There is limited information about the safety and effectiveness of using PAXLOVID to treat people with mild-to-moderate COVID-19. PAXLOVID is investigational because it is still being studied. PAXLOVID is an investigational medicine used to treat mild-to-moderate COVID-19 in adults and children with positive results of direct SARS-CoV-2 viral testing, and who are at high risk for progression to severe COVID-19, including hospitalization or death. There is limited information about the safety and effectiveness of using PAXLOVID to treat people with mild-to-moderate COVID‑19.
Azor plays at the London Film Festival from 13 th October 2021, where it is in competition in the First Feature category.The FDA has authorized the emergency use of PAXLOVID, an investigational medicine, for the treatment of mild-to-moderate COVID-19 in adults and children (12 years of age and older weighing at least 88 pounds ) with a positive test for the virus that causes COVID-19, and who are at high risk for progression to severe COVID-19, including hospitalization or death, under an EUA. In his first feature, Andreas Fontana has created a chilling atmosphere of corruption and control which will leave the audience to make their own minds up, right up to the final frame. Benjamin Dixon & Rebecca Azor interviews me. We learn from a conversation between two of the women the significance of the word Azor – it’s a colloquialism used in certain circles as a reminder to be careful what you say or to say nothing. On KPFT 90.1 FM Houston today, Houston Activist Sarah Terrell fighting for HISD independence. It might have been just my imagination, but Yves also seems to get physically shorter in stature as the film goes on, and his hold on power seems to be slipping away. He joins Rebecca Azor to discuss the implications. in International Development and focuses on Haitian Security. Their nationalities included Columbia and two men who were Haitian American. We are kept guessing as to what is happening, and not even Yves can enlighten us. Suspects in the assasination of Hatiain President Jovenel Moïse have been apprehended. The tensions between knowing exactly what needs to be done, and the terror of not knowing who is to be trusted at any one time, flick across the face of Fabrizio Rongione’s Yves. Will Keys’ whereabouts ever come to light? And will Yves’ different method of doing business be enough to keep the rich and powerful on his side? Yves’ clients constantly remind him that he is not like his partner Keys, and also that Keys always seemed to know the right thing to do.
The camera positions itself at a distance, as though to make the audience implicit in the surveillance and there is a spare, chilling atmosphere throughout. Conversations are both convivial and menacing at the same time. Yves knows he must charm and flatter his clients to keep them onside, knowing at the same time that nobody can be trusted. But knowing that these things are happening elsewhere, while the rich and powerful men in charge meet at their private clubs or visit the racetrack, makes the ordinariness of the interactions seem even more chilling. This places the story firmly in the middle of the dictatorship which controlled Argentina until 1983 (viewers who have no knowledge of the 1978 sporting competition are helpfully presented with a calendar a few scenes later, which confirms the date).Īzor, therefore, is set in an Argentina which was steeped in violence and yet we deliberately see nothing of this in the film. Keys, much like Rebecca in Hitchcock’s 1940 classic, is a character never seen on screen but whose presence is heavy in every meeting, every interaction which takes place.Īudiences in those parts of the world where simply knowing who the current holder of the FIFA World Cup is will easily pinpoint from one sentence spoken that the year is 1980.
Newly arrived in Buenos Aires with his equally impenetrable wife Ines (Stéphanie Cléau), Yves’ task is to reassure his wealthy and powerful clients that they should remain with his private bank following the sudden disappearance of his business partner René Keys. The inscrutable face of Swiss banker Yves de Wiel (Fabrizio Rongione) leaves a lasting impression in this calmly unsettling feature debut from Swiss-born, Argentina-based director Andreas Fontana.