Bello! Why gen Alpha subconsciously speaks the language of the Minions

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From global loanwords and garbled Italian, the slang of the children of millennials doesn’t just share elements with Minionese – it may have absorbed it I was four years old when Despicable Me was released in cinemas and the banana-coloured, overall-clad Minions took the world by storm. By the time I was seven, my siblings and I were using The Official Minion Manual to teach ourselves Minionese. Minionese is, of course, the made-up language spoken by Kevin, Stuart, Bob and company, which consists of a combination of melodic gibberish and variations on genuine vocabulary from a diverse array of world languages . When the Minions shout “kanpai” (“cheers” in Japanese) or “para tú!” ( a variation on the Spanish “para ti” ), it might remind you of how gen Alpha slang, which primarily consists of nonsensical words such as “cap” and “mogging”, also draws on world languages. Consider the Bulgarian scat origins of “skibidi”, for example. Continue reading... from Film | The Guardian https...
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The Investigator review – harrowing documentary details search for justice after Balkan wars

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Viktor Portel’s film follows Czech investigator Vladimír Dzuro as he returns to sites of torture and death, and meets survivors as well as supporters of perpetrators

Revisiting the blood-soaked conflicts that followed the breakup of Yugoslavia in 1991, Viktor Portel’s harrowing documentary follows Vladimír Dzuro, a Czech investigator committed to bringing war criminals to justice. Drawing from Dzuro’s bestselling book The Investigator: Demons of the Balkan War, the film primarily focuses on the atrocities committed by Serbian forces; as Dzuro returns to sites of torture and death, his encounters with the survivors as well as supporters of the perpetrators are at once riveting and heartbreaking.

The Vukovar massacre, one of the most infamous incidents of the war, is recounted in eye-opening detail. In 1991, in the final days of a battle between the Croatian National Guard and the Serb-controlled Yugoslav People’s Army (JNA) during the Croatian war of independence, the latter vetoed an agreement to evacuate the Vukovar hospital and turned it over to Serbian paramilitaries. In the end, nearly 300 people were executed in cold blood and dumped in mass graves. In 1996, Dzuro was a part of a mission to exhume the victims. Flickering archival footage of the campaign shows piles of bodies laid beneath the ground, a chilling visual manifestation of how history can be buried and erased. In contrast with the lo-fi quality of these newsreels, contemporary footage of Dzuro has the stylisation of a crime thriller. The look creates a gripping atmosphere, even if it also occasionally verges on overdramatisation, which the film’s already shocking true stories don’t necessarily need.

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