memories

SIR David Beckham shared sweet snaps with daughter Harper at an exclusive ski resort and spoke of “making memories” with his kids amid his family feud with eldest son Brooklyn.

Becks, 50, is in Courchevel, France, with Harper, 14, and it looks like they’ve had a fun-filled week of fine-dining and snowy exploration.

Proud David shared a selection of their photos and wrote: “Creating memories with the kids either together or one on one has always been been important to me. 

“So this week Me and Harper created a few more memories. Love you pretty lady @harperbeckham.”

It comes a day after David came to the aid of a Brit tourist who fell over on the slopes in the French Alps.

A source said: “David saw the woman hit her head and was worried about her.

on gard

David Beckham’s best friend Dave Gardner takes swipe at Brooklyn

SAVED BY BECKS

Beckham becomes knight in shining armour as he helps injured skier at resort

“He took her skis off and made sure she was OK – he was a true gentleman.

“David was incredibly lovely, and so was the ski guide with him.”

Meanwhile, Harper recently reached out to estranged brother Brooklyn on Instagram sparking hopes she could be the one to thaw frosty relations.

She posted pictures showing her with Brooklyn and her other brothers Romeo and Cruz.

In one Valentine’s Day post she wrote, “I love you all so much, words can’t describe it” — while in another she called them “the best big brothers in the whole wide world”.

Harper’s posts were at first seen only by the 93 followers of her private account — but mum Victoria, 51, then reshared them with her 33.5million followers.

Brooklyn, 26, and Harper are not believed to be in touch, despite him reportedly feeling “protective” over her.

He does not follow her on Instagram and it is unclear if he has blocked her.

Last month Brooklyn posted a statement online blasting his parents and claiming brothers Romeo, 23, and Cruz, 20, had been “sent to attack me on social media, before they ultimately blocked me”.

He accused mum Victoria of “hijacking” his wedding day and “embarrassing” him with “inappropriate” dancing.

Brooklyn also sent a legal letter to Victoria and dad David, 50, insisting they contact him only via lawyers.

Harper was not mentioned. It is hoped that she, and other members of the wider family, may be able to ease relations with Brooklyn and his actress wife Nicola Peltz, 31.

Though he seemingly ignored his sister’s messages, sharing only a belated Valentine’s post in tribute to Nicola, in which he vowed to “forever protect and love you”.

“In 2008, my wife, my then-7-year-year-old daughter and I were going to take Amtrak from Los Angeles to Chicago, but the Amtrak booking agent screwed the reservations up so badly that we instead decided to take a train from Montreal to Vancouver.

There was some poignancy to this, as my grandmother was a picture bride from Greece. She had grown up on a small Dodecanese island and crossed the Atlantic in the 1920s. For the last leg of her journey, she took a train from Montreal to meet my grandfather (for the first time) in Vancouver. They met on a Saturday and married on a Monday in a Russian Orthodox Church. Experiencing the same journey that my grandmother had taken seemed like a good vacation hook.

Montreal was our point of departure, an enchanting city with fantastic food and charming denizens. After a few days we headed out to Toronto on a commuter-style train. It was perfectly adequate, but not particularly enchanting, and certainly not what my grandmother would have traveled on.

In Toronto, my daughter and I had afternoon tea at the Fairmont Royal York across from the train station, where we embarked on a more picturesque excursion.

We had a triple compartment. It was located in a stainless-steel streamlined car that was built in the 1950s, spot on for our little family of Midcentury Modern enthusiasts. We saw the train snake through Ontario forests, felt it rumble along Canada’s midwestern plains and then head up through the spectacular Canadian Rockies. There were plenty of bear, elk and other wildlife sightings along the way. We ate surprisingly good food like trout and pork chops for dinner. At night we watched train movies like “Murder on the Orient Express.”

We got off in Jasper, the Yellowstone of Canada, filled with glaciers, craggy mountains, waterfalls, rivers and spectacular vistas. We took bike and horseback rides. When I admonished my 7 year-old for complaining too much during a particularly wonderful excursion, she retorted, “Daddy, complaining is my passion!”

After a few days we got back on the train and headed to Vancouver. This was another scenic parade of mountains, rivers and forests.

In Stanley Park I pondered my grandmother’s voyage. Our trip was one of leisure. Hers was a life decision to escape the bleak prospects of an island girl.”

— George Skarpelos, Los Angeles

This year’s Sundance felt marked by great uncertainty. Personally, I was never quite sure how to feel, as the many unknowns of next year’s move to Boulder meant that it was unclear how much this year was supposed to feel like the end of something or the start of a new beginning. I didn’t know just how mournful to be, though, as the festival marched along, it became clear there was a space for nostalgic reflections.

The first movie I ever saw at Sundance was Andrew Fleming’s comedy “Hamlet 2” in the Library Center Theatre. Which means it was 2008 and I was then an intrepid freelancer who talked my way into sleeping on a recliner at a condo rented by The Times until staffers trickled out and I eventually had the place to myself because of the vagaries of an extended rental agreement. Which is how I found myself, entirely unexpectedly, in a room interviewing all of Crosby, Stills, Nash and Young, who were in town for their tour documentary “CSNY/Déjà Vu.”

That sense of surprise and discovery — and in-person interactions that likely wouldn’t happen anywhere else — are what have brought me back to the festival every year I could manage since. It’s exactly why I have been a huge fan of the festival’s NEXT section, made up of films that don’t quite fit elsewhere in the program. A standout this year was Georgia Bernstein’s debut feature, “Night Nurse,” a film of assured poise about a young woman (a compelling Cemre Paskoy) who takes a job at a retirement home only to find herself drawn into a series of phone scams, erotic role play and psychosexual transference with one the clients. Recommending the film to colleagues feels a little like an HR violation, but the kinky undercurrents and unsettling emotions are worth it.

Cemre Paksoy and Bruce McKenzie in the movie “Night Nurse.”

(Lidia Nikonova / Sundance Institute)

Many conversations around the festival seemed to firmly center on “The Invite” and “Josephine,” but another film people consistently brought up was “Wicker.” Written and directed by Eleanor Wilson and Alex Huston Fischer, adapting a short story by Ursula Wills-Jones, the film takes place in an unspecified time and place: a sort of medieval-ish middle European village of the mind, in which an unmarried woman (Olivia Colman) asks a local basket weaver (Peter Dinklage) to make her a husband. That he comes out looking like Alexander Skarsgård sets the whole town into a tizzy. Nimble and inventive, with convincing special effects work, the film is a charming parable that continually finds ways to reset itself.

It is unclear just how planned it was, but there could have been no better film than “The Only Living Pickpocket in New York” to be the final fiction feature to debut in the Eccles Theatre, one of the festival’s most storied venues. Character actor Noah Segan’s directorial debut, the movie is a warmly elegiac portrait of the city and the pain of recognizing when your time has passed. Led by a quietly commanding lead performance by John Turturro, the film also features Steve Buscemi and Giancarlo Esposito in supporting roles.

As the trio took the stage with Segan and other cast members after the film, it quickly became apparent how special it was to have those three actors there in that moment. Buscemi rattled off a quietly astounding number of films he has appeared in with “New York” in the title — “New York Stories,” “Slaves of New York,” “King of New York” — while Turturro spoke movingly about his relationship with Robert Redford, whose absence hung heavy over the entire festival.

John Turturro in the move “The Only Living Pickpocket in New York.”

(MRC II Distribution Co. L.P. / Sundance Institute)

As Esposito began talking about what Sundance has meant to him over the years, his words took on a fierce momentum. He recalled when he first came to the festival in the ’90s, he was “ecstatic because it gave a voice to those who didn’t have a voice. … We didn’t come to sell a film to a big studio. We came to share our small movie with human beings that could really see themselves in a mirror on the screen.”

Of Redford, he added, “His vision is priceless. It’s the gem that we all hope for. It’s the juice of why we live. It’s the connection of why this movie works. It’s the love of what we do. This, to me, will stick with me for the rest of my life. My interactions with this man who started this festival will always be a beacon of light in my creative process.”

It was a beautiful and inspiring way to leave that theater for the last time and, in turn, leave Park City behind for a future that, while full of unknowns, will for now also hold the promise of new discoveries to come.