Novex Communications' complaint leads to FIRs against seven Daman-Silvassa resorts over music piracy

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The Daman Police's Crime Branch has unleashed a FIERCE AND STERN ACTION against seven resorts in Silvassa and Daman for BLATANTLY VIOLATING COPYRIGHT LAWS by playing copyrighted songs without obtaining its necessary licenses. The resorts under intense scrutiny include: - Devika Beach Resort : Devika Beach Resort in Daman - Hotel Cidade De Daman Beach Resort : Hotel Cidade De Daman Beach Resort - Treat Resort Silvassa : Treat Resort Silvassa - Khanvel Resort : Khanvel Resort in Silvassa - Ras Resort by Treat : Ras Resort by Treat in Silvassa - Pluz Resort Silvassa : Pluz Resort Silvassa - Pearl Resort Silvassa : Pearl Resort Silvassa The FIR against the above resorts was filed based on a complaint by Novex Communications Private Limited, a music licensing company. The resort owners, directors, and managers face STRINGENT CHARGES under the Copyright Act, 1957, and the Bharatiya Nyaya Sanhita, 2023. The police have seized SOLID EVIDENCE, including song recordings, etc and the invest...
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Best films of 2023 in the UK: No 7 – Saint Omer

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Alice Diop’s award-winning courtroom drama doubles as an unsentimental study in empathy with one of the year’s most mesmerising performances

At this year’s Venice film festival, Alice Diop’s unblinking stunner Saint Omer was handed the prize for best debut film – a reward that would have seemed inadequate if it hadn’t shortly afterwards taken the grand prix in the main competition, and inaccurate under any circumstances. Diop’s film is only a debut if you’re happy to disregard documentary as a lesser branch of cinema that somehow doesn’t count; as her first dramatic feature, Saint Omer merely extends the clear-eyed gaze and burning social interest of her non-fiction work into new narrative terrain, with nary a tremor of uncertainty. Films like We showed Diop has form in braiding truth, storytelling and intense human scrutiny; Saint Omer isn’t so very different.

The surprise is that Diop’s entry into fiction takes the form of a courtroom drama, among the most rigidly procedural and rule-bound genres in the medium – only to strip it of its expected structures and rhythms, centring disordered interior feeling amid unyielding legal process. The case, drawn from a real-life 2016 headline-maker in France, is stark and horrifying: legally straightforward, perhaps, but psychologically tumultuous. Young Senegalese Frenchwoman Laurence Coly (Guslagie Malanda, often scarcely moving a muscle while giving one of the year’s most mesmerising performances) is accused of murdering her infant daughter. She doesn’t deny the act, but claims sorcery was to blame, sticking calmly to her story over days of frustrating testimony – shot by Claire Mathon with penetrating stillness, allowing the viewer to take in her micro-shifts in expression and intonation, her consistency of comportment, her occasionally lofty turns of phrase, as she repeats her awful confession over and over.

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