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00:00Adapting European legislation to new technologies to combat child sexual abuse.
00:09This is the trust of the text adopted by the European Parliament on Tuesday.
00:13For MEPs, this update is essential to meet the challenges posed by artificial intelligence, stresses the reporter of the text.
00:21Child sexual abuse material generated by AI will be treated in exactly the same way as real child sexual abuse material.
00:31We will have a criminalisation of the production of it, of the viewing of it, of the creation of the tools to make it.
00:40All this will be treated in exactly the same way as if it were real child sexual abuse material
00:46because we know that these models, first of all, they need to train on real child sexual abuse material.
00:53And secondly, we see that using AI child sexual abuse material is a very small step to actually moving on to real child sexual abuse.
01:03To underline the scale of the online phenomenon, the MEP refers to data from the U.S. National Center on Missing and Exploited Children.
01:11One million reports of online sexual abuse were recorded in 2010.
01:14Thirteen years later, the center had recorded 36 million reports.
01:20MEPs are also proposing to toughen penalties for this crime.
01:23They also want to abolish the statute of limitations.
01:26We noticed that for many victims of child abuse, only at a later stage in life,
01:32they will be ready to, for instance, file charges against their abusers.
01:37And in many member states, we already see that by the time these victims are ready to do so,
01:43the time has run out and they can't get justice anymore.
01:46And the parliament today will send a clear signal that for us, for victims of child sexual abuse,
01:52justice cannot simply run out on a deadline.
01:55They will always be able to get justice done.
01:58This vote is only the first step.
02:00Discussions must now take place with the council, the institution representing the member states.
02:05The text reporter hopes that the 27 ministers will adopt the same ambition as the MEPs.
02:10You never really set out to be the first in anything.
02:32And we certainly weren't aware that it would be the first Nigerian film in selection.
02:37I think there's been Nigerian film to Cannes before, but obviously not in selection.
02:41So the experience was pretty overwhelming, but like in the best way, I think it's incredible
02:49to show work in a place that's full of cinephiles, people who sort of love the craft
02:57and a place that has like such massive prestige.
03:00It being the first Nigerian film being in Cannes, Nigerians have really sort of like caught on to that
03:06and representing Nigeria to me is like a real badge of honor.
03:10I'm extremely proud to be Nigerian, proud to be African in general.
03:16And I think that our stories are incredibly universal, but I think it's probably becoming
03:22an increasing market for us, for nuanced versions of our stories to travel across the world, basically.
03:28You know what?
03:31Go and wear your clothes.
03:34You are following me to Lagos today.
03:37But mommy said you shouldn't leave the house.
03:39Then we should wait for her.
03:41And why don't you stay and wait for her?
03:44You can take her away with daddy to Lagos, but she puts you in charge.
03:48Hopefully, your mommy comes back before we go.
03:50Otherwise, we just have to leave message for her.
03:54Go on now.
03:58Sharp, sharp.
03:59I don't have time.
04:02My Father's Shadow is a film about fatherhood.
04:08It's about nationhood.
04:09It's about brotherhood.
04:10These two brothers spending the gift of the day with their father, who they don't regularly see.
04:16He takes them around Lagos to see the sort of struggles that he has to go through to provide for his family.
04:25They question his sort of absence and hold him to account.
04:29But on that given day that they're spending together, there is a big election result that gets announced.
04:34And he has to get them back home.
04:36I was in Nigeria during that period, and so was my brother.
04:40And we evidently knew that something was going on from the responses of my mother and uncles and other family.
04:48We're probably a bit too young to understand the politics of it at the time.
04:52But I think in our research, we realized that it was quite a pivotal moment, formative moment in the country's history.
04:58Something that maybe hasn't particularly been well documented maybe up until now.
05:04And also just like a really important story to sort of tell because Nigeria, I think, has a big part to play in the sort of growth and development of Africa in general and even the world in general.
05:18And I think, you know, to a certain extent, it hasn't quite fulfilled that potential yet.
05:24It's had, you know, like shimmering moments of being able to do that.
05:28But I think in order to really sort of shift the dial and move things forward, we have to be able to tell our own stories in a way that's nuanced for us as opposed to like an outside perspective.
05:45So I think, I think 1993 holds a lot in terms of Nigerian, contemporary Nigerian history.
05:54And I think it's important to know what happened and who was around in that period, for sure.
06:00Why are you taking that?
06:11I shoot a lot on film.
06:17I love the pace of shooting on film
06:21I love the imperfections of shooting on film
06:25I think it's a very generous way to work
06:27Making a film
06:28Because you get to spend more time with your cast and crew
06:30And you get to rehearse
06:32Two of my three leads had never been in a film before
06:34And I didn't think
06:36I didn't want to put them in an environment
06:37Where we can nitpick their performance
06:39It was challenging to say the least
06:43Because there's no labs on the continent
06:44So we had to do like a shuttle of things going back and forth
06:49So we wouldn't see the rushes for almost a week
06:52So we couldn't strike sets for a week
06:54But thematically we were shooting a period film
06:58So shooting on film really helped
07:00But politically I'd probably say
07:02I wanted to see the Legos I grew up in
07:05On the most beautiful medium in my opinion
07:08And I don't think I had been exposed to a lot of that in my youth
07:12So in as much as possible when I shoot in Nigeria
07:15I want to shoot on film
07:16Because I think Nigeria and Lagos is incredibly cinematic
07:19And it deserves to be on celluloid
07:22Yes daddy
07:23Hopefully my father's shadow is that breaking ground
07:29For next generation of filmmakers
07:31To see that it's possible to do it
07:34You know obviously like I come with a certain level of privilege
07:36I was born in the UK
07:37My film's financed in the UK predominantly
07:41But obviously I have
07:42And co-produced by a Nigerian production company
07:46Nigerian talent, Nigerian crew
07:48So there's a lot of collaboration in there
07:51But obviously you know
07:53I have to also say that it comes with a certain level of privilege
07:58You know having Mubi, Element, Match Factory, Fremantle, BBC, BFI
08:04All involved
08:04You know that might not be the case for every filmmaker
08:08But I think you know
08:09I want to acknowledge that
08:11And say that there is a way to sort of get to this point
08:15But obviously it takes a lot of collaboration
08:17A lot of forward thinking
08:19And a lot of groundwork
08:21I think Lollywood is like incredibly rich
08:24It's got a beautiful tapestry
08:26In terms of storytelling
08:27In terms of creative
08:28In terms of technical prowess
08:30Crews and actors
08:31And it's something I wear even more as a badge of honour
08:36In terms of representing
08:38Because I think it's also a young fledgling industry
08:42Maybe now there's a commercial necessity in Lollywood
08:46But hopefully films like mine start to branch out
08:49To create more space for arthouse sort of narratives
08:53More dramas, more nuanced dramas
08:56And evidently the audiences are quite interested in that
09:01Să plece toți, acum, să plece toți din casa mea
09:19George Enescu
09:49George Enescu
10:19George Enescu
10:49George Enescu
11:19Oh, the good thing is to hear from the other world.
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