Review: ‘The Eternaut' — compelling post-apocalyptic sci-fi from Argentina
The snow continues to fall as survivors quickly work out that to venture outside without full body cover and masks is to guarantee death. A small group of middle-aged friends were enjoying their regular poker night when the snow began to fall, and it is on them that the series centers — particularly Juan Salvo, a veteran of the war between Argentina and the UK over the Falkland Islands (or the Malvinas, as they're called in Argentina).
There are many other survivors, including people in the neighborhood they've known for years, and the show does a fine job of exploring the escalating paranoia as people accustom themselves to their new reality and realize that their acquaintances are potentially as deadly as the snow. There are echoes of the source material's political edge too, as the line between neighbor and enemy blurs.
Juan (a convincingly grizzled Ricardo Darin) manages to find his ex-wife, but their daughter, Clara, is missing — she was at a friend's house when the snowstorm started. Much of the first two episodes is taken up with Juan's unsuccessful search for her. The starkly beautiful cinematography is often breathtaking, and the claustrophobia is palpable, both in the houses of the survivors and in the suits they must wear to go anywhere.
Halfway through the six episodes, though, there's a grinding shift of gears. The apocalypse, it tuns out, was actually the result of an alien invasion, the first wave of which involves giant bugs. Juan's super-smart friend Tano correctly predicts that the bugs are controlled by something more sinister.
That sudden shift means the enjoyable slow-burn grittiness of the opening episodes is lost, as the show becomes more CGI-action-based. It's still gripping, but what had promised to be a unique standout fades into something far more generic.
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Asharq Al-Awsat
26-06-2025
- Asharq Al-Awsat
Lalo Schifrin, Composer of the ‘Mission: Impossible' Theme, Dies at 93
Lalo Schifrin, the composer who wrote the endlessly catchy theme for 'Mission: Impossible' and more than 100 other arrangements for film and television, died Thursday. He was 93. Schifrin's sons William and Ryan confirmed his death to trade outlets. The Associated Press' messages to Schifrin's publicist and representatives for either brother were not immediately returned. The Argentine won four Grammys and was nominated for six Oscars, including five for original score for 'Cool Hand Luke,' 'The Fox,' 'Voyage of the Damned,' 'The Amityville Horror' and 'The Sting II.' 'Every movie has its own personality. There are no rules to write music for movies,' Schifrin told The Associated Press in 2018. 'The movie dictates what the music will be.' He also wrote the grand finale musical performance for the World Cup championship in Italy in 1990, in which the Three Tenors — Plácido Domingo, Luciano Pavarotti and José Carreras — sang together for the first time. The work became one of the biggest sellers in the history of classical music. 'The most contagious tune ever heard' Schifrin, also a jazz pianist and classical conductor, had a remarkable career in music that included working with Dizzy Gillespie and recording with Count Basie and Sarah Vaughan. But perhaps his biggest contribution was the instantly recognizable score to television's 'Mission: Impossible,' which fueled the just-wrapped, decades-spanning feature film franchise led by Tom Cruise. Written in the unusual 5/4 time signature, the theme — Dum-dum DUM DUM dum-dum DUM DUM — was married to an on-screen self-destruct clock that kicked off the TV show, which ran from 1966 to 1973. It was described as 'only the most contagious tune ever heard by mortal ears' by New Yorker film critic Anthony Lane and even hit No. 41 on the Billboard Hot 100 in 1968. Schifrin originally wrote a different piece of music for the theme song, but series creator Bruce Geller liked another arrangement Schifrin had composed for an action sequence. 'The producer called me and told me, 'You're going to have to write something exciting, almost like a logo, something that will be a signature, and it's going to start with a fuse,'' Schifrin told the AP in 2006. 'So I did it and there was nothing on the screen. And maybe the fact that I was so free and I had no images to catch, maybe that's why this thing has become so successful because I wrote something that came from inside me.' When director Brian De Palma was asked to take the series to the silver screen, he wanted to bring the theme along with him, leading to a creative conflict with composer John Williams, who wanted to work with a new theme of his own. Out went Williams and in came Danny Elfman, who agreed to retain Schifrin's music. Hans Zimmer took over scoring for the second film, and Michael Giacchino scored the next two. Giacchino told NPR he was hesitant to take it on, because Schifrin's music was one of his favorite themes of all time. 'I remember calling Lalo and asking if we could meet for lunch,' Giacchino told NPR. 'And I was very nervous — I felt like someone asking a father if I could marry their daughter or something. And he said, 'Just have fun with it.' And I did.' 'Mission: Impossible' won Grammys for best instrumental theme and best original score from a motion picture or a TV show. In 2017, the theme was entered into the Grammy Hall of Fame. U2 members Adam Clayton and Larry Mullen Jr. covered the theme while making the soundtrack to 1996's first installment; that version peaked at No. 16 on the Billboard 200 with a Grammy nomination. A 2010 commercial for Lipton tea depicted a young Schifrin composing the theme at his piano while gaining inspiration through sips of the brand's Lipton Yellow Label. Musicians dropped from the sky as he added elements. Early life filled with music Born Boris Claudio Schifrin to a Jewish family in Buenos Aires, where his father was the concertmaster of the philharmonic orchestra, Schifrin was classically trained in music, in addition to studying law. After studying at the Paris Conservatory, where he learned about harmony and composition from the legendary Olivier Messiaen, Schifrin returned to Argentina and formed a concert band. Gillespie heard Schifrin perform and asked him to become his pianist, arranger and composer. In 1958, Schifrin moved to the United States, playing in Gillespie's quintet in 1960-62 and composing the acclaimed 'Gillespiana.' The long list of luminaries he performed and recorded with includes Ella Fitzgerald, Stan Getz, Dee Dee Bridgewater and George Benson. He also worked with such classical stars as Zubin Mehta, Mstislav Rostropovich, Daniel Barenboim and others. Schifrin moved easily between genres, winning a Grammy for 1965's 'Jazz Suite on the Mass Texts' while also earning a nod that same year for the score of TV's 'The Man From U.N.C.L.E.' In 2018, he was given an honorary Oscar statuette and, in 2017, the Latin Recording Academy bestowed on him one of its special trustee awards. Later film scores included 'Tango,' 'Rush Hour' and its two sequels, 'Bringing Down The House,' 'The Bridge of San Luis Rey,' 'After the Sunset' and the horror film 'Abominable.' Writing the arrangements for 'Dirty Harry,' Schifrin decided that the main character wasn't in fact Clint Eastwood's hero, Harry Callahan, but the villain, Scorpio. 'You would think the composer would pay more attention to the hero. But in this case, no, I did it to Scorpio, the bad guy, the evil guy,' he told the AP. 'I wrote a theme for Scorpio.' It was Eastwood who handed him his honorary Oscar. 'Receiving this honorary Oscar is the culmination of a dream,' Schifrin said at the time. 'It is mission accomplished.' Beyond film and TV Among Schifrin's conducting credits include the London Symphony Orchestra, the Vienna Symphony Orchestra, the Israel Philharmonic, the Mexico Philharmonic, the Houston Symphony Orchestra, the Los Angeles Chamber Orchestra and the Atlanta Symphony Orchestra. He was appointed music director of Southern California's Glendale Symphony Orchestra and served in that capacity from 1989-1995. Schifrin also wrote and adapted the music for 'Christmas in Vienna' in 1992, a concert featuring Diana Ross, Carreras and Domingo. He also combined tango, folk and classical genres when he recorded 'Letters from Argentina,' nominated for a Latin Grammy for best tango album in 2006. Schifrin was also commissioned to write the overture for the 1987 Pan American Games, and composed and conducted the event's 1995 final performance in Argentina. And for perhaps one of the only operas performed in the ancient Indigenous language of Nahuatl, in 1988 Schifrin wrote and conducted the choral symphony 'Songs of the Aztecs.' The work premiered at Mexico's Teotihuacan pyramids with Domingo as part of a campaign to raise money to restore the site's Aztec temple. 'I found it to be a very sweet, musical language, one in which the sounds of the words dictated interesting melodies,' Schifrin told The Associated Press at the time. 'But the real answer is that there's something magic about it. ... There's something magic in the art of music anyway.' In addition to his sons, he's survived by his daughter, Frances, and wife, Donna.
Arab News
10-06-2025
- Arab News
Qatar's cultural diplomacy as a global platform
As Qatar's 'Years of Culture' initiative marks its 15th partnership in 2025 — partnering with two countries, Argentina and Chile, in a single year for the first time — the program's evolution reflects a broader shift in how the nation views culture as a form of international exchange. Initially a bilateral initiative designed to introduce the world to Qatar in the lead-up to the 2022 FIFA World Cup — the first ever held in the Arab world — Years of Culture has grown into a major pillar of Qatar's cultural diplomacy. Today, the initiative embodies a global outlook that bridges cultures, fosters long-term relationships and generates dialogue across disciplines. What began as a means to welcome the world to the Arab region's first World Cup has evolved into a dynamic framework for international collaboration. From street art in Sao Paulo to film workshops in Tangier, from Qatar Philharmonic Orchestra concerts to permanent public art installations, the program illustrates how culture can forge lasting connections. These include public art, participation in Qatar's key economic forums and trade fairs, and social development initiatives. The acclaimed 'On the Move' exhibition, first presented during the Qatar-Middle East, North Africa and South Asia region 2022 Year of Culture, was later showcased in China — a legacy partner from the Qatar-China 2016 Year of Culture. Likewise, Paris-based Moroccan glass artist Sara Ouhaddou, who first collaborated with Qatar as part of 'Our World is Burning' at the Palais de Tokyo in Paris for the Qatar-France 2020 Year of Culture, later participated in the 'Qatar | Morocco: Crafting Design Futures' residency as part of the Qatar-Morocco 2024 Year of Culture. Several major national initiatives have emerged from the relationships forged during earlier Years of Culture. Lolwah Al Khater Several major national initiatives have also emerged from the relationships forged during earlier Years of Culture. Most recently, Qatar and France announced a comprehensive memorandum of understanding that builds on the foundations laid during Qatar-France 2020. This wide-ranging agreement focuses on capacity building, collaborative exhibitions, professional training, joint research and digitization — demonstrating the enduring impact of cultural exchange. Qatar's approach is distinctive in how it intertwines formal diplomacy with grassroots engagement. Cultural diplomacy in Qatar extends beyond formal institutions. While embassies and cultural ministries play key roles, contributions also come from chefs, archaeologists, economists, volunteers and students. Programming includes high-profile museum exhibitions — such as this year's 'LATINOAMERICANO,' co-curated by MALBA, the Museum of Latin American Art of Buenos Aires, and Qatar Museums — as well as community workshops, library exchanges, trade fairs and initiatives grounded in social development. The transformative impact of the initiative is strengthened by its decentralized and collaborative structure. Each cultural year is co-developed with the partner country, encouraging mutual ownership and cultural authenticity. Over time, this has produced a robust network of connections that organizers now draw upon to create multicountry programming. In 2024, for example, the National Museum of Qatar hosted a fashion exhibition spotlighting Moroccan designer Mohammed Benchellal, whose collection was produced using materials found in Doha's car shops and created at the Liwan Design Studios and Labs. The transformative impact of the initiative is strengthened by its decentralized and collaborative structure. Lolwah Al Khater This is an initiative that is well-suited to today's interconnected world — and to a generation of young people who come from multicultural backgrounds, travel more freely than ever before and embrace opportunities for cultural exploration and exchange. The layering of cultural years has also allowed the initiative to deepen thematically. Today, topics such as environmental storytelling, youth engagement and design futures are explored through joint residencies, academic symposia and museum exhibitions. Yet Qatar's broader vision for global engagement remains central. As it shapes its post-World Cup identity, Qatar has embraced cultural diplomacy as a vital expression of its international role — rooted in dialogue and intellectual exchange. For participants, particularly creatives from the Global South, Years of Culture offers a rare platform for visibility, resources and mutual learning. It is not about exporting Qatari culture or importing others. It is about rewriting how culture can move — collaboratively, respectfully and without hierarchy. This ethos is exemplified by the contemporary Qatari art exhibitions that travel to former partner countries such as Germany, China and Russia, showcasing the work of young Qatari artists. Once seen as a rising player on the global cultural scene, Qatar is now establishing itself as a hub of ideas, people, perspectives and possibilities. In the years ahead, Years of Culture may shift from a model of annual partnerships to one of ongoing, intersecting global dialogues — born in Doha but resonating far beyond.
Arab News
05-06-2025
- Arab News
Highlights from the Venice Biennale of Architecture
Following our in-depth coverage of this year's Saudi and Qatar entries, here are three more must-see pavilions at this year's biennale. For the latest updates, follow us on Instagram @ Bahrain At first glance, Bahrain's pavilion isn't much to look at. A modest modular structure consisting of a raised platform, a suspended ceiling, and a central column, it lacks the artistic clout of other pavilions. And yet, this passive cooling installation designed for public spaces was awarded the Golden Lion for best national participation. 'Heatwave' presents a meaningful and practical response to the climate crisis. By reimagining traditional Bahraini cooling systems, such as wind towers and shaded courtyards, it provides an innovative response to rising temperatures. The pavilion's design integrates a geothermal well that draws in cool air from below the surface, paired with a solar chimney that releases warm air upwards. Together, these elements form what the designers describe as a 'thermo-hygrometric axis,' a system that maintains a mild, regulated indoor climate. In the exhibition space, where excavation for a geothermal well was not feasible, the system relies on mechanical ventilation, drawing air through a canal-facing window and guiding it through a network of ducts and nozzles to create a controlled microclimate. Importantly, it is designed to be scalable and adaptable to a wide range of environments. Commissioned by Shaikh Khalifa bin Ahmed Al-Khalifa, president of the Bahrain Authority for Culture and Antiquities, and curated by architect Andrea Faraguna, the pavilion functions as a full-scale, inhabitable prototype. Aimed primarily at meeting the challenges faced by construction workers in the Gulf, the pavilion's design was developed in collaboration with structural engineer Mario Monotti and thermomechanical expert Alexander Puzrin. Britain 'I call this pavilion a reverse case because it also makes a statement against British colonial rule,' says Yara Sharif, one of the co-founders of the Palestine Regeneration Team (PART). 'After all, they were the ones who initiated the exploitation of Palestinian resources. So having a platform within the British Pavilion is, in itself, a statement — a reverse case that says, 'We are also here to occupy you.' It's also a way to challenge the mental occupation; the idea of portraying Palestinians as passive subjects.' PART's 'Objects of Repair' is a small but vitally important component within the British pavilion's 'Geology of Britannic Repair,' a UK-Kenya collaboration that seeks to expose and rework the entangled legacies of architecture and colonization. In a series of installations, the exhibition proposes earth-bound solutions that resist extractive practices and respond to climate, social, and political upheaval. The British Pavilion received a special mention for national participation. At the core of PART's installation, created by Sharif, Nasser Golzari, and Murray Fraser, lies the Travelling Lab, a project inspired by Gazans' reappropriation of rubble to create new architectural 'skins.' 'The whole idea behind the Travelling Lab is that it continues to develop and evolve as it moves,' explains Sharif, who is also a co-founder of Architects for Gaza. 'We call it a way to cultivate hope, but also to create a matrix of possibilities that may suggest new scenarios and aesthetics to challenge the ones we're familiar with. The aim of the pavilion is not to create a beautiful object; it's to provoke a collision, spark discussion, and to draw attention to a context that is continually being rendered invisible.' Uzbekistan One of the first things you see when entering the Uzbekistan National Pavilion is a heliostat – a mirror system designed to track the sun and reflect its light onto a fixed point. Beyond it lie a control room table, a monumental glass chandelier created by Irena Lipene, and a giant solar screen. All belong to — or are reconstructions of those found at — the Sun Institute of Material Science in Tashkent, one of the city's Soviet-era modernist structures. The landmark building, originally known as the Sun Heliocomplex, is the inspiration behind 'A Matter of Radiance,' the pavilion's exhibition. Curated by GRACE studio's Ekaterina Golovatyuk and Giacomo Cantoni, the exhibition explores the scientific and cultural relevance of the Heliocomplex. In particular, its potential as an international scientific hub. 'This was a catalyst building for its time,' says Gayane Umerova, chairperson of the Uzbekistan Art and Culture Development Foundation, who commissioned the exhibition. 'The architecture was profound. The designers were given remarkable freedom, and I think it's important for us to not only celebrate it, but also preserve it.' Opened near Tashkent in 1987, the Heliocomplex is one of only two major solar furnaces in the world designed to study how materials behave under extreme temperatures. It is also one of 24 key modernist sites spread across the capital, 21 of which have been granted national heritage status. 'It's important for us to show that this is not just a monolith,' says Umerova of the Heliocomplex, which is currently being used for civilian scientific research. 'It's an art object, in a way, but it's a living structure.'
