内容摘要：President Joe Biden followed this pattern, issuing more commutations in his final days than any other chief executive in history. Consistent with his Catholic faith, he almost cleared federal death row, commuting the sentences of 37 of the 40 condemned prisoners. But he courted the most dissent when he annulled the convictions of his son Hunter, before preemptively pardoning other family members for imagined offences for which they would likely never have faced trial. It was all tinged with nepotism, using his constitutional power for those close to him.

President Joe Biden followed this pattern, issuing more commutations in his final days than any other chief executive in history. Consistent with his Catholic faith, he almost cleared federal death row, commuting the sentences of 37 of the 40 condemned prisoners. But he courted the most dissent when he annulled the convictions of his son Hunter, before preemptively pardoning other family members for imagined offences for which they would likely never have faced trial. It was all tinged with nepotism, using his constitutional power for those close to him.

Her popularity peaked in the 1970s and 1980s, as she collaborated with renowned directors, including Lester James Peries and Dharmasena Pathiraja.Many of her most famous roles shared a common theme: the

in a male-dominated society. She played a wife murdered by her husband in the film Nidhanaya (1972), a college student in a complicated relationship in Thushara (1973), a village girl hounded by male attention in Eya Dan Loku Lamayek (1975), and a girl from a rural fishing village enticed by the big city lifestyle, in Bambaru Avith (1978).This success continued into the 1980s, when she also expanded into directorial ventures, including in the films Sasara Chethana (1984) and Ahimsa (1987).‘A bridge’ across generations

She also starred in the first Indian-Sri Lankan co-production Pilot Premnath in 1978, opposite legendary Indian Tamil actor Sivaji Ganesan.“She never limited herself to one category. She was in commercial cinema and arthouse cinema,” said 27-year-old teacher Prabuddhika Kannagara. “She played a village girl, a young girl, a married woman, a mother, and even a grandmother. She represented women across all generations.”

Kannagara was one of the last mourners at the funeral, sitting and watching as sparks emanated from the white cloth tower in the square, specially erected for Fonseka’s cremation, according to Buddhist rituals.

She told Al Jazeera that Fonseka had acted as a “bridge” across various eras of cinema, from black-and-white to digital, and had remained a star not only for her mother’s generation, but also for her own.Here, we see how people moved, worked, gathered and celebrated. Carts on dusty roads, bread baking in clay ovens, weddings, markets and moments of rest.

In kitchens and courtyards, daily rituals - grinding beans, sieving wheat and baking bread - played out with grace.Social life and events

From weddings and blessings to public festivals and pilgrimages, communal life pulsed with joy and meaning, be it sharing lunch or walking in a bridal procession.Work in olive groves, workshops and coastal waters was both a necessity and an art. These photographs honour the makers, menders, and growers who shaped Palestine through skill and perseverance.