一 | 中新社北京8月24日电 8月24日，中国国家副主席韩正在北京会见科威特外交大臣杰拉赫。 韩正表示，中国和科威特传统友谊深厚。近年来，在习近平主席和米沙勒埃米尔战略引领下，中科关系保持良好发展势头，各领域交流合作不断取得进展。
二 | Released in 1990, Anjali is often labelled a “children’s film” or “family drama.” While not inaccurate, those descriptors do little justice to its scope. At its heart, Anjali is an unflinching exploration of how a family fractures and reforms in the presence of the ‘other’. That ‘other’ is Anjali, a young girl with multiple neurodevelopmental conditions, abandoned at birth by a father (Raghuvaran) too afraid to allow grief and hope to co-exist. This isn’t merely a story of acceptance. It is one of confrontation, of guilt, of tenderness, of societal callousness. The child becomes a mirror, and every character from her mother (Revathi, sublime even in silence) to her bewildered siblings is forced to reckon with what they see in their reflections. Beyond the Noise: Anjali as a Radical Experiment in Empathy In the landscape of Tamil cinema in the 1980s and early ’90s, defined by moral binaries and external antagonists, Ratnam’s Anjali was a narrative insurgency. There are no villains here. The real struggle resides within the confines of the home, and in our collective discomfort with difference. The film dares to ask difficult questions: What does it mean to be normal? Who gets to decide? And can love alone mend the gaping wound of fear? Language of Loss: Visual Poetry and Sonic CompassionSantosh Sivan’s cinematography conjures a visual poem—Anjali glimpsed through half-closed doors, framed in fractured mirrors, or bathed in gentle light. Her presence is not marginalised, but mythologised. She isn’t just a character; she is a quiet force that reshapes the emotional architecture of everyone around her.Ilaiyaraaja’s music doesn’t accompany the film, it animates it. A lullaby becomes a leitmotif of endangered innocence. His string arrangements, especially the plaintive violins and cellos, turn emotional undertow into orchestral language. Without his score, Anjali would still speak, but not sing.And then there is Shamili. Her performance is startling not for its polish, but its truth. There’s nothing rehearsed about it. Mani Ratnam, ever the alchemist of performance, finds in her something raw and instinctual; less acting, more inhabiting. The Social Politics of Tenderness In hindsight, Anjali might be Ratnam’s most political film; not through slogans or speeches, but through its unwavering gaze at how society fails its most fragile members. The apartment complex, with its manicured lawns and modern facades, reveals itself as emotionally atrophied, until Anjali unearths something resembling humanity. There is no appeal to sentimentality. Instead, Ratnam urges us to sit in discomfort. And in doing so, he crafts a film that listens more than it speaks, a cinematic act of radical empathy in an era of dramatic noise. A Legacy Too Quiet to Ignore For all the epic scale of Raavanan or the operatic ambition of Ponniyin Selvan, Anjali remains Ratnam’s boldest creative risk. In a culture that celebrated machismo and mass appeal, he dared to whisper. And perhaps that’s why we don’t talk about it enough. Because Anjali isn’t here to entertain. It’s here to unearth. And in that stillness, lies its genius. See Also:Aishwarya Rai Bachchan and Amitabh Bachchan to star in Mani Ratnam’s next?。
三 | 今年是中科建交55周年，中方愿同科方共同落实两国元首重要共识，夯实政治互信，拓展务实合作，密切多边协作，推动中科战略伙伴关系迈上更高水平。中方愿继续劝和促谈，为早日恢复中东地区和平安宁作出努力。 杰拉赫表示，科中关系源远流长，感谢中方长期以来对科宝贵支持。科方坚定恪守一个中国原则，高度赞赏中方在国际和地区事务中发挥的重要作用，愿以两国建交55周年为契机，深化双方各领域合作，不断开辟科中战略伙伴关系新前景。
四 | (完) 【编辑:何颖】。
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