Germany's Postwar Legacy: Lessons for Today's Crises - Highlights - FRANK TRENTMANN

Germany's Postwar Legacy: Lessons for Today's Crises - Highlights - FRANK TRENTMANN

Professor of History at Birkbeck, University of London · Author of Out of the Darkness: The Germans 1942 to 2022

The environmental crisis, Gaza, the war in Ukraine—all of those don't make sense if you don't have a sense of history. History and the humanities have come under huge pressure. We've seen falling student numbers, and that's a real shame because history continues to be a source of intellectual inspiration and curiosity that not only makes us wiser and more reflective but also creates the dynamism and creativity we need to confront our present and future challenges. I hope that among the young generations, there will be people inspired by history, people that have the ambition to research and write about the past.

Out of the Darkness: The Germans 1942 to 2022 with FRANK TRENTMANN

Out of the Darkness: The Germans 1942 to 2022 with FRANK TRENTMANN

Professor of History at Birkbeck, University of London · Author of Out of the Darkness: The Germans 1942 to 2022

The environmental crisis, Gaza, the war in Ukraine—all of those don't make sense if you don't have a sense of history. History and the humanities have come under huge pressure. We've seen falling student numbers, and that's a real shame because history continues to be a source of intellectual inspiration and curiosity that not only makes us wiser and more reflective but also creates the dynamism and creativity we need to confront our present and future challenges. I hope that among the young generations, there will be people inspired by history, people that have the ambition to research and write about the past.

Seeing the Life of Jesus through the eyes of his Mother: MACIEJ HEN - Award-winning Author & Filmmaker

Seeing the Life of Jesus through the eyes of his Mother: MACIEJ HEN - Award-winning Author & Filmmaker

Award-winning Author & Filmmaker
According to Her · Solfatara · Segratario

I wondered who could be a better narrator of the story of Jesus than his own Jewish mother? When I was young, as a European Greco-Christian, I was aware of some of my Jewish history, but writing According to Her, I tried to imagine the story of someone considered to be a Messiah or prophet by some Jewish followers. What could be the genuine story of something that really happened or was told? This led me to write a realistic novel about how it could have been.

Highlights - Debra Fisher - Showrunner of Netflix’s “Ginny & Georgia” - Writer, Exec. Producer “Criminal Minds” , “Alias”

Highlights - Debra Fisher - Showrunner of Netflix’s “Ginny & Georgia” - Writer, Exec. Producer “Criminal Minds” , “Alias”

Showrunner of Netflix’s Ginny & Georgia
Writer · Exec. Producer · Director · Alias · Criminal Minds · The OC · Charmed

I need a balance of light and dark. It can't be just one thing. I want you to be laughing one minute and by the end I want you to be crying. For me, character study is what is the most important. It all comes down to the characters. It's less about action or things like that, which you can have some of that, but it tonally, has to be female-centric and you have to be crying and laughing. There's so many interesting shows that walk that line of light and dark. I want to always live in the gray area with characters. Always. Nothing is ever black or white. It's always a weird gray area.

Debra J. Fisher - Showrunner of Netflix’s “Ginny & Georgia” - Writer, Exec. Producer “Criminal Minds” , “Alias”

Debra J. Fisher - Showrunner of Netflix’s “Ginny & Georgia” - Writer, Exec. Producer “Criminal Minds” , “Alias”

Showrunner of Netflix’s Ginny & Georgia
Writer · Exec. Producer · Director · Alias · Criminal Minds · The OC · Charmed

I need a balance of light and dark. It can't be just one thing. I want you to be laughing one minute and by the end I want you to be crying. For me, character study is what is the most important. It all comes down to the characters. It's less about action or things like that, which you can have some of that, but it tonally, has to be female-centric and you have to be crying and laughing. There's so many interesting shows that walk that line of light and dark. I want to always live in the gray area with characters. Always. Nothing is ever black or white. It's always a weird gray area.

Highlights - Etgar Keret - Cannes Film Festival Award-winning Director - Author of “Fly Already”, “The Seven Good Years”

Highlights - Etgar Keret - Cannes Film Festival Award-winning Director - Author of “Fly Already”, “The Seven Good Years”

Cannes Film Festival Award-winning Director
Author of Fly Already · Suddenly a Knock on the Door · The Seven Good Years

For me, there is something about art, it's not a monologue, it's a dialogue. Some people, it doesn't matter who they speak to, they will speak in the same way they would speak to a five-year-old or to an intellectual or to somebody who doesn't speak the language very well. They would speak the same way and they don't care because this is what they have to say, but I think that the natural thing in the dialogue is really to look into the eyes of the person you speak to and see when he understands or when she doesn't understand or when she's moved or when he's angry. And basically out of that, kind of create your own language.

Etgar Keret - Cannes Film Festival Award-winning Director - Author of “Fly Already”, “Suddenly a Knock on the Door”

Etgar Keret - Cannes Film Festival Award-winning Director - Author of “Fly Already”, “Suddenly a Knock on the Door”

Cannes Film Festival Award-winning Director
Author of Fly Already · Suddenly a Knock on the Door · The Seven Good Years

For me, there is something about art, it's not a monologue, it's a dialogue. Some people, it doesn't matter who they speak to, they will speak in the same way they would speak to a five-year-old or to an intellectual or to somebody who doesn't speak the language very well. They would speak the same way and they don't care because this is what they have to say, but I think that the natural thing in the dialogue is really to look into the eyes of the person you speak to and see when he understands or when she doesn't understand or when she's moved or when he's angry. And basically out of that, kind of create your own language.

(Highlights) TAL HEVER-CHYBOWSKI

(Highlights) TAL HEVER-CHYBOWSKI

Director of the Paris Yiddish Center (Maison de la Culture Yiddish) & Medem Library

A lot of people in my family and among my friends when they heard that I study Yiddish and that later made it my livelihood, they are very surprised. Yiddish? How come Yiddish? Why Yiddish? They even laugh sometimes, they are very surprised. And what I answer to them is that there is nothing surprising about the fact that I study or speak Yiddish. The real surprise, the real question that has to be asked is how come my parents, this last generation, didn’t speak Yiddish? Because, if you consider my family, for hundreds of years on all sides they spoke Yiddish.

TAL HEVER-CHYBOWSKI

TAL HEVER-CHYBOWSKI

Director of the Paris Yiddish Center (Maison de la Culture Yiddish) & Medem Library

A lot of people in my family and among my friends when they heard that I study Yiddish and that later made it my livelihood, they are very surprised. Yiddish? How come Yiddish? Why Yiddish? They even laugh sometimes, they are very surprised. And what I answer to them is that there is nothing surprising about the fact that I study or speak Yiddish. The real surprise, the real question that has to be asked is how come my parents, this last generation, didn’t speak Yiddish? Because, if you consider my family, for hundreds of years on all sides they spoke Yiddish.