A new exhibition showing the human side of healthcare professionals and users has opened with our support. Candid photographs and interviews, along with a series of talks and events, remind us that clinicians, academics, health decision-makers and patients are all human.
The Sir Thomas White Loan Charity has been in existence since 1542 and was founded by one of the City’s most generous (but least well known) benefactors, Sir Thomas White. Although he never actually set foot in Leicester, Sir Thomas is honoured by being included as one of the four statues around the Clock Tower in the Leicester city centre.
Throughout 2016 a series of seven major sports events in cities across the nation will enable over 300 children to discover a range of sports and accessible physical activities. Birmingham is confirmed as the first host city for the programme which will benefit from WheelPower’s successful partnership with the key organisations in the city following a sports event in 2015.
Funded by a £55,000 donation from Thomas Cook Children’s Charity the Feel Inspired sports camps is aimed at children aged 6-11 with a physical impairment.
The creation of ‘Feel Inspired’ is an active and positive response to the ‘Active Beyond Education? report partly commissioned by WheelPower which highlights that providing early positive experiences of sport and engaging disabled people in sport and physical activity at a young age is critical.
Dutch filmmaker David Verbeek adopts an (initially) opaque, almost Apichatpongian tri-partite structure in this boldly visualized response to the alienated nature of the War on Terror. French-born lieutenant Ivan Delphine (Claire Denis fixture Grégoire Colin) “pilots” drones, calling down missile strikes on unsuspecting al-Qaeda targets in the Middle East from the security of a bunker in the Nevada desert. A taciturn type, he claims to be immune to any psychological cost, though unlike his US comrades he makes a point of learning the correct Arabic pronunciation of his kills (through Google Translate, of course). He also dabbles in one of those hard-boiled movie-movie relationships with a stripper (Lizzie Brochere). “I’m impotent,” he tells her. “I haven’t been with a man in a long, long time,” she retorts.
Mostly, Verbeek’s oblique, stripped-down approach camouflages the clichés and, I suppose, correlates with the disconnection that is Ivan’s métier, but it’s touch and go. Just when the movie’s sketchy dramatic framework seems to be on the point of collapse we’re plunged into a disorientating, wordless 20-minute dream sequence that serves as the picture’s lynchpin. Superbly photographed in stark bleached-out whites and tenebrous blacks by Frank van den Eeden, this mesmerizing central section is easily the film’s strangest and strongest. The third and final part finds Ivan (presumably—he’s not named) slumming as a baggage handler at a European airport, seeking redemption, or maybe punishment, at a predominantly Arabic kickboxing gym, and falling for a single mom, prettily played by Ms. Brochere (again). Do the three parts really connect? Does it matter? Verbeek has the sleight of hand to play it both ways, and while it may not hold up in the light of day it resonates well enough in the darkness of the movie theatre.
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