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Critics and tech firms worry UK’s Investigatory Powers Bill,  surveillance law undermines user privacy

—  Despite the protestations of industry and campaigners, ministers are whisking a new bill through parliament.

 

 

Laurie Clarke / Politico:

 

 

LONDON — The U.K. already has some of the most far-reaching surveillance laws in the democratic world. Now it’s rushing to beef them up even further — and tech firms are spooked.

 

Britain’s government wants to build on its landmark Investigatory Powers Act, a controversial piece of legislation dubbed the “snooper’s charter” by critics when introduced back in 2016.

 

PHOTO: The new legislation is triggering fresh alarm among both industry execs and privacy campaigners | Scott Barbour/Getty Images

 

That law — introduced in the wake of whistleblower Edward Snowden’s revelations of mass state surveillance — attempted to introduce more accountability into the U.K. intelligence agencies’ sprawling snooping regime by formalizing wide-ranging powers to intercept emails, texts, web history and more.

 

Now new legislation is triggering a fresh outcry among both industry execs and privacy campaigners — who say it could hobble efforts to protect user privacy.

 

Industry body TechUK has written to Home Secretary James Cleverly airing its complaints. The group’s letter warns that the Investigatory Powers (Amendment) Bill threatens technological innovation; undermines the sovereignty of other nations; and could unleash dire consequences if it sets off a domino effect overseas.

 

Tech companies are most concerned by a change that would allow the Home Office to issue notices preventing them from making technical updates that might impede information-sharing with U.K. intelligence agencies.

 

TechUK argues that, combined with pre-existing powers, the changes would “grant a de facto power to indefinitely veto companies from making changes to their products and services offered in the U.K.”

 

“Using this power, the government could prevent the implementation of new end-to-end encryption, or stop developers from patching vulnerabilities in code that the government or their partners would like to exploit,” Meredith Whittaker, president of secure messaging app Signal, told POLITICO when the bill was first unveiled.

 

The Home Office, Britain’s interior ministry, remains adamant it’s a technical and procedural set of tweaks. Home Office Minister Andrew Sharpe said at the bill’s committee stage in the House of Lords that the law was “not going to … ban end-to-end encryption or introduce a veto power for the secretary of state … contrary to what some are incorrectly speculating.”

 

“We have always been clear that we support technological innovation and private and secure communications technologies, including end-to-end encryption,” a government spokesperson said. “But this cannot come at a cost to public safety, and it is critical that decisions are taken by those with democratic accountability.”

 

Encryption threat

Despite the protestations of industry and campaigners, the British government is whisking the bill through parliament at breakneck speed — risking the ire of lawmakers.

 

Ministers have so far blocked efforts to refine the bill in the House of Lords, the U.K.’s upper chamber. But there are more opportunities to contest the legislation coming and industry is already making appeals to MPs in the hopes of paring it back in the House of Commons.

 

PHOTO: Some companies including Apple have threatened to pull their services from the UK if asked to undermine encryption under Britain’s laws | Feline Lim/Getty Images

 

“We stress the critical need for adequate time to thoroughly discuss these changes, highlighting that rigorous scrutiny is essential given the international precedent they will set and their very serious impacts,” the TechUK letter states.

 

The backdrop to the row is the fraught debate on encryption that unfolded during the passage of the earlier Online Safety Act, which companies and campaigners argued could compel companies to break encryption in the name of online safety.

 

The bill ultimately said that the government can call for the implementation of this technology when it’s “technically feasible” and simultaneously preserves privacy.

 

Apple, WhatsApp and Signal have threatened to pull their services from the U.K. if asked to undermine encryption under U.K. laws.

 

Since the Online Safety Act passed in November, Meta announced that it had begun its rollout of end-to-end encryption on its Messenger service.

 

In response, Cleverly issued a statement saying he was “disappointed” that the company had gone ahead with the move despite repeated government warnings that it would make identifying child abusers on the platform more difficult.

 

Critics see a pincer movement. “Taken together, it appears that the Online Safety Bill’s Clause 122 is intended to undermine existing encryption, while the updates to the IPA are intended to block further rollouts of encryption,” said Whittaker.

Beyond encryption

In addition to the notice regime, rights campaigners are worried that the bill allows for the more permissive use of bulk data where there are “low or no” expectations of privacy, for wide-ranging purposes including training AI models.

 

Lib Dem peer Christopher Fox argued in the House of Lords that this “creates an essentially new and essentially undefined category of information” which marks “a departure from existing privacy law,” notably the Data Protection Act.

 

Director of campaign group Big Brother Watch, Silkie Carlo, also has issues with the newly invented category. With CCTV footage or social media posts for example, people may not have an expectation of privacy, “[but] that’s not the point, the point is that that data taken together and processed in a certain way, can be incredibly intrusive.”

 

Big Brother Watch is also concerned about how the bill deals with internet connection records — i.e. web logs for individuals for the last 12 months. These can currently be obtained by agencies when specific criteria is known, like the person of interest’s identity. Changes to the bill would broaden this for the purpose of “target discovery,” which Big Brother Watch characterizes as “generalized surveillance.”

 

Members of the House of Lords are also worried about the bill’s proposal to expand the number of people who can sanction spying on parliamentarians themselves. Right now, this requires the PM’s sign-off, but under the bill, the PM would be able to designate deputies for when he is not “available.” The change was inspired by the period in which former PM Boris Johnson was incapacitated with COVID-19.

 

PHOTO: The bill will return to the House of Lords on January 23, before heading to the House of Commons to be debated by MPs | Tolga Akmen/AFP via Getty Images

“The purpose of this bill is to give the intelligence agencies a bit of extra agility at the margins, where the existing Rolls Royce regime is proving a bit clunky and bureaucratic,” argues David Anderson, crossbench peer and author of a review that served as a blueprint for the bill. “If you start throwing in too many safeguards, you will negate that purpose, and you will not solve the problem that bill is addressing.”

 

Anderson proposed the changes relating to spying on MPs and peers are necessary “if the prime minister has got COVID, or if they’re in a foreign country where they have no access to secure communications.”

 

This could even apply in cases where there’s a conflict of interest because spies want to snoop on the PM’s relatives or the PM himself, he added.

 

Amendments proposed by peers at the committee stage were uniformly rejected by the government.

 

The bill will return to the House of Lords for the next stage of the legislative process on January 23, before heading to the House of Commons to be debated by MPs.

 

“Our overarching concern is that the significance of the proposed changes to the notices regime are presented by the Home Office as minor adjustments and as such are being downplayed,” reads the TechUK letter.

 

“What we’re seeing across these different bills is a continual edging further towards … turning private tech companies into arms of a surveillance state,” says Carlo.

 

 

 

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Sources: ASML cancels shipments of some high-end chipmaking equipment to China, at US’ request, weeks before bans took effect

—  ASML canceled shipments of a limited number of devices

— Biden is cracking down on Beijing’s semiconductor industry

 

 

Bloomberg:

 

ASML Holding NV canceled shipments of some of its machines to China at the request of U.S. President Joe Biden’s administration, weeks before export bans on the high-end chipmaking equipment came into effect, people familiar with the matter said.

The Dutch manufacturer had licenses to ship three top-of-the-line deep ultraviolet lithography machines to Chinese firms until January when new Dutch restrictions take full effect. However, U.S. officials reached out to ASML to ask them to immediately halt pre-scheduled shipments of some of the machines to Chinese customers, according to people familiar with the matter, who asked not to be identified because the discussions were confidential.

U.S. National Security Adviser Jake Sullivan had called the Dutch government about the matter late last year, the people said, and Dutch officials asked the U.S. to contact ASML directly about shipments of the equipment, called immersion deep ultraviolet lithography machines. Shipments of a limited number of machines were canceled following the U.S. request, they said, though it wasn’t immediately clear how many were involved. In an industry where devices typically cost $10 million, ASML commands about $180 million for its current top-end machine.

Biden is cracking down on Beijing’s attempts to create its own advanced semiconductor industry, and the U.S. and its allies are blocking access to imported technology. China’s Huawei Technologies Co. produced a smartphone to rival Apple Inc.’s iPhone last year using top-of-the-line chips made with ASML’s immersion lithography machines, Bloomberg News has reported.

ASML, Europe’s largest technology company, confirmed that the Dutch government partially revoked licenses recently for the shipment of certain lithography systems to China, affecting a small number of customers there. In a statement issued after Bloomberg’s report, the company said it’s held recent discussions with the U.S. about the scope and impact of its export control regulations, without elaborating. ASML said it doesn’t expect the latest blockade to have a “material impact on our financial outlook for 2023.”

Spokespeople for the White House National Security Council and the Dutch Ministry of Foreign Affairs declined to comment.

Chinese imports of ASML’s lithography gear surged in 2H23

Dutch in June published new curbs that will become effective in 2024

Source: China Customs

A spokesman for the Chinese Foreign Ministry called the U.S.’s intervention in China’s access to technology an act of “hegemony” and urged the Dutch government to “respect the spirit of the contract and world order, to safeguard the mutual benefits of the two countries.”

Chipmakers in China dropped after the news. Semiconductor Manufacturing International Corp., the semiconductor company that helped Huawei produce the 7-nanometer processors for its new smartphone, fell as much as 3% in Hong Kong trading on Tuesday. Hua Hong Semiconductor Ltd. declined as much as 2.8%.

ASML’s U.S. shares fell 5.3% to $716.92 at the close Tuesday in New York. All 30 members of the Philadelphia Semiconductor Index declined, with the index as a whole dropping 3.7% as part of a broad market downturn.

This most recent crackdown — which may have hit SMIC, one of China’s top-tier chipmakers — will ultimately motivate Beijing to accelerate the development of its own technology, moving toward independence from international suppliers, according to Equita SIM analyst Gianmarco Bonacina.

U.S. pressure on the Veldhoven-based company started in 2019, when President Donald Trump’s administration pushed the Dutch government to ban sales of ASML’s top-of-the-line extreme ultraviolet lithography machines to China. ASML is the only company that makes this technology, which is used to create semiconductors that power everything from smartphones to sophisticated military gear.

Then, pushed by Biden’s administration, the Dutch government tightened export controls on China further last year, restricting the DUV machines, the second most advanced product line the company offers from Jan. 1. China has been rushing to stockpile them since.

Between July and November, China’s imports of lithography machines surged more than five times to $3.7 billion, according to Chinese customs data. China accounted for nearly half of ASML’s sales in the third quarter — compared with 24% in the previous quarter and 8% in the three months ending in March — as companies there rushed to import its machines before export controls take effect.

China now accounts for almost half of ASML’s sales

Source: ASML

 

ASML’s outgoing Chief Executive Officer Peter Wennink toldinvestors in October that the new curbs will affect as much as 15% of the firm’s sales in China.

Wennink has publicly opposed the measures and warned they might encourage China to develop competing technology. “The more you put them under pressure, the more likely it is that they will double up their efforts,” he said last year in an interview with Bloomberg News.

— With assistance from Ian King, Mackenzie Hawkins, Fran Wang, James Mayger, Sunil Kesur, and Dan Murtaugh

(Updates with sector share decline in the ninth paragraph.)

 

 

 

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After testings, South Korean Internet giant Naver plans to let companies use its Rookie office helper robots to deliver meals and parcels

—  Korean tech company ready to export IT systems that direct automated workforce through the 5G cloud

 

 

Song Jung-a / Financial Times:

 

 

At a Starbucks in the futuristic headquarters of Naver, South Korea’s biggest Internet company, a line of robots is on standby to fetch coffee for the company’s employees.

 

About 100 robots on wheels — called Rookies — wander around the offices, carrying out simple tasks such as delivering meals and parcels and testing the boundaries of human interaction with machines in one of the first examples of a robot-friendly building.

PHOTO: Naver’s Rookie robots act as office helpers as they roam from floor to floor in its futuristic headquarters in South Korea © Naver

 

Naver has been experimenting with integrating service robots into office life for more than a year in the 36-storey building on the southern outskirts of Seoul. These “brainless” robots roam around the building, rolling through security gates and taking lifts, powered by Naver’s cloud system that enables them to see, recognize and operate seamlessly.

 

The company is now keen to export the cutting-edge 5G-based cloud robotics technology, with many countries in Europe as well as Japan and Saudi Arabia expressing interest in benchmarking its system.

 

“There are not many companies globally who can offer this high-quality robot service at this scale,” said Seok Sang-ok, chief executive of Naver Labs, Naver’s research and development unit, in an interview with the Financial Times.

 

“This requires a lot of seamless co-operation with many of our affiliates. Naver’s wide-ranging services, including search engines, online shopping and social networking, have allowed us to experiment with various robot technologies and services, all in-house.”

 

Like Amazon, Naver sells products online and operates a sizeable cloud business. It spends about a quarter of its annual sales on R&D with Naver Labs in charge of developing artificial intelligence, robotics and autonomous driving. Naver’s “digital twin” technology — a 3D scan of cities and buildings — also helps the robots to recognise their surroundings and find the most efficient routes. As they operate with just a normal video camera and without advanced processors and navigation tools, it costs much less to make them, Naver says.

 

“We’ve tested the robots for more than a year and now have a lot of data on human interaction with robots,” said Seok.

 

“We’ll focus on exporting IT services, as I believe our robotics technology using the cloud will become much better in two to three years.” Park Sang-soo, a researcher at the Korea Institute for Industrial Economics and Trade, said Naver faced export challenges, with the complexity of its technology meaning it was not as easy as “selling just a fleet of robots.”

 

“Naver’s robots are working well in its offices because the building was designed for that purpose, but it should consider the non-technological factors of the target countries such as their IT infrastructure and regulation to sell its platform solution,” he said.

 

South Korea has a thriving domestic robot industry, most of them being deployed in factories, as the country sees AI and robots as key to alleviating labour shortages in the face of the world’s lowest birth rate.

 

According to the International Federation of Robotics, South Korea has the highest “robot density” in the world, with 1,000 industrial robots per 10,000 manufacturing employees, compared with 399 in Japan, 322 in China, and 274 in the US. Robots are widely used in Korea’s car and semiconductor plants, but they are also becoming an increasingly visible part of day-to-day life.

 

Sales of service robots in South Korea are expected to almost double from $530mn this year to $1bn in 2026, an average annual increase of 23 per cent, according to the Korea Institute of Science and Technology Information. Naver is looking to sell a combination of systems for industrial and server robots. Last month, it opened Asia’s largest data centre to accelerate its push into AI and the cloud. In the vast building in Sejong City that houses 600,000 servers, multiple robots carry heavy servers between IT warehouses and server rooms, while self-driving shuttles are in operation for employees and visitors to the campus.

PHOTO: Naver uses a variety of robots in its vast new data centre, opened in November in Sejong City © Naver

 

“We have a full portfolio [of technologies] that can cover many new use cases,” said Albert Wang, Naver Labs’ principal researcher.

 

“A lot of companies focus on single applications. We are really looking at the system levels. We have multiple types of robot systems co-operating together.”

 

Despite being a technology powerhouse, South Korea remains weak in software development, with its tech exports mostly confined to hardware such as chips, electronics and electric vehicle batteries. Naver is trying to change that picture, with exports of IT services like digital twins, robotics and AI tools, although it has so far failed to gain a foothold abroad with its powerful search engine. Earlier this year, the country won its first major high-tech export contract to the Middle East to build and operate digital twins or virtual versions of five cities including Riyadh, Medina and Mecca, for five years. It is also looking to offer tailored versions of its latest ChatGPT-like artificial intelligence model to foreign governments concerned about US data controls.

 

“We are just beginning to export our IT services, which can become the country’s new export driver,” said Seok. “We aim to become the leading exporter of the country’s IT services in the medium to long term.”

 

 

 

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China struggles to contain a shadow market for business data, as most companies shun the 48 official gov. data exchanges

—  Dozens of marketplaces have sprung up since a 2020 initiative but most transactions still happen on the black market

 

 

Financial Times:

 

China is struggling to reduce the influence of a shadow market for business data, as companies shun the official exchanges that have been set up to tighten control over the sale of information.

 

Local governments across the country have established 48 exchanges, most of them coming after Beijing enshrined data as a national priority in 2020, making it a fifth pillar of production alongside land, labour, capital and entrepreneurship. Under regulatory supervision, government bodies, state-owned enterprises and private companies can buy and sell data on everything from weather patterns to city traffic flows.

 

However, industry insiders and experts say there is no clear incentive for companies to participate in these fledgling marketplaces and that most data sales are still happening off the exchanges.

 

“We are having difficulty attracting participants to enter the marketplace,” said an employee at a state-backed data exchange, adding that the majority of data sales occurred elsewhere.

 

A report published by the Shanghai Data Exchange last month forecast that by 2025, only 10 per cent of data sales would occur on exchanges.

 

The initiative has been part of broader reforms to increase authorities’ control over data after two decades when internet companies such as Tencent and Alibaba created economic fiefdoms powered by vast troves of consumer data. Since 2021, Big Tech has suffered fines for data violations and the Cyberspace Administration of China has been given stronger regulatory powers over how companies procure, manage and store data.

 

Since the 2020 move by the State Council, the country’s cabinet, to make data a factor of production, “the government has put data on a pedestal as something that can be traded”, said Xiang Li, an expert on data management in Hong Kong.

 

Beijing’s stated aim is to unleash productivity by giving more companies access to data that will enable them to deploy artificial intelligence in everything from smart manufacturing to autonomous driving. The value of data bought and sold in China is expected to increase from Rmb88bn ($12.3bn) last year to Rmb516bn ($72.5bn) by the end of the decade as the use of AI grows, according to the Shanghai Data Exchange report.

 

But experts say that the government faces an uphill battle in convincing private companies to sell their data on centralized exchanges rather than through a data broker.

 

The majority of existing data sold on these platforms comes from government bodies, including local transportation and weather bureaus, or from state-owned enterprises (SOEs), which are easier to cajole into handing over their data than private companies, said Kendra Schaefer, head of tech policy at the Beijing-based consultancy Trivium China.

 

According to a Financial Times analysis, the majority of data sold by the 700 merchants on the state-backed Guiyang Global Big Data Exchange, the country’s first such platform, are from state agencies and SOEs.

 

The government of Guizhou province in south-west China, where Guiyang is the capital, has also introduced draft regulations that compel local government bodies and SOEs to hand over their data to the exchange.

 

Companies such as China Southern Power Grid sell customers’ electricity consumption data on Guiyang’s exchange to credit agencies as a new tool to conduct credit checks, according to domestic media reports.

 

The official data exchanges are also designed to provide ways for companies, cash-strapped local governments, and state-owned enterprises to monetise data resources amid slowing economic growth.

 

The official exchanges in Guiyang, Shanghai and Beijing are offering subsidies to incentivise companies to participate.  Even with such incentives, companies are still showing reluctance owing to concerns about getting on the wrong side of data laws restricting the sale of consumer data, according to Trivium’s Schaefer.

 

“We’re at an interesting point in history. Companies are buying and selling this critical economic resource, but the laws surrounding how trading works for this resource don’t exist yet,” she said.

 

The employee at the state-backed exchange, who did not wish to be named, acknowledged that this legal uncertainty prevented it from onboarding new merchants.

“Current data laws are not specific about the legality of data exchanges,” they said.

 

The CAC did not respond to a request for comment.

 

While Beijing had hoped to court data hawkers with the promise of new revenue streams for their data, Schaefer said many companies were also deterred by the high expense of cleaning up their data in preparation for selling on a centralised exchange.

 

“Many companies have poor data management processes, so they need to clean it up before they sell it, which is costly,” she said.

 

“The state wanted companies to jump on board and say: ‘This is an amazing way to make additional revenue from a resource I generate already’,” said Schaefer.

 

“But the reality is that it’s risky and expensive for companies to stick their data on the platforms. The benefit for the companies is unclear.”

 

 

 

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‘Kalki 2898 AD,’ ‘Aarya’ teams, Siddharth Roy Kapur on India’s 2023: ‘A Collective Euphoria and Catharsis’

The teams behind upcoming sci-fi epic “Kalki 2898 AD,” hit Disney+ Hotstar series “Aarya” and prolific producer Siddharth Roy Kapur spoke with Variety on what has been an eventful 2023 for the Indian entertainment landscape. 2023, the first full year of business since the pandemic, saw Indian audiences return in droves to cinemas.

 

It was also a golden year for streaming with all the major Indian platform delivering global hits.

 

Roy Kapur had a packed year with Season 2 of Emmy-nominated Indian space and nuclear program-themed “Rocket Boys” on SonyLIV, epic war film “Pippa” making a direct-to-streaming debut on Prime Video and comedy-drama film “Tumse Na Ho Payega” bowing on Disney+ Hotstar.

 

“What we haven’t had is a theatrical release this year, which feels a little strange,” Roy Kapur told Variety, adding that “Deva,” an action thriller directed by Rosshan Andrrews and produced by Roy Kapur Films and Zee Studios, with Shahid Kapoor and Pooja Hegde in the lead, is gearing for an October 2024 theatrical release during the Dussehra holiday frame.

 

“It’s been an interesting year of water getting to find its own level after the pandemic, so things are still a little bit in flux overall. But the good part is that all the obituaries that were being written about the theatrical model dying out and people not coming back to cinemas, that’s been disproved completely this year, which is great,” Roy Kapur said.

 

“The human need to connect is is something that we maybe didn’t think was as strong as audiences have shown us it is,” Roy Kapur added. There’s a limit to being absorbed in the black mirror that you hold in the palm of your hand, or the one that you’re sitting at home and staring into, you need to go out and connect with other people, you need to enjoy shared experiences. And the good part is, across [various Indian] languages this year, we had movies that give them that sense of celebratory enjoyment in a cinema hall.”

 

Amita Madhvani, producer of Emmy-nominated Disney+ Hotstar series “Aarya,” now in its third season, recounted the experience of watching Karan Johar’s hit film “Rocky Aur Rani Kii Prem Kahaani” in the cinema. “The audience was singing, they sang the songs together, people repeated dialogues. People were clapping, people stood up and matched the steps. It was mad. I think this is just what we grew up on, this is what we know, let people connect. It’s a feeling,” Madhvani said.

 

“Aarya” director Ram Madhvani added, “It’s a collective euphoria, and a collective catharsis. And I think that’s really what has helped, apart from the movies also being stuff that you want to see.”

 

Next up for the Madhvanis is series “The Waking of a Nation,” set against the backdrop of the 1919 Jallianwala Bagh massacre, an infamous event in Indian colonial history. It has just completed principal photography.

 

Producer Swapna Dutt, along with her sister Priyanka, have been consumed during the pandemic years with big-budget sci-fi epic “Kalki 2898 AD,” directed by “Mahanati” filmmaker Nag Ashwin and produced by Vyjayanthi Movies, with a cast led by Prabhas, Amitabh Bachchan, Kamal Haasan, Deepika Padukone and Disha Patani.

 

“People are wanting to go back for the experience of it, laugh together, enjoy the momentum, go to event films,” said Swapna Dutt. “At the same time, are we are we in the mood to go to an average film at this point of time? No, because there’s also a lot of other interesting content on OTT [streaming], that challenge is still there. Probably back in the early days, when we didn’t have [streaming] even a mediocre film would do decent box office numbers, which is not the case now. That’s the clarity that we’ve got post-pandemic.”

 

The pandemic has also made the Indian audience language agnostic. “Kalki 2898 AD,” for example, will release in 2024 in the four south Indian languages – Telugu, Tamil, Kannada and Malayalam – and north Indian language Hindi, with plans to release it in some international languages as well. “Aarya,” where Sushmita Sen plays the title role, was released across multiple languages and found audiences in all of them.

 

“‘Aarya’ has definitely penetrated, because as a character, she is not barred by any language. No language has controlled her emotion, what she’s trying to say, what’s happening to her, the entire world around Aarya,” said Amita Madhvani.

 

On the lessons from the streaming business over the last year, Ram Madhvani said, “We’ve been at the receiving end of the viewers’ patience. And I think that time is not the same that it was two to three years ago. That means that they’re asking for shorter episodes, they’re not asking for longer stuff – they want to keep it moving.” Madhvani added that streaming platforms provide a safeguard for stars who have a theatrical career and allow them to make off-mainstream choices.

 

Looking back at 2023 and anticipating 2024, Swapna Dutt hails the fact that the Indian industry is in the process of coming together as one big industry rather than several fragmented ones, with a flow of talent, technicians and finance between them. “Today, we’re talking about Indian cinema on par with world cinema, which is just the best thing for all of us in the last few years,” Swapna Dutt said. “Kalki 2898 AD” made a splash at the San Diego Comic-Con earlier this year.

 

Priyanka Dutt added, “Audiences are always changing, and as filmmakers, we have to be true to what is exciting me as a filmmaker, to put my heart, my energy, my whole hard work in it.”

 

“It’s important to just keep our minds open and flexible, and be driven by the stories rather than be driven by formulae,” Roy Kapur said.

 

 

 

Variety (EXCLUSIVE) 

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Tony Leung and Andy Lau reunite in ‘The Goldfinger,’ reviving the Hong Kong Noir genre: ‘Epic stories are making a comeback’

“If you really missed not seeing us on screen together, then ‘The Goldfinger’ is your opportunity to do so,” says Hong Kong superstar Andy Lau of his new crime movie where he is again paired with Tony Leung Chiu-wai  “(In the Mood for Love).”

 

The film releases at the end of the month in different parts of Asia and North America (from Dec. 30). Pre-release marketing and promotional efforts make much of the Lau-Leung repairing some twenty years after the “Infernal Affairs” trio of hit movies. The movies were both critical and commercial hits and contained an iconic rooftop scene in Hong Kong’s Wanchai district with the police undercover agent and the mobster’s mole facing off guns drawn.

 

The pair clearly rate each other highly for their acting skills and for the kind of professionalism that has kept them both a the top of the game for more than two decades. If anything, they claim to be getting better. “I think we’ve gotten a lot more mature over the years and we’ve also built up more acting experience,” Leung said.

 

But the real magic – like Quentin Tarantino getting John Travolta to dance again in “Pulp Fiction” – is dropping the pair back into a gritty Hong crime thriller that is drawn on a large and somewhat nostalgic canvas. The director and screenwriter of “The Goldfinger” is Felix Chong, who in recent years is known for “Project Gutenberg” and the series of “Overheard” movies, but who hit the big time at the beginning of the decade as co-writer of “Infernal Affairs.”

 

The new financial crime film pits Lau as a desiccated 1980s crime investigator within the relatively newly formed Independent Commission Against Corruption (ICAC) trying to put Leung as the flamboyant head of the Carmen Century Group behind bars. It is a pursuit that takes many years as, at first, Leung’s character Ching appears to have a Midas touch, building an investment empire through a succession of bold gambles and deft use of shares as a form of payment.

 

When a stock market rout bankrupts the Carmen group, exposing it as little more than a Ponzi scheme, the sleuth thinks he may have his chance. But the body count grows and justice proves hard to deliver. (Part of the story is said to be based on the real world rise and fall of the Carrian Group.)

 

“The Goldfinger” has a complex and fast-moving plot with multiple leaps back and forward in time. And a budget big enough to do justice to the period setting and flavors – it takes in a plethora of Hong Kong locations that were hip and luxurious in their day, but which now look gaudy and deliciously retro.

 

That combination puts “The Goldfinger” in a direct line of succession to Hong Kong noir films such as “Infernal Affairs,” and the oeuvres of Johnny To and John Woo.

 

This is a genre which may have fallen into partial decline as a result of Hong Kong filmmakers decade-long experiment in making films for mainland audiences (and their more restrictive political overseers) and a renewed focus on smaller-budget, hyper-local films. Since 2019, Hong Kong-made films such as “Table for Six,” “Mama’s Affair” and “A Guilty Conscience” have regained market share of the local box office, but failed to convert wide international audiences.

 

“Hong Kong films deserve a bigger market. There have been so many new forms of competition that the [Hong Kong] market has shrunk. At the same time, [Hong Kong films’] subject matter has become been more concerned about local and social topics,” says Lau. “But I also hope to see more epic stories, bigger, more globalized stories that also incorporate local [Hong Kong] elements.”

 

“The theme of financial crimes [such as ‘The Goldfinger’s’] is very attractive and yet very unique. It is something that audiences everywhere in the world can connect with,” said Leung.

 

Hong Kong may no longer the hub of Asian cinema that it was in the 1980s and 1990s, but the skills endure. Leung said that digital de-aging technology was not used and that his character’s three different looks were achieved the old-fashioned way, with wigs, make up and costume. And, as a performer he had little difficulty getting his head around the chronological challenges. “It was all there on the page,” he said.

 

 

 

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‘The Crime Is Mine’ review: Everyone wants to be a murderess in François Ozon’s feathery French farce

Isabelle Huppert shows up late and in style to a party mostly centered on Nadia Tereszkiewicz’s fame-hungry ingenue, eagerly standing trial for a murder she may or may not have committed.

 

 

Quick, silly and lent weight only by the costume department’s copious wigs and furs, “The Crime Is Mine” finds tireless French auteur François Ozon in the playful period pastiche mode of “Potiche” and “8 Women.”

 

It’s a film less about any frenetic onscreen shenanigans as it is about its own mood board of sartorial and cinematic reference points — Jean Renoir, Billy Wilder, some vintage Chanel — and as such it slips down as fizzily and forgettably as a bottle of off-brand sparkling wine.

 

This story of an aspiring stage star standing trial for a top impresario’s murder (and making the most of her moment in the tabloid flashbulbs) may be based on a nearly 90-year-old play, but for those versed more in Hollywood and Broadway than in French theater, Ozon’s adaptation resembles a kind of diva fanfic: What if Roxie Hart went up against Norma Desmond, except in rollicking 1930s Paris?

 

As it happens, Georges Berr and Louis Verneuil’s 1934 comedy “Mon crime” has twice been adapted into Hollywood screwball romps: 1937’s Carole Lombard vehicle “True Confession” and the lesser 1946 remake “Cross My Heart,” starring Betty Hutton. Returning to the milieu of its source, “The Crime Is Mine” nonetheless updates proceedings with a righteous dose of post-#MeToo gender politics: Whether its blonde-bombshell heroine is guilty of the crime or not is ultimately immaterial to a case that builds to an impassioned defense of a woman’s right to defend herself from unwanted patriarchal advances, by any means necessary. That her lawyer is a gal pal, rather than a male love interest as in previous iterations, ups the ante, though the relative earnestness of the film’s feminism stands in contrast to an otherwise wholly flippant exercise.

 

“Some women are born to love, others to listen,” sighs cash-strapped junior attorney Pauline (Rebecca Marder), with one of many lingering Sapphic gazes at her platinum-bobbed roommate Madeleine (Nadia Tereszkiewicz). Madeleine is firmly in the former camp, though her covert romance with spineless tire-factory heir André (a winsome Edouard Sulpice) is of less importance to her than her budding acting career. We first encounter her storming out of the sprawling Art Deco mansion of star-making theater producer Montferrand (Jean-Christophe Bouvet), with whom she had an auspicious afternoon appointment; when he’s found dead later that day, with a bullet in his skull, she’s the prime suspect.

 

When bumbling investigating judge Rabusset (a drolly pompous Fabrice Luchini) first interrogates her, Madeleine flatly denies any culpability. With Pauline’s counsel, however, she swiftly settles on another narrative, one that rests on Montferrand’s reputation for being more than a little handsy with his ingenues: She killed him in the face of an attempted rape. “Bit melodramatic,” mutters Rabusset after their explanation — dramatized in glamorously silvery black-and-white — as if the film’s entire construction hasn’t been gleefully heightened from the jump. His misgivings, however, aren’t shared by the jury, the public or the tabloid press, as Madeleine’s teary self-defense story, cannily coached by Pauline, captures the popular imagination and makes her an overnight celebrity.

 

Is it true? Who cares? Nobody, it seems, except faded silent-movie siren Odette Chaumette (Isabelle Huppert), who strides in past the one-hour mark with conflicting evidence and a welcome surge of vampish venom, just as Ozon’s energy is beginning to flag. Comeback-seeking Odette is after Madeleine’s spotlight, but Huppert herself hardly has to wrest it from the game, fluttery Tereszkiewicz: The camera all but genuflects the second the veteran makes her imperious entrance, crowned in feathers and a frizzy copper coiffure, and vocally asserting her right to its continued attention. Huppert has little to do but spit out pithy lines with her signature disdain, and cast the odd lascivious glance at a duly mesmerized Pauline — but it hardly takes a lot to stroll off with a film this light.

 

With its distinguished scenery-chewer finally present, then, it’s a pity that “The Crime Is Mine” oddly peters out in its final third — the script averting seemingly pre-ordained clashes in the name of female solidarity, but also pulling back from its queerest and most subversive possibilities. A witty script sidebar details how Madeleine’s case inspires other women to consider bumping off the men in their lives to improve their standing and peace of mind, though it never escalates to dizzier farcical heights, even as it gifts us the film’s best line: Asked by André why he was spared the bullet, Madeleine shrugs, “I can’t kill everyone.” There are passing pleasures, too, to be had in Manu Dacosse’s buttery lensing and the silky gloss of the production and costume design alike. Yet “The Crime Is Mine” never aspires to the exacting postmodern formal rigor of “8 Women”: An out-and-out divertissement, Ozon’s latest is at pains only to avoid trying too hard.

 

 

Variety

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More than a century-old, buried documents throw doubt on fate of condemned man

NEW YORK — Patrick O’Donnell survived the seemingly unsurvivable — including the Great Hunger, the aptly nicknamed Coffin Ships and the infamous Typhoid Sheds — on his way to the hangman’s noose in December 1883.

 

Having traveled from Ireland to the United States in search of a better life, Patrick O’Donnell sealed his grim fate when he committed murder, but there is so much more to his life than was ever revealed — until now.

 

In his unforgettable new book, The Execution, Life and Times of Patrick O’Donnell, author Gavin O’Donnell uses an epistolary technique to reconstruct the story of Patrick’s remarkable life using a series of letters purportedly written by Patrick as he awaited the hangman’s noose — letters smuggled from his death cell in his wife Margaret’s petticoats and that have remained undiscovered for 133 years.

 

“There has in my family always been a belief that we are related to a man named Patrick O’Donnell,” Gavin O’Donnell explained in an interview. “There is some evidence to support this but it’s patchy and not strong. … but it is the reason I took an interest in the man.”

 

Gavin O’Donnell blends real world events, biographical information about Patrick and his own imagination to create a compelling narrative that follows Patrick’s path through the Great Hunger to the typhoid sheds of Quebec; from his service in the Confederate army and capture at Chattanooga in 1863 to the grisly O’Donnell massacre at Wiggan’s Patch, Pennsylvania; and ultimately to that fateful day off the coast of Port Elizabeth where Patrick put three bullets into James Carey, and in so doing sealed his own fate and his place in history — but for the wrong reasons.

 

“He was a real person, but how I draw him is how I imagine him to have been as he faced his lifelong challenges and as he sat in his death cell,” Gavin O’Donnell said.

 

Included are accounts of letters of clemency sent to Patrick’s trial and indeed to Queen Victoria herself by Victor Hugo, (the great author but also well-known campaigner against capital punishment), and from U.S. President Chester Arthur. Interventions which hint at an extraordinary life for an Irish peasant.

 

“History tells us that Patrick O’Donnell was hanged in Newgate Prison in December 1883 for the murder of James Carey,” Gavin O’Donnell added. “History, however, tells us almost nothing of his remarkable life. Was he a British agent, hero of Ireland or something else altogether?”

 

About the Author

Gavin O’Donnell grew up in Wales, Ireland, North Africa and England. A selective mute until age 5, he was unable to read properly at age 11 and was classified as “Educationally Sub Normal.” He studied Construction Management in Limerick, obtaining a degree, and later, at age 40, by way of distance learning, he obtained a Bachelor of Laws honors degree at Nottingham.

 

While vacationing in Bordeaux in 1990, he and his wife lost their daughter in a fire, and their son was badly injured. Later diagnosed with bipolar disorder and PTSD partly as a result of the trauma, he retired from his career in Project Management and concentrated on property development.

 

He and his wife, Linda, refurbished several cottages in Southern France and built up a small holiday business before selling up and returning to rural South Wales. They now reside in a self-built stone cottage along with three cats, Jess, Bob and Kpo; a few thousand bees, whom they have not named; and several chickens. Two grown children and one grandchild live nearby.

 

For more information, please visit https://www.patrickodonnell.uk or  https://www.facebook.com/executionpatrickodonnell

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All the opportunity in the world awaits: Why Hollywood needs to embrace the vitality of international creators

The first time I went to Ghana, I was 19 years old and volunteering to build a health clinic in a rural village. It was the early ‘90s, I was a teenaged lunatic, and everything bad that could have happened to me did: I got malaria; I was beaten up by soldiers on the border with the Ivory Coast — but I also encountered wonderful people and stunning and moving and unforgettable experiences and friendships. All told, I had the time of my life, and vowed to spend as much time as I could on the African continent, and I have ever since.

 

A few weeks ago, I was back in Ghana (now as a middle-aged man, no backpack, no youthful bravado) for a very different reason: to join other producers at a historic pan-African summit devoted to the elevation of the film and television industries across the continent. And the talent, entrepreneurial intelligence, and sheer creativity on display came as a welcome injection of hope at a time when those of us based in Hollywood could use it.

 

As we all take our holiday break and look toward 2024, many of us working in the entertainment hub of Los Angeles are — to say the least — shaken. Limping out of the pandemic and labor strikes and cost-cutting and mergers, Hollywood is struggling for the gumption to do anything cool; or, really, to do just about anything. Buyers seem to be only warily open for new business, and strictly according to company “mandates” conveyed by apologetic executives who are understandably fearful for their jobs. What’s been lost in this town-wide shakedown is the electric sense of possibility, of excitement about daring projects, and a desire for creative innovation that, for many of us, is the reason we have these jobs in the first place.

Invention Studios chief Nicholas Weinstock with Invention’s Nicole Magabo and Vanessa Kihuguru Olanrewalu Ayorinde

 

The irony is that the industry has never been in more urgent need of creative innovation than now. Unexpected storytelling from sources as far-ranging as possible are in fact crucial to our ability to get through the current crunch to a healthier future. It’s worth pointing out that many of the most prosperous recent jolts to the film and television business have come from surprising creators outside America’s borders – from “Parasite” to “Casa de Papel” to “Squid Game” to “Lupin” to the British-conceived “Succession” to the India-born “RRR” and beyond. It’s also worth noting that the number of game-changing hit movies and series that have been generated by nervous corporate mandates, in the history of the entertainment industry, is zero.

 

All of which suggests that the world beyond seized-up Hollywood might provide a beacon as we all try to get through a dark time.

 

In November, I had the honor to serve as head juror of the Africa International Film Festival (AFRIFF) in Lagos, Nigeria, where more than 700 feature films were submitted from across the continent and from traditional tribal storytellers and internationally renowned filmmakers alike. The award for best picture went to “Fumilayo Ransome-Kuti,” about the life of a heroic women’s rights activist and educator: a film (period piece, narratively unorthodox, feminist agenda, unfamous actors) that would be in no corporate mandate on earth.

 

From Nigeria I traveled to Accra, where the National Film Authority hosted the first-ever continental summit devoted to the empowerment of African cinema. Hundreds of emerging writers and directors attended the conference’s panels and speeches — including a passionate address by Ghana’s President, Nana Akufo-Addo — advocating and offering support for globally groundbreaking movies and shows.

 

And you don’t have to go as far as Africa to find surging creative ambition. A couple months ago, at the Mercato Internazionale Audiovisivo (MIA) in Rome and at MIPCOM in Cannes, creators and producers from around the world convened to build and promote their most audacious projects. While there I strategized with a Ukrainian producer on her comedy set in a bunker in Kiev during the Russian bombings; with Mumbai-based entrepreneurs who are gathering the makers of India’s most popular YouTube videos into a creative comedy collective; and with other pioneers of film and television offering tales and perspectives that worldwide audiences have never seen.

 

The energy of international creators these days is a vital fuel for our industry that — unlike most natural resources — is only growing. And for those of us hoping to make great things in 2024 and beyond, it’s a model of creative courage that we desperately need. Amid all the corporate downsizings in Hollywood, it’s crucial that we resist the obedient urge to downsize our imaginations. Our industry is in urgent need of reinvention. We have the historic opportunity to rise to that challenge with all the partners, innovators and joy in the world.

 

(Pictured at top: Attendees at the Africa International Film Festival in Lagos in November)

Nicholas Weinstock is president of Invention Studios, an independent creative company based in Los Angeles. After attending college at Harvard University and the University of Nairobi, he went to graduate school for literature at the University of Botswana and the University of Cape Town, and is author of a nonfiction book and two novels. Most recently, he developed and executive produced the Apple TV+ series “Severance” and “High Desert” and produced the film “Thelma,” set to premiere at the 2024 Sundance Film Festival. He is also the founder of Craft Services, an online support network and project incubator for more than 600 emerging screenwriters worldwide.

 

 

 

Variety

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Owkin enters collaboration agreement with MSD to develop AI-powered diagnostics for cancer

  • Owkin to collaborate with MSD to develop and commercialize AI-powered digital pathology Microsatellite Instability High (MSI-H) diagnostics for four types of cancer.
  • The aim is to pre-screen patients for the MSI-H biomarker, which is found in a broad range of solid tumor types and is a strong predictor of PD1/PDL-1 inhibitor efficacy in cancer.

 

 

PARIS — (BUSINESS WIRE) — Owkin, a French-American biotechnology company that applies artificial intelligence (AI) to drug discovery, development, and diagnostics, on Monday announced that it has entered into a collaboration agreement with MSD, the trade name of Merck & Co Inc., Rahway N.J. U.S.A. to develop and commercialize AI-powered digital pathology diagnostics for the E.U. market.

 

Clinical trials have shown that the MSI-H tumor phenotype has potential prognostic and therapeutic importance, especially with the increased application of immune checkpoint inhibitor (ICI) therapies.1,2,3,4 As such, MSI-H has become an important genomic biomarker with applications across several types of cancer. As a result, testing for MSI-H is now recommended by consensus guidelines internationally.5,6,7,8

 

Meriem Sefta, Chief Diagnostics Officer, said, “This strategic alliance with MSD is focused on improving the way patients are diagnosed and receive treatment, advancing our shared mission of supporting healthcare providers in their adoption of innovative digital diagnostics. It is clear that there is a need for AI diagnostics that can both ease bottlenecks and resource pressures while also ramping up biomarker testing to match patients with optimal treatments.”

 

This collaboration seeks to develop a pre-screening procedure to improve testing rates for MSI-H in endometrial, gastric, small intestinal, and biliary cancers. In these cancer types, MSI-H prevalence is low and MSI-H screening is not routinely performed. The collaboration will initially be focused in the European Union.

 

“The application of AI technologies holds tremendous potential in the screening of patients and the diagnosis of disease,” said Scott K. Pruitt, associate vice president and head, Translational Oncology, MSD Research Laboratories. “We look forward to working with the Owkin team toward harnessing this opportunity to identify more patients with MSI-H cancers who may benefit from ICI therapy.”

 

Owkin, which currently has the only MSI digital pathology diagnostic CE-marked in colorectal cancer, will extend the development of its MSI-H AI diagnostics into four new cancer types, leveraging multimodal patient data from multiple academic centers and hospitals.

 

About Owkin

Owkin is a biotechnology company that combines the best of human and artificial intelligence to ensure every patient gets the right treatment. By understanding complex biology through AI, we identify new treatments, de-risk and accelerate clinical trials and develop AI diagnostics. Owkin uses privacy-enhancing federation to access up-to-date multimodal patient data that unlocks AI’s potential to power precision medicine.

 

Owkin is working to deliver AI diagnostics that integrate seamlessly into the digital pathology workflow to support accurate diagnosis at a fraction of the time and cost of existing tests. Our solutions help improve pathology workflows, pre-screen for biomarkers, and predict outcomes— giving healthcare providers a fuller picture of a patient’s disease. This means more patients can benefit from targeted therapies, making precision medicine more accessible to more patients at an earlier stage of their disease.

 

Owkin has raised over $300 million through investments from leading biopharma companies (Sanofi and BMS) and venture funds (Fidelity, GV and BPI, among others).

 

MSIntuit CRC

MSIntuit CRC is a CE-marked AI diagnostic that optimizes testing for microsatellite instability (MSI), a critical biomarker for CRC patients that represents a defect in a cell’s ability to correct mistakes that occur when DNA is replicated. Testing is now recommended by consensus guidelines, such as European Society for Medical Oncology (ESMO) in Europe and College of American Pathologists (CAP) in the US. MSI phenotyping is also essential to both the management of hereditary colorectal cancers and prognosis evaluation.

 

MSIntuit CRC is used for pre-screening and applies machine learning to digitized pathology slides to help pathologists and oncologists in their objective to facilitate better access to immunotherapy for all CRC patients.

 

MSIntuit CRC aims to have a significant impact on doctors and patients by decreasing workload and turnaround time, optimizing costs, and preserving tissue material and consumables. By using AI, this innovative tool may also support reproducibility through addressing inter-observer variability, with the end goal of optimizing quality and efficiency for critical tests.

 

1 KEYNOTE-177 (Pembrolizumab in Microsatellite-Instability–High Advanced Colorectal Cancer) https://www.nejm.org/doi/10.1056/NEJMoa2017699

2 CheckMate 142 (Nivolumab (NIVO) ± ipilimumab (IPI) in patients (pts) with microsatellite instability-high/mismatch repair-deficient (MSI-H/dMMR) metastatic colorectal cancer (mCRC): Five-year follow-up from CheckMate 142) https://ascopubs.org/doi/abs/10.1200/JCO.2022.40.16_suppl.3510

3 KEYNOTE-158 (Pembrolizumab in microsatellite instability high or mismatch repair deficient cancers: updated analysis from the phase II KEYNOTE-158 study) https://pubmed.ncbi.nlm.nih.gov/35680043/

4 Dostarlimab for Primary Advanced or Recurrent Endometrial Cancer https://pubmed.ncbi.nlm.nih.gov/36972026/

5 ESMO recommendation, Annals of Oncology 30: 1232–1243, 2019

6 NICE [Accessed June 2023]

7 Cancer Ind. Évaluation du statut MMR tumoral / synthèse. 2021; [Accessed June 2023]

8 National Comprehensive Cancer Network Genetic/Familial High-Risk Assessment: Colorectal (Version 1 2018).

Contacts

Stephanie Libous

Director of PR & Comms

stephanie.libous@owkin.com

Edward Farmer

PR Consultant

edward.farmer-ext@owkin.com