IN THE SPOTLIGHT
Trump defends paid leave plan in Wall Street Journal
WASHINGTON » First daughter Ivanka Trump is defending a White House proposal to mandate paid leave for new parents in a letter to the editor published Wednesday in The Wall Street Journal.
The paper had previously criticized the Trump administration plan “as bad policy and worse politics” that would increase taxes on business. The plan would be funded through unemployment insurance.
But Ivanka Trump says in a response that: “Providing a national guaranteed paid-leave program — with a reasonable time limit and benefit cap — isn’t an entitlement, it’s an investment in America’s working families.”
Ivanka Trump has met with Democratic and Republican lawmakers on the issue. The program has limited GOP backing, but more modest tax policies could be included in a Republican tax overhaul effort.
‘Moka’ is less a whodunit than a double character study
According to a private detective, there are only four large, mocha-colored automobiles in all of Evian, a town on the French side of Lake Geneva. The protagonist of “Moka” — and the woman who paid for that information — lives across the water in Switzerland. She’s certain that one of those four cars struck and killed her child.
Adapted from a 2007 novel by Tatiana de Rosnay, “Moka” is a stark, moody mystery that doesn’t actually contain much mystery. Instead, it excels as a character study and a dynamic face-off between two formidable actresses: Emmanuelle Devos and Nathalie Baye.
Devos plays Diane, whose teenage son Luc (Paulin Jaccoud) has died in a hit-and-run. Baye is Marlène, the Emmanuelle Devos in “Moka.” woman who may or may not have been at the wheel.
Diane’s grief has left her estranged from her husband, Simon (Samuel Labarthe), who frustrates her by trusting in the police to investigate Luc’s death. Diane, for her part, moves across the lake, accompanied only by a cellphone containing digital reminders of Luc and the girlfriend he never mentioned, Adrienne (Marion Reymond). On the ferry over, Diane meets a young smuggler (Olivier Chantreau). His specialty seems to be dope, but he just might also be able to get Diane a gun.
Quickly eliminating the other suspects, Diane becomes convinced of Marlène’s guilt. But rather than confront her, Diane begins by trying to insinuate herself into Marlène’s life. As methodical as she is hysterical, Diane even attempts to buy the tan-colored Mercedes she believes struck Luc, which has been put up for sale by the 60-something Marlène’s younger boyfriend, Michel (David Clavel).
Marlène, who runs a beauty salon where Diane soon becomes a regular, using an assumed name, is intrigued by the newcomer’s interest in her, but also suspicious.
Swiss director Frédéric Mermoud is no Hitchcock, yet he presents this story as if it’s a real puzzler, even though there are no MacGuffins to throw off amateur sleuths. Attentive viewers will crack the case long before Diane does.
Discovering who did what to whom isn’t the point anyway.