“She asked me to bring her a roll of toilet paper. “I was in my room while Lisa was on the toilet,” she recounts. Mara (Henriette Confurius), who is as close as this film gets to a protagonist, describes for her neighbour, Kerstin (Dagna Litzenberger-Vinet), an incident that occurred the previous day between herself and her newly ex-roommate (and perhaps ex-girlfriend) Lisa (Liliane Amuat). Near the midpoint of The Girl and the Spider-Ramon and Silvan Zürcher’s overdue, much anticipated follow-up to their masterful debut feature, The Strange Little Cat (2013)-a character launches into another of the Zürcher brothers’ distinctive anecdotal monologues. That image of a defiant Black man, forcibly silenced and immobilized in a hall of American justice, became one of William Burroughs’ “frozen moment at the end of the newspaper fork,” when everyone-including those who would applaud it-can see what they’re being fed.
#Mass effect save editor rhana thanopsis trial#
This revolting spectacle understandably serves as the mid-film dramatic highpoint of The Trial of the Chicago 7, when the repeated, suitably indignant demands by Seale (Yahya Abdul-Mateen II) to serve as his own defense counsel in the absence of his hospitalized lawyer-and presiding judge Julius Hoffman’s (Frank Langella) incredible refusal to grant this right, instead directing that Seale’s defense should be undertaken by the representatives for the other defendants-ultimately lead to him being bodily removed from the courtroom by marshals and returned in chains.
![mass effect save editor rhana thanopsis mass effect save editor rhana thanopsis](https://staticdelivery.nexusmods.com/mods/3712/images/thumbnails/20/20-1631023844-457081711.png)
Edgar Hoover-checking in personally on the progress of the FBI’s campaign against Chicago Black Panther Party chairman Fred Hampton (Daniel Kaluuya)-is shown an artist’s sketch of the BPP’s national chairman gagged and shackled in the courtroom during the Chicago Conspiracy Trial. Bobby Seale makes a cameo of sorts midway through Judas and the Black Messiah, as Martin Sheen’s porcine J.