The Imaginary Friend (1994).Unknown to many, Nico D'Alessandria (1941–2003) was one of the most important directors of independent Italian cinema. His stories of outcasts and ghost-like characters create a unique kind of poetic cinema, in which reality becomes a dream and the dream becomes reality. If one could sum up his work and personality in one word, that word would be independence. D’Alessandria’s absolute freedom of thought and action from both mainstream and art-house cinema proved to be too much not only for audiences, but also for producers, distributors and critics, leading to his work being frequently misunderstood if not entirely forgotten. Throughout his career he made only three feature films and his total dedication to his work took him so far as to mortgage his house.D’Alessandria’s films were all shot in the last two decades of the 20th century, but his story as an author and director begins much earlier.
- 1/10/2022
- MUBI
Conceived amid the French social unrest of 1968, and born in 1969, Directors’ Fortnight celebrates its 50th edition this year.
Martin Scorsese is a filmmaker more associated with Cannes Official Selection than the sidebars running alongside but this year he hit Directors’ Fortnight to receive its honorary Carrosse d’Or and participate in the opening of its 50th edition in a programme of events billed as “an exceptional day with Mr Scorsese”.
The Palme d’Or and Oscar-winning director also assisted in a screening of his breakthrough picture Mean Streets, which premiered internationally in the then renegade section in 1974, and took part...
Martin Scorsese is a filmmaker more associated with Cannes Official Selection than the sidebars running alongside but this year he hit Directors’ Fortnight to receive its honorary Carrosse d’Or and participate in the opening of its 50th edition in a programme of events billed as “an exceptional day with Mr Scorsese”.
The Palme d’Or and Oscar-winning director also assisted in a screening of his breakthrough picture Mean Streets, which premiered internationally in the then renegade section in 1974, and took part...
- 5/13/2018
- by Melanie Goodfellow
- ScreenDaily
Un Amleto di men (One Hamlet Less) is the last feature film from Carmelo Bene, stage director, actor and writer, who made a few films in the sixties and seventies. They are very much of their era: Bene seems to use theatrical sources not so much as dramas to be adapted but as texts to be exploded, so that his Hamlet film features quotations from Freud on the Oedipal myth and a restaging of Arthurian legend, along with a mish-mash of scenes from Shakespeare.
Visually and intellectually it's either beautiful or incoherent or perhaps incoherently beautiful or beautifully incoherent. Most of the action happens against a glaring white infinity wall, with simple but stunning sets assembled out of colored blocks, spheres or assemblages of books: Bene designed the film as well as directing and starring.
Most of the scenes have their origins in the Elizabethan tragedy, but poor Will probably...
Visually and intellectually it's either beautiful or incoherent or perhaps incoherently beautiful or beautifully incoherent. Most of the action happens against a glaring white infinity wall, with simple but stunning sets assembled out of colored blocks, spheres or assemblages of books: Bene designed the film as well as directing and starring.
Most of the scenes have their origins in the Elizabethan tragedy, but poor Will probably...
- 9/4/2014
- by David Cairns
- MUBI
The following article accompanies the audiovisual essay Paratheatre - Plays Without Stages (From I to IV) by Adrian Martin and Cristina Álvarez López and commissioned by Chris Luscri for the 2014 Melbourne International Film Festival premiere of Jacques Rivette's 1971 magnum opus Out 1 - Noli me tangere.
In Jacques Rivette’s monumental Out 1 (1971), we see two theatrical works perpetually in progress — until, due to the force of many factors both internal and external, both projects collapse. Yet what we witness are not, in any conventional or normative sense, rehearsals. They are more like what Jerzy Grotwoski called paratheatre: playing without a stage, without an audience ever in mind or in attendance, playing for the sake of playing itself, for the process of working it out and working it through.
Every critical commentary on Out 1 (and its double, Out 1: Spectre from 1974) refers to the prominent place in it of theatre — a prominent place it enjoys,...
In Jacques Rivette’s monumental Out 1 (1971), we see two theatrical works perpetually in progress — until, due to the force of many factors both internal and external, both projects collapse. Yet what we witness are not, in any conventional or normative sense, rehearsals. They are more like what Jerzy Grotwoski called paratheatre: playing without a stage, without an audience ever in mind or in attendance, playing for the sake of playing itself, for the process of working it out and working it through.
Every critical commentary on Out 1 (and its double, Out 1: Spectre from 1974) refers to the prominent place in it of theatre — a prominent place it enjoys,...
- 8/7/2014
- by Cristina Álvarez López & Adrian Martin
- MUBI
“But those who see, do not see what they see…”
—Carmelo Bene
Practically unknown outside his native Italy yet as essential to the grammar of cinema as a Brakhage, Carmelo Bene finally gets his first retrospective in the English-speaking world courtesy of the Anthology Film Archives (after running at the Harvard Film Archive) on the 10th anniversary of his death.
Though chiefly known for his theatrical work, this possessed avant-gardist gate-crashed the 7th Art leaving in his wake a succinct but indelible body of work: a death rattle of anti-cinema. Utterly removed from the abominable provincialism of auteur cinema and its authorial individualism, his films are acts of self-dispute, impudently staging the tragic farce of his inner (artistic) life.
Bene’s films regurgitate the disorder of life and its forms; with a contusive freedom of imagination he desecrates the codes of filmmaking while testing his own capacity to live up to his visions.
—Carmelo Bene
Practically unknown outside his native Italy yet as essential to the grammar of cinema as a Brakhage, Carmelo Bene finally gets his first retrospective in the English-speaking world courtesy of the Anthology Film Archives (after running at the Harvard Film Archive) on the 10th anniversary of his death.
Though chiefly known for his theatrical work, this possessed avant-gardist gate-crashed the 7th Art leaving in his wake a succinct but indelible body of work: a death rattle of anti-cinema. Utterly removed from the abominable provincialism of auteur cinema and its authorial individualism, his films are acts of self-dispute, impudently staging the tragic farce of his inner (artistic) life.
Bene’s films regurgitate the disorder of life and its forms; with a contusive freedom of imagination he desecrates the codes of filmmaking while testing his own capacity to live up to his visions.
- 4/28/2012
- MUBI
Nice cover for the new issue of Cahiers du Cinéma, which features a collection of articles (all of them offline) on Francis Ford Coppola's Twixt. There's a new Brooklyn Rail out as well, and we've already noted Monica Westin's interview with Geoff Dyer in today's roundup on Andrei Tarkovsky and Paul Felten's review of Damsels in Distress in another roundup on Whit Stillman. In terms of strictly film-related pieces (and let's hope you don't confine yourself to those!), that leaves Troy Swain's graphic celebration of the upcoming series at Anthology Film Archives, The Films of Carmelo Bene, running April 26 through 29, and Donal Foreman's interview with Nicole Brenez.
The occasion for the interview was the series Brenez curated for Anthology last month, Internationalist Cinema for Today (there was a roundup at the time) and Foreman writes a terrific introduction:
In an essay on Adorno's relationship with cinema, Nicole Brenez...
The occasion for the interview was the series Brenez curated for Anthology last month, Internationalist Cinema for Today (there was a roundup at the time) and Foreman writes a terrific introduction:
In an essay on Adorno's relationship with cinema, Nicole Brenez...
- 4/4/2012
- MUBI
Amy Monaghan, first known to most of us as the cinetrix, is high-tailing it from Boston, where she presented a paper at Scms, to New York for this afternoon's launch of the new issue of Black Clock, the literary journal edited by novelist Steve Erickson. You've got to love the promo blurb they've written for themselves:
In a movie issue like no other, Black Clock 15 features Geoff Nicholson's meeting of two film pioneers in "Buster Keaton: The Warhol Years," David Thomson's journey up the Amazon with Warren Beatty, and Anthony Miller's history of the cinema — from Dw Griffith's adaptation of Hemingway's The Sun Also Rises (presenting Louise Brooks as Lady Brett) to Don Siegel's 60s cult B-movie Bonnie and Clyde with Tuesday Weld and Clint Eastwood, to the 2010 Academy Award-winning portrayal by Chris Farley of silent comedic actor Fatty Arbuckle in Milos Forman's The Life of the Party.
In a movie issue like no other, Black Clock 15 features Geoff Nicholson's meeting of two film pioneers in "Buster Keaton: The Warhol Years," David Thomson's journey up the Amazon with Warren Beatty, and Anthony Miller's history of the cinema — from Dw Griffith's adaptation of Hemingway's The Sun Also Rises (presenting Louise Brooks as Lady Brett) to Don Siegel's 60s cult B-movie Bonnie and Clyde with Tuesday Weld and Clint Eastwood, to the 2010 Academy Award-winning portrayal by Chris Farley of silent comedic actor Fatty Arbuckle in Milos Forman's The Life of the Party.
- 3/25/2012
- MUBI
Our Deaths, in memoriam was the project title of Lav Diaz' Kagadanan sa Banwaan Ning mga Engkanto (2007). For the Ferroni Brigade, it became the motto of Venice 2011—specters of dear lives gone seemed to roam the event, the Mostra internazionale d’arte cinematografica as well as the Esposizione internazionale d'arte, and beyond.
We always commemorate the murder of Nika Bohinc and Alexis Tioseco on September 1st 2009, quietly, invariably in Venice; it was here that we heard about the crime; now, whenever we go to the press room to check our e-mails, deep down something inside us is afraid of getting another message like that one; fittingly, one of the last films we saw this year was Diaz' latest, Siglo ng Pagluluwal (Century of Birthing, 2011), which ends with a dedication to them, and talks about the way our loved ones, just like cherished ideas, notions and visions are essentially eternal,...
We always commemorate the murder of Nika Bohinc and Alexis Tioseco on September 1st 2009, quietly, invariably in Venice; it was here that we heard about the crime; now, whenever we go to the press room to check our e-mails, deep down something inside us is afraid of getting another message like that one; fittingly, one of the last films we saw this year was Diaz' latest, Siglo ng Pagluluwal (Century of Birthing, 2011), which ends with a dedication to them, and talks about the way our loved ones, just like cherished ideas, notions and visions are essentially eternal,...
- 2/7/2012
- MUBI
Perversely setting another film in a fantasy New York created in studios and with computers, Roman Polanski, adapting a play by Yasmina Reza into a Brooklyn kammerspiel, turns Buñuel’s The Exterminating Angel into a non-fantastic comedic farce of banal bourgeois pettiness.
The starting point, narrated in single shot during the credits, is a fight between two young boys, but that is a mere excuse for their parents (on one side, Jodie Foster and a born-for-the-part John C. Reilly, who starts as an appeaser and turns into a shit, and on the other, Christoph Waltz and Kate Winslet) to get together, forge battle lines between the couples and start picking at all things outside their home (marriages, children, morals) before predictably but with continuous humor turning on themselves.
In a way, all the jokes feel obvious—starting with everyone’s irritation with Waltz’ continual cell-phone calls from work—but the...
The starting point, narrated in single shot during the credits, is a fight between two young boys, but that is a mere excuse for their parents (on one side, Jodie Foster and a born-for-the-part John C. Reilly, who starts as an appeaser and turns into a shit, and on the other, Christoph Waltz and Kate Winslet) to get together, forge battle lines between the couples and start picking at all things outside their home (marriages, children, morals) before predictably but with continuous humor turning on themselves.
In a way, all the jokes feel obvious—starting with everyone’s irritation with Waltz’ continual cell-phone calls from work—but the...
- 12/17/2011
- MUBI
Roughly assembled; order within tiers based chronologically on viewing date.
01:
Cut (Amir Naderi, Japan), Anna (Alberto Grifi, Massimo Sarchielli, Italy), Faust (Aleksandr Sokurov, Russia), Louyre - This Our Still Life (Andrew Kotting, UK), Century of Birthing (Lav Diaz, Philippines)
02:
Vieni, dolce morte (dell’ego) (Paolo Brunatto, Italy), A Dangerous Method (David Cronenberg, Canada), Whores’ Glory (Michael Glawogger, Austria), A Simple Life (Ann Hui, Hk), Il potere (Augusto Tretti, Italy), Himizu (Sono Sion, Japan), Conference (Norbert Pfaffenbichler, Austria), 4:44 Last Day on Earth (Abel Ferrara, USA), Die Herde des Herrn (Romuald Karmakar, Germany), Life without Principles (Johnnie To, Hk), Late and Deep (Devin Horan, USA), Iz Tokio (Aleksej German Jr., Russia)
03:
Il canto d’amore di Alfred Prufrock (Nico D’Alessandria, Italy), Carnage (Roman Polanski, France/Germany/Poland ), Black Mirror at the National Gallery (Mark Lewis, UK), Meteor (Chrisoph Giraret, Matthias Müller, Germany), Il villaggio di cartone (Ermanno Olmi,...
01:
Cut (Amir Naderi, Japan), Anna (Alberto Grifi, Massimo Sarchielli, Italy), Faust (Aleksandr Sokurov, Russia), Louyre - This Our Still Life (Andrew Kotting, UK), Century of Birthing (Lav Diaz, Philippines)
02:
Vieni, dolce morte (dell’ego) (Paolo Brunatto, Italy), A Dangerous Method (David Cronenberg, Canada), Whores’ Glory (Michael Glawogger, Austria), A Simple Life (Ann Hui, Hk), Il potere (Augusto Tretti, Italy), Himizu (Sono Sion, Japan), Conference (Norbert Pfaffenbichler, Austria), 4:44 Last Day on Earth (Abel Ferrara, USA), Die Herde des Herrn (Romuald Karmakar, Germany), Life without Principles (Johnnie To, Hk), Late and Deep (Devin Horan, USA), Iz Tokio (Aleksej German Jr., Russia)
03:
Il canto d’amore di Alfred Prufrock (Nico D’Alessandria, Italy), Carnage (Roman Polanski, France/Germany/Poland ), Black Mirror at the National Gallery (Mark Lewis, UK), Meteor (Chrisoph Giraret, Matthias Müller, Germany), Il villaggio di cartone (Ermanno Olmi,...
- 9/11/2011
- MUBI
In a slight but almost certainly self-explanatory change to previous festival index formats, clicking on the directors' names and film titles will take you to their respective pages, while clicking "Roundup" will take you to the coverage of the coverage. Names of our contributors (in this case, almost always Daniel Kasman) will take you to our original reviews.
The index will be updated, of course, as more roundups and reviews appear, for days and possibly even weeks after this year's Venice Film Festival wraps.
Competition
Tomas Alfredson's Tinker, Tailor, Soldier, Spy. Roundup.
Andrea Arnold's Wuthering Heights. Roundup.
George Clooney's The Ides of March. Roundup.
Emauele Crialese's Terraferma. Roundup.
David Cronenberg's A Dangerous Method. Roundup. Daniel Kasman.
Abel Ferrara's 4:44 Last Day on Earth. Daniel Kasman.
Philippe Garrel's That Summer. Roundup. Daniel Kasman.
Ann Hui's A Simple Life. Roundup. Daniel Kasman.
Giorgos Lanthimos's Alps.
The index will be updated, of course, as more roundups and reviews appear, for days and possibly even weeks after this year's Venice Film Festival wraps.
Competition
Tomas Alfredson's Tinker, Tailor, Soldier, Spy. Roundup.
Andrea Arnold's Wuthering Heights. Roundup.
George Clooney's The Ides of March. Roundup.
Emauele Crialese's Terraferma. Roundup.
David Cronenberg's A Dangerous Method. Roundup. Daniel Kasman.
Abel Ferrara's 4:44 Last Day on Earth. Daniel Kasman.
Philippe Garrel's That Summer. Roundup. Daniel Kasman.
Ann Hui's A Simple Life. Roundup. Daniel Kasman.
Giorgos Lanthimos's Alps.
- 9/10/2011
- MUBI
Being stuck in a room with Carmelo Bene preening and moping on Wednesday in Hermitage revealed itself anew as if through a funhouse mirror with Roman Polanksi’s Carnage, a two married couples kammerspiel adaptation of the play by Yasmina Reza which likewise proves the point that any person stuck in the same place for long enough will be forced to reveal his or her self.
Perversely setting another film in a fantasy New York created in studios and with computers, Polanski turns Buñuel’s The Exterminating Angel into a non-fantastic comedic farce of banal bourgeois pettiness. The starting point, narrated in single shot during the credits, is a fight between two boys, but that is a mere excuse for their parents (on one side, Jodie Foster and a born-for-the-part John C. Reilly, who starts as an appeaser and turns into a shit, and on the other, Christoph Waltz and Kate Winslet) to get together,...
Perversely setting another film in a fantasy New York created in studios and with computers, Polanski turns Buñuel’s The Exterminating Angel into a non-fantastic comedic farce of banal bourgeois pettiness. The starting point, narrated in single shot during the credits, is a fight between two boys, but that is a mere excuse for their parents (on one side, Jodie Foster and a born-for-the-part John C. Reilly, who starts as an appeaser and turns into a shit, and on the other, Christoph Waltz and Kate Winslet) to get together,...
- 9/2/2011
- MUBI
Above: Carmelo Bene in the director's own Hermitage.
Lost luggage—it should be a title card from a silent comedy, perhaps Chaplin’s The Immigrant; no such luck—post-hurricane-cum-tropical-storm Irene didn’t quite wreck New York but it wrecked its flights. So: I’m in Venice, but a day late and wearing questionably used clothing. More importantly, I missed Crazy Horse, the new Frederick Wiseman film. Boo. (I hear good things, among which is that it features “a sea of asses.” Hopefully I’ll report on it from New York’s film festival.) The travel hiccups send a brief ripple through my tentative festival schedule, and bumping out the Wiseman provided for a grateful tour ‘round the Lido—the festival is not in Venice “proper” but rather another, quieter island—by the gracious Ferronis, a quick scan of a remarkably condensed, walkable and easy to navigate series of theaters and buildings,...
Lost luggage—it should be a title card from a silent comedy, perhaps Chaplin’s The Immigrant; no such luck—post-hurricane-cum-tropical-storm Irene didn’t quite wreck New York but it wrecked its flights. So: I’m in Venice, but a day late and wearing questionably used clothing. More importantly, I missed Crazy Horse, the new Frederick Wiseman film. Boo. (I hear good things, among which is that it features “a sea of asses.” Hopefully I’ll report on it from New York’s film festival.) The travel hiccups send a brief ripple through my tentative festival schedule, and bumping out the Wiseman provided for a grateful tour ‘round the Lido—the festival is not in Venice “proper” but rather another, quieter island—by the gracious Ferronis, a quick scan of a remarkably condensed, walkable and easy to navigate series of theaters and buildings,...
- 9/1/2011
- MUBI
The retrospective at this year's Venice film festival is dedicated to Italian experimental cinema of the 1960s and 70s.
Designed by Enrico Magrelli and his team (Domenico Monetti, Luca Pallanch) from a commission and idea of Mostra director Marco Muller, it has been conceived in full consistency with the Mostra's Orizzonti section, which is dedicated every year to showing short medium and feature length films showcasing new trends of world cinema. Research, experimentation, new languages, "non mainstream" and cross-discipline works are therefore represented both in the premieres of Orizzonti and in the Retrospective section. No doubt many will also make a connection with this year's presentation of an impressive restoration of Nick Ray's We Can’t Go Home Again.
The retrospective includes many films that were never (or seldom) shown outside of Italy, among which a great number of absolute discoveries, as well as the long-awaited true restoration of...
Designed by Enrico Magrelli and his team (Domenico Monetti, Luca Pallanch) from a commission and idea of Mostra director Marco Muller, it has been conceived in full consistency with the Mostra's Orizzonti section, which is dedicated every year to showing short medium and feature length films showcasing new trends of world cinema. Research, experimentation, new languages, "non mainstream" and cross-discipline works are therefore represented both in the premieres of Orizzonti and in the Retrospective section. No doubt many will also make a connection with this year's presentation of an impressive restoration of Nick Ray's We Can’t Go Home Again.
The retrospective includes many films that were never (or seldom) shown outside of Italy, among which a great number of absolute discoveries, as well as the long-awaited true restoration of...
- 8/29/2011
- MUBI
Dueling festival lineups! It seems that for every announcement for the Toronto International Film Festival lineup comes a competing (and often overlapping) one from Venice. Here we're collecting the finalized Venice lineups so far. (Above image: Philippe Garrel's A Burning Hot Summer.)
Competition
The Ides of March (George Clooney, USA) (opening night) 4:44 Last Day on Earth (Abel Ferrara, USA) Alps (Yorgos Lanthimos, Greece) A Burning Hot Summer (Philippe Garrel, France) Carnage (Roman Polanski, France/Germany/Spain/Poland) Chicken With Plums (Marjane Satrapi and Vincent Paronnaud, France/Belgium/Germany) A Dangerous Method (David Cronenberg, Canada) Dark Horse (Todd Solondz, USA) The Exchange (Eran Kolirin, Israel/Germany) Faust (Alexander Sokurov, Russia) Himizu (Sion Sono, Japan) Killer Joe (William Friedkin, USA) Life without Principle (Johnnie To, Hk) Quando la notte (Cristina Comencini, Italy) Seediq Bale (Wei Desheng, Taiwan) Shame (Steve McQueen, UK) Terraferma (Emanuele Crialese, Italy) Texas Killing Fields (Ami Canaan Mann,...
Competition
The Ides of March (George Clooney, USA) (opening night) 4:44 Last Day on Earth (Abel Ferrara, USA) Alps (Yorgos Lanthimos, Greece) A Burning Hot Summer (Philippe Garrel, France) Carnage (Roman Polanski, France/Germany/Spain/Poland) Chicken With Plums (Marjane Satrapi and Vincent Paronnaud, France/Belgium/Germany) A Dangerous Method (David Cronenberg, Canada) Dark Horse (Todd Solondz, USA) The Exchange (Eran Kolirin, Israel/Germany) Faust (Alexander Sokurov, Russia) Himizu (Sion Sono, Japan) Killer Joe (William Friedkin, USA) Life without Principle (Johnnie To, Hk) Quando la notte (Cristina Comencini, Italy) Seediq Bale (Wei Desheng, Taiwan) Shame (Steve McQueen, UK) Terraferma (Emanuele Crialese, Italy) Texas Killing Fields (Ami Canaan Mann,...
- 8/9/2011
- MUBI
With 2010 only a week over, it already feels like best-of and top-ten lists have been pouring in for months, and we’re already tired of them: the ranking, the exclusions (and inclusions), the rules and the qualifiers. Some people got to see films at festivals, others only catch movies on video; and the ability for us, or any publication, to come up with a system to fairly determine who saw what when and what they thought was the best seems an impossible feat. That doesn’t stop most people from doing it, but we liked the fantasy double features we did last year and for our 3rd Writers Poll we thought we'd do it again.
I asked our contributors to pick a single new film they saw in 2010—in theaters or at a festival—and creatively pair it with an old film they saw in 2010 to create a unique double feature.
I asked our contributors to pick a single new film they saw in 2010—in theaters or at a festival—and creatively pair it with an old film they saw in 2010 to create a unique double feature.
- 1/10/2011
- MUBI
<p><a href="http://feedads.g.doubleclick.net/~a/wDOXQ-jM468lEYPw9-fpK8Jka74/0/da"><img src="http://feedads.g.doubleclick.net/~a/wDOXQ-jM468lEYPw9-fpK8Jka74/0/di" border="0" ismap="true"></img></a><br/> <a href="http://feedads.g.doubleclick.net/~a/wDOXQ-jM468lEYPw9-fpK8Jka74/1/da"><img src="http://feedads.g.doubleclick.net/~a/wDOXQ-jM468lEYPw9-fpK8Jka74/1/di" border="0" ismap="true"></img></a></p><span class="mt-enclosure mt-enclosure-image" style="display: inline;"><img alt="RaroVideo.jpg" src="http://twitchfilm.com/news/RaroVideo.jpg" class="mt-image-left" style="float: left; margin: 0pt 20px 20px 0pt;" width="190" height="158" /></span> <div>Exciting news for fans of international cult film with word that Italy's RaroVideo - one of the finest boutique video labels in the world - is coming to the Us. I have a handful of Raro titles in my collection at the moment and their reputation for delivering the highest quality product, both in terms of transfers and extras, is very well deserved in my opinion. Here's the official announcement:<br /><br /><blockquote><blockquote><blockquote><i>Hailed by cinephiles for expertly restoring rare films by influential filmmakers and publishing them with compelling extras, Italian DVD label RaroVideo announces the company will begin distributing its acclaimed DVDs in the U.S. for the first time ever in February 2011 through E One Entertainment.</i><br /><br /><i>To launch RaroVideo in the U.S., the company will spotlight two powerhouse directors of Italian cinema with Federico Fellini's hard-to-find The Clowns (1970) and The Fernando Di Leo Crime Collection, a four-disc set that...
- 12/2/2010
- Screen Anarchy
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.