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SACRAMENTO, Calif. (AP) — Jacob Holt had 23 points in Sacramento State's 98-47 victory over Stanislaus State on Sunday. Holt also contributed five rebounds for the Hornets (3-9). Bailey Nunn scored 18 points while shooting 6 for 7, including 5 for 6 from beyond the arc. Chudi Dioramma had 14 points and finished 6 of 8 from the floor. The Hornets broke a five-game slide. Jason Cibull led the way for the Warriors with 17 points. Stanislaus State also got 10 points from Cam Walker. The Associated Press created this story using technology provided by Data Skrive and data from Sportradar .
Subscribe to our newsletter Privacy Policy Success! Your account was created and you’re signed in. Please visit My Account to verify and manage your account. An account was already registered with this email. Please check your inbox for an authentication link. Support Independent Arts Journalism As an independent publication, we rely on readers like you to fund our journalism. If you value our coverage and want to support more of it, consider becoming a member today . Already a member? Sign in here. We rely on readers like you to fund our journalism. If you value our coverage and want to support more of it, please join us as a member . “Tell all the truth,” Emily Dickinson writes , “but tell it slant.” In terms of film coverage, our bread and butter here at Hyperallergic is documentary. But as our coverage writ large — reviews, opinions, reporting, original art — demonstrates, there are many ways to tell a truth. With that in mind, we’ve compiled a list of the best art films of the year. This list, as you might expect, is eclectic, jump-roping between avant-garde short film and YouTube essays, feature-length investigative documentaries and the intrepid, iterative efforts of late-night talk shows. These works of moving image tell truths that cannot be as thoroughly or artfully conveyed in any other medium, such as the “whirring body” of Loïe Fuller in Obsessed With Light , which Eileen G’Sell likens to “a lambent flower.” Or the relentless use of extended footage of people doing the same repetitive work in sweatshops in Wang Bing’s Homecoming trilogy — “if you think it’s hard to sit through,” Dan Schindel writes, “imagine what it’s like to do that work.” Sorted by release date in North America, here are the top films of 2024. — Lisa Yin Zhang Get the latest art news, reviews and opinions from Hyperallergic. Daily Weekly Opportunities No Other Land , directed by Yuval Abraham, Basel Adra, Hamdan Ballal, and Rachel Szor From the moment it debuted at the Berlinale Film Festival in mid-February, this was the most controversial documentary of the year, spawning death threats for its directors. This searing film, which looks into encroaching Israeli settlements in the West Bank, arrived just a few months into the country’s ongoing assault against Gaza. In the back and forth between the Palestinian and Israeli members of the filmmaking collective behind the camera, the movie captures how a synthesis of viewpoints frames every media object we see. Amidst 2024’s deluge of images of Palestinian suffering and resilience, this film’s contribution — its portrait of constant rebuilding, and protest, and resistance — should not go overlooked, even as it still can’t find a distributor in the United States. — Dan Schindel Read our original review. Pictures of Ghosts , directed by Kleber Mendonça Filho Among current filmmakers, Kleber Mendonça Filho is one of the most adept at portraying the relationships between people, their homes, and their communities. In this hybrid of history and memoir, he explores his hometown of Recife, Brazil through the lives (and afterlives) of its movie palaces. Many are now derelict, some are gone, but together they embody their city in miniature. One theater’s position next to a picturesque bridge, for instance, means it’s been in the backgrounds of countless photos shot on that bridge, creating a timeline of that neighborhood’s evolution. — DS The Other Profile , directed by Armel Hostiou How does a namesake shape identity? How does access to social media both exploit and empower individuals in the so-called Global South? When the French filmmaker discovers another “Armel Hostiou” via an active Facebook profile in the People’s Republic of Congo, he sets out to find the impostor in person, leading to a madcap survey of Kinshasa, the largest Francophone city in the world. A Gallic, often droll version of Naomi Klein’s Doppelganger , this provocative documentary challenges how we see our doubles in the digital age, especially one fraught with massive economic global inequalities. — Eileen G’Sell There Was, There Was Not , directed by Emily Mkrtichian Probing the fraught relationship between feminist solidarity and nationalist zeal, this debut documentary follows four ethnic Armenian women whose lives are riven by the Second Artsakh War. Mixing the fairy tales of her youth with the devastating reality of the region today, the Armenian-American director presents Artsakh as both a sun-swept “paradise” and a bastion of patriarchal control to which her diverse heroines refuse to succumb. A stirring tribute to a lost homeland, There Was... calls attention to the scourge of ethnic cleansing in corners of the world long overlooked by American media. — EGS Read our original review. Problemista , directed by Julio Torres Whimsical and irreverent, Torres’s directorial debut takes a fantastical approach to depicting the very real trials of immigration and creative work. To stay in New York, a young Salvadoran has less than a month to secure a visa sponsor, who comes in the flamboyant form of an embittered middle-aged art critic (Tilda Swinton). Narrated by Isabella Rossellini, the film visually scans as a ludic mashup of Pan’s Labyrinth (2006) and Eternal Sunshine of the Spotless Mind (2004) — but with an undercurrent of class consciousness that feels all too relatable to anyone hustling to get by on a creative’s salary.— EGS Read our original review. “REFORM!” by Secret Base For years, Jon Bois has quietly been building a playbook for making data on a computer screen cinematically riveting. His series Pretty Good (2015–17), which looks at different odd and interesting cultural moments, had long been on hiatus. Its triumphant return came in the form of this three-part essay about the ridiculous history of the Reform Party, the last real attempt at creating a viable third political party in the United States, which quickly succumbed to petty infighting. It’s a chamber drama of political grievances and machinations, acted out mainly with charts. — DS Gasoline Rainbow , directed by Bill Ross IV and Turner Ross Directors Bill and Turner Ross tag along with a group of teens on a postgrad road trip from Oregon down the Pacific Coast, and turn it into an epic journey. The brothers’ films often straddle a line between believability and unreality; every scenario reveals itself as carefully constructed, once you think about it. Did the kids really just happen onto a party on a ferry? Probably not. It doesn’t matter, though, because the emotions of the rambling conversations and heart-to-hearts feel completely genuine. It is, as the kids say, an incredible vibe. — DS Read our original review. Janet Planet , directed by Annie Baker Shot on grainy, intimate 16mm, this debut film is grounded in the spare but potent dialogue of its Pulitzer-winning playwright of a director, whose early ’90s Massachusetts upbringing serves as the bucolic backdrop. Adopting the perspective of an 11-year-old (Zoe Ziegler) who is as pessimistic and guarded as her hippie mother (Julianne Nicholson) is naive, Janet Planet offers a resolutely unsentimental depiction of their filial bond. A slow burn with a daring final act, the film reminds us that so much depends on shot composition, acting, and a brilliant script. — EGS Daughters , directed by Natalie Rae and Angela Patton Co-directed by a former journalist and the Chief Executive Officer of Girls for a Change, a nonprofit organization dedicated to empowering Black girls, Daughters may be the most heart-wrenching documentary of the year. Following four young girls anxiously awaiting the “Date with Dad” dance held at a Washington, DC prison, the film offers a layered account of their fathers’ preparation for the event, much of which resembles group therapy for men traumatized by their own troubled pasts. A tender portrait of families caught in the correctional system, this documentary reveals the extent to which mass incarceration perhaps punishes the innocent most of all. If “our daddies are our mirrors,” as the film posits, what does it mean if they are completely off-limits to those who need them most? — EGS Sugarcane , directed by Emily Kassie and Julian Brave NoiseCat Unlike last year’s overhyped Killers of the Flower Moon , this disquieting investigative documentary puts native voices front and center. Prompted by the 2021 discovery of unmarked graves at a former Catholic “residential school” for Indigenous children, the filmmakers embark on a fact-finding mission that takes them from British Columbia to Vatican City. Brilliantly edited and sensitively shot, this exposé of institutional brutality and ensuing intergenerational trauma never reduces its native subjects to the status of passive victims. “Indigenous peoples are still dying from residential schools,” the film asserts. “And still living, despite them.” — EGS Read our interview with the filmmakers . Will & Harper , directed by Josh Greenbaum Partnering A-list celebrity Will Ferrell with writer Harper Steele, this charming film plays off the classic road trip genre but adds a twist in the form of Steele’s gender transition, which she began in 2022. We are taken along for the ride as the two explore their longtime friendship, navigating gender, fame, and the blue/red divide in the United States. The drama that ensues at a Texan steakhouse proves that trans people still have to navigate an intolerant world, in which there exist people with the best of intentions who just don’t get it. But the film also shows that some of those people eventually do, and that this country is often more tolerant than it can seem online. Touching, truly. — Hrag Vartanian Youth (Hard Times) and Youth (Homecoming) , directed by Wang Bing Wang Bing, one of the chief nonfiction chroniclers of China’s shifting capitalist fortunes, completed his trilogy about young migrant textile workers this year with these two features. Through a relentless use of extended footage of people doing the same repetitive work in sweatshops — if you think it’s hard to sit through, imagine what it’s like to do it — the film drives home the tedium of this labor. But this also makes the moments of comradery and familial love, like a return home for a wedding, all the more poignant. — DS Read our original review . Allo la France , directed by Floriane Devigne When the French director witnesses the gradual, then rapid, removal of public phone booths across her country, she sets out to find and document the last vestiges of a pre-digital era. With its mid-century color palette and stunning symmetrical shot composition, Allo La France may initially seem a Wes-Andersonian tribute to the endearing, yet obsolete, world of phone booths, but ultimately serves as a quiet polemic against the dangers of privatization and the dissolution of public services in France. You’ll never look at, or remember, a payphone the same way again. —EGS Scénarios , directed by Jean-Luc Godard It has been more than two years since Jean-Luc Godard’s death, but he continues to live on through new short film releases. Completed the day before he passed, Scénarios feels like Godard’s final thoughts embodied in film, dense with allusions and experimental free associations between different depictions of mortality, from Howard Hawks movies to social media war footage set in rapid montage. Like much of his work, it demands rigorous attention and thought, yet remains widely open to interpretation. To the very end, no one was doing it like him. — DS Black Glass , directed by Adam Piron Eadweard Muybridge is famous for his motion studies in the 1800s, which constitute some of the earliest approximations of moving images. He also accompanied the US Army during the Modoc War , staging photos of Indigenous aggressors for propaganda purposes. Setting these photographs against modern footage of the landscapes where they were shot, Adam Piron creates a brief but powerful intonation of how photographic images have been part of the colonizer’s war on indigeneity. People die, the film suggests, but the land and the memory endure, however warped. — DS American Muslims: A History Revealed These six short documentary films tell unlikely stories about being Muslim in the United States. Among the incredible stories they share is the unusual tale of the first mosque in North Dakota and the moving story of Muhammad Kahn, an immigrant from Afghanistan who traveled to the United States in 1861 and fought in the Union Army before sparring with the US government for the veteran pension he deserved. This series may shift some of your thinking about the history of diversity in this country — it’s longer, for instance, than you might think — and new revelations finally allow a fuller story to be told. Highly watchable. — HV Exhibiting Forgiveness , directed by Titus Kaphar “Relationships are hard. They’re hard, ” a mother tells her resentful son, who is estranged from his abusive father. Few films depict the depth and complexity of childhood trauma — or Black masculinity — more cogently and sensitively than this debut film from artist Titus Kaphar, whose lived experience serves as the backdrop. Both an indictment of the art world’s racial hypocrisies and a tribute to the tenets of forgiving on one’s own terms, Exhibiting is a work of art about the art of survival — and of healing — when neither necessarily serves the bottom line. — EGS “Silverback,” from the series Nature I wasn’t sure what to expect in this 43-minute documentary, but by the end, I was moved by the connection between filmmaker Vianet Djenguet and a protective 500-pound silverback gorilla in the Kahuzi-Biega National Park in the Democratic Republic of Congo, particularly the empathy the former showed toward the latter. Djenguet’s three-month journey, often surrounded by security forces, gives you a peek into the psychology of a great ape who has never been habituated to humans, and the distrust he has built after decades of mistreatment and familial tragedies. It was the first time a documentary made me consider the impact of generational trauma on apes. The film works, too, because Djenguet learns as much about his own desire to connect with an animal that isn’t as eager to do the same. — HV Dahomey , directed by Mati Diop In less than an hour, Mati Diop finds ways to approach the issue of artifact repatriation from a multitude of perspectives – including that of the artifacts themselves. Through voiceover, the documentary gives an inner life to a statue of a Dahomeyan king being given back to Benin by France. The statue’s anxieties about his return to his homeland poignantly crystallize ideas about cultural alienation and homecoming. — DS Read our report on the film here. Black Box Diaries , directed by Shiori Itô Editor’s Note: The following contains mentions of sexual assault. To reach the National Sexual Assault Hotline, call 1-800-656-HOPE (4673) or visit online.rainn.org . Based on her memoir of the same name, Itō’s investigative documentary examines, in painful detail, the director’s sexual assault at the hands of television reporter Noriyuki Yamaguchi, only to witness her criminal case tossed out by police. In a country where only 4% of women report rape, Black Box Diaries reveals the extent to which the #MeToo movement in the United States both galvanized and overlooked victims in other countries and from other cultures. “I’m not an activist or a propagandist,” Itō vents to a loved one when facing national pushback. In this film, she achieves her own kind of justice in confronting the hypocrisy of Japanese officials head-on, precipitating actual legal changes. — EGS Read our interview with the filmmaker here . Leonardo da Vinci , directed by Ken Burns, Sarah Burns, and David McMahon In classic PBS and Ken Burns style, this two-part, four-hour documentary tells the story of the original Renaissance man, who seemed to march through history with a sense of purpose that makes him continually relevant to this day. Combining interviews with experts and images of his art, Burns and team don’t demystify Leonardo so much as contribute to his mystique as a universal genius — though I never quite understood how likable and funny the Renaissance master was to his contemporaries until this film. This is a good primer for the novice, and kudos to the documentary team for not ignoring the artist’s sexuality, but instead including it in a very matter-of-fact way that helps normalize queerness in historical people, creating a fuller picture of their often wondrous lives. — HV Obsessed with Light , directed by Sabine Krayenbühl and Zeva Oelbaum Less in-depth biography of Loïe Fuller’s life than a chronicle of the dancer’s impact on the last 100-plus years of culture, this documentary heralds “La Loïe” as a singular agent of her own success, a woman as unapologetically brash as she was creatively ingenious. A lustrous tribute to the lesbian icon’s vision, Obsessed with Light juxtaposes archival footage with contemporary iterations Serpentine Dance , a genre she created. To see original footage of Fuller onstage, her whirring body a lambent flower, is to reconsider what makes dance — or any art form — “modern.” — EGS Read our original review. The Girl with the Needle , directed by Magnus von Horn With its stark chiaroscuro lighting and Michal Dymak’s haunting black-and-white cinematography, The Girl with the Needle exudes a shadowy aesthetic redolent of German Expressionism. Following one woman’s struggle to survive during the devastating aftermath of World War I, this visual tour de force pierces the dark, banal heart of misogyny in early 20th-century Denmark. Bracingly relevant to ongoing discussions of reproductive and bodily autonomy, this is a film best viewed with little knowledge of its true-crime basis. — EGS Last Week Tonight with John Oliver During a trying year, it was great to have John Oliver offering his highly researched and entertaining takes on a world gone awry. From Trump’s plans for mass deportation to Israeli settlements in the West Bank to hospice care in the United States, Oliver finds a way to combine his unique and hardcore nerdiness with his need to produce a highly watchable story that challenges the attention span of audiences normally deathscrolling on personal devices. I’m not sure the American mediascape has anyone like Oliver, who can discuss Indian or British elections with the same intensity as corn production, pig farming, or student loan debt, while still finding a way to go viral in the process. Oliver demonstrates that some are still committed to the political purpose of education, and the portion of the public that knows that journalism is key to keeping them informed. — HV We hope you enjoyed this article! Before you keep reading, please consider supporting Hyperallergic ’s journalism during a time when independent, critical reporting is increasingly scarce. Unlike many in the art world, we are not beholden to large corporations or billionaires. Our journalism is funded by readers like you , ensuring integrity and independence in our coverage. We strive to offer trustworthy perspectives on everything from art history to contemporary art. We spotlight artist-led social movements, uncover overlooked stories, and challenge established norms to make art more inclusive and accessible. With your support, we can continue to provide global coverage without the elitism often found in art journalism. If you can, please join us as a member today . Millions rely on Hyperallergic for free, reliable information. By becoming a member, you help keep our journalism free, independent, and accessible to all. Thank you for reading. Share Copied to clipboard Mail Bluesky Threads LinkedIn FacebookAerial of the Horace Wilkinson Bridge servicing Interstate 10 as it crosses the Mississippi River, seen Friday, September 13, 2024, in Baton Rouge, La. Facebook Twitter WhatsApp SMS Email Print Copy article link Save Funding for three major transportation “mega projects” across the state will be suspended for two years as part of the tax package championed by Gov. Jeff Landry that passed Friday. The three projects include the Mississippi River bridge in Baton Rouge, upgrades to Interstate 49 and upgrades to U.S. 90 between Lafayette and New Orleans. Beginning this year, about $40 million in state funds was supposed to be set aside for each of those projects along with a fourth project, replacing the Calcasieu River bridge. Funding for the Calcasieu River bridge wasn’t suspended as part of the plan because it has already been obligated for bond payments, Sen. Franklin Foil, R-Baton Rouge, said Friday. Lawmakers in 2021 passed a law defining the four priorities as “mega projects” and the following year designated $160 million in state funds to go toward the set of projects. The revenue for the Megaprojects Leverage Fund comes from a portion of the motor vehicle sales tax. But as Landry and state lawmakers over the past two weeks tried to figure out how to pay for the tax cuts and other changes in his tax package, the cash that flows to the mega project fund was factored into the equation. Senate President Cameron Henry, R-Metairie, said suspending $120 million in annual funding for the three projects is essentially meant to be a cushion for the broader tax package — which was put together based on estimates of future revenue. “We want to make sure that we have enough cushion, should one of the estimates be off too far one way or the other, that we’re able to address all the expenses in the state,” Henry said. “This is a solid reoccurring source of revenue that gives us a little flexibility for the next two years,” he said. Henry also said one-time funding could become available next year and go toward the missing transportation project revenue. For example, there could be extra cash in two state savings accounts known as the Budget Stabilization Fund and the Revenue Stabilization Fund, he said. The evening before lawmakers voted to temporarily suspend funding for the three projects, Landry, along with Henry and House Speaker Phillip DeVillier, R-Eunice, had a paper copy of the following statement distributed to the desks of lawmakers: “We have committed to the people of Louisiana that we will ensure the necessary funding to finish I-49 North, I-49 South, the Calcasieu River bridges, and the Baton Rouge bridge.” As senators voted to approve the suspension of transportation project funding Friday, Landry posted the same message on social media.
The Tirumala Tirupati Devasthanams is considering automation and the introduction of an Artificial Intelligence chatbot to "enhance transparency and efficiency in pilgrim services" at the Sri Venkateswara Temple, an official said on Sunday. TTD Executive Officer J Syamala Rao stated that the temple administration is exploring "futuristic technologies" to expedite accommodation, darshan, and other services while improving overall transparency and efficiency. "To accelerate accommodation, darshan, and other services for the multitude of visiting pilgrims and to enhance transparency and efficiency, TTD is considering automation instead of manual operations. We are also exploring the introduction of an AI chatbot for pilgrim services," Rao said while addressing reporters at Annamaiah Bhavan in Tirumala. According to the EO, TTD’s ultimate goal is to "enrich the pilgrim experience while leveraging technology,"all the while safeguarding "the spiritual and cultural sanctity" of Tirumala for future generations. Rao further noted that the temple administration is aligning with Chief Minister N Chandrababu Naidu’s vision of blending "traditional aesthetics with modern functionality" in Tirumala’s development. He added that TTD aims to position the world’s richest Hindu temple as a model pilgrimage center under its "Vision 2047," in alignment with the state government’s 'Swarna Andhra-2047' initiative. The vision emphasises planned development, environmental management, and heritage conservation in Tirumala, Rao added. Read more: Tirupati temple board to use AI to cut darshan timeJacob Holt scores 23 to help Sacramento State beat Stanislaus State 98-47Watch Dallas Mavericks vs. Utah Jazz on KFAA!
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Stella Umurungi, the Chief Digital Officer in the Ministry of Justice, presented the enhanced system to the General Assembly of the Rwanda Bar Association on December 19. ALSO READ: Use of electronic system will enhance efficiency in justice sector Umurungi said the system’s new architecture had potential to enhance performance and improve justice delivery. “The IECMS has been operational since 2016, serving users in the country and abroad. Now, the Ministry of Justice and its stakeholders have embarked on upgrading the system to keep pace with evolving technology and legal requirements,” Umurungi explained. Why the upgrade? Umurungi outlined several reasons for the upgrade, including advancements in technology that necessitate modernization and changes in Rwandan laws as well as the addition of more institutions such as the National Identification Agency (NIDA) and Rwanda Forensic Institute to the system. “Integration was essential due to the entry of new institutions needing access to justice-related data. These changes and many others justified the system’s upgrade,” she said. What is new? According to Umurungi, the upgraded IECMS introduces various features designed to streamline justice processes. Among those there are virtual and e-courtrooms where the new system replicates physical courtrooms, eliminating the need for external platforms like Skype. Legal practitioners will be able to sign documents digitally within the system, reducing the time and resources spent on manual processes. ALSO READ: Five things to know about new electronic court system For citizens without access to digital signatures, the Ministry of Justice plans to introduce devices enabling fingerprint authentication. “We are exploring partnerships to distribute these devices widely,” Umurungi added. She added that another new feature allowed online complaint filing and access to investigation and prosecution complaints where the citizens or lawyers will be able to file complaints electronically to the Rwanda Investigation Bureau (RIB). Furthermore, there will be automation of the criminal submission process, which was previously handled manually. These forms will now be processed entirely within the system, ensuring efficiency and accuracy. Another feature is harmonized electronic indictments. Umurungi explained that this feature standardizes the indictment process, allowing prosecutors to easily compile cases by selecting crimes or elements from predefined lists. ALSO READ: 10 key things about the new instructions on virtual court hearings The official said the new system now includes dedicated modules for military investigations, prosecutions, courts, and prisons. Umurungi pointed out that the upgraded system was in its final stages of development and would be launched in January 2025. “This upgrade is the culmination of nearly 18 months of hard work. We’re excited to launch and experience the benefits of this technology,” Umurungi said. Training and adoption Moise Nkundabarashi, President of the Rwanda Bar Association, commended the system’s advancements. He noted that approximately 600 lawyers have already been trained on the new features. “When the IECMS was launched in 2016, many of us were apprehensive. Now, after seven years, the technology is indispensable to our work. The Bar Association is committed to ensuring that all lawyers are equipped with digital signatures and receive practical training before the system goes live,” Nkundabarashi said.", "author": { "@type": "Person", "name": "Aurore Teta Ufitiwabo" }, "publisher": { "@type": "Organization", "name": "The New Times", "url": "https://www.newtimes.co.rw/", "sameAs": ["https://www.facebook.com/TheNewTimesRwanda/","https://twitter.com/NewTimesRwanda","https://www.youtube.com/channel/UCuZbZj6DF9zWXpdZVceDZkg"], "logo": { "@type": "ImageObject", "url": "/theme_newtimes/images/logo.png", "width": 270, "height": 57 } }, "copyrightHolder": { "@type": "Organization", "name": "The New Times", "url": "https://www.newtimes.co.rw/" } }