Why are racial gangs formed in prisons?
FILM E: THED EAD D ON T D HE * DISPERSE * EVERYTHING IS GOOD * THREE STEPS AND GAME ACHER: D ER GROSSEREIBACH * COM ICS: FRAN K M
1 FILM E: THED EAD D ON T THE * DISPENSE * EVERYTHING IS GOOD * THREE STEPS AND GAMES: THE GROSSEREIBACH * COM ICS: FRAN K M ILLERS »XERXES« N SU-PROC ESS: MRS Z SCHÄPEVERSCHW ESSES
3 Zombie hunters Bill Murray, Chloe Sevigny, Adam Driver (from left) in "the Dead don t die"; on page 11 MIX Four birds in a quarter; Ad tracker; Domestic slaughter; Celebrating at the Siggi: Summer is bursting; NewTones Festival; The Monastery of Reason 4 SPIELMACHER Bielefeld students developed the game "Der große Reibach".
4 FESTIVAL 1 Four birds in the quarter In the third year the project Festival in the bird quarter gets its fourth band. Originating from a neighborhood initiative with refugee accommodation nearby, the meeting in the culture and communication center soon developed into a good opportunity to share information, food and, above all, music with people from all over the world. Old and new Bielefeld people are invited to take part in the festival in the afternoon with an open music session. Then the Banu women's choir opens the stage with traditional Persian women's songs that lead to the most diverse regions of the multi-ethnic state of Iran: to Azerbaijan, Gilan, Kurdistan, Fars, Lorestan and Bandarabas. Ensemble Hope will perform at midnight. The group, founded in Frankfurt in 2016, brings together refugee and local 4 ULTIMO professional musicians and mainly plays classic and popular Afghan and Iranian pieces with European influences. This is followed by the Nouruz Ensemble with five virtuosos living in North Rhine-Westphalia who have studied old oriental instruments in their homeland and who have helped them to find a new life through modern compositions. Together with the guest singers Rita William and Mehmet Akbas, Nouruz performs completely new oriental music in Bielefeld. Finally, the Ishtar Connection sounds a bit more modern and world music. The quartet presents a surprising and memorable mix of bagpipes and synthesizers, oud and electro, a fusion of seemingly contradicting sounds and instruments. Hence the name: the goddess Ishtar was after all considered the goddess of love and war at the same time. Admission is free, donations are welcome. Festival in the Vogelviertel, from h, Kultur- und Kommunikationzentrum Sieker, Meisenstraße 65 / Afghan and Persian music: Ensemble Hope At the festival in the Vogelviertel: The women's choir Banu WERBETRACKER Don't sell me Everyone knows where you're looking, everyone tracks what you're doing, But at least twelve human rights and digital rights organizations in nine EU countries have filed complaints against illegal behavioral online advertising techniques to their data protection authorities at the same time. One of them was the Bielefeld data traffic association Digitalcourage, which presented itself to 16 state offices. They all oppose advertisers in general, and Google in particular, collecting, combining and reselling data from online advertising users on a large scale. Firstly, far more data is collected than is necessary for target group-specific advertising. Secondly, the data would be redistributed in an uncontrollable manner in such a way that no revocation is possible and the legally compliant processing of personal data can no longer be guaranteed. Thirdly, data from specially protected areas of the person are often included, such as information about sexuality, ethnicity or political opinion, which is passed on in real time to further users who cannot be recognized by the user. In addition, with largely unknown analysis methods from the surfing behavior of the users, even if they do not click on ads, they create complex profiles. There is no legal basis for any of this, some of it directly violates European law and the Internet is not there to monitor people every step of the way, as Friedemann Ebelt from Digitalcourage says. Time does it anyway. She has just received a Big Brother Award in Bielefeld for the tracking software on the Zeit-Online website. Unlike other award winners, she accepted it with a personal representative, but insisted on correcting some errors in the reason for the award. Also online and with the special note: at Zeit-Online you can object to the forwarding of individualized tracking information. Anyone who wants to join the Europe-wide #StopSpyingOnUs campaign independently can submit individual complaints via a website. digitalcourage.de / / blog.zeit.de/glashaus/2019/06/04/zeit-online-erhaelt-den-negativpreis-big-brother-award House slaughter Surreptitious advertising We are stupid, but not stupid. We will not try to sneak a bit of advertising by simply adding a few company names to a classified ad (I invite you to lunch ..., who will dance with me, there are nice dance courses in the XY?) only noticed, but also deleted without comment. Subsequent insults do nothing to change that. We love insults, we make a living from it like other titles from advertising, right, we also live from advertising, dear commercial scroungers: advertising with us is not expensive. Can (almost) everyone afford it. Afterwards you can still think of us as arrogant "is included in the price.
5 SIEGFRIEDPLATZ The summer is bursting The old custom remains unbroken: when the sun is shining, you can make coffee outdoors at the Hinz and Kunz on Siegfriedplatz. And almost two weeks beforehand, on July 6th, send the children out to celebrate. Like every year, the Rund um den Sigi association is playing in the heart of the West and is building a bouncy castle, games of skill and dressing tables, a giant slide, a ninja course and routes for swincars and pedalos for the children's festival. Von Uhr also has a balloon competition and stands of the police, fire brigade and Arminia on the square. On Sunday, the association puts out the long table again from Uhr, where anyone who wants to come can unpack their own breakfast utensils and share them with each other. A pianist makes the music and if you can't find a seat, hopefully at least have your own coffee mug with you. Because today nothing is sold here and everything is free. Anyone who wants to know how the association, with around 80 members from associations, retailers, freelancers and tradespeople in the area, can organize everything can be done on July 3rd. Come to the club table at the Supertram at 8 p.m. And if you want to get to know more of the district initiative, you should make a note of the district festival a little earlier. On the citizens' initiative Bürgerwache celebrates their party from 3 p.m. with a barter and flea market, with a children's program and live music with electro pop and brass music. FESTIVAL 2 Bi Open We congratulated the pop service providers from Newtone in the last issue, now Jochen Vahle and Tom Kummerfeldt are throwing back a nice cake. For the 25th anniversary of their agency for music and cultural management, they celebrate for free and outside on the Kesselbrink. There the house band Randale opens the program at o'clock, possibly the most successful Newtone project, the band for children and people who like to give animals rock names. Jochen Vahle invented the fun project in 2004 and is still the leader of the Blagenpunks today. Newtone took the next acts directly from his own past. With How come Hysteria Newtone made the first CD in label history and is now bringing the band back together on the Kesselbrink for their birthday. Brothers in Mind and Ron Diva have been friends with each other and with Newtone for years, know each other from / many appearances together, sing. In keeping with the 15th anniversary, the musical rioters of the children's band Randal have released a new CD. Everything that children need to know to survive is about environmental protection, proper nutrition, dinner and road safety. As always, far removed from all cuddles and children's kitsch, it is rock, funky and varied. And of course funny. (Kinderkrachkiste, published by Argon Sauerländer Audio) meanwhile both German and together cover a very nice spectrum of melancholy and cheerfulness. The local newcomers from Dünamit then come out quite powerfully with their way of coming to terms with the past. They were compared early on to Grandfunk Railroad, even they say they stand for versatility with the least possible effort. And then they play riff-infested blues with a bit of funk and a lot of R&B. The headliner is Love Machine from Düsseldorf with 70s hippie psycho prog rock, just like you do it again today from h, Kesselbrink, free admission / CONSPIRACY THEORIES The monastery of reason The devil of the Enlightenment has just gone to the monastery. While brave self-thinkers around the world stumble across the flat earth or on the tracks of the chemtrails on the moon find no American rubbish, but only Nazis or lizard people, who could also live under the South Pole, if only there was, the Westphalia Regional Association Lippe, of all places, in Dahlheim Monastery near Paderborn, that one shouldn't believe in conspiracy theories. At least not to everyone, and not without thinking a little more yourself. The devil and the witches used to be a wrong way to blame the envy of the constantly failing world secret powers, sometimes the Jews and the Templars were blamed for hail damage, mix Udo Kier as a Nazi on the moon in Iron Sky and with After the Enlightenment, Freemasons and Illuminati got the reputation of wanting to ruin the good yesterday for reasons of power. Today the feeling of being led into misery by hidden pullers is spreading faster and faster online, and it is hardly possible to bite into a bread roll without mistaking the poppy seed for an intrigue of the drug industry or of its hidden opponents. Terms like lying press and fake news reflect an increasing distrust of governments, so-called leading media and elites, and where the established parties and responsible institutions lack answers, lost trust shoots into the weed either in hysterical paranoia or crippling fantasies of powerlessness. As a herbicide, the former monastery is now offering its hand-brewed special beer Strippenzer for tasting on the one hand, and a richly illustrated catalog in which recognized experts such as Sebastian Bartoschek unravel who invented the supposedly secret protocols of the Elders of Zion (Tsarists) and experts from the organization Der goldene on the other Aluminum hats explain hands-on experiments on the spherical shape of the earth. In the monastery itself there are also several hundred exhibits on almost all questions relating to the invention of powerlessness compensation schemes, including the trials of four canons from Dahlheim who were accused of witchcraft in 1603. Children can be locked up in the historic vaulted cellar in an escape room and have to find the Grail to get out, adults can be scared of conspiracy theories from nine centuries, the official lawsuit against the Knights Templar and their alliance with the devil, or rescue kits against toxic barcodes. Conspiracy theories then and now. LWL State Museum for Monastery Culture, Dahlheim Monastery. Until March 22nd LWL / Kultur / kloster-dalheim / ULTIMO 5
For 6 years the students Martin Middelanis, Thomas Midde-Nils Büteröwe and Nils Brün-Jlanis have worked on their parlor game "The great Reibach". Now it is self-published. It is not only critical of capitalism, but also sustainable. Ultimo met with Martin Middelanis in the »casa« and talked to him about the origins of the game, the sustainability aspect and self-publishing. What kind of game is "the big rubbish?" It's about investors who no longer get interest from the banks and are now looking for returns in other ways, and about banks that shamelessly take advantage of it. The players slip into the roles of bankers because, of course, they benefit significantly more than the investors. Every player is the head of a bank. You have to win customers and look after them. Unfortunately, customers don't trust you blindly. To do this, you hire bank advisors who keep the customers happy and convince them that more NASTY AND SUSTAINABLE FOUR BIELEFELDER HAVE RELEASED A GAME ABOUT BAD BANKERS IN THE SELF-PUBLISHING A GAME ABOUT BAD BANKERS Investing action cards to play money. Over time, you build a banking system. There are action cards with which you can influence events and increase your own profits. You can speculate with food what people like to do in banking. You can bribe rating agencies. If you want, you can also harm the competition. For example, by sending the black block over to her. He then destroys a branch. Or the customers of other banks are unsettled by critical shareholders. The big Reibach is a very interactive and complex game. It is suitable for people who like to play and have some gaming experience. In our experience, a lap takes two to two and a half hours. It is a very balanced and tactical game in which you have to adapt your strategy depending on the game situation. The winner is the one who has bagged a certain amount in his sack at the end. That doesn't sound particularly cooperative, but rather confrontational. Absolutely. We want to use the game to draw attention to the grievances in banking and finance. Since only your own profit counts for the players, it is obvious that you play against each other. Our game is also designed as a caricature of finance and banking. Some would say it's oversubscribed. We say: the reality is probably much worse. Have you had negative experiences with banks? Martin Middelanis in conversation We noticed that most of the games are either set in the past or in a fantastic setting. There are hardly any games that deal with socially relevant issues, are critical or political. In addition, the financial market has been a big topic since the financial crisis. There are many scandals that are good for caricaturing. We wanted to draw attention to these grievances and make people think. The focus should be on having fun. While playing, you are busy 6 ULTIMO
7 SPIELMACHER spent the evening with banking. Perhaps you start to ask yourself critically what role you play when you blindly carry your money to the bank. You want to enlighten. Exactly. How did you come up with the idea of founding a start-up? We started developing the game six years ago. For about five years we only played it among ourselves or with friends. We are four people from Bielefeld. Since the reactions from the people we've played this with have always been positive, we decided about a year ago to actually release our game. But how? If you give a game to a publisher, you also give up all rights. We didn't want that. So all we had left was to publish the game ourselves. That's why we founded the start-up. Whereby we prefer a collective of players. You named your game collective Kasimir Hahn. We wondered how we would do that when we put the game out. Do we then write our names on it as game designers? Who would then be named first, who last? We then decided to bring the game out under a pseudonym. One of us used the name Kasimir Hahn as a nickname when gaming on the PC. He suggested we could use that name after all. We quickly found a logo. A rooster that looks like a cliché banker. So with a suit and top hat. Everyone thought the logo was so cool that we really wanted to keep it. The name was just too good for that. How do you differ from other game developers? Probably through our very, very great idealism. I don't want to deny these other game developers. Many are certainly working hard on projects that are close to their hearts. But there are also many who only develop games in order to earn money with them and to publish something. For us it is the case that we want every little thing in our game exactly as it is now. We have immersed ourselves in every detail and would not even let someone outside of our collective change a little thing. An even bigger difference is that we have managed to produce Der große Reibach sustainably. What does sustainable mean? There is a board, cards, play money, instructions, of course, a dice and cotton sacks in which the players hoard their money. A cotton sack serves as packaging for the game. Every single material meets very high environmental standards. We only use recycled paper. Unfortunately, this is not possible with the game board, as this is not possible with cardboard. Our printing plant is CO2-neutral. She does not use toxic inks for printing. Our bags are GOTS certified, so they come from environmentally friendly and socially responsible textile production. This is currently the highest standard in the textile industry. The cubes are PEFC certified, an award that stands for sustainable forestry. The wood for the dice comes from Austria. What does the game cost and where can you get it? The game costs 39 euros. We calculated that we earn around five euros per game.We'd like to sell this through retailers. We are all originally from Bielefeld and would like to see our game in the local game stores and bookstores. But we will also sell it through our website. We financed the production of the game through a crowdfunding campaign. You could donate money or pre-order a game. We got around 200 pre-orders. The first edition is enclosed. So there are still games available. The games will be delivered in mid-July. What do you do when you are not inventing or playing games? I'm studying to win plural economics. You could describe this as critical economics. We are concerned with how it can be managed in a more social, sustainable and fair manner. In a broader sense, this has to do with the banking sector. My brother Thomas is studying landscape ecology in Münster. Nils Büteröwe is in Stuttgart and is doing a master's degree in vehicle technology there. And our fourth husband Nils Brünger, the only one of us who stayed in Bielefeld, is studying philosophy and physics here. We all attended the Ceciliengymnasium in Bielefeld. Interview: Olaf Kieser ULTIMO 7
8 SCREENSHOTS ALWAYS BE MY MAYBE EinKröskenvom the assembly line 8 ULTIMO Randall Park and Ali Wong in Always Be My Maybe Nahnatchka Khan wants to shoot “Harry & Sally” for today It's an old fairy tale that pots and lids belong together forever among people. Only when one finds oneself sick early does one just remain friends without ever participating in the higher consecrations of love. Nahnatchka invented Fresh off the boat for TV, that Chinese immigrant sitcom on the Texas grill. They also took on two actors for their first feature film, Randall Park, the male star and Ali Wong, who only had a supporting role there, but otherwise caused quite a stir as a comedian. She also had an effective guest star in Keanu Reeves, who added some nice moments to the largely predictable film. It starts with two children who live next door to each other. Several years are over after a few pictures, and Marcus’s mother has a fatal accident to give the comedy a little earthly weight. Unfortunately, she keeps it when Sasha and Marcus make their first advances as teenagers and are as clumsy as only adults in disguise dare to portray. The present will come after all. She is a hip chef for Korean hip food, he takes care of his decrepit father and is tinkering with a music career. And Nahnatchka Khan replaces a proper characterization of the main characters with quick peaks in dialogue on scene topics. Sasha's fiancé suddenly postpones the wedding, Sasha opens a new restaurant in Marcus hometown as a part-time single and everything goes exactly as expected. The old friends find each other again and help each other on the right horse. Marcus will be serious about the music, Sasha will give up her scene attitude and remember why she once, back then, learned to cook from Marcus' mother, instead of just serving spam nicely instead of being neglected by her own parents. The authors Michael Golamco, Randall Park and Ali Wong know exactly how such stories have to go and manage every single scene with a visible mix of embarrassment and romance, but the characters and their admitted and secret desires do not lead from one scene to the other , just the necessities of normal storytelling. And again and again the underlying topic of how Asian Americans should get used to the many worlds between displacement, the past, self-determination and adaptation. And then Keanu comes and saves the number revue with his number. Wing USA D: Nahnatchka Khan B: Michael Golamco, Randall Park, Ali Wong K: Tim Shurestedt D: Ali Wong, Randall Park, James Saito, Michelle Buteau, Vivian Bang, Karan Soni, Charlyne Yi, Susan Park, Keanu Reeves. 102 min. Netflix. DEADWOOD THE MOVIE American Gods The ingenious western series gets two more episodes attached When the western series Deadwood said goodbye after only three seasons in August 2006, not only did one of the most ambitious series end, it also ended in the middle of the jump. No storyline was complete, no main character received a worthy finale. The last episode, Tell Him Something Pretty, was a single provocation: Is that how you want to leave it? The soprano broadcaster HBO actually wanted one of the biggest hits to end like this and now, 13 years old, the aesthetics of the line-up at the center of all intrigues: The Al Swearengen saloon (left: Timothy Olyphant, right: Ian McShane) re later donated the subscription channel has two more episodes. Because Deadwood The Movie is only called that, in fact the film closely follows a series dramaturgy: The first climax is reached after 47 minutes, the running time of a normal episode. The plot begins 10 years after the series, which makes it easy to explain the changed appearance of some of the actors (only Ian McShane had to be artificially aged, he still looks outrageously young at 77 years old). The flashback technology used is a bit annoying at first, but allows the connection to be made seamlessly emotionally over a decade: Deadwood and South Dakota are ceremoniously connected to the USA. Which is why the old bad guy Hearst (now a Senator from California) is coming back to settle some old bills. The Marshall is still a hothead (now with three children) and in love with the beautiful widow Alma. The doctor has overcome his cough and is practicing relentlessly, Chinese Wu continues to dispose of the corpses in his pigsty, Calamity Jane, the greasy mayor, the good-natured landlord and the naive publisher all slip into their old roles and continue to play the plot from back then. Again it revolves around corruption, betrayal, politics. People cursed, shot, bled, and died. The fact that Deadwood seems nostalgic is only due to the references to the old series, the approach and the elaborate narrative are highly topical. The old sets were partly rebuilt, some roles are HBO artwork: In no series was fuck and cocksucker said more often. disappeared because the actors have died in the meantime (Powers Booth, for example), but otherwise, despite all the drama, it seems like a family get-together. And this time the story is really told to the end, with a wedding and many deaths. Al Swearengen, the verbose crook, schemer and vital center point of the plot, lies listlessly dying throughout the film. Angry, sentimental, unreasonable, he faces his death. When it comes to an end, someone prays our Father who you are in heaven, and Al growls out of bed, let him just stay up there! Thomas Friedrich USA 2019 D: Daniel Minahan B: David Milch K: David klein D: Timothy Olyphant, Ian McShane, Molly Parker, Paula Malcolmson, W. Earl Brown, Dayton Callie, Kim dickens, Brad Dourif, Anna Gunn, John Hawkes, Leon Rippy, William Sanderson, Robin Weigert, 110 min., On HBO
10 SCREENSHOTS A combination of class and racial justice. RAPID JUDICY Using the evidence, they commit themselves to the fact that the five boys are the perpetrators. The facts are adapted to the theory. After the conviction, the young people end up in prisons that have become for-profit companies through the Prison-Industrial Complex. Prisoners and their relatives are fleeced. Collect calls that only last a few minutes result in enormous costs that are otherwise only known from dubious hotlines. The role that Donald Trump played at the time is currently politically explosive. As a concerned citizen, he called for the reintroduction of the death penalty in New York State in full-page advertisements in daily newspapers and in interviews, thus further fueling the already tense atmosphere; This is proven by recorded original recordings. After their release from prison, the way back to a normal life is blocked by draconian probation requirements. The well-staged series is excellently cast right down to the supporting roles. Although it is primarily about the five young people and their relatives, the rape victim is not forgotten. Incidentally, the five wrongly convicted were awarded the highest compensation payment with a total of 542 million dollars. The story of the Central Park Five is retold in the mini-series "When They See Us" On a spring night in 1989, 28-year-old Trisha Meili is jogging in Central Park brutally assaulted, raped and seriously injured left in the bushes. It saves her life that she is found shortly after the crime. Prosecutor Linda Fairstein is appalled by the crime. She wants the case to be cleared up quickly because there have been several similar attacks recently. At the time of the crime, a group of around 30 young people from Harlem was walking through the park, some of whom were mobbing passers-by. That makes them very suspicious in the eyes of the police. Four blacks and one Latino are arrested. Without parental or legal assistance, the frightened youngsters get to know the investigative methods of the officials. They yell at the minors, threaten them or whisper in their ears that they can go home as soon as the rape is over. After hours of grueling mind games, four of the five confess in panic. Although their fantasy stories do not match the traces at the crime scene and there is no match in the DANN comparison, the young people are charged and sentenced to long prison terms. Only in 2002, when the real perpetrator confesses, the five are exonerated and rehabilitated. The case of the Central Park Five caused a stir far beyond the state borders of New York, Ken Burns has already dealt with the case in a brilliant documentary. Ava DuVernay (Selma) has turned it into an exciting, highly emotional four-part mini-series that works just as well as a bitter accusation of structural racism in the US as it does as a family drama, and never loses sight of human fates. The police and the public prosecutor do not appear in a good light. She s not amused: Linda Fairstein, the then prosecuting attorney and later Harvey Weinstein advisor, after broadcasting the series Trump ad: Little bounties that the State of New York has ever paid up to then. When the real Central Park Five are shown in the credits of the last episode, it is moving and not a mere authentication strategy. Years have been stolen from them, yet they have founded families and found a place in life. The then prosecutor Linda Fairstein is of the opinion to this day that she did nothing wrong back then. After her career ended, she worked as a crime writer and legal counsel for Harvey Weinstein. After the series aired in the US, she was forced to resign as a member of the Vassar College Board of Trustees. Olaf Kieser USA 2019 D: Ava DuVernay B: Ava DuVernay, Julian Breece, Robin Swicord, Attica Locke, Michael Starrbury K: Bradford Younf D: Asante Blackk, Caleel Harris, Ethan Herisse, Jharrel Jerome, Marquis Rodriguez, Vera Farmiga, John Leguizamo , Famke Janssen. 4 episodes on Netflix 10 ULTIMO
11 FILMS Adam Driver (after all, an ex-marine) at work 7 MAMA IS UNDead Jim Jarmusch is shooting a somewhat delayed zombie comedy with "the Dead Don t die". 38 residents and a really nice place is promised by the entrance sign to Centerville, the venue for Jim Jarmusch's new film The Dead Don t Die. In the little town somewhere in nowhere in America, the law enforcement officers have little to do. The two police officers Cliff Robertson (Bill Murray) and Ronnie Peterson (Adam Driver) are investigating a case of poultry theft. It is still unclear whether a fox or, as the nasty Farmer Miller (Steve Buscemi) claims, the homeless Hermit Bob (Tom Waits) has molested the chicken. But the two policemen and their colleague Mindy Morrison (Chloë Sevigny) soon face more weighty tasks. Finally, a real apocalypse is approaching. It starts with the clocks stopping, cell phones and radios stop working and the sun just doesn't want to go down in the evening. This is due to polar fracking, with which the government and industry tap new energy reserves, which results in a shift in the earth's axis and polar caps. But it's not just climate, daylight and electrical circuits that are going crazy. The bodies in the graves are also being brought back to life by the imbalance of the planet. The first zombie to dig its way out of the ground is Iggy Pop. One of Jarmusch's many casting coups, who made a documentary about the rock legend with Gimmie Danger three years ago. Iggy Pop didn't have to put on too much make-up for the role and as soon as he picks up on the bowels of a waitress, he turns out to be a zombie natural talent. Soon Centerville is full of the reanimated dead. But unlike in the genre usual, the zombies are not an anonymous mass. In the small town, everyone knows everyone else, and that goes for the undead too, of course. The fact that the resurrected neighbor or grandmother attacks you is one of the personal challenges that the law enforcement officers face. When the undead are not eating the living, they are pursuing their favorite premortal pastimes. You wander around with your smartphone and whisper WiFi to yourself. Others try to resume their tennis career with quite angular movements. Iggy Pop pours gallons of coffee into the rotten body, gurgling with relish. It will end badly, says Peterson to his supervisor from the beginning of the film, and of course he is proved right. Driver and Murray, who already worked with Jarmusch in Patterson (2016) and Broken Flowers (2005), prove to be the optimal pair in his universe. The two inspire each other in acting minimalism. With lethargic coolness and very long breaks, they get to the heart of Jarmusch's bone-dry dialog joke. Of course, the two cops don't stand a chance against apocalyptic forces and hordes of zombies, but they dutifully do their best. The younger cop develops a certain ambition when beheading the undead and at some point even holds the head of Selena Gomez in his hand. Bringing old rocker Iggy Pop and teen idol Selena Gomez together in one film can only be done by Jim Jarmusch. Comedy and melancholy are close together in his zombie doomsday film. However, The Dead Don t Die cannot achieve the grotesque emotional depth that Jarmusch achieved in his vampire film Only Lovers Left Alive (2013). Even Tilda Swinton's guest appearance as a Scottish funeral director and swordsman cannot change that. Similar to its undead characters, the film drags itself somewhat awkwardly through its morbid scenario over some stretches. And the pessimistic political message that Tom Waits formulates as an observing commentator lacks subtlety. Martin Schwickert USA / Sweden R&B: Jim Jarmusch K: Frederick Elmes D: Bill Murray, Adam Driver, Chloë Sevigny, Laury Linney, Iggy Pop, Selena Gomez, Carol Kane, Tom Waits, Steve Buscemi, 105 min. Tilda Swinton as Uma Thurman ULTIMO 11
12 FILMS MEASURE OF A MAN A FATTER SUMMER High school sweetheart A light summer comedy about not so easy subjects S Donald Sutherland gives tips for life: Measure of a Man ommer Like every year, the Marks family leaves New York for the summer vacation in their holiday home in a resort to spend at Rumson Lake. Unlike the rest of mankind, Bobby Marks' summer vacation is nothing to look forward to. For him they are a time of crisis for which one has to be well prepared. Bobby struggles with low self-confidence and overweight. While his popular sister quickly catches up everywhere, bathes in the sun and flirts with the entertainer, the chubby Bobby avoids the usual summer activities. The only bright spot for Bobby is his best friend Joanie, who also spends the holidays there with her family every year. If Bobby's extra pounds make an outsider, it is Joanie's oversized nose. On the very first evening, however, Joanie tells her boyfriend that she has to go back to town for a few weeks. As if that weren't enough, a group of local thugs around young veteran Willie decided to harass Bobby on behalf of all the annoying summer tourists from town. To make up the time, Bobby looks for a vacation job. The rich, slightly eccentric pensioner Dr. Kahn hires the boy to help out in the garden. At first it looks like old Mr. Bobby just wants to bully and take advantage of. But with the strenuous work in the garden, during which Bobby has to tame a stubborn monster of a lawnmower, and under Dr. Kahn's strict regiment, Bobby begins to develop the necessary self-confidence and no longer simply let himself be choked by everyone. Measure of a Man A Fat Summer is based on Robert Lipsyte's young adult novel One Fat Summer. Bullying, cosmetic surgery for minors, body and fat shaming, social exclusion - the novel, which was published in 1977, was all about these hotly debated topics today. Both the original novel and Jim Loach's film adaptation develop an astonishingly laid-back, entertaining and warm-hearted story about growing up around these serious points. Where many similar films tend to burn off a firework of emotions, Jim Loach, son of the legendary director Ken Loach, relies on an unobtrusive, sensitive narrative style that is all the more effective. You can easily put yourself in Bobby's shoes.You can feel his joy when he is with Joanie. You can feel his fear when Willie and Co badly humiliate him in one of the most dramatic and intense scenes in the film. The same goes for Bobby's fear that his parents might get divorced. The second central character in the film is Dr. Kahn, magnificently and gracefully portrayed by Donald Sutherland. Without being in the picture too often and without much text, Dr. Kahn's influence on the boy was enormous. He becomes Bobby's mentor. In one scene you can see a concentration camp tattoo on Dr. Kahn's arm. The man went through bad things, survived and coped with his life. Dr. However, Kahn does not take Bobby by the hand. His advice subtly brings the boy to a point from which he takes his fate into his own hands. The story may take place in the mid-1970s, but basically it's timeless. Measure of a Man is a clever, small, fine film bead that hits theaters at just the right time. Olaf Kieser USA 2018 D: Jim Loach B: David Scearce K: Denson Baker D: Blake Cooper, Donald Sutherland, Danielle Rose Russell, Judy Greer, Liana Liberato. 100 min. THREE STEPS TO YOU Sick Romance Juliet dies for Romeo until he saves her I didn't know how important his touch is until I was not allowed to have her. Says Stella, young and wise, immediately romps around with friends trying out clothes for a date and stirs us again when the others leave, she stays behind, looks sad, puts on an oxygen tube and immediately starts in her clinic room, which has been redecorated into a teenage den, Post self-encouraging speeches to the world. Stella has cystic fibrosis, or cystic fibrosis as the Americans say. We don't even have to know what that is, director Justin Baldoni shows us so clearly how bravely Stella fights against an illness that eats up her lungs with lots of colorful pills and a cuddly panda. She is 17 and will soon die if she doesn't get a lung transplant. And even with a new lung, she will soon die if medicine does not make progress. So far, medicine has made it so far that it is still alive if it adheres to all the rules, the most important of which is: Always keep four steps away from other CF patients. Whoever gets closer could kill the other immunocompromised person with his bacterial cocktail, or die from him. That's pretty young, as Justin Baldoni found out when he was making a documentary series about terminally ill young people. And that gets even more complicated when the clever, rule-abiding Stella falls in love with the rebellious patient Will, and they both start to play around with the distance requirement and ask vital questions. Do you have to live to continue taking medication? Can you be close at a distance? In the translation it becomes even more difficult because the original is about six feet, which are boldly shortened to five in the first step, as they are in the original title, while the German version speaks of far too long four steps, which then become frantically shrink to three. But much worse than the careless handling of the 30 centimeters more or less is the compulsion to bring a love story to a touching end without touching it. For while the authors Mikki Daughty and Tobias Iaconis have been serving and breaking romances and hospital standards in a virtuoso manner for a long time, they let go of pure kitsch towards the end. Romeo and Juliet meet a medical miracle. After all, the end is not happy afterwards, but wise: Touch yourselves, otherwise you will not live. We all die anyway. Wing Five Feet Apart. USA D: Justin Baldoni B: Mikki Daughty, Tobias Iaconis K: Frankie G. DeMarco D: Haley Lu Richardson, Cole Sprouse, Moises Arias, Kimberly Hébert Gregory, Emily Baldoni, Parminder Nagra, Claire Forlani. 116 min. Fate is a lousy traitor: Haley Lu Richardson in Three Steps to You 12 ULTIMO
13 Two and a half hours city tour: Sunset SUNSET Mysteries of a hat salon A long puzzle film with the will to art I n 1913, the young Iris Leiter returned to Budapest, next to Vienna the pulsating heart of the Habsburg double monarchy. In the hat salon head the sophisticated ladies of the company give each other the handle. Iris applies to be a trained hat maker in the business that once belonged to her parents before it went up in flames that dragged the owners with them to their deaths. The new owner Oskar Brill does not seem to be enthusiastic about the applicant who bears the family name of his company and buys her a first-class ticket back to Trieste. Iris is a woman who is not easily shaken off. When she learns that she has a brother in Budapest who she hadn't known about before, she decides to stay and get to the bottom of the matter. The brother is said to have cruelly murdered a count and live outside the city gates as the leader of a criminal gang. And so Iris drifts through Budapest in search of her only relative and comes across new secrets that surround her family and the hat salon. Hungarian director László Nemes made his international breakthrough four years ago with his debut film Son of Saul. The concentration camp drama, which consistently confronted the horror of mass extermination from the subjective point of view of a prisoner, was awarded the Grand Jury Prize in Cannes and the Oscar for the best non-English language film. Nemes also pursues this concept of radical subjectivity in his second directorial work. With a hand-held camera, he follows his protagonist through the Budapest of the year in long, planned sequences. The film with the protagonist rushes headlong into dark alleys, sultry parks, lively promenades, stately salons and dark pubs, always careful to deny the audience an overview with close and half-close shots. The camera follows the female heroine, who works her way through the thicket of the metropolis with astonishing restlessness, and sticks to her neck for what feels like a third of the film time. What develops a thoroughly absorbent effect at the beginning leads to abrasion phenomena over an opulent film length of two and a half hours. The same applies to the narrative concept, which suggests revelations in a whisper and which is too popular in the continuous production of unresolved mysteries. The fact that the female main character enters dangerous situations seemingly headless, from which she escapes only by chance or outside help, is an extremely flimsy means of promoting tension. Nemes sees his film as a portrait of a civilization on the edge and sees parallels between the approaching self-destruction of Europe as a result of the First World War and the current political situation. An interesting thesis, which, however, is hardly recognizable due to the strained puzzling dramaturgy and visual overconception Martin Schwickert Napszállta Hungary / France 2018 D: László Nemes B: László Nemes, Clara Royer, Matthieu Taponier K: Mátyás Erdély D: Juli Jakab, Susanne Wuest, Vlad Ivanov, 142 min. ULTIMO 13
14 FILMS DISPATCH Yesterday's horrors The Olsen option: after the redemption follows the »contempt«. The water looks strange until a pan of the camera reveals that the whole sea is upside down. Then, still on her head, a girl runs through the coastal grass, lovers meet, Sinatra sings about the summer wind. But the girl is wearing a thick sweater because we're in Denmark, and the rendezvous doesn't end very happily because, according to the fade-in, the 60s are just beginning. Christoffer Boe, the new director in the series based on the novels by Jussi Adler-Olsen, illustrates the basic elements of the past, cold soul, confusion and discontent. For many years, Commissioner Carl Mørck has been messing around with unsolvable old cases in the basement of the Copenhagen Police Headquarters and is now making his fourth film because he wrote a brief reference to his colleague Hafez el-assad. The whole of Denmark is evidently built on thin ice, which you can see on the edge. More important, however, is the sledgehammer with which Boe taps one of Adler-Olsen's main motifs from the end of the novel into the first 10 minutes. At the same time as an anonymous abortion, farm workers break through the wall of a hidden room in an old mansion. Inside they find three tied up, mummified corpses. The case is there. Carl Mørck, Assad and their assistant Rose soon find out that there is an even bigger one behind them. This takes you back to Denmark's recent past, where thousands of girls and women with intellectual disabilities or an immoral lifestyle were forcibly sterilized up until the 1960s. All of them were taken to an institution on the island of Sprogø, locked away and used for cruel experiments. An international search for the owner of the bent room begins, on the island we get clarification about henbane and its use as an intoxicant or as a murder weapon. Some flashbacks hint at the insults on the island, and in the present the biggest horror seems to be how superficially one skips over the prison for liberal people because it was all over since the totalitarian 50s. The changes made by the film to the book reduce Adler-Olson's indulgence in horror to a level that can be co-produced by ZDF, Hamburg looks good as Copenhagen, and Christoffer Boe lets it rain less depressingly than his predecessors. However, he also leaves out a lot of tension. And replaces the crime thriller with a conspiracy theory. After all, the Deep State is a right-wing racial gang this time around. Wing Journal 64.DÄN / D R: Christoffer Boe B: Bo Hr. Hansen, Nikolaj Arcel, Mikkel Nørgaard ndroman by Jussi Adler- Olsen K: Jacob Møller D: Nikolaj Lie Kaas, Fares Fares, Fanny Leander Bornedal, Clara Rosager, 118 min. ESTÁ TODO BIEN EVERYTHING IS GOOD Everyday heroes About the collapse of the Health system in Venezuela I Typical TV crime family constellation; And who found the body? "Contempt in parliament, the warring parties shout down, everyone blames the other. Doctors and health workers stand in the gallery and shout" People are dying in our arms! Tuki Jencquel does not explain what it is about. " It only shows a country like from an end-of-time novel, in which the pharmacies have long since run out of drugs and file sharing platforms are being set up on Twitter: Whose relatives have died of cancer, please make the remaining drugs available to a pool that is then available for the fair Distribution ensures. The state only exists as a repression machine. Efraim, a 30-year-old doctor, is paid in the national currency 9600 a month. A kilo of beef costs nothing in Venezuela. We see a leukemia patient looking for her medication, a diabetic who Wandering around town from pharmacy to pharmacy in search of insulin and aid deliveries insofar as they are shipped as containers from NGOs Land to be delivered is confiscated by customs. The on-site helpers recommend their friends to send deliveries in small packages to private individuals. Everything will be fine has its heroes. We would like to learn more about them and the situation they are in. But the film denies connections and structures. It wants to be fragmentary and incomprehensible. The overlaid long shots of the city, as it nestles in the valley like a lazy dead animal, are not without problems. The idea of contrasting the confusing situation with scenes in black and white in which everyday heroes stage their lives as a play seems strangely out of place. The film looks like Venezuela: once there was a concept, but then the money ran out. Thomas Friedrich Venezuela, D 2019 R & K: Tuki Jancquel, 70 min. CHAOS ON THE NET Digital emancipation Disney pokes fun at its own image of women In 2012, video game character Randale Ralph messed up the video game world of an arcade center. It was a funny and touching adventure with countless allusions and appearances by well-known and lesser-known video game characters. The digital world has changed a lot since then. Open world, online and mobile gaming are some of the new standards. Arcade machines owe their existence only to their nostalgic charm. When Ralph's friend Vanellope's machine breaks and is threatened with permanent shutdown, the two set off into this mysterious Internet everyone is talking about. Everything should be available there, including the urgently needed spare part. Ralph and Vanellope learn the hard way that finding a part is one thing, getting it is quite another. No, chaos on the internet (according to the unsuccessful German translation of Ralph Breaks the Internet) by no means follows the uncreative continuation logic of bigger, more colorful, more. The step into new digital territory is well founded. Just as chaos on the web is an entertaining and touching adventure peppered with allusions and Easter eggs. Common online behavior is targeted in a smart way and with a love of detail. The fact that many corporations are represented with real names is no surreptitious advertising, but simple recognition of reality. The appearance of the Disney Princesses All-Star Team is undoubtedly one of the highlights of the film. With unexpected courage to self-irony, Disney has been shaking up its decades-old eta- The pharmacy where there is nothing left: Está todo bien Everything is good 14 ULTIMO
15 DVDs blended, carefully cultivated image of women and dismantled them to a large extent. One can understand that as a reaction to the #MeeToo debate. The film will be released on DVD and BD, with only the latter featuring bonus material. Olaf Kieser Ralph Breaks the Internet USA 2018 D: Phil Johnston, Rich Moore B: Phil Johnston, Pamela Ribon K: Nathan Warner Speaker: John C. Reilly, Sarah Silverman, Gal Gadot, Ed O Neil E: In Search of Easter Eggs , The Music of Chaos on the Net, BuzzzTube Cats, How We Made Chaos on the Net, Additional Scenes, Music Video. 112 min. VIDOCQ RULERS OF THE UNDERWORLD Before and behind the law The slow legend of the good crook who invented the French BKA Could Max and Moritz become education ministers in Germany? In France in the first few years after the revolution, a convict and escape king managed to set up the secret police and invent the criminal record. Eugène François Vidocq was a legend during his lifetime, a womanizer, an upright dishonor, who was always tricky with justice for his own survival. And with the truth. In this respect, Jean-Francois Richets Vidoq is definitely on the right track when Vincent Cassell gets a touch of morality and character, and tells Vidoq's gradual production of the scientific fight against crime as a costumed modernization of society, women and friendship drama. Sowareswarnot, but looks good and expensive. Vincent Cassel looks stern when he finally goes to war against a former fellow escapee who wants to become the new underworld emperor. There is a lot of bloody street fights and a few base intrigues in pretty castles. There are two women and a somewhat artificial final battle between Vidocq and his enemy, who is only claimed to be an alter ego. There are even a few political allusions to the fact that Napoleon will soon fall after the revolution and that France needs Vidocq's approach of using villains of all classes to make the streets safe. But these are all window speeches that a Police Minister Fouché actually has to deliver at a window. Then Bonaparte takes a quick look in and Vidocq walks slowly and heavily beaten into the sunset while the troops drill. All of this cannot quite decide between reading books, creating legends, saber fights and dueling drama with one-shot pistols. And leaves out so much of the real Vidocq that the film is right again if it simply leaves out the name from the original title. Wing L Empereur de Paris. FR: Jean- Francois Richet B: Eric Besnard, Jean- Francois Richet K: Manu Dacosse D: Vincent Cassel, August Diel, Patrick Chesnais, Olga Kurylenko, Denis Lavant, Freya Mavor. 120 min. E: Behind the scenes: cast, sets, costumes. FUNERAL PARADE OF ROSES New ways The experimental cinema classic comes out as a 4K version Eddie and Leda are the hottest drag queens in Tokyo. Both compete for the favor of the customers and especially that of the nightclub owner and dealer Gonda. He chooses the younger Eddie, artwort to Vidocq which drives Leda to suicide. Although Eddie now has Gonda to himself, the longing for his own father is unbroken. It disappeared when Eddie was a kid. In terms of content, Funeral Parade of Roses is confused and somewhat overdramatized and overconstructed. Eddie murders his own mother and her lover, Gonda turns out to be Eddie's father. It's less about telling a story. This is about art and about experimenting with the possibilities of cinematic storytelling. In addition to game scenes, there are documentary interviews with real gay boys, flashbacks, repetitions and various alienation effects. The frenzy of pictures has more of the character of a collage or video installation. Stanley Kubrick was so impressed by the film that he incorporated a lot into A Clockwork Orange (1971). Apart from its artistic character, Funeral Parade of Roses is also a contemporary document of the 60s. The film, published years ago under the title Pfahl in my flesh, is now available as a 4K version in the original with subtitles. Olaf Kieser Bara no Soretsu J 1969 R & B: Toshio Matsumoto K: Tatsuo Suzuki D: Pita, Osamu Ogasawara, Yoskimi Jo.105 min. The frenzy of pictures from the 60s: Funeral Parade of Roses FROM THE NEXT DISTANCE Two-room apartment Between thriller and female drama, boredom arises above all Naomi used to be a good Mossad agent. Naomi has been incapacitated since her husband was killed in front of her eyes on an overseas mission. Now her old boss asks her to take on a simple job: Naomisoll for two weeks in Hamburg to take care of the informant Mona, who has provided the Mossad with hot information from inside Hezbollah for years. In Hamburg she is recovering from a facial operation and is waiting for papers for a new life. At first the two women meet each other full of suspicion. But since they are not allowed to leave the old apartment, they inevitably get to know each other better, discover things they have in common and make friends. Meanwhile, disaster is brewing outside, because different secret services are pursuing different goals, and Hezbollah discovered surprisingly quickly that Mona is in Hamburg. Eran Rikli's short story-based film vacillates indecisively between an agent thriller and a woman's drama. The film manages the trick of appearing erratic and lengthy at the same time. While Naomi and Mona expand their soul life in long conversations, the action rushes from station to station outside the apartment without much credibility. Every now and then, mysterious phone calls and curious stubborn kiosk owners and neighbors cause a little paranoia. Olaf Kieser Shelter D / Israel / F 2017 R & B: Eran Riklis K: D: Neta Riskin, Golshifteh Farahani, Yehuda Almagor, Doraid Liddawi 93 min At the beginning, Jennifer Fox (Laura Dern) doesn't trust her memory, at the end the viewer doesn't trust his eyes, and Jennifer Fox has to calm down in person: at least the 13-year-old abuse victim was an adult body double. Documentarist Jennifer Fox's first feature film begins in a similarly complicated manner. She is in her late 40s and ULTIMO 15
16 DVD gets an excited call from her mother. She believes she found evidence of abuse in an old school essay by her daughter. Jennifer doesn't know anything, but remembers the weeks on the horse farm in a completely different way and sees herself as a blooming tomboy, where she was still an inconspicuous dwarf. In return, the riding instructor appears to her as a gorgeous substitute mother, and her consistently nice first friend only gets a warning smell from the clearly too greasy camera. Jennifer now investigates in her head, visits adult women who were at the riding stables at the time, and gets confused because the stories don't go together. Was the camp a youth paradise instead of the unfriendly home? Or a nightmare that the grown-up Jennifer tells herself to distract from her own mistakes? In any case, one of Jennifer gives lectures in between about how we explain our life through stories, and the other Jennifer sometimes interviews her dream staff or shows us different versions of forgotten experiences. Ja even manipulates the memories of her interviewees. Or not? Was she a victim? Is it good that she doesn't want to be one? Or is that precisely the lie that she felt older, more mature than she was back then? The result is a disturbing film about confused emotions, stories from the 70s, and the different ways we deal with the fact that we may not be who we tell ourselves to be after all. Wing USA R + B: Jennifer Fox K: Denis Lenoir, Ivan Strasburg D: Laura Dern, Isabelle Nélisse, Elizabeth Debicki, Jason Ritter, Ellen Burstyn, John Heard, 115 min. E: Jennifer Fox answers audience questions THE DRAGONFLY Detours Chan-wook In his TV debut, Park turns the thriller into a study of tricks and deception.The novel (and the film adaptation with Diane Keaton) is about an inexperienced brat who is drawn into the murderous conflicts between Israel and the Palestinians: she's supposed to be a decoy Lure top Palestinian terrorists from their reserves. This six-part series, stylishly staged by Chan-wook Park (Lady Vengeance; The Pickpocket), is also a secret service thriller, and also a brilliantly cast. But it's more about the question: what will become of us when we start to live in our lies? The impressive Florence Pugh as Charlie is transformed from the actress into a martyr widow, who is supposed to help the Israelis in 1979 to arrest a bomber in Europe. The game of appearance and existence and life in the illusory world is staged by Chanwook Park with a lot of courage to cliché: the weird head of operations, the silent mercenary with a damaged soul, the scene chick who suddenly has to deal with politics - everything happens a complex picture that, despite all the tension, leads to the expected end. And that leaves us with the question: What for? The Middle East conflict has long since reached other dimensions, the tragic blowing up of the air and shooting to death seems almost idyllic in the face of the will to barbarism that has now afflicted both sides. The Little Drummer Girl remains a visually appealing study in confusion, more beautiful and with a better LauraDernin TheTale script to follow in Chanwook Park's The Pickpocket. The BBC production is now available on two DVDs, supplemented by four minute-long extras that do not illuminate much. Thomas Friedrich The Little Drummer Girl. GB 2018 D: Chan-wook Park B: Michale Lesslie, Claire Wilson; based on the novel by John le Carré K: Woo-hyung Kim D: Florence Pugh, Michael Shannon, Alexander Skarsgard, Daniel Litman, Claire Holman. 6 episodes à 50min. On 2DVD FOLLOW THE MONEY (2) How to cheat them all Dream couple: Alexander Skarsgard and Florence Pugh in Die Libelle Follow The Money 2 An exciting series about white-collar crime The first season of the Danish series has how exciting white-collar crime can be portrayed Follow the Money shown. The ambitious young lawyer Claudia got caught up in the dubious machinations of the energy company Energreen, while at the same time investigators Mads and Alf were investigating the company for fraud. The series succeeded in presenting sometimes highly complex legal and economic issues in an understandable and gripping manner. A year and a half have passed since the Energreen scandal. Claudia is released early from prison after 18 months and is looking for a new start at Absalom, a small, innovative private bank run by a pair of siblings. An experienced lawyer can be used there, because Absalom is threatened with being taken over by Nova Bank, one of Denmark's largest banks. When Claudia learns that financial magnate Knud Christensen is behind it, she does everything possible to thwart his plan. Christensen was responsible for the Energreen scandal but could never be held accountable. This bothers Claudi and investigators Mads and Alf, who come across a series of suspicious banking transactions through a seemingly insignificant case of a small carpentry shop that has gone bankrupt under mysterious circumstances. Soon they come across a whole host of similar cases. The trail leads to the Nova Bank. The financial crisis of 2008 and even more the Greek sovereign debt crisis served as a model for the season. The transfer to Denmark succeeds and is frighteningly credible. No consideration is given to livelihoods and individual fates when playing with amounts in the millions and billions. The ten episodes of the season develop enormous speed and great drama even without major action scenes. The multi-layered figure drawing is excellent. The actions of the characters are understandable and credible. Exciting, instructive, up-to-date and relevant - you couldn't ask for more from a series on white-collar crime. Olaf Kieser Bedrag THE episodes on 4 DVD. Created by Jeppe Gjervig Gram D: Thomas Bo Larsen, Natalie Madueno, Esben Smed Jensen, Thomas Hwan. 590 min. 16 ULTIMO
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