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Son let down terribly by mental health professionals, parents say
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At a ceremony in Auckland on Friday night,
Stuff s journalists and titles won 19 of the 66 categories – including a golden run for
The Press newspaper – and came runner-up in nine more. Crowning Mau the Reporter of the Year, the judges described her stories about sexual harassment as fearless, determined pursuits that deserve the highest commendation .
LAWRENCE SMITH
Alison Mau s MeToo stories earned her the Reporter of the Year gong. Parahi was named Editorial Leader of the Year, and came runner-up in the top reporting category for her groundbreaking work. The judges praised Parahi s extraordinary leadership of
Stuff s Tā Mātou Pono/Our Truth project, and a much wider impact on our industry that will change New Zealand journalism for ever – for the better .
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This refreshing, surprising ghost story opens with a scene that could come from an Insidious knock-off, as a family are driven from an isolated, affordable house by a spectral presence. Enter a character type who all too rarely figures in haunted house movies – handyman Jack (MacLeod Andrews), who fixes up vacated properties for the next tenants.
A kind of phantom himself, Jack is forced out of his own apartment while his building is fumigated, and is homeless because none of the people he tries to cadge couch-space from bothers to call him back. Having slipped into a kind of marginal existence, caring for places he has no emotional or financial investment in, he’s disconnected from humanity.
A Christmas tree can be a time machine. Antique or even modern baubles, summoning a land of lost content . . . or so it seems in wishful memory – where happy moments are magnified, all pain and trivia tinselled away. But the Christmas tree is a paradox: cheerful hope and wistful melancholy combined. The distorted reflections in its decorations are either heartening or defeated. Deep purple is the most extreme perhaps . . . or green or blue, who can say – the mood changes as swiftly as the rules of covid. To look up through the wire and plastic branches of a fake tree, bedecked in glitter and lights, induces a simple childlike delight, a heathen joy, or a queasy question mark. Holding a twisted mirror to sincere religious belief, this spangled trophy can also appear a profound embodiment of the debased human situation. And the ghastlier a decorated Christmas tree is, the more dislocating its presence might become. To get completely carried away, a contemplation of this presenc
Les films de David Fincher classés du pire au meilleur
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