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Ademola Lookman scores late winner to help Atalanta beat AC Milan and go top of Serie AA new report made in consultation with people who use drugs calls for federal decriminalization, expanded access to overdose prevention sites and several other measures designed to mitigate and eventually end the toxic drug crisis. Seven calls for action are laid out by the Canadian Drug Policy Coalition, which over three years held 13 public consultations. The coalition said nearly 800 people were included in the meetings. Beeta Senedjani, the coalition's community policy and network co-ordinator, hopes the report will provide Canadians — and, crucially, policy makers — insight into the damage the crisis and a lack of available services are inflicting on communities. “I believe that in terms of the general public, there's a misunderstanding that what is happening is an increase in substance use, whereas really it’s the supply that's creating such devastating consequences. That's a nuance that I think is not fully understood.” The toxic drug supply, poisoned by an influx of fentanyl, has killed over 15,000 British Columbians since the provincial government declared a crisis in 2016, as well as over 47,000 Canadians. Data released by Statistics Canada on Dec. 4 shows in 2023, followed by Alberta and Saskatchewan. But the coalition's report also comes as federal and provincial governments backtrack from programs meant to confront the crisis. The B.C. NDP ended its decriminalization pilot program due to public outcry, and last month closed the addictions ministry while making the crisis the responsibility of . Premier David Eby has also by former chief coroner Lisa Lapointe to add non-prescription drugs to its safe supply program. A has led to the closure of social sites such as Nelson's Coordinated Access Hub earlier this year. Conservative Leader Pierre Poilievre has also promised to end funding for safe supply programs in favour of expanded treatment facilities if he is elected prime minister in next year's federal election. Senedjani criticized the politicization of the drug crisis. The coalition's report, she said, offers evidence instead of rhetoric. “Whenever the most marginalized people in our community are being targeted by politicians, we need to ask ourselves why, and really look at that with a critical view, because usually it's not in our best interest as a collective.” The report features 87 recommendations under seven calls to action. They include: 1. The collection of disaggregated statistics for drug fatalities and hospitalizations to better show how the crisis is impacting diverse communities such as Indigenous, African, Caribbean and Black peoples. Senedjani said current reporting typically focuses on age and gender, and doesn't include more specific demographics for communities that can be used to show how they are being impacted by the crisis in ways that differ from the rest of Canada. 2. Expansion of access to harm reduction services, which are designed for public use and don't feature specialized supports for racialized, Indigenous or LGBTQ2 peoples. Vancouver's SisterSpace, an overdose prevention site exclusive to women, is a model for how other services might cater to certain demographics. “We don't want to then further marginalize people who have multiple marginalized identities in being able to access services that are already so hard to access.” 3. Decriminalization of all criminal penalties for substance use. Senedjani said feedback heard during the consultations included people who were unable to receive healthcare because they had been labelled as seeking drugs by medical professionals, which also dismissed the validity of their health concerns. 4. The displacement of the toxic drugs with increased access to safe supply that includes drugs of known content and dosage. B.C.'s safe supply program distributes pharmaceutical opioids, which have been criticized as ineffective substitutes for alternatives such as lab-tested heroin. “We need to think about alternatives, and we need to think about ways to make this make sense and have this meet the needs of the devastating issue that we're facing today.” 5. Meaningful consultation, and compensation, with people who use drugs when developing policy. As an example, Senedjani referred to Reclaim Collection, an advocacy group made up of people with lived experience. 6. Expanded affordable housing availability as well as a more diverse range of options for people in need of services. Senedjani said the drug and housing crises in Canada are intertwined. “I think that people as individuals are being blamed for a housing crisis and a toxic drug crisis, when really these are structural, systemic issues that are happening clean across the country, and they require work at the same time on both of those prongs in order to improve social wellness and improve our communities well across the country.” 7. Expanded harm reduction services in housing and shelter settings. The consultations heard from shelter workers who were traumatized by finding people poisoned to death by drugs at their facilities. Senedjani said Toronto's Integrated Prevention and Harm Reduction Initiative, which was designed to address drug deaths in city shelters by including supervised consumption and mental health case management, is a model that other municipalities should consider. “It's important for shelter providers to look at developing proper harm reduction policies, because whether they like it or not it's going to happen, and so they might as well make it safe for everyone involved, including the person accessing the service and the people who are supporting them and trying to do their jobs in a in a proper way.”
NEW YORK (AP) — Shortly before he was to be flogged and imprisoned for eight years, Mohammad Rasoulof fled Iran. His weekslong journey would take him from Tehran, through rural Iranian villages, on foot across a mountainous borderland and ultimately to Hamburg, Germany. As arduous and dangerous as the trip was, Rasoulof’s travels had an added wrinkle: He was trying to finish a movie at the same time. A week after arriving in Germany, Rasoulof would premiere his film, “The Seed of the Sacred Fig” at the Cannes Film Festival in France. As he fled, Rasoulof was preoccupied with the movie’s edit, which was being carried out in Germany. “I remember when I was sitting in the car that was driving me to the border,” Rasoulof says. “I had my laptop and I was taking notes and sending them to my editor. The two friends who were taking me kept saying, ‘Put that thing away for a second.’” In Cannes, “The Seed of the Sacred Fig” won a special jury prize and Rasoulof was celebrated with a 13-minute standing ovation. The movie has since been hailed as one of the best of the year, and arguably its most daring. Rasoulof made “Sacred Fig” clandestinely in Iran, directing scenes from a separate location to avoid raising suspicions. (The opening titles read: “When there is no way, a way must be made.”) Its story — a devastating family drama set during the 2022 protests that engulfed Iran — would surely only add to Rasoulof’s prison sentence. So after all of this, how is he feeling? When he recently met with The Associated Press for an interview, Rasoulof shrugged. “Ordinary,” he says. Rasoulof, 52, has a more gentle, bemused presence than some of his films would suggest. But how could Rasoulof, after what he’s lived through this year, feel anything like ordinary? “I still haven’t grasped the meaning of exile,” he explains. “I think it will take some time. The feeling of that void has not hit me yet, and I think it may never come.” Rasoulof has been busy traveling from film festival to film festival. In September, he and his 24-year-old daughter attended the Telluride festival in Colorado. Many more such stops were to come. Since fleeing Iran, Rasoulof has effectively been immersed in the world he’s long known: cinema. “Maybe I am living in the world of cinema, and maybe that’s why things are so familiar,” he agrees. “Maybe that’s why I don’t feel I’m in exile.” “The Seed of the Sacred Fig,” currently playing in theaters, is the Oscar submission from Rasoulof’s adoptive home, Germany. He’s settled in with his family, grateful for how the country has welcomed him. Speaking through an interpreter, Rasoulof grants that he’ll probably always mentally have a bag packed, ready to return to Iran should the chance ever come. But what “home” constitutes has changed for him. “I might be able to change this concept of home for myself,” he says. “I walk on the streets here and I see people of different colors and forms from all over the place, and they all call this place home. So there’s always the chance that one can build something new.” How oppressive politics can infiltrate the home is central to “The Seed of the Sacred Fig.” It concerns a family of four: Iman (Missagh Zareh), a lawyer newly appointed to the Revolutionary Court in Tehran; his wife, Najmeh (Soheila Golestani) and their two daughters, Rezvan (Mahsa Rostami) and Sana (Setareh Maleki). Iman is proud of his high position, but, when the government crackdown on protesters following the death of Mahsa Amini accelerates, his daughters are increasingly at odds with him. After Iman's gun goes missing, his wife and daughters turn into suspects. “The Seed of the Sacred Fig,” populated with real cellphone videos from the protests, plays out as an excruciating microcosm of Iranian society. “It wasn’t like I put those videos in. They just came in,” says Rasoulof. “The reality is that it was through those videos I realized what happened. When the Woman, Life, Freedom movement occurred, I was in prison.” Rasoulof has spent several spells in Tehran’s Evin Prison. In 2010, he was arrested on set for filming without a permit. In 2022, he was jailed for seven months after pursuing the release of another of Iran’s most prominent filmmakers, Jafar Panahi. Panahi, who secretly made the film “No Bears,” was only released in 2023 after commencing a hunger strike. “My windows at home opened to the hills that have the Evin prison in them,” says Rasoulof. “I knew behind those walls many of my friends were sitting.” Rasoulof, inspired by the courage of the younger generation, resolved to pour the same spirit into “The Seed of the Sacred Fig.” Although it wasn’t until Rasoulof’s appeal of his sentence failed that he resolved to flee, he grants that deciding to make “Sacred Fig” essentially sealed his fate. “Making this film was part of that decision,” he says. “Although I had made up my mind earlier, because it was such a bitter decision, I was denying it and delaying it, waiting for a miracle to allow me to stay.” “I would open the fridge to make sure there was nothing there that would go bad,” he adds. “It was a strange circumstance.” For the film's actors and crew members, signing up for the movie meant also becoming co-conspirators. Everyone knew the risks. And, like Rasoulof, many of them have since left Iran. Rostami and Maleki also now live in Germany. Asked if his collaborators are all currently safe, Rasoulof responds: “No one is safe from the Islamic Republic.” In his new life, Rasoulof is experiencing freedoms he never had in Iran. His films, for example, are widely available outside his native country but not in Iran. His prize-winning 2020 drama “There Is No Evil,” about capital punishment in Iran, is banned — though, ironically, Rasoulof’s prison guards enjoyed watching it with him from a flash drive. “I haven’t seen many of my films on a big screen, especially my last film,” he says. “I really want to see ‘There Is No Evil’ on a big screen. A festival in Portugal has promised to take me to see my own film.” The name of Rasoulof’s film comes from his memory of an ancient fig tree he once visited on an island in the south of Iran. It’s a tree that, with apparent metaphorical meaning for the Iranian government, spreads its seeds onto other trees, killing them and growing in their place. Rasoulof pulls out his phone to share a photo of his apartment in Tehran. Outside a large window, you can see the walls of Evin running along a craggy hillside. Inside are many houseplants. “This is my home,” he says. “I have a lot of plants. I really miss my plants. I have a neighbor who takes care of them for me. I actually have a fig tree at home.”Biden weighs preemptive pardons before leaving office
At a glance Expert's Rating Pros Generous selection of ports Long battery life Good performance Cons Bad trackpad The Intel version is faster Arm PCs still have compatibility drawbacks Dim display Our Verdict Price When Reviewed This value will show the geolocated pricing text for product undefined Best Pricing Today The Acer Swift 14 AI looks like an unimposing laptop that could easily be mistaken for any number of machines in Acer's lineup. It has a secret inside, though. The Swift 14 AI is Acer's first Arm-based notebook, running on Qualcomm's Snapdragon X Elite processor. Laptops have changed a lot in the last few years as Arm-based chips have finally gotten powerful enough to run Windows. The Acer Swift 14 AI might not be the best representative of that change, though. The Acer Swift 14 AI is slim and efficient, running for ages before it needs to recharge. It also has a pretty generous selection of ports for a thin-and-light laptop. However, the trackpad is below average, and there's entirely too much bloatware. There are also issues that aren't Acer's fault—emulated apps don't always work right and some hardware won't play nice with Arm PCs. For the right price, the Acer Swift 14 AI can be a fine entrée to the world of Copilot+ PCs, but that price is not the MSRP. Acer Swift 14 AI: Specs and features You won't have to make any difficult choices when purchasing the Acer Swift 14 AI. There are only two variants of the machine, one with a touchscreen and the other without. Both display options are the same 2560×1600 IPS. The touch version (which I have been testing) is $1,099.99, and the non-touch version is $1,049.99. The specifications are identical, so there's no reason not to get the touch version for an extra $50. Inside, the Acer Swift 14 AI sports a Qualcomm Snapdragon X Elite (X1E-78-100), a 12-core Arm processor that we've seen in laptops like Dell XPS 13 (9345). The capable Oryon CPU cores are backed up by an integrated Adreno... Author , Ryan Whitwam , .Wp-Block-Co-Authors-Plus-Coauthors.Is-Layout-Flow , Class , Wp-Block-Co-Authors-Plus , Display Inline , .Wp-Block-Co-Authors-Plus-Avatar , Where Img , Height Auto Max-Width , Vertical-Align Bottom .Wp-Block-Co-Authors-Plus-Coauthors.Is-Layout-Flow .Wp-Block-Co-Authors-Plus-AvatarNEW YORK (AP) — Shortly before he was to be flogged and imprisoned for eight years, Mohammad Rasoulof fled Iran. His weekslong journey would take him from Tehran, through rural Iranian villages, on foot across a mountainous borderland and ultimately to Hamburg, Germany. As arduous and dangerous as the trip was, Rasoulof’s travels had an added wrinkle: He was trying to finish a movie at the same time. A week after arriving in Germany, Rasoulof would premiere his film, “The Seed of the Sacred Fig” at the Cannes Film Festival in France. As he fled, Rasoulof was preoccupied with the movie’s edit, which was being carried out in Germany. “I remember when I was sitting in the car that was driving me to the border,” Rasoulof says. “I had my laptop and I was taking notes and sending them to my editor. The two friends who were taking me kept saying, ‘Put that thing away for a second.’” In Cannes, “The Seed of the Sacred Fig” won a special jury prize and Rasoulof was celebrated with a 13-minute standing ovation. The movie has since been hailed as one of the best of the year, and arguably its most daring. Rasoulof made “Sacred Fig” clandestinely in Iran, directing scenes from a separate location to avoid raising suspicions. (The opening titles read: “When there is no way, a way must be made.”) Its story — a devastating family drama set during the 2022 protests that engulfed Iran — would surely only add to Rasoulof’s prison sentence. So after all of this, how is he feeling? When he recently met with The Associated Press for an interview, Rasoulof shrugged. “Ordinary,” he says. Rasoulof, 52, has a more gentle, bemused presence than some of his films would suggest. But how could Rasoulof, after what he’s lived through this year, feel anything like ordinary? “I still haven’t grasped the meaning of exile,” he explains. “I think it will take some time. The feeling of that void has not hit me yet, and I think it may never come.” Rasoulof has been busy traveling from film festival to film festival. In September, he and his 24-year-old daughter attended the Telluride festival in Colorado. Many more such stops were to come. Since fleeing Iran, Rasoulof has effectively been immersed in the world he’s long known: cinema. “Maybe I am living in the world of cinema, and maybe that’s why things are so familiar,” he agrees. “Maybe that’s why I don’t feel I’m in exile.” “The Seed of the Sacred Fig,” currently playing in theaters, is the Oscar submission from Rasoulof’s adoptive home, Germany. He’s settled in with his family, grateful for how the country has welcomed him. Speaking through an interpreter, Rasoulof grants that he’ll probably always mentally have a bag packed, ready to return to Iran should the chance ever come. But what “home” constitutes has changed for him. “I might be able to change this concept of home for myself,” he says. “I walk on the streets here and I see people of different colors and forms from all over the place, and they all call this place home. So there’s always the chance that one can build something new.” How oppressive politics can infiltrate the home is central to “The Seed of the Sacred Fig.” It concerns a family of four: Iman (Missagh Zareh), a lawyer newly appointed to the Revolutionary Court in Tehran; his wife, Najmeh (Soheila Golestani) and their two daughters, Rezvan (Mahsa Rostami) and Sana (Setareh Maleki). Iman is proud of his high position, but, when the government crackdown on protesters following the death of Mahsa Amini accelerates, his daughters are increasingly at odds with him. After Iman's gun goes missing, his wife and daughters turn into suspects. “The Seed of the Sacred Fig,” populated with real cellphone videos from the protests, plays out as an excruciating microcosm of Iranian society. “It wasn’t like I put those videos in. They just came in,” says Rasoulof. “The reality is that it was through those videos I realized what happened. When the Woman, Life, Freedom movement occurred, I was in prison.” Rasoulof has spent several spells in Tehran’s Evin Prison. In 2010, he was arrested on set for filming without a permit. In 2022, he was jailed for seven months after pursuing the release of another of Iran’s most prominent filmmakers, Jafar Panahi. Panahi, who secretly made the film “No Bears,” was only released in 2023 after commencing a hunger strike. “My windows at home opened to the hills that have the Evin prison in them,” says Rasoulof. “I knew behind those walls many of my friends were sitting.” Rasoulof, inspired by the courage of the younger generation, resolved to pour the same spirit into “The Seed of the Sacred Fig.” Although it wasn’t until Rasoulof’s appeal of his sentence failed that he resolved to flee, he grants that deciding to make “Sacred Fig” essentially sealed his fate. “Making this film was part of that decision,” he says. “Although I had made up my mind earlier, because it was such a bitter decision, I was denying it and delaying it, waiting for a miracle to allow me to stay.” “I would open the fridge to make sure there was nothing there that would go bad,” he adds. “It was a strange circumstance.” For the film's actors and crew members, signing up for the movie meant also becoming co-conspirators. Everyone knew the risks. And, like Rasoulof, many of them have since left Iran. Rostami and Maleki also now live in Germany. Asked if his collaborators are all currently safe, Rasoulof responds: “No one is safe from the Islamic Republic.” In his new life, Rasoulof is experiencing freedoms he never had in Iran. His films, for example, are widely available outside his native country but not in Iran. His prize-winning 2020 drama “There Is No Evil,” about capital punishment in Iran, is banned — though, ironically, Rasoulof’s prison guards enjoyed watching it with him from a flash drive. “I haven’t seen many of my films on a big screen, especially my last film,” he says. “I really want to see ‘There Is No Evil’ on a big screen. A festival in Portugal has promised to take me to see my own film.” The name of Rasoulof’s film comes from his memory of an ancient fig tree he once visited on an island in the south of Iran. It’s a tree that, with apparent metaphorical meaning for the Iranian government, spreads its seeds onto other trees, killing them and growing in their place. Rasoulof pulls out his phone to share a photo of his apartment in Tehran. Outside a large window, you can see the walls of Evin running along a craggy hillside. Inside are many houseplants. “This is my home,” he says. “I have a lot of plants. I really miss my plants. I have a neighbor who takes care of them for me. I actually have a fig tree at home.”
Chicago mayor's senior adviser voted in Texas in November 2024 election