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Face à un taux de déscolarisation préoccupant, le Nigeria cherche à mobiliser des partenariats internationaux pour réintégrer des millions d’enfants hors école et moderniser son système éducatif afin de préparer sa jeunesse aux défis socio-économiques. Le ministre nigérian de l’Éducation, Maruf Tunji Alausa (photo, à gauche), a rencontré son homologue qatarie, Lolwah bint Rashid bin Mohammed Al Khater (photo, à droite), à Doha, mercredi 26 novembre, dans le cadre d’une visite officielle. Cette rencontre visait à renforcer la coopération internationale pour l’éducation inclusive et à soutenir ...

Grief is many things, uniquely indescribable and specific to us all. For British author Max Porter, in his lauded, no-bullshit, deeply personal novella, it’s a thing with feathers. Specifically, a giant, hulking, wheezing crow ready to read your inner pain to filth as clichéd, unoriginal.In his formidable debut feature, director Dylan Southern adapts Porter's book into a moving drama that gnaws on loss through the hallmarks of horror. It's by no means the first film to lean on terror to explore grief — Pet Sematary, The Babadook, Talk to Me, the list is long. However, with a raw, anguished performance by Benedict Cumberbatch and production design that makes walls literally bleed ink, The Thing with Feathers will pluck at your heartstrings while threatening to devour them. And for a film involving a massive talking bird, it's a shockingly accurate depiction of bereavement.The Thing with Feathers channels the horror and grit of Max Porter's book. Credit: BFI London Film Festival Using magical realism to convey the inexplicability of loss, Porter's novella practically caws to be visualised — and Southern's adaptation could not be more aware of this.The plot is human and simple: An illustrator and his two young sons are faced with life after their beloved matriarch suddenly dies. Characters in the story do not have names beyond their proper nouns — Dad, Boys, Mum — and where the book uses a polyphonic perspective structure, the film concentrates on one viewpoint per act for a fluid arc. Cumberbatch is Dad, now "Sad Dad," who privately struggles while keeping his two young Boys (twins Richard and Henry Boxall) fed, bathed, and picked up from school at the very least. However, one dark and stormy night, a colossal, gruff-voiced Crow descends upon this house of mourning, as the personification of grief (hence the title). And he refuses to leave "until you don’t need me anymore," which is... when? SEE ALSO: 'A Private Life' review: Jodie Foster is magnifique in comedic Parisian mystery Where Porter's writing most brightly shines through Southern's film is in this crucial character of Crow (impeccably voiced by David Thewlis). An onyx-winged, glossy-eyed creature of seemingly eternal origin, Crow is an otherworldly, rasping presence whose status as friend or foe remains in constant flux.Don’t miss out on our latest stories: Add Mashable as a trusted news source in Google. Behind the film's bold creature design and animatronics, and Eric Lampaert's physical performance, Thewlis is nothing short of marvellous as the voice of Crow. Both terrifying and hilarious, the lugubrious creature "finds humans incredibly dull except when grieving," and persists in mocking "Guardian-reading" Dad when he's not completely terrorising him (and us) with jump scares. Crow's croaking dialogue is predominantly a splintered and spat-out stream of consciousness, freely associated words making strange sense through the lens of death and loss. The character is much more crass and explicit in his ramblings in the novella, with the film version sticking to more PG utterances, but George Cragg's razor-sharp editing echoes Porter's fragmented writing style. Featured Video For You Weapons, and the comedian turned horror director The film's surrealist sequences between Crow and Dad are its strongest, with one scene using horror elements to see Cumberbatch pursued by his avian assailant through a regular ol' supermarket. Probably one of the best scenes sees Dad's guard completely down while being mocked by Crow in his own living room, as the feathered presence ditches Dad's "white widower music" for a more gravelly Screamin' Jay Hawkins. The camera circles the two in a raw, urgent dance, and Cumberbatch lets it all go.What's undeniably missing from the film is Porter's inescapable olfactory descriptions, with the novella so descriptive you can practically smell the "rich smell of decay" and "sweet furry stink" off the pages. It's a tough ask of filmmakers to convey…

Plafonner le nombre de jours indemnisables épargnés sur le compte épargne-temps des agents publics territoriaux, c'est désormais autorisé par un décret du 26 novembre.

Le prix des billets d'accès aux principaux sites culturels français augmenteront fortement leurs tarifs pour les visiteurs extra-européens. Le ticket pour le Louvre augmente ainsi de +45% pour les Américains, Japonais, Chinois...