#74 venice film festival

[n1fonseca-global-cinema-blog]

Kurosawa's Critics: The Rejection Of His Homeland

Akira Kurosawa is considered to be a master of filmmaking by many, including filmmaker peers as outlined in previous blog posts. His works have influenced many western filmmakers and brought many eyes towards Japanese cinema on an international scale. From George Lucas’ Jedi stemming from the samurai his films to receiving remakes, Kurosawa had a major impact on the West. However, many believe that this is due to his “western” style of filmmaking standing apart from typical Japanese filmmakers. This topic of discussion typically comes up in relation to Kurosawa’s first major film: Rashomon.

Released in 1950, Rashomon followed a series of differing accounts on the same incident: the murder of a samurai and the raping of his wife. With its thought-provoking storytelling that meditates on the truth and subjectivity, this film would go on to be the first Japanese film to have won a major award at a western festival: the Golden Lion at Venice Film Festival in 1951. It’s believed that what helped the film most in its appeal at the festival was Kurosawa’s mixture of Western influences, such as the films of John Ford and Frank Capra. Due to this, many Japanese critics would then go on to accuse him of making films which pander to western audiences.

As noted by author Mitsuhiro Yoshimoto, “By many Japanese,  Kurosawa is regarded as the most westernized Japanese director” (Yoshimoto, 2). Yet, it’s through his winning of the Golden Lion that is considered to have brought Japanese cinema to the global level, thus making Kurosawa one of the first major representatives of Japanese cinema to the world. However, this didn’t lighten any criticism from his fellow country men on the authenticity of his films to his homeland.

When interviewed by Donald Richie, Kurosawa had been discussing fellow Japanese filmmaker Mizoguchi and said, “People always say that [Mizoguchi’s] style is purely Japanese and mine is foreign. I don’t understand that” (Cardullo, 6). During this conversation he divulged into his differences with Mizoguchi and his films before saying, “Yet, of all Japanese directors, I like Mizoguchi best, and after him, Kinoshita. It might even be nostalgia- after all I am Japanese, and those two create a film which is purely Japanese.” With this thought, he returns to speaking on the critics, “But the Japanese critics go on and on about how Western I am. And mainly just because I do my own cutting and happen to prefer a fast tempo and am really interested in people” (Cardullo, 7).

Pictured: Kenji Mizoguchi

Here, Kurosawa expresses a distaste towards this critique, sensing it as an attack on his identity. With his statement, “after all I am Japanese” there’s this sense of disrespect felt by the director and how surely the concept of his cinema being ‘foreign’ never settled well with him.

Down the line, Kurosawa had then also been interviewed by Dan Yakir and claimed, “I don’t think I’m Western at all. I don’t understand how I could have that reputation… But it may be true that, as I was growing up, my education – like that of most people of my generation – compared to younger people today, covered a broader span: Shakespeare, Balzac, Russian literature. It’s quite natural that my education would manifest itself later in my work” (Cardullo, 74).

Within this 1980 interview, Kurosawa had to defend his films once again from the critique of being too “western” when Yakir had asked the director for his thoughts on that reoccurring opinion. Here, instead of expressing how Japanese he is, he instead opts to defend the evidence used against him: his western influences. Claiming his western influences to be more of a product of old-school Japanese upbringing, Kurosawa here then refutes the idea that he actively panders for western audiences.

Throughout his lifetime, Kurosawa would face the criticism time and time again of being too “western” of a Japanese filmmaker. One that, as seen here, has caused him to wrestle with his sense of identity. While considered by many in the west as an ambassador of Japanese filmmaking, in his own country he’s considered to be a foreigner. It’s that western viewpoint of respecting him as a Japanese filmmaker that makes this side of the filmmaker is seldom seen, but the tragedy of being seen as an outsider by much of his own countrymen is an aspect that should be given more thought. Despite having been a Japanese filmmaker who had dedicated much of his filmography to the culture and society of his homeland, he would be followed throughout his career by critics expressing that his works were too “foreign”. Meanwhile, the western opposition to this opinion which cemented him as a Japanese filmmaker thus made it so that even if Kurosawa had embraced being “western”, he wouldn’t even be accepted by the west. Kurosawa then is left in the limbo of being too “western” to be Japanese yet too Japanese to be “western”. Much like the crime in Rashomon, Kurosawa's westernization is left to the subjectivity of the people.

Sources:

Yoshimoto, Mitsuhiro. Kurosawa : Film Studies and Japanese Cinema. Duke University Press, 2000. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=cat06985a&AN=bsu.190979&site=eds-live&scope=site.

Kurosawa, Akira, and Bert Cardullo. Akira Kurosawa : Interviews. University Press of Mississippi, 2008. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=cat06985a&AN=bsu.242974&site=eds-live&scope=site.

[qudachuk]

Venice film festival: Agnieszka Holland’s brutal and timely drama shines a dark spotlight on the horrors faced by refugees in the exclusion zone between Poland and BelarusAt 74, Polish film-maker Agnieszka Holland has lost none of her passion –...

[svetlanamirchevaworks]

PUBLICATIONS

BOOKS / CATALOGUES / ARCHIVES: SELECTED FROM THE COLLECTION, National Gallery, Sofia, 2021, ISBN: 978-954-9473-58-2 SHIFTING LAYERS. YOUNG ART AT THE MUSEUM https://sghg.bg/en/catalogs/shifting-layers-young-artat-the-museum/ POLYPHONIA, Frans Oosterhof, Motto Books 2019, ISBN: 9782940524891 book of Polyphonia exhibition, Goethe-Institut Sofia, 2017 in OPEN ART FILES, Bulgarian online art archive: Art from the early 90’s to the Present Day by Vessela Nozharova Digital Art in Bulgaria – Electronic Media, Multimedia Installations, Internet Art by Galina Dimitrova-Dimova The Art of Books, Printing and Graphic Design by Svetla Petkova ÆTHER art space: SELF-GUIDE BECOMING THE OTHER, 2018, Stuttgart INTRODUCTION TO BULGARIAN CONTEMPORARY ART 1982–2015 by Vessela Nozharova, Open Arts Foundation, ISBN: 978 619 186 435 5, p. 264-265 10 YEARS OPEN ARTS: HERE AND EVERYWHERE edition for the jubilee of Open Arts Foundation and the exhibition “HERE EVERYWHERE” curator Vladiya Mihaylova, within the framework of NIGHT/Plovdiv 2017, p. 65, 74, 78-79, 106-107 NATIONAL GALLERY, ARCHIVE 2011–2017 / Sofia Arsenal–Museum for Contemporary Art, editor Nadezhda Dzhakova, isbn 978-954-9473-33-9, p. 92 WHO LEFT?WHAT BEHIND Exhibition catalog, p. 142-145 © 2012 Pleven/Ankara, advisors - Beral Madra, Maria Vassileva, curators - Demna Dimitrova, Saliha Kasap AN ART NEWSPAPER, edited by Aaron Moulton, CLASSIFIED ADS, Special DECADE Issue/Vel.10/Nul.23, p. 52, April 1 2011, Berlin 18. STUTTGARTER FILMWINTER. Festival 13. - 16.1.2005 UNSICHTBARES. KUNST_WISSENSCHAFT. Algorithmen als Schnittstellen zwischen Kunst und Wissenschaft, Internationaler Medienkunstpreis 2004, Publikationstyp Sammelband Verfasser / Herausgeber Barbara Könches und Peter Weibel (Hg.); Verlag, Ort Benteli, Bern; Jahr 2005; Sprache deutsch; Beschreibung 431 S., zahlr. Ill.; ISBN 3-7165-1395-4 INVISIBLE. ART_SCIENCE / International Media Art Award 2004; CD-ROM/DVD Jahr 2004; Sprache deutsch und englisch; Organisation / Institution ZKM | Zentrum für Kunst und Medientechnologie, Karlsruhe; Kooperationspartner SWR ; SF drs ; arte

VIPER BASEL INTERNATIONALES FESTIVAL. FÜR FILM VIDEO UND NEUE MEDIEN. GENERATIONS ON THE MOVE. 18.-22. NOVEMBER 2004. CATALOGUE. KULTUR. Viper Direction by Rebecca Picht, Annika Blunck, p. 031© 2004 Viper RADAR Connecting Europe RADAR project catalogue, Edited by Angela Vetesse © 2004 by Marsilio Editori s.p.a, Venezia - Italy ISBN 88-317-8706-3 DREAMS AND CONFLICTS, catalogue of 50th International Art Exhibition – Venice, EXTRA 50, presenting RADAR project, p. 644-645, © 2003 La Biennale di Venezia ISBN 88-317-8236-3 PUBLICATIONS IN MAGAZINES: Schloss Solitude ! Issue February, 2019, Stuttgart DRUNKEN BOAT Magazine, Issue 23 – Bulgarian Literature, Spring 2016, New York CAPITAL LIGHT / Details, about LOW TECH LAB London 2016, 22 January 2016, p.12 BRAVA CASA / Associations, about Images of the word Exhibition, December–January 2015, p.10 PROGRAMATA / Show me again, about Images of the word Exhibition, # 687, 12-18 Dec. 2014, p.11 BRAVA CASA, Design in the sky, about arch. Radina Gesheva / Mistakes in interior, July 2013, p.86-87 Richard: The Readymade Made Available, By Eriola Pira, January 15, 2014 Art Observed I New York – Richard: “First Communion of Anemic Young Girls In The Snow and other works” at Interstate Projects Through December 15th, 2013 NEW YORK TIMES, Bushwick as the Next Gallery District / Published photo from Possible Exhibitions, 8 March 2012 NYT BRAVA CASA, Artists/One more possibility, text by Lidia Manolova about Possible Exhibitions Show, March 2012, p.28-29 SOFIA LIVE, Svetlana Mircheva, About the importance of being earnest, about Possible Exhibitions, 29 Feb. 2012 LIGHT MAGAZINE, Seven hours similarity / Svetlana Mircheva about her exhibition in NY, 12 Jan. 2012 FLAVORPILL, NY, NURTUREart presents Svetlana Mircheva: POSSIBLE EXHIBITIONS, 26 Jan. 2012 SOFIA LIVE, Possible Worlds / Svetlana Mircheva opened his first solo exhibition in the US, 17 Jan. 2012 THE L MAGAZINE, Brooklyn, Editor’s Picks, January 18-31 2012/Vol.10/No. 2, p.45, Possible Exhibitions SOFIA WEEK MAGAZINE, You speak / article about Svetlana Mircheva and Random Show, #375/3-9, June 2011, p.21-22 KULTURA, By chance, article by Svetlana Kuyumdzhieva about RANDOM SHOW, Issue 20 (2638), 27 May 2011 (BG) KULTURA, BAZA awards for the third time, article by Boriana Rossa about BAZA nominated artists, Issue 28 (2601), 23 July 2010 (BG)

[uitvconnect]

Actress Matilda De Angelis attends the premiere of the movie "Una Famiglia" at the 74th Venice Film Festival in Venice, Italy,

[venicefilmfestival]

MOTHER! di DARREN ARONOFSKY con Jennifer Lawrence, Javier Bardem, Michelle Pfeiffer, Domhnall Gleeson, Ed Harris Usa / 120’  - Irene

[bandathebillie]

Jennifer Lawrence at 74th Venice Film Festival

[forever-of-the-stars]

Guillermo Del Toro at the 74th Venice Film Festival 

[arlessiar]

livia_firth❤️#aboutlastnight @beeshaffer#colinfirth @francescocarrozzini#JulianneMoore #bartfreundlich at The Franca Sozzani Award #VeniceFilmFestivalsuch a special night

Livia Firth on Instagram

The Firths at the Venice Film Festival

[caffe-shakerato]

Venice Film Festival - September 2017 by Camilla Di Renzo

[lafilledepoche]

Sandome no satsujin (The Third Murder), Hirokazu Kore-eda (2017)

The most beautiful frame seen at #VeniceFilmFestival 

© Fuji Television Networkamuse Inc. Gaga Corporation 

[1962dude420-blog]

Today we remember the passing of Dennis Hopper who Died: May 29, 2010 in Los Angeles, California

Dennis Lee Hopper (May 17, 1936 – May 29, 2010) was an American actor, filmmaker, and visual artist. He attended the Actors Studio, made his first television appearance in 1954, and soon after appeared in Giant (1956). In the next ten years he made a name in television, and by the end of the 1960s had appeared in several films, notably Cool Hand Luke (1967) and Hang 'Em High (1968). Hopper also began a prolific and acclaimed photography career in the 1960s.

Hopper made his directorial film debut with Easy Rider (1969), which he and co-star Peter Fonda wrote with Terry Southern. The film earned Hopper a Cannes Film Festival Award for "Best First Work" and a nomination for the Academy Award for Best Original Screenplay (shared with Fonda and Southern). Journalist Ann Hornaday wrote: "With its portrait of counterculture heroes raising their middle fingers to the uptight middle-class hypocrisies, Easy Rider became the cinematic symbol of the 1960s, a celluloid anthem to freedom, macho bravado and anti-establishment rebellion". Film critic Matthew Hays wrote "no other persona better signifies the lost idealism of the 1960s than that of Dennis Hopper".

Following the critical and commercial failure of his second film as director, The Last Movie (1971), he worked on various independent and foreign projects – in which he was frequently typecast as mentally disturbed outsiders in such films as Mad Dog Morgan (1976) and The American Friend (1977) – until he found new fame for his role as an American photojournalist in Apocalypse Now (1979). He went on to helm his third directorial work Out of the Blue (1980), for which he was again honored at Cannes, and appeared in Rumble Fish (1983) and The Osterman Weekend (1983). He saw a career resurgence in 1986 when he was widely acclaimed for his performances in Blue Velvet and Hoosiers, the latter of which saw him nominated for the Academy Award for Best Supporting Actor. His fourth directorial outing came about through Colors (1988), followed by an Emmy-nominated lead performance in Paris Trout (1991). In 1990, Dennis Hopper directed The Hot Spot, which was not a box-office hit. Hopper found greater fame for portraying the villains of the films Super Mario Bros. (1993), Speed (1994) and Waterworld (1995).

Hopper's later work included a leading role in the short-lived television series Crash (2008–2009), inspired by the film of the same name. He appeared in three films released posthumously: Alpha and Omega (2010), The Last Film Festival (2016) and the long-delayed The Other Side of the Wind (2018), which had been filmed in the early 1970s.

On September 28, 2009, Hopper, then 73, was reportedly brought by ambulance to an unidentified Manhattan hospital wearing an oxygen mask and "with numerous tubes visible". On October 2, he was discharged, after receiving treatment for dehydration.

On October 29, Hopper's manager Sam Maydew reported that he had been diagnosed with advanced prostate cancer. In January 2010, it was reported that Hopper's cancer had metastasized to his bones.

On March 18, 2010, he was honored with the 2,403rd star on the Hollywood Walk of Fame in front of Grauman's Egyptian Theatre on Hollywood Boulevard. Surrounded by friends including Jack Nicholson, Viggo Mortensen, David Lynch, Michael Madsen, family and fans, he attended its addition to the sidewalk six days later.

By March 2010, Hopper reportedly weighed only 100 pounds (45 kg) and was unable to carry on long conversations. According to papers filed in his divorce court case, Hopper was terminally ill and was unable to undergo chemotherapy to treat his prostate cancer.

Hopper died at his home in the coastal Venice district of Los Angeles, aged 74, on the morning of May 29, 2010. His funeral took place on June 3, 2010, at San Francisco de Asis Mission Church in Ranchos de Taos, New Mexico. His body was buried at the Jesus Nazareno Cemetery in Ranchos de Taos.

[colinfirthaddicted]

☆ COLIN FIRTH ADDICTED ☆ ~~ TBT ~~ Venice Film Festival 74 - 2017 #ColinFirth #tbt

[uitvconnect]

Actress Jennifer Lawrence attends the premiere of the movie "Mother!" at the 74th Venice Film Festival in Venice, Italy

[venicefilmfestival]

HANNAH di ANDREA PALLAORO con Charlotte Rampling, André Wilms / Italia, Belgio, Francia / 95’  - Irene

[filmstruck]

Six Questions With FilmStruck: Massy Tadjedin

Writer-director Massy Tadjedin’s first film LAST NIGHT (’10) starred Keira Knightley, Sam Worthington, Eva Mendes, Guillaume Canet. She has since shot a short film as part of Miu Miu’s Women’s Tales, which premiered at the 69th Venice International Film Festival. She spoke to Social Media Assistant Manager Marya E. Gates (@oldfilmsflicker) about her cinematic influences.

FS: What was the movie that made you fall in love with movies?

Massy Tadjedin: I honestly can’t be sure because my Dad loved films and we had a fairly steady diet of old films at home—likely only because they were more familiar than television offerings to my immigrant parents at the time. 

I’ve thought about this, and my love wasn’t recognizably at first sight. I grew up on films—mostly seen on VHS at home on a television screen not actually that much bigger than our laptop screens now, only with such more questionable sound. But ROMANCING THE STONE (’84), with Michael Douglas and Kathleen Turner, was one of the first films I actually saw in the theater. I’m still pretty sure it was the second actually, but I can’t know that for sure and it doesn’t matter. I was 8, and I remember I couldn’t shake what I’d watched from my mind. I didn’t revisit the plot, I don’t remember it still, but I remember so many of its moments. I remember spending time on the fact that she was a writer, and what that meant, just after that opening scene when she finishes a novel and feeds her cat. She had an apartment, she lived in New York, these were all things I remember noting. And Kathleen Turner, and Michael Douglas…they stood out as they did because I believed them. If I hadn’t—at that age, especially—the movie wouldn’t have stayed with me.

FS: What was the movie that made you want to make movies?

MT: [Jane Campion’s] THE PIANO (’93). It was the first film I remember really recognizing had had a guiding hand behind it. It struck me more than I could explain it had. I saw it on a VHS rented from Yorba Linda Video and it stunned me.

I had no idea what filmmaking was yet. I just knew I wanted to keep watching it over and over again. It had a quality that set it apart from other stories I loved. I loved its telling. Its soundtrack began my love of music in film, and the look of it, even on a basic television in our 1994 living room was beautiful. Looking back, I can see I was identifying craft.

And its story was so distinct I think it made the telling of any sort of story seem possible to me. I don’t remember spending any time considering a woman made it but I can see now that the fact that Jane Campion did presented film directing as a possibility for me.

FS: How has your love of movies been expressed in your own films?

MT: I’ve only made one, and some shorts. But in everything I’ve shot, everything I’ve seen and loved bleeds into every choice, I’m sure. Not so much physically, as tonally. My favorite filmmakers are masters at creating characters and realities (natural or absurd) that I believe. I guess this question is asking for specifics. If I hadn’t watched so many Éric Rohmer movies, I’m not sure I’d ever believed LAST NIGHT (’10) should have been a film. If I hadn’t watched so much Bergman, I’m not sure I would have known how to craft and structure its story. And if I didn’t love SEX, LIES, AND VIDEOTAPE (’89) as much as I did, I’m not sure I would have understood how absolutely crucial casting is and how truthful every single moment of any story needs to be to make it matter.

FS: What was your first introduction to the Criterion Collection/first Criterion film you owned?

MT: I took a class in college on Ingmar Berman, Satyajit Ray and Andrei Tarkovsky. I’d never heard of any of them before that class. I liked Ray very much, and I admired Tarkovsky—but not as much then as I do now—but I instantly loved Bergman. I sought out his work the moment I was back in LA and that was when I met Criterion. After renting several of his films, I began to notice the logo atop the jackets. And, soon after—as I met so many other filmmakers I’d never heard of through that logo—I began to recognize the curation.

The first Criterion film I bought was Bergman’s SCENES FROM A MARRIAGE (’74). I’d rented everything before then.

FS: What was the first film you streamed on FilmStruck?

MT: I’m sure there’s a digital record better than my memory, but I’m pretty sure it was one of my favorite John Cassavetes’ films, A WOMAN UNDER THE INFLUENCE (’74).

FS: If the world were about to end what five movies on FilmStruck would you recommend everyone stream before we all died?

MT: End of the world is extreme. If I’m really keeping that in mind, I’d go for seeing what might make you remember whatever time we have here is worth doing whatever we have to to steal more of it: Mike Nichol’s WHO'S AFRAID OF VIRGINIA WOOLF? (’66), John Cassavetes’ films, A WOMAN UNDER THE INFLUENCE (’74), Alfonso Cuarón’s Y TU MAMÁ TAMBIÉN (’01), Michael Curtiz’s CASABLANCA (’42), and Ingmar Bergman’s FANNY AND ALEXANDER (’82).

[tabloidtoc]

People, September 21

Cover: Brand-new Drew Barrymore loving life at 45 

Page 1: Chatter -- Guy Fieri joking about his trademark look, Paris Hilton on her public persona, Billy Porter on Pose breaking ground for LGBTQ+ representation in Hollywood, Jane Fonda on embracing her natural hair color right before COVID-19 hit in America, Jennifer Lopez on why she didn’t learn to drive as a teen, Bradley Cooper on homeschooling his 3-year-old daughter 

Page 2: 5 Things We’re Talking About This Week -- Tyler Perry makes the billionaire list, a Back to the Future cookbook is coming, Nike launches a maternity line, Miranda Lambert bests Reba McEntire’s CMA record, Jamie Foxx and his daughter score a Netflix show 

Page 4: Contents 

Page 7: Editor’s Letter -- the year we stopped dressing up 

Page 8: StarTracks -- Cate Blanchett wore a crystal-embellished Giorgio Armani jacket for the Venice Film Festival premiere of Khorshid 

Page 9: Camilla Duchess of Cornwall visited the headquarters of the 1st Battalion after being appointed Colonel-in-Chief a title she takes over from Prince Philip, Megan Thee Stallion got back onstage for Red Rocks Unpaused, Tom Cruise greeted fans in between filming scenes for Mission: Impossible 7 in Hellesylt in Norway, Curtis “50 Cent” Jackson hosted the outdoor premiere of his Starz drama series Power Book II: Ghost 

Page 10: Stars in the Sun -- Brian Austin Green and model Tina Louise reunited for an L.A. beach date, Zoe Saldana went for a walk on the beach in Malibu, Maya Thurman Hawke hit the beach in a black lace bikini during a trip to Venice, Brad Falchuk went surfing in the Hamptons

Page 11: Famous Families -- Kaley Cuoco and her sister Briana struck a pose for the paparazzi while wearing masks while out for a stroll in NYC, Backstreet Boys’ Brian Littrell and wife Leighanne celebrated their 20th anniversary with their son Baylee at an intimate dinner at home in Atlanta, Sabrina Bryan and husband Jordan Lundberg welcomed their first child daughter Comillia Monroe, Hilary Duff and son Luca on his first day of third grade 

Page 12: Serena Williams was all smiles when she won her U.S. Open match against Sloane Stephens, Derek Hough and girlfriend Hayley Erbert attended the drive-in Race to Erase MS gala, for People the TV Show Nancy O’Dell sat down for an exclusive catch-up with Garth Brooks and Trisha Yearwood 

Page 17: Scoop -- Dwayne Johnson’s family’s COVID-19 battle

Page 18: Inside Zac Efron’s new life and new love Vanessa Valladares 

Page 21: Carole Baskin is ready to rumble on DWTS

Page 23: Heart Monitor -- Cody Gifford and Erika Brown just married, Neil Patrick Harris and David Burtka happy anniversary, Sofia Richie and Jaden Smith back together? 

Page 24: Armie Hammer life after split, Keith Urban on his unprecedented gig 

Page 27: Passages, Why I Care -- Macy Gray started a nonprofit to support the families of victims of police brutality 

Page 28: Stories to Make You Smile -- Milo the dog becomes a butterfly king with a flower crown, this first-grader started a foundation to feed the homeless 

Page 31: People Picks -- Mulan 

Page 32: Academy of County Music Awards, One to Watch -- Julie and the Phantoms’ Madison Reyes 

Page 33: Enola Holmes, Pen15 

Page 34: Bill & Ted Face the Music, The Broken Hearts Gallery 

Page 35: The Boys, Big Sean -- Detroit 2, Q&A -- Kay Adams and Lawrence K. Jackson of People the TV Show 

Page 36: Books 

Page 38: Cover Story -- Drew Barrymore has so much love in her life -- from her famed upbringing and a life already well-lived to raising two daughters as a single mom the star is bringing her bubbly optimism to her new daytime talk show 

Page 45: Style 2020 -- awards season kicked off with plenty of glamour but during lockdown comfort ruled -- these are the memorable moments from an unprecedented era in fashion -- Ariana Grande 

Page 52: What to Wear Now -- closet basics -- Katie Holmes 

Page 55: Work From Home Must Haves: Karlie Kloss, Molly Sims 

Page 58: Niecy Nash and Jessica Betts -- after a surprise announcement the actress shares the details behind her love story and why her new wife is her perfect match 

Page 60: A Party Turns Deadly -- was Alonzo Brooks murdered? He was found in a creek after attending a party 16 years ago and now the FBI is asking new questions about that fateful night 

Page 63: Hilary Swank -- what I know now -- 20 years after winning her first Oscar the actress talks like and love and the opportunities she’s grateful to have missed 

Page 66: For Zac Easter playing football was everything but after eight years of hard hits and concussions the high school linebacker developed chronic traumatic encephalopathy (CTE) a crippling neurogenerative disease that ultimately drove him to take his own life -- now Zac’s family is sharing his story in the hopes of helping others avoid their pain 

Page 71: Caroline Wozniacki -- I won’t let this disease stop me -- the tennis star opens up about her struggle with rheumatoid arthritis and how she hopes to help others with the disease 

Page 74: Power’s Naturi Naughton -- we don’t have to be perfect all the time -- the road from teen pop singer to TV star hasn’t been easy but the determined mom never gave up on her dreams 

Page 77: Tatyana McFadden -- meet the world’s fastest woman -- the 17-time paralympic medalist is getting ready for the Tokyo games and paving the way for future athletes 

Page 78: The Emmy Insider -- Q&A with Jimmy Kimmel 

Page 88: One Last Thing -- Jane Lynch