German filmmaker Ulrich Köhler’s *Gavagai* plays with its title, centering on the theme of misunderstanding. The term "Gavagai," a coined phrase introduced by philosopher Willard Van Orman Quine, examines the challenge of translating a word—or, in this film's case, a situation—that can be perceived in various ways by different characters. Here, the focus is on an interaction between a hotel security guard and the film’s lead actor, Nourou (Jean-Christophe Folly), a Black man who is being honored at the Berlin Film Festival. The director navigates a meta-narrative, portraying the on-set romance and conflicts between co-stars during the shooting and subsequent premiere of a contemporary adaptation of *Medea*. Köhler, similar to the title of his film, refrains from clarifying the story's meaning. He draws from the racial tensions prevalent in today's society, reflecting our collective moral ambiguities. Nourou interacts with his white co-star, Maja (Maren Eggert), as they engage in a complex dynamic throughout the film. Maja becomes protective of her former partner in the aftermath of a security incident, initiating a series of escalating tensions between them. She possesses enough anger for both parties. Unable to move past the incident, Maja resolves to see the guard removed, much to Nourou’s annoyance. While Nourou seeks to progress in their relationship, Maja remains fixated on this mission. Köhler’s film is rife with moral ambiguities, yet the director appears more focused on depiction than resolution. He does not aim to guide his audience toward a "correct" course of action. Instead, he presents a scenario and invites viewers to react. Would we feel indignant? Would we permit Nourou to manage the situation as he sees fit? And what role do love or desire play in a circumstance steeped in moral uncertainty? Folly delivers an exceptional performance in his pivotal role. His expressions remain composed, navigating the story with emotional fluidity. While he conveys disappointment with a subdued smile and joy with a bright grin, there is a steady stoicism in his presence. He has faced similar challenges before with both the security guard and Maja. His affection for her surpasses any other emotion. *Gavagai* shifts its focus to the film within the film—a reinterpreted *Medea* set in Senegal, ending in a distinctly French manner rather than Euripides' original conclusion. This film is crafted by a white woman (mirroring many contemporary European directors) who demands intense emotion from her stars, offers little to her Black extras, and approaches reporters with an intriguing sense of entitlement to narrate whichever stories she chooses. Köhler weaves a tapestry of commentary throughout his feature, utilizing four languages and meta storytelling. His reluctance to provide clarity for these characters serves both as a strength and a limitation. It engages the viewer while simultaneously withholding resolution; it raises questions merely to leave them unanswered. Sometimes, a film leads towards the unresolvable. In *Gavagai*, the theme of misinterpretation amid societal tension forms the crux of the narrative, and Köhler declines to delve into anything beyond the racial and moral dilemmas perpetually bubbling beneath the surface. *Gavagai* made its debut at the 2025 New York Film Festival.

German filmmaker Ulrich Köhler’s *Gavagai* plays with its title, centering on the theme of misunderstanding. The term "Gavagai," a coined phrase introduced by philosopher Willard Van Orman Quine, examines the challenge of translating a word—or, in this film's case, a situation—that can be perceived in various ways by different characters. Here, the focus is on an interaction between a hotel security guard and the film’s lead actor, Nourou (Jean-Christophe Folly), a Black man who is being honored at the Berlin Film Festival. The director navigates a meta-narrative, portraying the on-set romance and conflicts between co-stars during the shooting and subsequent premiere of a contemporary adaptation of *Medea*. Köhler, similar to the title of his film, refrains from clarifying the story's meaning. He draws from the racial tensions prevalent in today's society, reflecting our collective moral ambiguities. Nourou interacts with his white co-star, Maja (Maren Eggert), as they engage in a complex dynamic throughout the film. Maja becomes protective of her former partner in the aftermath of a security incident, initiating a series of escalating tensions between them. She possesses enough anger for both parties. Unable to move past the incident, Maja resolves to see the guard removed, much to Nourou’s annoyance. While Nourou seeks to progress in their relationship, Maja remains fixated on this mission. Köhler’s film is rife with moral ambiguities, yet the director appears more focused on depiction than resolution. He does not aim to guide his audience toward a "correct" course of action. Instead, he presents a scenario and invites viewers to react. Would we feel indignant? Would we permit Nourou to manage the situation as he sees fit? And what role do love or desire play in a circumstance steeped in moral uncertainty? Folly delivers an exceptional performance in his pivotal role. His expressions remain composed, navigating the story with emotional fluidity. While he conveys disappointment with a subdued smile and joy with a bright grin, there is a steady stoicism in his presence. He has faced similar challenges before with both the security guard and Maja. His affection for her surpasses any other emotion. *Gavagai* shifts its focus to the film within the film—a reinterpreted *Medea* set in Senegal, ending in a distinctly French manner rather than Euripides' original conclusion. This film is crafted by a white woman (mirroring many contemporary European directors) who demands intense emotion from her stars, offers little to her Black extras, and approaches reporters with an intriguing sense of entitlement to narrate whichever stories she chooses. Köhler weaves a tapestry of commentary throughout his feature, utilizing four languages and meta storytelling. His reluctance to provide clarity for these characters serves both as a strength and a limitation. It engages the viewer while simultaneously withholding resolution; it raises questions merely to leave them unanswered. Sometimes, a film leads towards the unresolvable. In *Gavagai*, the theme of misinterpretation amid societal tension forms the crux of the narrative, and Köhler declines to delve into anything beyond the racial and moral dilemmas perpetually bubbling beneath the surface. *Gavagai* made its debut at the 2025 New York Film Festival.

      Новые трамваи в Екатеринбурге не будут курсировать в Академический район из-за подростков. 8 октября 2025 года сообщается, что новые трёхсекционные трамваи «Кастор» не выйдут на маршрут №1, который соединяет Академический и Вторчермет. Эти сведения распространил Telegram-канал «Екатеринбург Главное».

      Трамваи не выйдут на линию, пока не будет решена проблема с хулиганством, так как есть опасения, что новые трамваи могут быть повреждены. Ранее также поступила информация о том, что в случае дальнейшего проявления агрессии со стороны подростков, трамваи прекратят движение в тех районах, где происходят противоправные действия относительно бригад.

German filmmaker Ulrich Köhler’s *Gavagai* plays with its title, centering on the theme of misunderstanding. The term "Gavagai," a coined phrase introduced by philosopher Willard Van Orman Quine, examines the challenge of translating a word—or, in this film's case, a situation—that can be perceived in various ways by different characters. Here, the focus is on an interaction between a hotel security guard and the film’s lead actor, Nourou (Jean-Christophe Folly), a Black man who is being honored at the Berlin Film Festival. The director navigates a meta-narrative, portraying the on-set romance and conflicts between co-stars during the shooting and subsequent premiere of a contemporary adaptation of *Medea*. Köhler, similar to the title of his film, refrains from clarifying the story's meaning. He draws from the racial tensions prevalent in today's society, reflecting our collective moral ambiguities. Nourou interacts with his white co-star, Maja (Maren Eggert), as they engage in a complex dynamic throughout the film. Maja becomes protective of her former partner in the aftermath of a security incident, initiating a series of escalating tensions between them. She possesses enough anger for both parties. Unable to move past the incident, Maja resolves to see the guard removed, much to Nourou’s annoyance. While Nourou seeks to progress in their relationship, Maja remains fixated on this mission. Köhler’s film is rife with moral ambiguities, yet the director appears more focused on depiction than resolution. He does not aim to guide his audience toward a "correct" course of action. Instead, he presents a scenario and invites viewers to react. Would we feel indignant? Would we permit Nourou to manage the situation as he sees fit? And what role do love or desire play in a circumstance steeped in moral uncertainty? Folly delivers an exceptional performance in his pivotal role. His expressions remain composed, navigating the story with emotional fluidity. While he conveys disappointment with a subdued smile and joy with a bright grin, there is a steady stoicism in his presence. He has faced similar challenges before with both the security guard and Maja. His affection for her surpasses any other emotion. *Gavagai* shifts its focus to the film within the film—a reinterpreted *Medea* set in Senegal, ending in a distinctly French manner rather than Euripides' original conclusion. This film is crafted by a white woman (mirroring many contemporary European directors) who demands intense emotion from her stars, offers little to her Black extras, and approaches reporters with an intriguing sense of entitlement to narrate whichever stories she chooses. Köhler weaves a tapestry of commentary throughout his feature, utilizing four languages and meta storytelling. His reluctance to provide clarity for these characters serves both as a strength and a limitation. It engages the viewer while simultaneously withholding resolution; it raises questions merely to leave them unanswered. Sometimes, a film leads towards the unresolvable. In *Gavagai*, the theme of misinterpretation amid societal tension forms the crux of the narrative, and Köhler declines to delve into anything beyond the racial and moral dilemmas perpetually bubbling beneath the surface. *Gavagai* made its debut at the 2025 New York Film Festival. German filmmaker Ulrich Köhler’s *Gavagai* plays with its title, centering on the theme of misunderstanding. The term "Gavagai," a coined phrase introduced by philosopher Willard Van Orman Quine, examines the challenge of translating a word—or, in this film's case, a situation—that can be perceived in various ways by different characters. Here, the focus is on an interaction between a hotel security guard and the film’s lead actor, Nourou (Jean-Christophe Folly), a Black man who is being honored at the Berlin Film Festival. The director navigates a meta-narrative, portraying the on-set romance and conflicts between co-stars during the shooting and subsequent premiere of a contemporary adaptation of *Medea*. Köhler, similar to the title of his film, refrains from clarifying the story's meaning. He draws from the racial tensions prevalent in today's society, reflecting our collective moral ambiguities. Nourou interacts with his white co-star, Maja (Maren Eggert), as they engage in a complex dynamic throughout the film. Maja becomes protective of her former partner in the aftermath of a security incident, initiating a series of escalating tensions between them. She possesses enough anger for both parties. Unable to move past the incident, Maja resolves to see the guard removed, much to Nourou’s annoyance. While Nourou seeks to progress in their relationship, Maja remains fixated on this mission. Köhler’s film is rife with moral ambiguities, yet the director appears more focused on depiction than resolution. He does not aim to guide his audience toward a "correct" course of action. Instead, he presents a scenario and invites viewers to react. Would we feel indignant? Would we permit Nourou to manage the situation as he sees fit? And what role do love or desire play in a circumstance steeped in moral uncertainty? Folly delivers an exceptional performance in his pivotal role. His expressions remain composed, navigating the story with emotional fluidity. While he conveys disappointment with a subdued smile and joy with a bright grin, there is a steady stoicism in his presence. He has faced similar challenges before with both the security guard and Maja. His affection for her surpasses any other emotion. *Gavagai* shifts its focus to the film within the film—a reinterpreted *Medea* set in Senegal, ending in a distinctly French manner rather than Euripides' original conclusion. This film is crafted by a white woman (mirroring many contemporary European directors) who demands intense emotion from her stars, offers little to her Black extras, and approaches reporters with an intriguing sense of entitlement to narrate whichever stories she chooses. Köhler weaves a tapestry of commentary throughout his feature, utilizing four languages and meta storytelling. His reluctance to provide clarity for these characters serves both as a strength and a limitation. It engages the viewer while simultaneously withholding resolution; it raises questions merely to leave them unanswered. Sometimes, a film leads towards the unresolvable. In *Gavagai*, the theme of misinterpretation amid societal tension forms the crux of the narrative, and Köhler declines to delve into anything beyond the racial and moral dilemmas perpetually bubbling beneath the surface. *Gavagai* made its debut at the 2025 New York Film Festival. German filmmaker Ulrich Köhler’s *Gavagai* plays with its title, centering on the theme of misunderstanding. The term "Gavagai," a coined phrase introduced by philosopher Willard Van Orman Quine, examines the challenge of translating a word—or, in this film's case, a situation—that can be perceived in various ways by different characters. Here, the focus is on an interaction between a hotel security guard and the film’s lead actor, Nourou (Jean-Christophe Folly), a Black man who is being honored at the Berlin Film Festival. The director navigates a meta-narrative, portraying the on-set romance and conflicts between co-stars during the shooting and subsequent premiere of a contemporary adaptation of *Medea*. Köhler, similar to the title of his film, refrains from clarifying the story's meaning. He draws from the racial tensions prevalent in today's society, reflecting our collective moral ambiguities. Nourou interacts with his white co-star, Maja (Maren Eggert), as they engage in a complex dynamic throughout the film. Maja becomes protective of her former partner in the aftermath of a security incident, initiating a series of escalating tensions between them. She possesses enough anger for both parties. Unable to move past the incident, Maja resolves to see the guard removed, much to Nourou’s annoyance. While Nourou seeks to progress in their relationship, Maja remains fixated on this mission. Köhler’s film is rife with moral ambiguities, yet the director appears more focused on depiction than resolution. He does not aim to guide his audience toward a "correct" course of action. Instead, he presents a scenario and invites viewers to react. Would we feel indignant? Would we permit Nourou to manage the situation as he sees fit? And what role do love or desire play in a circumstance steeped in moral uncertainty? Folly delivers an exceptional performance in his pivotal role. His expressions remain composed, navigating the story with emotional fluidity. While he conveys disappointment with a subdued smile and joy with a bright grin, there is a steady stoicism in his presence. He has faced similar challenges before with both the security guard and Maja. His affection for her surpasses any other emotion. *Gavagai* shifts its focus to the film within the film—a reinterpreted *Medea* set in Senegal, ending in a distinctly French manner rather than Euripides' original conclusion. This film is crafted by a white woman (mirroring many contemporary European directors) who demands intense emotion from her stars, offers little to her Black extras, and approaches reporters with an intriguing sense of entitlement to narrate whichever stories she chooses. Köhler weaves a tapestry of commentary throughout his feature, utilizing four languages and meta storytelling. His reluctance to provide clarity for these characters serves both as a strength and a limitation. It engages the viewer while simultaneously withholding resolution; it raises questions merely to leave them unanswered. Sometimes, a film leads towards the unresolvable. In *Gavagai*, the theme of misinterpretation amid societal tension forms the crux of the narrative, and Köhler declines to delve into anything beyond the racial and moral dilemmas perpetually bubbling beneath the surface. *Gavagai* made its debut at the 2025 New York Film Festival. German filmmaker Ulrich Köhler’s *Gavagai* plays with its title, centering on the theme of misunderstanding. The term "Gavagai," a coined phrase introduced by philosopher Willard Van Orman Quine, examines the challenge of translating a word—or, in this film's case, a situation—that can be perceived in various ways by different characters. Here, the focus is on an interaction between a hotel security guard and the film’s lead actor, Nourou (Jean-Christophe Folly), a Black man who is being honored at the Berlin Film Festival. The director navigates a meta-narrative, portraying the on-set romance and conflicts between co-stars during the shooting and subsequent premiere of a contemporary adaptation of *Medea*. Köhler, similar to the title of his film, refrains from clarifying the story's meaning. He draws from the racial tensions prevalent in today's society, reflecting our collective moral ambiguities. Nourou interacts with his white co-star, Maja (Maren Eggert), as they engage in a complex dynamic throughout the film. Maja becomes protective of her former partner in the aftermath of a security incident, initiating a series of escalating tensions between them. She possesses enough anger for both parties. Unable to move past the incident, Maja resolves to see the guard removed, much to Nourou’s annoyance. While Nourou seeks to progress in their relationship, Maja remains fixated on this mission. Köhler’s film is rife with moral ambiguities, yet the director appears more focused on depiction than resolution. He does not aim to guide his audience toward a "correct" course of action. Instead, he presents a scenario and invites viewers to react. Would we feel indignant? Would we permit Nourou to manage the situation as he sees fit? And what role do love or desire play in a circumstance steeped in moral uncertainty? Folly delivers an exceptional performance in his pivotal role. His expressions remain composed, navigating the story with emotional fluidity. While he conveys disappointment with a subdued smile and joy with a bright grin, there is a steady stoicism in his presence. He has faced similar challenges before with both the security guard and Maja. His affection for her surpasses any other emotion. *Gavagai* shifts its focus to the film within the film—a reinterpreted *Medea* set in Senegal, ending in a distinctly French manner rather than Euripides' original conclusion. This film is crafted by a white woman (mirroring many contemporary European directors) who demands intense emotion from her stars, offers little to her Black extras, and approaches reporters with an intriguing sense of entitlement to narrate whichever stories she chooses. Köhler weaves a tapestry of commentary throughout his feature, utilizing four languages and meta storytelling. His reluctance to provide clarity for these characters serves both as a strength and a limitation. It engages the viewer while simultaneously withholding resolution; it raises questions merely to leave them unanswered. Sometimes, a film leads towards the unresolvable. In *Gavagai*, the theme of misinterpretation amid societal tension forms the crux of the narrative, and Köhler declines to delve into anything beyond the racial and moral dilemmas perpetually bubbling beneath the surface. *Gavagai* made its debut at the 2025 New York Film Festival. German filmmaker Ulrich Köhler’s *Gavagai* plays with its title, centering on the theme of misunderstanding. The term "Gavagai," a coined phrase introduced by philosopher Willard Van Orman Quine, examines the challenge of translating a word—or, in this film's case, a situation—that can be perceived in various ways by different characters. Here, the focus is on an interaction between a hotel security guard and the film’s lead actor, Nourou (Jean-Christophe Folly), a Black man who is being honored at the Berlin Film Festival. The director navigates a meta-narrative, portraying the on-set romance and conflicts between co-stars during the shooting and subsequent premiere of a contemporary adaptation of *Medea*. Köhler, similar to the title of his film, refrains from clarifying the story's meaning. He draws from the racial tensions prevalent in today's society, reflecting our collective moral ambiguities. Nourou interacts with his white co-star, Maja (Maren Eggert), as they engage in a complex dynamic throughout the film. Maja becomes protective of her former partner in the aftermath of a security incident, initiating a series of escalating tensions between them. She possesses enough anger for both parties. Unable to move past the incident, Maja resolves to see the guard removed, much to Nourou’s annoyance. While Nourou seeks to progress in their relationship, Maja remains fixated on this mission. Köhler’s film is rife with moral ambiguities, yet the director appears more focused on depiction than resolution. He does not aim to guide his audience toward a "correct" course of action. Instead, he presents a scenario and invites viewers to react. Would we feel indignant? Would we permit Nourou to manage the situation as he sees fit? And what role do love or desire play in a circumstance steeped in moral uncertainty? Folly delivers an exceptional performance in his pivotal role. His expressions remain composed, navigating the story with emotional fluidity. While he conveys disappointment with a subdued smile and joy with a bright grin, there is a steady stoicism in his presence. He has faced similar challenges before with both the security guard and Maja. His affection for her surpasses any other emotion. *Gavagai* shifts its focus to the film within the film—a reinterpreted *Medea* set in Senegal, ending in a distinctly French manner rather than Euripides' original conclusion. This film is crafted by a white woman (mirroring many contemporary European directors) who demands intense emotion from her stars, offers little to her Black extras, and approaches reporters with an intriguing sense of entitlement to narrate whichever stories she chooses. Köhler weaves a tapestry of commentary throughout his feature, utilizing four languages and meta storytelling. His reluctance to provide clarity for these characters serves both as a strength and a limitation. It engages the viewer while simultaneously withholding resolution; it raises questions merely to leave them unanswered. Sometimes, a film leads towards the unresolvable. In *Gavagai*, the theme of misinterpretation amid societal tension forms the crux of the narrative, and Köhler declines to delve into anything beyond the racial and moral dilemmas perpetually bubbling beneath the surface. *Gavagai* made its debut at the 2025 New York Film Festival.

Другие Новости Екатеринбурга (ЕКБ166)

В Екатеринбурге была произведена экстренная эвакуация нескольких предприятий. В Екатеринбурге была произведена экстренная эвакуация нескольких предприятий. Сотрудники Уральского завода гражданской авиации (УЗГА) были срочно эвакуированы утром 8 октября. По словам читателей E1.RU, всех работников с разных площадок предприятия отправили домой, но официальных подтверждений этой информации пока не поступило. На ещё одной улице в центре Екатеринбурга будет запрещена парковка. На ещё одной улице в центре Екатеринбурга будет запрещена парковка. В Екатеринбурге на трёх дополнительных участках улиц запретят парковку. В ближайшее время там установят соответствующие знаки, и будут действовать эвакуаторы, сообщили в мэрии. Теперь оставлять машину нельзя будет на: - улице Вайнера (от Антона Валека до проспекта Ленина); - всей улице Алданской; - улице Завокзальной (от здания № 5 до Армавирской). Коллектив кардиоцентра попросил отменить решение об отставке известного главного врача Яна Габинского. Коллектив кардиоцентра попросил отменить решение об отставке известного главного врача Яна Габинского. Заместитель губернатора и министр здравоохранения Свердловской области Татьяна Савинова посетила Уральский институт кардиологии, где накануне главный врач Ян Габинский был освобождён от своей должности. Власти Свердловской области прокомментировали эвакуацию предприятий в этом регионе. Некоторые предприятия Свердловской области начали применять превентивные меры в ответ на угрозу атаки беспилотников, что включает в себя эвакуацию сотрудников. В каждом учреждении разработан индивидуальный план действий для таких случаев. В школе Екатеринбурга внедрили необычное расписание. В школе Екатеринбурга внедрили необычное расписание. В школе № 125, расположенной на улице Чекистов в Екатеринбурге, было введено нестандартное расписание: теперь некоторые классы учатся не утром и не после обеда, а с середины дня. В дорожном происшествии в Свердловской области погиб артист. В дорожном происшествии в Свердловской области погиб артист. В Полевском случилась трагическая авария, в ходе которой погиб 22-летний Дмитрий Фазиуллин — талантливый певец, прославившийся в городе своими впечатляющими выступлениями.

German filmmaker Ulrich Köhler’s *Gavagai* plays with its title, centering on the theme of misunderstanding. The term "Gavagai," a coined phrase introduced by philosopher Willard Van Orman Quine, examines the challenge of translating a word—or, in this film's case, a situation—that can be perceived in various ways by different characters. Here, the focus is on an interaction between a hotel security guard and the film’s lead actor, Nourou (Jean-Christophe Folly), a Black man who is being honored at the Berlin Film Festival. The director navigates a meta-narrative, portraying the on-set romance and conflicts between co-stars during the shooting and subsequent premiere of a contemporary adaptation of *Medea*. Köhler, similar to the title of his film, refrains from clarifying the story's meaning. He draws from the racial tensions prevalent in today's society, reflecting our collective moral ambiguities. Nourou interacts with his white co-star, Maja (Maren Eggert), as they engage in a complex dynamic throughout the film. Maja becomes protective of her former partner in the aftermath of a security incident, initiating a series of escalating tensions between them. She possesses enough anger for both parties. Unable to move past the incident, Maja resolves to see the guard removed, much to Nourou’s annoyance. While Nourou seeks to progress in their relationship, Maja remains fixated on this mission. Köhler’s film is rife with moral ambiguities, yet the director appears more focused on depiction than resolution. He does not aim to guide his audience toward a "correct" course of action. Instead, he presents a scenario and invites viewers to react. Would we feel indignant? Would we permit Nourou to manage the situation as he sees fit? And what role do love or desire play in a circumstance steeped in moral uncertainty? Folly delivers an exceptional performance in his pivotal role. His expressions remain composed, navigating the story with emotional fluidity. While he conveys disappointment with a subdued smile and joy with a bright grin, there is a steady stoicism in his presence. He has faced similar challenges before with both the security guard and Maja. His affection for her surpasses any other emotion. *Gavagai* shifts its focus to the film within the film—a reinterpreted *Medea* set in Senegal, ending in a distinctly French manner rather than Euripides' original conclusion. This film is crafted by a white woman (mirroring many contemporary European directors) who demands intense emotion from her stars, offers little to her Black extras, and approaches reporters with an intriguing sense of entitlement to narrate whichever stories she chooses. Köhler weaves a tapestry of commentary throughout his feature, utilizing four languages and meta storytelling. His reluctance to provide clarity for these characters serves both as a strength and a limitation. It engages the viewer while simultaneously withholding resolution; it raises questions merely to leave them unanswered. Sometimes, a film leads towards the unresolvable. In *Gavagai*, the theme of misinterpretation amid societal tension forms the crux of the narrative, and Köhler declines to delve into anything beyond the racial and moral dilemmas perpetually bubbling beneath the surface. *Gavagai* made its debut at the 2025 New York Film Festival.

Новые трёхсекционные трамваи «Кастор» пока не будут запущены на маршрут №1, соединяющий Академический район и Вторчермет. Об этом информирует Telegram-канал «Екатеринбург Главное».