Jeffrey Fashion Cares to Honor Jordan Roth

Jeffrey Fashion Cares, the annual fund-raiser thrown by Jeffrey Kalinsky, will honor Jordan Roth at this year’s benefit.
Now in its 16th year, the annual event will be held on Wednesday, April 10, at the Intrepid Sea, Air & Space Museum in New York City. The evening aims to raise awareness surrounding the people who live with HIV and AIDS, support LGBTQ youth and challenge discrimination against the LGBTQ community. Over the past 15 years of Jeffrey Fashion Cares’ existence, the event has raised a cumulative $ 6 million to $ 7 million as of 2018.
President of the Jujamcyn Theaters Jordan Roth is slated to receive the Jeffrey Fashion Cares Community Leadership Award. His theaters have been integral in telling queer stories by hosting productions like “Kinky Boots” and “Falsettos.” He also produced “Angels in America,” and received a Tony Award for it.
Olympic skier Gus Kenworthy will emcee. The athlete, who won the silver medal in slopestyle at the 2014 Winter Olympics in Sochi, Russia, was one of two openly gay American competitors who walked in the Winter Olympics opening ceremony — the other, figure skater Adam Rippon. Kenworthy has yet another connection to the entertainment world: He has a role in the

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Tim Roth on Tin Star, stage fright and Star Wars jealousy

“I’ve not seen any of it. I know what I look like,” laughs Tim Roth, as his Tin Star co-stars Genevieve O’Reilly and Abigail Lawrie discuss watching the series back. “I don’t want to see that over and over again.”
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Eli Roth and Wife Lorenza Izzo Announce They’re Separating ‘So We Don’t F—ing Kill Each Other

Eli Roth and his wife Lorenza Izzo announced their separation with joint Instagram posts on Tuesday.

The director — best known for the Hostel series — and actress shared the statement in both English and Spanish, letting fans know they were ending their marriage after tying the knot in November 2014. Roth, 46, and Izzo, 28, married on the beach in her home country of Chile.

“It is with deep love and respect that we are choosing to separate as a couple,” the statement begins. “We’ve had an incredible journey together, we love each other very much, and will remain the best of friends. We are grateful for the six wonderful years together but have decided to go our own separate ways to have the most fulfilled, joyous lives we can.”

In a humorous note, they also added that they “wish to continue working together creatively and are ultimately separating so we don’t f—ing kill each other.”

The two have collaborated on projects like The Green Inferno, Knock, Knock and Hemlock Grove. Roth has turned to producing and directing in recent years while Izzo turned from modeling to acting in horror films.

This was the first marriage for the pair.

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What Philip Roth Taught Me About Being an American Jew

His books answered the question of how my Jewish education would translate into the real world, should I survive the ordeal of childhood.
NYT > Books


American literary giant Philip Roth dies

Award-winning US novelist Philip Roth has died at the age of 85.
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Philip Roth, Towering Novelist Who Explored Lust, Jewish Life and America, Dies at 85

Mr. Roth won almost all the major literary awards and published an exceptional sequence of historical novels in his 60s, an age when many writers are winding down.
NYT > Arts

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An Appraisal: Philip Roth, a Born Spellbinder and Peerless Chronicler of Sex and Death

Roth’s work had more rage, more wit, more lust, more talk, and more crosscurrents of thought and emotion than any writer of his time.
NYT > Books


Profile: Lisa Halliday’s Debut Novel Is Drawing Comparisons to Philip Roth. Though Not for the Reasons You Might Think.

“Asymmetry” features a clandestine romance between a young editorial assistant and a famous, much older novelist.
NYT > Books


Interview: No Longer Writing, Philip Roth Still Has Plenty to Say

In an exclusive interview, the (former) novelist shares his thoughts on Trump, #MeToo and retirement.
NYT > Books


Anthony Roth Costanzo Exists to Transform Opera

The countertenor, a collaborator with Nico Muhly, Joyce DiDonato and Justin Vivian Bond, has created an unusual career of music very old and very new.
NYT > Arts

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Eli Roth On Being ‘Almost Killed’ By Fire While Filming ‘Inglourious Basterds’

Quentin Tarantino films have a distinctive style, most recognizably characterized by a crazy amount blood and guts. In one of the more memorable scenes from his 2009 revenge-on-the-Nazis movie “Inglourious Basterds,” Sgt. Donny Donowitz, aka “The Bear Jew,” literally shoots Hitler’s face off in a burning French cinema. The sequence is unforgettable, but it almost came at the cost of several lives, according to Eli Roth, the actor who played Donowitz.

When Roth dropped by HuffPost Live to discuss his Shark Week talk show “Shark After Dark,” host Josh Zepps asked about the scene and the danger it created for the cast and crew.

“Yeah, we were almost killed doing that sequence,” Roth replied casually.

With the set being built on a “fire-stage,” the fires in the scene were supposed to be controlled. But when the scene was actually filmed, with all the final set pieces like flags and seats actually in the room, the fires grew much bigger and hotter than expected.

“[The flames] were spreading so exponentially,” Roth remembered. “They said if we were in there another 15 seconds, the stage we were on would have collapsed and we all would have been killed.”

Roth and the crew luckily got out right before the situation could have taken a turn for the worst, but clearly no one is safe in Tarantino’s world.

Watch Roth discuss this near-disaster in the video above, and click here for his full HuffPost Live conversation.

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‘Chronic’ at Cannes: Tim Roth As a Depressed Male Hospice Nurse

Tim Roth gives an outstanding performance in Michel Franco’s new film Chronic, which just premiered at Cannes, as a male nurse who bizarrely goes beyond the call of duty to care for his dying patients. The film follows him as he takes care first of one patient (until the funeral), and then another — and then another — each time scrupulously washing the patient’s back, with dedicated strokes, or encouraging him or her to speak about their lives. The nurse even goes so far as to buy an architecture book for one of his crotchety patients (an architect), and to visit one of the homes he designed. What is odd is that his care for his patients is absolutely deadpan — and he, for an unfathomable reason, deeply depressed.

Tim Roth in person — whom I saw joking at poolside with a hotel woman who called to him from her balcony — is quite opposite from the role he plays. Lively, funny (“I love you too!” he called up to the woman at the balcony) and jocular. In the film, he is brooding, with his body tensed up like that of a former high school wrestler, who never got out of the pose. At the press conference, in fact, the actor remarked that: “For this role, I stripped myself bare. I played the nurse very quiet. I didn’t want to distract from him, so I tried to keep myself low.”


Chronic is a riveting film — because of Roth — and may very well win an award tomorrow night. But it is tough to watch, just as it is tough to be at the hospital bedside of a patient in chronic pain (one after another). There is no joy in the movie, and very little warmth. The other characters in the film (mostly family members of the patients) have little affect: Perhaps because they are dealing with a loved one’s chronic illness (as the director noted at the press conference), but more likely because the director has chosen to put the spotlight on how estranged we human beings are from each other. The nurse, in his strange dense way, is the most “human” character. The others, in contrast, seem cold, rushed, or indifferent, and speak to each other in monotone.

A sense of mystery is what propels the story: Something traumatic happened in this nurse’s past that spurs him in his overzealous activity. The mystery works: We are gripped to the “cold” story before us, one that (plot spoiler) ends up as icy as it begins.

I went to meet the young Mexican director, Michel Franco, to ask him why he created such a disturbingly bleak universe.


Why did you make a film in which humans seem not to care about each other? Is this how you see people?

I should not be very pessimistic as in my personal life I am lucky with my friends and family. My family came all the way from Mexico to be here with me. Nevertheless, I am intrigued by how we can be well-educated and civilized, and still have trouble communicating. Humans are complicated; we always make mistakes with each other. It is the same pessimistic view that you will find in my other films.

Almost all of the relationships in the film are cold, except for the one at the end, with Tim Roth and the cancer patient “Martha.” Can you comment on Martha?

Oh yes, Martha. It’s true they end up being close. Still, I don’t know if Martha is manipulating him. We don’t know if from the very beginning, she is trying to manipulate him.

Really! I didn’t see her this way.

It’s not clear. I will have to see it again and tell you what I think of Martha. Every time I see the film I think differently about Martha. I am suspicious of people’s motives. We all have our worries, and our minds are complicated, and even if we love each other, we harm each other…

Some viewers will be disappointed that this film has no arc of triumph, no evolution. In a conventional film, a protagonist who begins a film depressed will evolve and, by film’s end, have a surprising realization or recovery.

My film is close to real life, in that life rarely has that arc where everything changes and is better at the end. I like movies that do not solve the conflict, because when the conflict is solved, it satisfies the spectator and all is finished, forgotten in an hour. But if the conflict is not solved, like in my film, you are forced to keep thinking about it. Usually in a film, the audience is told from the beginning: Be prepared for the final [triumphant] end. I just shot my film in a way I like: subtle. I don’t give things to the audience. I feel like the audience is tired with being disrespected.

You say life has no arcs. Do you really believe that?

When my professional life is going well, I am happy, and then I am down again. Yes, I have those kinds of professional arcs.

What about non-professional arcs? How about going through an emotional upset or loss, and then changing through it, or achieving some kind of resolution? This is a way many people approach tragedies…

I would say no, that does not happen. Most things you have to accept them and move on, if they are really bad. You don’t change them and it is better to accept and move on. These people who believe in change are in therapy for ten years or always reading a book about how to be happy, but then they fall into another problem. I am more simple. As long as there is no trouble in my life, I focus on work.

I am going to guess that you are an atheist: and think there is nothing after death.

Right. I do think there is nothing after life. Death is scary. It is a horrible thought, pessimistic, but it is good to embrace that thought because if you accept it, it makes you make the most of your life.

One critique of your film: The father/daughter relationship is not quite believable. The Tim Roth character sees his daughter after many years of absence, and she just casually welcomes him back with a, “Nice to see you!”

True, but I wanted to make the father-daughter story as small as possible. With the daughter, I just wanted to make a point that the nurse is welcomed back easily by his [estranged] family, so even that cannot explain his depression. The real problem for him is that he cannot cope with life; it’s not a matter of external factors.

Where did you get the idea for your story?

My grandmother got sick in 2010, and she was tied to a bed for several months before she passed away. I was very moved by the angel who took care of her. I asked this nurse, Beatrice, how many years she had been doing this! The work kept her down. She was depressed. Yet, she said she liked her work. She was always thinking about her patients. Nurses are close to certain matters that we try to escape; they are brave and they do it. My film is a character study.

The reason I chose to make it a male nurse is because of Tim Roth. I won the Certain Regard with my film After Lucia a couple years ago [2012]. Tim Roth was on the jury. He came up to me after the awards ceremony and said, “Let’s work together!” I told him I was making a film about a nurse and he said, “If you make her a male, I’ll be that nurse!” And so I did.

Does the fact that you are from Mexico — a very unsettled place right now — influence your filmmaking and choice of subjects?

Mexico has always been a very complicated society, not just now. It is a really troubled country [with corruption etc.] which is why we have good film directors — which is why Greece has interesting film directors now. I like chaos. My first movie really comes out of that Mexican context; my second film has some of it. The third was shot in the streets of Mexico, with homeless people. My beginnings were tied to Mexican reality, but now I am growing out of it, and becoming more personal.

You are a Jewish Mexican, and as you tell me, your mother is Israeli. Do you feel connected to your Jewish roots?

Culturally, I do (laughs.) Perhaps I have some of the pessimism.

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Entertainment – The Huffington Post
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