old actor had earlier bagged a BAFTA, a Golden Globe and a Screen Actors Guild Award for his turn as a failed, unhinged stand-up comedian who descends into chaos.

In a lengthy and rambling speech, Phoenix touched upon racism, climate change and gender inequality. He also remembered his brother River Phoenix, who died of a drug overdose at the age of 23 in 1993.

"When he was 17, my brother wrote this lyric. He said, 'run to the rescue with love and peace will follow'," Phoenix said. At the Academy Awards and the entire Hollywood award season, Phoenix had emerged as an undisputed frontrunner even though he was up against the likes of Leonardo DiCaprio ("Once Upon a Time in Hollywood"), Adam Driver ("Marriage Story"), "Antonio Banderas ("Pain & Glory") and Jonathan Pryce ("The Two Popes").

An Oscar had eluded Phoenix for the most part of his career, despite his successful collaborations with Ridley Scott ("Gladiator"), James Mangold ("Walk The Line") and Paul Thomas Anderson ("The Master"), all of which had earned him nominations.

But as Arthur Fleck aka The Joker, Phoenix finally managed to break that jinx and became the second actor to win an Oscar for playing the DC comic book villain after the posthumous best supporting actor win to Heath Ledger in 2008.

As Joker, Phoenix took a deep dive into character, capturing its essence as well as maniacal spirit in both body and soul.

He lost 52 pounds to get into the physicality of Fleck and turned to a pathological disorder to get his distinct laughter right.

Phillips wrote the part keeping Phoenix in mind though the actor took some convincing to play the role.

Phoenix started the film's festival circuit tour on a positive note at Cannes last year that followed by stops at Venice and Toronto.

The film had also courted controversies, owing to its theme of gun violence in the movie as well as Phoenix's temperamental press tour that saw him walking out of an interview midway.

But critics and the fans loved the actor's riveting turn in the movie and his pointed speeches.

At the Golden Globes, he called out the industry for its insensitivity towards climate change and pulled up his peers for using private jets for travel, while at the SAGs, he joked how he would always lose a role to DiCaprio and asked Christian Bale to deliver a bad performance for once in his career.

In his acceptance speech at the BAFTAs, Phoenix acknowledged the lack of diversity in the nominations, calling himself a part of the problem. Phoenix's career most praised performances include "Signs ", "We Own the Night", "Two Lovers", "The Immigrant", "Her", "You Were Never Really Here" and "Inherent Vice".