Amid a sweeping crackdown on dissent in Egypt, security forces have forcibly disappeared hundreds of people since the beginning of 2015, according to a new report from Amnesty International.

It's an "unprecedented spike," the group says, with an average of three or four people disappeared every day.

The Republican Party, as it prepares for its convention next week has checked off item No. 1 on its housekeeping list — drafting a party platform. The document reflects the conservative views of its authors, many of whom are party activists. So don't look for any concessions to changing views among the broader public on key social issues.

Many public figures who took to Twitter and Facebook following the murder of five police officers in Dallas have faced public blowback and, in some cases, found their employers less than forgiving about inflammatory and sometimes hateful online comments.

As Venezuela unravels — with shortages of food and medicine, as well as runaway inflation — President Nicolas Maduro is increasingly unpopular. But he's still holding onto power.

"The truth in Venezuela is there is real hunger. We are hungry," says a man who has invited me into his house in the northwestern city of Maracaibo, but doesn't want his name used for fear of reprisals by the government.

The wiry man paces angrily as he speaks. It wasn't always this way, he says, showing how loose his pants are now.

Ask a typical teenage girl about the latest slang and girl crushes and you might get answers like "spilling the tea" and Taylor Swift. But at the Girl Up Leadership Summit in Washington, D.C., the answers were "intersectional feminism" — the idea that there's no one-size-fits-all definition of feminism — and U.N. climate chief Christiana Figueres.

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Arizona Hispanics Poised To Swing State Blue

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Editor's note: This report contains accounts of rape, violence and other disturbing events.

Sex trafficking wasn't a major concern in the early 1980s, when Beth Jacobs was a teenager. If you were a prostitute, the thinking went, it was your choice.

Jacobs thought that too, right up until she came to, on the lot of a dark truck stop one night. She says she had asked a friendly-seeming man for a ride home that afternoon.

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Resnais' Lively, Metatheatrical Look At Death

Jun 6, 2013

As a relatively young man, French director Alain Resnais made films about loss, remembrance and the ghosts of a recent history that included the Holocaust, Hiroshima and the brutal Franco-Algerian war. He was 89 when he directed his latest film, You Ain't Seen Nothin' Yet, which also considers the presence of the past. But the director's concern with real-life horrors has been replaced here by an outlook that's both playful and explicitly theatrical.

This isn't a new development. Beginning with 1986's Melo, Resnais has often gone to the theater for inspiration, adapting works by Sir Alan Ayckbourn and others. You Ain't Seen Nothin' Yet conflates two plays by Jean Anouilh — the mythological Eurydice and the autobiographical Dear Antoine: Or, the Love That Failed — and that's just the beginning of its intrigues.

The result is complex yet lighthearted, as diverting as it is meditative. Resnais uses contrapuntal editing — one of his trademarks — as well as artificial settings, special effects, split screens, cinematic references and anachronistic devices to keep viewers tipsily off-balance. At one point, he inserts a silent-film title to indicate that his characters have entered the land of the dead; the oft-quoted words on the card come from Nosferatu, German film director F.W. Murnau's 1922 version of Dracula.

You Ain't Seen Nothing Yet opens with a series of phone calls summoning well-known French actors to the home of a playwright and director (Denis Podalydes). The man has just died, and his will requests that his favorite former collaborators come watch a video of a punky young company's new production of his — actually Anouilh's — Eurydice.

The actors, playing themselves, include Resnais regulars Pierre Arditi, Sabine Azema and Lambert Wilson along with Mathieu Amalric, Anne Consigny and Michel Piccoli. They converge on a stage set representing a mansion, where they begin to watch the video (which in fact, was directed by Podalydes). As the young, on-screen cast performs, the veterans begin to utter the lines they know so well. Eventually, they take the play away from the recorded players.

This is no simple matter, since the room contains multiple veterans of the roles. There are two sets of actors who've played Eurydice and her lover, Orpheus: Azema and Arditi, as well as Consigny and Wilson. As the actors come to inhabit the parts, they're transported from the late playwright's house and into the hotels, cafes and train stations visited by a traveling company on tour in the south of France.

Extended for nearly two hours, the early scenes' jumbles and juxtapositions would be exhausting. Once the premise is established, however, Resnais calms down and allows individual scenes to play longer. What started as a director's showcase tips toward the actors, who are marvelous. Especially satisfying are Consigny and Amalric, whose styles suit the material a bit better than the broader approach of some of the older performers.

The myth of Eurydice and Orpheus is about lovers who are separated by death, but are given one chance to overcome its certainty. You might imagine this theme being of special interest to Resnais, who's outlived many of his French new wave peers, and whose best-known 1960s films have one foot in the graveyard of 20th century, European history.

But if Resnais is contemplating his own mortality, he gives no indication. Instead, he flips the fateful Greek myth to offer the possibility that death is just another theatrical gambit. Like its predecessor, Wild Grass, You Ain't Seen Nothing Yet ends on a note of exuberant absurdism. Rather than accepting death, the movie suggests that a player's part can always be rewritten, and that a bygone life is just a script awaiting a bold revival.

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