In my last article, I looked at Theresa May’s recent plans to further crack down on immigration by banning international students from working in the UK before, as well as after, graduation. This is to be achieved through various visa controls, as part of the Conservatives’ plan to cut net migration to “tens of thousands” by 2020 – despite the fact that the UK continues to suffer from skills shortages in many industries.
The past few weeks have seen waves of literature surrounding the issue of food waste by supermarkets, following the French parliament’s decision to pass legislation compelling retailers with 4,305 square feet of store space to donate any unsold, but still edible, food, to charity or for use as animal feed or farming compost. All stores which fall under this criterion are obliged to sign agreements with charities to facilitate the redistribution of such food by 2016, or could face penalties of up to €75,000.
Calls have since been made for the UK to follow suit, and no wonder given that the UK far and away wastes the most food out of any European country — amounting to 15bn tonnes a year according to the government backed organisation WRAP, although just over 1% of this comes from stores.
Girlhood, or Bande de Filles, is a French film directed by Céline Sciamma, centring on the character of Marieme, played by Karidja Touré. Taking place in a suburb of Paris, Marieme undergoes several transformations throughout the film, shown through her name change to ‘Vic – for Victory’, as well as through her appearance, sexuality, increasing misdemeanour behaviour, and relationships with family and friends. The film was humorous with Marieme’s knowing smile being a feature throughout, yet it also provided important social commentary.
The fact that seeing a French film with young black girls at the centre is so unusual, let alone it being shown in Odeon Cinemas (and not merely restricted to independent screens), plus the women playing the group of girls all being found through theatre classes and high schools as opposed to agencies, shows that there is a need for more film like this.
In the fallout of the Charlie Hebdo shootings, there are so many avenues of investigation that require a spectrum of analysis – and in due course the tragedy will no doubt be discussed from every angle, and in excruciating detail. Over the past week, there has been comparatively little debate on the idea supposedly central to the Parisian publication itself though – satire. In an age of seemingly perpetual outrage, offensive material is routinely accepted because it dresses in the clothes of ‘satire’. But in the wake of Charlie Hebdo, somebody needs to ask the question “what exactly is satire, and who should it serve?”