Western Union CEO: It's tough being an immigrant in Europe

Western Union CEO Hikmet Ersek
The boss of Western Union says it’s much harder being an immigrant in Europe than in the U.S.


Hikmet Ersek had a lot going for him as a youngster growing up in Vienna. Except for one thing: his foreign name.

In 1975, when he was 19, the CEO of Western Union (WU) moved to the Austrian capital from Turkey to study for a masters in economics. He spoke three languages fluently and played basketball professionally.

He wasn’t prepared for the prejudices he would face. His father was Turkish, his mother Austrian, but people kept asking him where he was from.

“Your name is Hikmet, you must be Muslim, you not from here, how come you are successful?” he recalled.

Ersek went on to work for MasterCard (MA) and GE (GE) before joining Western Union in 1999.

Opinion: Don’t just write a check! Get involved

Hostility towards immigrants is one of the biggest problems facing Europe, he said at the World Economic Forum.

And it doesn’t just affect foreigners who come from outside Europe’s borders.

“It is East versus West … Romanians and Bulgarians feel the same when they come to the U.K.,” he said.

Ersek later moved to the U.S., where he felt more welcomed.

“The U.S. is a country built on migrants’ entrepreneurship — they don’t ask where you’re from, they ask what can you do,” he said.

Ersek said Europe needs the adopt the same mindset in order to remain a strong player in the world economy.

Related: Foreign name? Expect a tougher job hunt

– An earlier version of this story misspelled Hikmet Ersek.

Source Article from http://money.cnn.com/2015/01/22/news/economy/immigration-europe-western-union-ceo-world-economic-forum/index.html?section=money_topstories
Western Union CEO: It's tough being an immigrant in Europe
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Western Union CEO: It's tough being an immigrant in Europe

Western Union CEO Hikmet Ersek
The boss of Western Union says it’s much harder being an immigrant in Europe than in the U.S.


Hikmet Ersek had a lot going for him as a youngster growing up in Vienna. Except for one thing: his foreign name.

In 1975, when he was 19, the CEO of Western Union (WU) moved to the Austrian capital from Turkey to study for a masters in economics. He spoke three languages fluently and played basketball professionally.

He wasn’t prepared for the prejudices he would face. His father was Turkish, his mother Austrian, but people kept asking him where he was from.

“Your name is Hikmet, you must be Muslim, you not from here, how come you are successful?” he recalled.

Ersek went on to work for MasterCard (MA) and GE (GE) before joining Western Union in 1999.

Opinion: Don’t just write a check! Get involved

Hostility towards immigrants is one of the biggest problems facing Europe, he said at the World Economic Forum.

And it doesn’t just affect foreigners who come from outside Europe’s borders.

“It is East versus West … Romanians and Bulgarians feel the same when they come to the U.K.,” he said.

Ersek later moved to the U.S., where he felt more welcomed.

“The U.S. is a country built on migrants’ entrepreneurship — they don’t ask where you’re from, they ask what can you do,” he said.

Ersek said Europe needs the adopt the same mindset in order to remain a strong player in the world economy.

Related: Foreign name? Expect a tougher job hunt

– An earlier version of this story misspelled Hikmet Ersek.

Source Article from http://money.cnn.com/2015/01/22/news/economy/immigration-europe-western-union-ceo-world-economic-forum/index.html?section=money_topstories
Western Union CEO: It's tough being an immigrant in Europe
http://money.cnn.com/2015/01/22/news/economy/immigration-europe-western-union-ceo-world-economic-forum/index.html?section=money_topstories
http://news.search.yahoo.com/news/rss?p=immigrant
immigrant – Yahoo News Search Results
immigrant – Yahoo News Search Results

Western Union CEO: It's tough being an immigrant in Europe

Western Union CEO Hikmet Ersek
The boss of Western Union says it’s much harder being an immigrant in Europe than in the U.S.


Hikmet Ersek had a lot going for him as a youngster growing up in Vienna. Except for one thing: his foreign name.

In 1975, when he was 19, the CEO of Western Union (WU) moved to the Austrian capital from Turkey to study for a masters in economics. He spoke three languages fluently and played basketball professionally.

He wasn’t prepared for the prejudices he would face. His father was Turkish, his mother Austrian, but people kept asking him where he was from.

“Your name is Hikmet, you must be Muslim, you not from here, how come you are successful?” he recalled.

Ersek went on to work for MasterCard (MA) and GE (GE) before joining Western Union in 1999.

Opinion: Don’t just write a check! Get involved

Hostility towards immigrants is one of the biggest problems facing Europe, he said at the World Economic Forum.

And it doesn’t just affect foreigners who come from outside Europe’s borders.

“It is East versus West … Romanians and Bulgarians feel the same when they come to the U.K.,” he said.

Ersek later moved to the U.S., where he felt more welcomed.

“The U.S. is a country built on migrants’ entrepreneurship — they don’t ask where you’re from, they ask what can you do,” he said.

Ersek said Europe needs the adopt the same mindset in order to remain a strong player in the world economy.

Related: Foreign name? Expect a tougher job hunt

– An earlier version of this story misspelled Hikmet Ersek.

Source Article from http://money.cnn.com/2015/01/22/news/economy/immigration-europe-western-union-ceo-world-economic-forum/index.html?section=money_topstories
Western Union CEO: It's tough being an immigrant in Europe
http://money.cnn.com/2015/01/22/news/economy/immigration-europe-western-union-ceo-world-economic-forum/index.html?section=money_topstories
http://news.search.yahoo.com/news/rss?p=immigrant
immigrant – Yahoo News Search Results
immigrant – Yahoo News Search Results

Equality, fraternity? France's immigrant youth not convinced

Paris (AFP) – Two weeks after the jihadist attacks that rocked France, the banner extolling free speech on the gates of Honore de Balzac high school in northern Paris is looking a little worse for wear.

The fraying sign declares the school “is Charlie” — echoing the global slogan of solidarity with Charlie Hebdo, the satirical magazine targeted by the extremists in the first of three deadly attacks.

Situated just within the boundary lines of Paris proper, separated from the high-rise suburbs by a ring road, Honore de Balzac’s student body is an ethnic, cultural and social hotchpotch. Many of the students are Muslim.

All fell silent at noon on January 8 to honour the 12 people shot dead a day earlier by Islamist gunmen at Charlie Hebdo.

“What happened was very bad,” said Ahmed, a lanky final-year student who stood chatting with two friends outside the sprawling school complex.

But while abhorring the killings, he made clear he had no truck with the murdered cartoonists who mocked Islam and other religions on a weekly basis.

“There are limits to free speech. There are things like religion you can’t touch. It’s a question of respect,” said the 17-year-old youth who was born in France to Malian parents.

Fatima and Kevin, both also 17-year-old second-generation immigrants, of North African and Haitian stock respectively, nod vigorously in agreement.

Not all those who felt stigmatised by Charlie Hebdo’s drawings were left unmoved by the journalists’ tragic end, however.

The image of a fractured country being brought together by three days of bloodshed was muddied by around 200 incidents of dissent at schools, with some students boycotting the January 8 minute of silence or even giving the killings the thumbs-up.

Prune Hebert, a teacher of French and history at a technical high school in the 18th district of Paris, was among those who found herself trying to coax students into paying tribute to the cartoonists killed for their provocative drawings of the Prophet Mohammed.

- ‘They had it coming’ -

“Why should we have to do it? You can’t force me. They had it coming,” was the reaction of some students in one predominantly immigrant class.

One student mocked the murders. “It’s me who did the Charlie Hebdo attacks,” he joked.

Hebert, who believes the rebellious elements were spurred by a knee-jerk desire to “shock and provoke” as much as by conviction, moved quickly to try find common ground.

You can condemn something — in this instance the cartoons — without resorting to violence, she reminded them.

“In France everyone can believe what they like, including whether God exists or not. It’s freedom of expression that protects our respective beliefs.”

- Liberty, equality, fraternity -

That message struck a chord with the class, which eventually agreed to join the rest of the school in a few moments of quiet.

It was a small but crucial victory in what is shaping up as a long campaign to rally children who feel excluded on religious and ethnic grounds around the French values of “liberty, equality, fraternity”.

While representing just a tiny proportion of pupils, the acts of dissidence have triggered much hand-wringing about the plight of young people in predominantly immigrant neighbourhoods, where mass unemployment and social exclusion provide fertile ground for extremism.

Amedy Coulibaly, the gunman who shot dead four people at a Jewish supermarket — came from the gritty southern Paris suburb of Grigny.

“Fixing public schools — long seen as the great social leveller, despite a growing flight to private schools — is seen as central to the remedy.

“School must be a sanctuary of civility,” President Francois Hollande said Wednesday, warning “no incident… would go unpunished”.

Education Minister Najat Vallaud-Belkacem has announced plans to boost students’ “sense of belonging to the republic”, by increasing “moral and civic” instruction.

As the first woman to be named to the education portfolio, at the age of 36, Moroccan-born Vallaud-Belkacem who grew up in a tough Lyon suburb is often held up as a symbol of successful integration.

But she herself acknowledges a disconnect between France’s egalitarian self-image and reality.

- ‘Go back to your country’ -

“We have to close the gap that too many students experience between the principles of the republic on the one hand and their daily reality on the other,” she said last week.

Ahmed, Fatima and Kevin all have stories to tell about being made to feel less equal — in the boys’ cases because of their skin colour, in Fatima’s case because she wears a headscarf.

An “old guy” on a bus once told Fatima to “go back to your country”, she recalls.

“You should have reached for this,” Ahmed says, unzipping his jacket slowly and slipping a hand with pretended menace into an inside breast pocket to pull out his ID card.

For Hebert, the teacher, instead of coming down hard on children with radical views the state should encourage the free speech for which nearly 4 million people marched in France on January 11.

The top priority, however, she says, should be throwing the book at improving the reading and writing of children from families where French is a second language, to give them “words to defend themselves to the violence of words”.

Source Article from http://news.yahoo.com/equality-fraternity-frances-immigrant-youth-not-convinced-152918946.html
Equality, fraternity? France's immigrant youth not convinced
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http://news.search.yahoo.com/news/rss?p=immigrant
immigrant – Yahoo News Search Results
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'The Immigrant': Nominated for…nothing?

Just about every year, brilliant movies are utterly ignored by the Oscars. The Searchers, Groundhog Day, Breathless, King Kong, Casino Royale, Touch of Evil, Caddyshack, Mean Streets, The Big Lebowski, Blackfish — the Academy has a long history of overlooking comedies, action movies, horror flicks, hard-boiled genre pics, artsy foreign films, and documentaries that aren’t about World War II. Before the ceremony, we’ll be taking a closer look at films that were too small, too weird, or perhaps simply too awesome for the Academy Awards. These are the Non-Nominees.

The film: James Gray (Two Lovers, We Own The Night) deep-dives into 1920s New York with the story of a Polish woman named Ewa Cybulska (Marion Cotillard), who comes to America with her ailing sister, Magda (Angela Sarafyan). Due to Magda’s illness, the two are separated at Ellis Island, leaving Ewa on her own. She’s taken in by the seemingly charming Bruno (Joaquin Phoenix)—only to be forced into a life of prostitution. Desperate to get away, Ewa falls in with Bruno’s magician cousin, Orlando (Jeremy Renner), believing he can save her.

Why it wasn’t nominated: Put most of the blame on the Weinstein Company. For a beautifully crafted film with a wealth of A-list talent, The Immigrant flew mostly under the radar. Although it was completed in time to debut at the 2012 Toronto Film Festival, it didn’t reach Cannes until 2013. After that, the movie was being shelved until this past May—then it opened in just four theaters, getting buried among summer blockbusters and superhero franchises.

Rumors swirl that the film was also the subject of a quiet battle between Gray and Harvey Weinstein. The producer allegedly wanted Gray to change the film’s ending; Gray refused. (And rightfully so, as its final moments are by far The Immigrant‘s most powerful scenes, bringing the themes of the movie full circle). Weinstein responded by holding the film back from the 2013 Oscar season. Instead, it joined the ranks of a tight 2014 race filled with much flashier historical dramas and biopics about notable figures like Stephen Hawking.

It’s a darn shame, because The Immigrant boasts everything a nominated film should: nuanced performances, intricate storytelling, smart directing. One could argue that even if it had made a bigger splash, The Immigrant would still be considered a little too dense to merit the Academy’s attention…but then again, it’s not like voters are against showing a little love to intense, dramatic stories that deal with tough subject matter. (Hi, Selma. Hi, 12 Years A Slave.)

Why history will remember it better than the Academy did: Let’s start with the cast. As Ewa, Cotillard proves once more that she’s one of Hollywood’s strongest actors. And while she was rightfully recognized for her work in 2 Days, 1 Night this year, it was The Immigrant where Cotillard really shone, subtly becoming our eyes and ears in an unfamiliar world mostly dominated by men and their own ambitions. Likewise, when movie buffs talk about 2014’s most memorable performances, they’ll most likely mention Phoenix’s showy turn in Inherent Vice. But they should also remember his turn as The Immigrant‘s charismatic yet dangerous showman, who’s capable of charming a naive girl while simultaneously igniting fear at the slightest turn of events. And finally, there’s Renner, who allows us to sympathize with the earnest, light-hearted Orlando; in this role, he continues to prove that he does his strongest work as a character actor.

Gray pulls back the layers on 1921 New York (specifically, the Lower East Side) in a provocative, interesting manner that few filmmakers could imitate (on less than $13 million, no less). Between the lavish costumes and Darius Khondji’s flawless cinematography, the film looks as authentic as it feels—rich and telling, a gritty, unapologetic glimpse into the sometimes not-so-glamorous realities of the American Dream. Gray doesn’t hold back, and so while we get Ewa’s trepidation when she first arrives in America, we also get her triumph, her hope, and her fears by the time she realizes there’s no easy way to escape her situation. If nothing else, Khondji should have been recognized for his outstanding editing, which was instrumental in helping The Immigrant paint a compelling series of events with a complex cast of characters—all of whom struggle to achieve their own version of happiness.

The Immigrant is not perfect—but as Gray points out, neither is the American Dream. It can be a lot like Orlando’s magic trick—an illusion that seems flawless on the surface, until you take a closer look and discover its secrets. Still, that doesn’t mean we shouldn’t be allowed to take the journey…and if the result is a film as compelling as this, it’s worth it.

Source Article from http://popwatch.ew.com/2015/01/22/immigrant-marion-cotillard-nominated-nothing/
'The Immigrant': Nominated for…nothing?
http://popwatch.ew.com/2015/01/22/immigrant-marion-cotillard-nominated-nothing/
http://news.search.yahoo.com/news/rss?p=immigrant
immigrant – Yahoo News Search Results
immigrant – Yahoo News Search Results

'The Immigrant': Nominated for…nothing?

Just about every year, brilliant movies are utterly ignored by the Oscars. The Searchers, Groundhog Day, Breathless, King Kong, Casino Royale, Touch of Evil, Caddyshack, Mean Streets, The Big Lebowski, Blackfish — the Academy has a long history of overlooking comedies, action movies, horror flicks, hard-boiled genre pics, artsy foreign films, and documentaries that aren’t about World War II. Before the ceremony, we’ll be taking a closer look at films that were too small, too weird, or perhaps simply too awesome for the Academy Awards. These are the Non-Nominees.

The film: James Gray (Two Lovers, We Own The Night) deep-dives into 1920s New York with the story of a Polish woman named Ewa Cybulska (Marion Cotillard), who comes to America with her ailing sister, Magda (Angela Sarafyan). Due to Magda’s illness, the two are separated at Ellis Island, leaving Ewa on her own. She’s taken in by the seemingly charming Bruno (Joaquin Phoenix)—only to be forced into a life of prostitution. Desperate to get away, Ewa falls in with Bruno’s magician brother, Orlando (Jeremy Renner), believing he can save her.

Why it wasn’t nominated: Put most of the blame on the Weinstein Company. For a beautifully crafted film with a wealth of A-list talent, The Immigrant flew mostly under the radar. Although it was completed in time to debut at the 2012 Toronto Film Festival, it didn’t reach Cannes until 2013. After that, the movie was being shelved until this past May—then it opened in just four theaters, getting buried among summer blockbusters and superhero franchises.

Rumors swirl that the film was also the subject of a quiet battle between Gray and Harvey Weinstein. The producer allegedly wanted Gray to change the film’s ending; Gray refused. (And rightfully so, as its final moments are by far The Immigrant‘s most powerful scenes, bringing the themes of the movie full circle). Weinstein responded by holding the film back from the 2013 Oscar season. Instead, it joined the ranks of a tight 2014 race filled with much flashier historical dramas and biopics about notable figures like Stephen Hawking.

It’s a darn shame, because The Immigrant boasts everything a nominated film should: nuanced performances, intricate storytelling, smart directing. One could argue that even if it had made a bigger splash, The Immigrant would still be considered a little too dense to merit the Academy’s attention…but then again, it’s not like voters are against showing a little love to intense, dramatic stories that deal with tough subject matter. (Hi, Selma. Hi, 12 Years A Slave.)

Why history will remember it better than the Academy did: Let’s start with the cast. As Ewa, Cotillard proves once more that she’s one of Hollywood’s strongest actors. And while she was rightfully recognized for her work in 2 Days, 1 Night this year, it was The Immigrant where Cotillard really shone, subtly becoming our eyes and ears in an unfamiliar world mostly dominated by men and their own ambitions. Likewise, when movie buffs talk about 2014’s most memorable performances, they’ll most likely mention Phoenix’s showy turn in Inherent Vice. But they should also remember his turn as The Immigrant‘s charismatic yet dangerous showman, who’s capable of charming a naive girl while simultaneously igniting fear at the slightest turn of events. And finally, there’s Renner, who allows us to sympathize with the earnest, light-hearted Orlando; in this role, he continues to prove that he does his strongest work as a character actor.

Gray pulls back the layers on 1921 New York (specifically, the Lower East Side) in a provocative, interesting manner that few filmmakers could imitate (on less than $13 million, no less). Between the lavish costumes and Darius Khondji’s flawless cinematography, the film looks as authentic as it feels—rich and telling, a gritty, unapologetic glimpse into the sometimes not-so-glamorous realities of the American Dream. Gray doesn’t hold back, and so while we get Ewa’s trepidation when she first arrives in America, we also get her triumph, her hope, and her fears by the time she realizes there’s no easy way to escape her situation. If nothing else, Khondji should have been recognized for his outstanding editing, which was instrumental in helping The Immigrant paint a compelling series of events with a complex cast of characters—all of whom struggle to achieve their own version of happiness.

The Immigrant is not perfect—but as Gray points out, neither is the American Dream. It can be a lot like Orlando’s magic trick—an illusion that seems flawless on the surface, until you take a closer look and discover its secrets. Still, that doesn’t mean we shouldn’t be allowed to take the journey…and if the result is a film as compelling as this, it’s worth it.

Source Article from http://popwatch.ew.com/2015/01/22/immigrant-marion-cotillard-nominated-nothing/
'The Immigrant': Nominated for…nothing?
http://popwatch.ew.com/2015/01/22/immigrant-marion-cotillard-nominated-nothing/
http://news.search.yahoo.com/news/rss?p=immigrant
immigrant – Yahoo News Search Results
immigrant – Yahoo News Search Results

'The Immigrant': Nominated for…nothing?

Just about every year, brilliant movies are utterly ignored by the Oscars. The Searchers, Groundhog Day, Breathless, King Kong, Casino Royale, Touch of Evil, Caddyshack, Mean Streets, The Big Lebowski, Blackfish — the Academy has a long history of overlooking comedies, action movies, horror flicks, hard-boiled genre pics, artsy foreign films, and documentaries that aren’t about World War II. Before the ceremony, we’ll be taking a closer look at films that were too small, too weird, or perhaps simply too awesome for the Academy Awards. These are the Non-Nominees.

The film: James Gray (Two Lovers, We Own The Night) deep-dives into 1920s New York with the story of a Polish woman named Ewa Cybulska (Marion Cotillard), who comes to America with her ailing sister, Magda (Angela Sarafyan). Due to Magda’s illness, the two are separated at Ellis Island, leaving Ewa on her own. She’s taken in by the seemingly charming Bruno (Joaquin Phoenix)—only to be forced into a life of prostitution. Desperate to get away, Ewa falls in with Bruno’s magician cousin, Orlando (Jeremy Renner), believing he can save her.

Why it wasn’t nominated: Put most of the blame on the Weinstein Company. For a beautifully crafted film with a wealth of A-list talent, The Immigrant flew mostly under the radar. Although it was completed in time to debut at the 2012 Toronto Film Festival, it didn’t reach Cannes until 2013. After that, the movie was being shelved until this past May—then it opened in just four theaters, getting buried among summer blockbusters and superhero franchises.

Rumors swirl that the film was also the subject of a quiet battle between Gray and Harvey Weinstein. The producer allegedly wanted Gray to change the film’s ending; Gray refused. (And rightfully so, as its final moments are by far The Immigrant‘s most powerful scenes, bringing the themes of the movie full circle). Weinstein responded by holding the film back from the 2013 Oscar season. Instead, it joined the ranks of a tight 2014 race filled with much flashier historical dramas and biopics about notable figures like Stephen Hawking.

It’s a darn shame, because The Immigrant boasts everything a nominated film should: nuanced performances, intricate storytelling, smart directing. One could argue that even if it had made a bigger splash, The Immigrant would still be considered a little too dense to merit the Academy’s attention…but then again, it’s not like voters are against showing a little love to intense, dramatic stories that deal with tough subject matter. (Hi, Selma. Hi, 12 Years A Slave.)

Why history will remember it better than the Academy did: Let’s start with the cast. As Ewa, Cotillard proves once more that she’s one of Hollywood’s strongest actors. And while she was rightfully recognized for her work in 2 Days, 1 Night this year, it was The Immigrant where Cotillard really shone, subtly becoming our eyes and ears in an unfamiliar world mostly dominated by men and their own ambitions. Likewise, when movie buffs talk about 2014’s most memorable performances, they’ll most likely mention Phoenix’s showy turn in Inherent Vice. But they should also remember his turn as The Immigrant‘s charismatic yet dangerous showman, who’s capable of charming a naive girl while simultaneously igniting fear at the slightest turn of events. And finally, there’s Renner, who allows us to sympathize with the earnest, light-hearted Orlando; in this role, he continues to prove that he does his strongest work as a character actor.

Gray pulls back the layers on 1921 New York (specifically, the Lower East Side) in a provocative, interesting manner that few filmmakers could imitate (on less than $13 million, no less). Between the lavish costumes and Darius Khondji’s flawless cinematography, the film looks as authentic as it feels—rich and telling, a gritty, unapologetic glimpse into the sometimes not-so-glamorous realities of the American Dream. Gray doesn’t hold back, and so while we get Ewa’s trepidation when she first arrives in America, we also get her triumph, her hope, and her fears by the time she realizes there’s no easy way to escape her situation. If nothing else, Khondji should have been recognized for his outstanding editing, which was instrumental in helping The Immigrant paint a compelling series of events with a complex cast of characters—all of whom struggle to achieve their own version of happiness.

The Immigrant is not perfect—but as Gray points out, neither is the American Dream. It can be a lot like Orlando’s magic trick—an illusion that seems flawless on the surface, until you take a closer look and discover its secrets. Still, that doesn’t mean we shouldn’t be allowed to take the journey…and if the result is a film as compelling as this, it’s worth it.

Source Article from http://popwatch.ew.com/2015/01/22/immigrant-marion-cotillard-nominated-nothing/
'The Immigrant': Nominated for…nothing?
http://popwatch.ew.com/2015/01/22/immigrant-marion-cotillard-nominated-nothing/
http://news.search.yahoo.com/news/rss?p=immigrant
immigrant – Yahoo News Search Results
immigrant – Yahoo News Search Results

'The Immigrant': Nominated for…nothing?

Just about every year, brilliant movies are utterly ignored by the Oscars. The Searchers, Groundhog Day, Breathless, King Kong, Casino Royale, Touch of Evil, Caddyshack, Mean Streets, The Big Lebowski, Blackfish — the Academy has a long history of overlooking comedies, action movies, horror flicks, hard-boiled genre pics, artsy foreign films, and documentaries that aren’t about World War II. Before the ceremony, we’ll be taking a closer look at films that were too small, too weird, or perhaps simply too awesome for the Academy Awards. These are the Non-Nominees.

The film: James Gray (Two Lovers, We Own The Night) deep-dives into 1920s New York with the story of a Polish woman named Ewa Cybulska (Marion Cotillard), who comes to America with her ailing sister, Magda (Angela Sarafyan). Due to Magda’s illness, the two are separated at Ellis Island, leaving Ewa on her own. She’s taken in by the seemingly charming Bruno (Joaquin Phoenix)—only to be forced into a life of prostitution. Desperate to get away, Ewa falls in with Bruno’s magician cousin, Orlando (Jeremy Renner), believing he can save her.

Why it wasn’t nominated: Put most of the blame on the Weinstein Company. For a beautifully crafted film with a wealth of A-list talent, The Immigrant flew mostly under the radar. Although it was completed in time to debut at the 2012 Toronto Film Festival, it didn’t reach Cannes until 2013. After that, the movie was being shelved until this past May—then it opened in just four theaters, getting buried among summer blockbusters and superhero franchises.

Rumors swirl that the film was also the subject of a quiet battle between Gray and Harvey Weinstein. The producer allegedly wanted Gray to change the film’s ending; Gray refused. (And rightfully so, as its final moments are by far The Immigrant‘s most powerful scenes, bringing the themes of the movie full circle). Weinstein responded by holding the film back from the 2013 Oscar season. Instead, it joined the ranks of a tight 2014 race filled with much flashier historical dramas and biopics about notable figures like Stephen Hawking.

It’s a darn shame, because The Immigrant boasts everything a nominated film should: nuanced performances, intricate storytelling, smart directing. One could argue that even if it had made a bigger splash, The Immigrant would still be considered a little too dense to merit the Academy’s attention…but then again, it’s not like voters are against showing a little love to intense, dramatic stories that deal with tough subject matter. (Hi, Selma. Hi, 12 Years A Slave.)

Why history will remember it better than the Academy did: Let’s start with the cast. As Ewa, Cotillard proves once more that she’s one of Hollywood’s strongest actors. And while she was rightfully recognized for her work in 2 Days, 1 Night this year, it was The Immigrant where Cotillard really shone, subtly becoming our eyes and ears in an unfamiliar world mostly dominated by men and their own ambitions. Likewise, when movie buffs talk about 2014’s most memorable performances, they’ll most likely mention Phoenix’s showy turn in Inherent Vice. But they should also remember his turn as The Immigrant‘s charismatic yet dangerous showman, who’s capable of charming a naive girl while simultaneously igniting fear at the slightest turn of events. And finally, there’s Renner, who allows us to sympathize with the earnest, light-hearted Orlando; in this role, he continues to prove that he does his strongest work as a character actor.

Gray pulls back the layers on 1921 New York (specifically, the Lower East Side) in a provocative, interesting manner that few filmmakers could imitate (on less than $13 million, no less). Between the lavish costumes and Darius Khondji’s flawless cinematography, the film looks as authentic as it feels—rich and telling, a gritty, unapologetic glimpse into the sometimes not-so-glamorous realities of the American Dream. Gray doesn’t hold back, and so while we get Ewa’s trepidation when she first arrives in America, we also get her triumph, her hope, and her fears by the time she realizes there’s no easy way to escape her situation. If nothing else, Khondji should have been recognized for his outstanding editing, which was instrumental in helping The Immigrant paint a compelling series of events with a complex cast of characters—all of whom struggle to achieve their own version of happiness.

The Immigrant is not perfect—but as Gray points out, neither is the American Dream. It can be a lot like Orlando’s magic trick—an illusion that seems flawless on the surface, until you take a closer look and discover its secrets. Still, that doesn’t mean we shouldn’t be allowed to take the journey…and if the result is a film as compelling as this, it’s worth it.

Source Article from http://popwatch.ew.com/2015/01/22/immigrant-marion-cotillard-nominated-nothing/
'The Immigrant': Nominated for…nothing?
http://popwatch.ew.com/2015/01/22/immigrant-marion-cotillard-nominated-nothing/
http://news.search.yahoo.com/news/rss?p=immigrant
immigrant – Yahoo News Search Results
immigrant – Yahoo News Search Results

'The Immigrant': Nominated for…nothing?

Just about every year, brilliant movies are utterly ignored by the Oscars. The Searchers, Groundhog Day, Breathless, King Kong, Casino Royale, Touch of Evil, Caddyshack, Mean Streets, The Big Lebowski, Blackfish — the Academy has a long history of overlooking comedies, action movies, horror flicks, hard-boiled genre pics, artsy foreign films, and documentaries that aren’t about World War II. Before the ceremony, we’ll be taking a closer look at films that were too small, too weird, or perhaps simply too awesome for the Academy Awards. These are the Non-Nominees.

The film: James Gray (Two Lovers, We Own The Night) deep-dives into 1920s New York with the story of a Polish woman named Ewa Cybulska (Marion Cotillard), who comes to America with her ailing sister, Magda (Angela Sarafyan). Due to Magda’s illness, the two are separated at Ellis Island, leaving Ewa on her own. She’s taken in by the seemingly charming Bruno (Joaquin Phoenix)—only to be forced into a life of prostitution. Desperate to get away, Ewa falls in with Bruno’s magician cousin, Orlando (Jeremy Renner), believing he can save her.

Why it wasn’t nominated: Put most of the blame on the Weinstein Company. For a beautifully crafted film with a wealth of A-list talent, The Immigrant flew mostly under the radar. Although it was completed in time to debut at the 2012 Toronto Film Festival, it didn’t reach Cannes until 2013. After that, the movie was being shelved until this past May—then it opened in just four theaters, getting buried among summer blockbusters and superhero franchises.

Rumors swirl that the film was also the subject of a quiet battle between Gray and Harvey Weinstein. The producer allegedly wanted Gray to change the film’s ending; Gray refused. (And rightfully so, as its final moments are by far The Immigrant‘s most powerful scenes, bringing the themes of the movie full circle). Weinstein responded by holding the film back from the 2013 Oscar season. Instead, it joined the ranks of a tight 2014 race filled with much flashier historical dramas and biopics about notable figures like Stephen Hawking.

It’s a darn shame, because The Immigrant boasts everything a nominated film should: nuanced performances, intricate storytelling, smart directing. One could argue that even if it had made a bigger splash, The Immigrant would still be considered a little too dense to merit the Academy’s attention…but then again, it’s not like voters are against showing a little love to intense, dramatic stories that deal with tough subject matter. (Hi, Selma. Hi, 12 Years A Slave.)

Why history will remember it better than the Academy did: Let’s start with the cast. As Ewa, Cotillard proves once more that she’s one of Hollywood’s strongest actors. And while she was rightfully recognized for her work in 2 Days, 1 Night this year, it was The Immigrant where Cotillard really shone, subtly becoming our eyes and ears in an unfamiliar world mostly dominated by men and their own ambitions. Likewise, when movie buffs talk about 2014’s most memorable performances, they’ll most likely mention Phoenix’s showy turn in Inherent Vice. But they should also remember his turn as The Immigrant‘s charismatic yet dangerous showman, who’s capable of charming a naive girl while simultaneously igniting fear at the slightest turn of events. And finally, there’s Renner, who allows us to sympathize with the earnest, light-hearted Orlando; in this role, he continues to prove that he does his strongest work as a character actor.

Gray pulls back the layers on 1921 New York (specifically, the Lower East Side) in a provocative, interesting manner that few filmmakers could imitate (on less than $13 million, no less). Between the lavish costumes and Darius Khondji’s flawless cinematography, the film looks as authentic as it feels—rich and telling, a gritty, unapologetic glimpse into the sometimes not-so-glamorous realities of the American Dream. Gray doesn’t hold back, and so while we get Ewa’s trepidation when she first arrives in America, we also get her triumph, her hope, and her fears by the time she realizes there’s no easy way to escape her situation. If nothing else, Khondji should have been recognized for his outstanding editing, which was instrumental in helping The Immigrant paint a compelling series of events with a complex cast of characters—all of whom struggle to achieve their own version of happiness.

The Immigrant is not perfect—but as Gray points out, neither is the American Dream. It can be a lot like Orlando’s magic trick—an illusion that seems flawless on the surface, until you take a closer look and discover its secrets. Still, that doesn’t mean we shouldn’t be allowed to take the journey…and if the result is a film as compelling as this, it’s worth it.

Source Article from http://popwatch.ew.com/2015/01/22/immigrant-marion-cotillard-nominated-nothing/
'The Immigrant': Nominated for…nothing?
http://popwatch.ew.com/2015/01/22/immigrant-marion-cotillard-nominated-nothing/
http://news.search.yahoo.com/news/rss?p=immigrant
immigrant – Yahoo News Search Results
immigrant – Yahoo News Search Results

'The Immigrant': Nominated for…nothing?

Just about every year, brilliant movies are utterly ignored by the Oscars. The Searchers, Groundhog Day, Breathless, King Kong, Casino Royale, Touch of Evil, Caddyshack, Mean Streets, The Big Lebowski, Blackfish — the Academy has a long history of overlooking comedies, action movies, horror flicks, hard-boiled genre pics, artsy foreign films, and documentaries that aren’t about World War II. Before the ceremony, we’ll be taking a closer look at films that were too small, too weird, or perhaps simply too awesome for the Academy Awards. These are the Non-Nominees.

The film: James Gray (Two Lovers, We Own The Night) deep-dives into 1920s New York with the story of a Polish woman named Ewa Cybulska (Marion Cotillard), who comes to America with her ailing sister, Magda (Angela Sarafyan). Due to Magda’s illness, the two are separated at Ellis Island, leaving Ewa on her own. She’s taken in by the seemingly charming Bruno (Joaquin Phoenix)—only to be forced into a life of prostitution. Desperate to get away, Ewa falls in with Bruno’s magician cousin, Orlando (Jeremy Renner), believing he can save her.

Why it wasn’t nominated: Put most of the blame on the Weinstein Company. For a beautifully crafted film with a wealth of A-list talent, The Immigrant flew mostly under the radar. Although it was completed in time to debut at the 2012 Toronto Film Festival, it didn’t reach Cannes until 2013. After that, the movie was being shelved until this past May—then it opened in just four theaters, getting buried among summer blockbusters and superhero franchises.

Rumors swirl that the film was also the subject of a quiet battle between Gray and Harvey Weinstein. The producer allegedly wanted Gray to change the film’s ending; Gray refused. (And rightfully so, as its final moments are by far The Immigrant‘s most powerful scenes, bringing the themes of the movie full circle). Weinstein responded by holding the film back from the 2013 Oscar season. Instead, it joined the ranks of a tight 2014 race filled with much flashier historical dramas and biopics about notable figures like Stephen Hawking.

It’s a darn shame, because The Immigrant boasts everything a nominated film should: nuanced performances, intricate storytelling, smart directing. One could argue that even if it had made a bigger splash, The Immigrant would still be considered a little too dense to merit the Academy’s attention…but then again, it’s not like voters are against showing a little love to intense, dramatic stories that deal with tough subject matter. (Hi, Selma. Hi, 12 Years A Slave.)

Why history will remember it better than the Academy did: Let’s start with the cast. As Ewa, Cotillard proves once more that she’s one of Hollywood’s strongest actors. And while she was rightfully recognized for her work in 2 Days, 1 Night this year, it was The Immigrant where Cotillard really shone, subtly becoming our eyes and ears in an unfamiliar world mostly dominated by men and their own ambitions. Likewise, when movie buffs talk about 2014’s most memorable performances, they’ll most likely mention Phoenix’s showy turn in Inherent Vice. But they should also remember his turn as The Immigrant‘s charismatic yet dangerous showman, who’s capable of charming a naive girl while simultaneously igniting fear at the slightest turn of events. And finally, there’s Renner, who allows us to sympathize with the earnest, light-hearted Orlando; in this role, he continues to prove that he does his strongest work as a character actor.

Gray pulls back the layers on 1921 New York (specifically, the Lower East Side) in a provocative, interesting manner that few filmmakers could imitate (on less than $13 million, no less). Between the lavish costumes and Darius Khondji’s flawless cinematography, the film looks as authentic as it feels—rich and telling, a gritty, unapologetic glimpse into the sometimes not-so-glamorous realities of the American Dream. Gray doesn’t hold back, and so while we get Ewa’s trepidation when she first arrives in America, we also get her triumph, her hope, and her fears by the time she realizes there’s no easy way to escape her situation. If nothing else, Khondji should have been recognized for his outstanding editing, which was instrumental in helping The Immigrant paint a compelling series of events with a complex cast of characters—all of whom struggle to achieve their own version of happiness.

The Immigrant is not perfect—but as Gray points out, neither is the American Dream. It can be a lot like Orlando’s magic trick—an illusion that seems flawless on the surface, until you take a closer look and discover its secrets. Still, that doesn’t mean we shouldn’t be allowed to take the journey…and if the result is a film as compelling as this, it’s worth it.

Source Article from http://popwatch.ew.com/2015/01/22/immigrant-marion-cotillard-nominated-nothing/
'The Immigrant': Nominated for…nothing?
http://popwatch.ew.com/2015/01/22/immigrant-marion-cotillard-nominated-nothing/
http://news.search.yahoo.com/news/rss?p=immigrant
immigrant – Yahoo News Search Results
immigrant – Yahoo News Search Results