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VIENNA (AP) — Austria’s far-right Freedom Party could win a national election for the first time on Sunday, tapping into voters’ anxieties about immigration, inflation, Ukraine and other concerns following recent gains for the hard right elsewhere in Europe.

Herbert Kickl, a former interior minister and longtime campaign strategist who has led the Freedom Party since 2021, wants to become Austria’s new chancellor. He has used the term “Volkskanzler,” or chancellor of the people, which was used by the Nazis to describe Adolf Hitler in the 1930s. Kickl has rejected the comparison.

But to become Austria’s new leader, he would need a coalition partner to command a majority in the lower house of parliament.

And a win isn’t certain, with recent polls pointing to a close race. They have put support for the Freedom Party at 27%, with the conservative Austrian People’s Party of Chancellor Karl Nehammer on 25% and the center-left Social Democrats on 21%.

More than 6.3 million people age 16 and over are eligible to vote for the new parliament in Austria, a European Union member that has a policy of military neutrality.

Kickl has achieved a turnaround since Austria’s last parliamentary election in 2019. In June, the Freedom Party narrowly won a nationwide vote for the first time in the European Parliament election, which also brought gains for other European far-right parties.

In 2019, its support slumped to 16.2% after a scandal brought down a government in which it was the junior coalition partner. Then-vice chancellor and Freedom Party leader Heinz-Christian Strache resigned following the publication of a secretly recorded video in which he appeared to offer favors to a purported Russian investor.

The far right has tapped into voter frustration over high inflation, the war in Ukraine and the Covid pandemic. It also been able to build on worries about migration.

In its election program, the Freedom Party calls for “remigration of uninvited foreigners,” and for achieving a more “homogeneous” nation by tightly controlling borders and suspending the right to asylum via an “emergency law.”

Gernot Bauer, a journalist with Austrian magazine Profil who recently co-published an investigative biography of the far-right leader, said that under Kickl’s leadership, the Freedom Party has moved “even further to the right,” as Kickl refuses to explicitly distance the party from the Identitarian Movement, a pan-European nationalist and far-right group.

Bauer describes Kickl’s rhetoric as “aggressive” and says some of his language is deliberately provocative.

The Freedom Party also calls for an end to sanctions against Russia, is highly critical of western military aid to Ukraine and wants to bow out of the European Sky Shield Initiative, a missile defense project launched by Germany.

The leader of the Social Democrats, a party that led many of Austria’s post-World War II governments, has positioned himself as the polar opposite to Kickl. Andreas Babler has ruled out governing with the far right and labeled Kickl “a threat to democracy.”

While the Freedom Party has recovered, the popularity of Nehammer’s People’s Party, which currently leads a coalition government with the environmentalist Greens as junior partners, has declined since 2019.

During the election campaign, Nehammer portrayed his party, which has taken a tough line on immigration in recent years, as “the strong center” that will guarantee stability amid multiple crises.

But it is precisely these crises, ranging from the COVID-19 pandemic to Russia’s invasion of Ukraine and resulting rising energy prices, that have cost the conservatives support, said Peter Filzmaier, one of Austria’s leading political scientists.

Under their leadership, Austria has experienced high inflation averaging 4.2% over the past 12 months, surpassing the EU average.

The government also angered many Austrians in 2022 by becoming the first European country to introduce a coronavirus vaccine mandate, which was scrapped a few months later without ever being put into effect. And Nehammer is the third chancellor since the last election, taking office in 2021 after predecessor Sebastian Kurz — the winner in 2019 — quit politics amid a corruption investigation.

But the recent flooding caused by Storm Boris that hit Austria and other countries in Central Europe brought back the topic of the environment into the election debate and helped Nehammer slightly narrow the gap with the Freedom Party by presenting himself as a “crisis manager,” Filzmaier said.

Nehammer said in a video Thursday that “this is about whether we continue together on this proven path of stability or leave the country to the radicals, who make a lot of promises and don’t keep them.”

The People’s Party is the far right’s only way into government.

Nehammer has repeatedly excluded joining a government led by Kickl, describing him as a “security risk” for the country, but hasn’t ruled out a coalition with the Freedom Party in and of itself, which would imply Kickl renouncing a position in government.

The likelihood of Kickl agreeing to such a deal if he wins the election is very low, Filzmaier said.

But should the People’s Party finish first, then a coalition between the People’s Party and the Freedom Party could happen, Filzmaier said. The most probable alternative would be a three-way alliance between the People’s Party, the Social Democrats and most likely the liberal Neos.

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Associated Press videojournalist Philipp Jenne contributed to this report.

LOS ANGELES (AP) — On a hot summer evening, Miles Villalon lined up outside the New Beverly Cinema, hours before showtime.

The 36-year-old already had tickets to the Watergate-themed double feature of 1976’s “All the President’s Men” and 1999’s “Dick.” But Villalon braved Los Angeles’ infamous rush-hour traffic to snag front-row seats at Quentin Tarantino’s historic theater.

This level of dedication is routine for the Starbucks barista and aspiring filmmaker, who typically sees up to six movies a week in theaters, and almost exclusively in independently owned theaters in and around Los Angeles.

“I always say it feels like church,” he said. “When I go to AMC, I just sit there. And I can’t really experience that communal thing that we have here, where we’re all just worshipping at the altar of celluloid.”

Streaming — and a pandemic — have radically transformed cinema consumption, but Villalon is part of a growing number of mostly younger people contributing to a renaissance of LA’s independent theater scene. The city’s enduring, if diminished, role as a mecca of the film industry still shapes its residents and their entertainment preferences, often with renewed appreciation after the pandemic.

A revival in the City of Angels

Part of what makes the city unique is its abundance of historic theaters, salvaged amid looming closures or resurrected in recent years by those with ties to the film industry. Experts see a pattern of success for a certain kind of theater experience in Los Angeles.

Kate Markham, the managing director at Art House Convergence, a coalition of independent cinema exhibitors, said a key factor is the people who run these theaters.

“They know their audiences or their potential audiences, and they are curating programs and an environment for them to have an exceptional experience,” she wrote in an email.

Tarantino pioneered the trend when he purchased the New Beverly in 2007. After Netflix bought and restored the nearby Egyptian Theater, which first opened in 1922 as a silent movie house, the company reopened it to the public in November in partnership with the nonprofit American Cinematheque. It’s now a bustling hub, regularly welcoming A-list celebrities premiering their projects as well as film buffs willing to stick around for hourslong marathons, like a recent screening of four Paul Thomas Anderson movies.

Further east is Vidiots. Previously existing as a Santa Monica video store before it closed in 2017, Vidiots reopened across town five years later with the addition of a 271-seat theater, bar and new crop of devotees.

“It’s literally my favorite place to be outside of my own snuggly home,” said filmmaker and actor Mark Duplass, a financial backer of Vidiots alongside dozens of other high-profile names, including Aubrey Plaza and Lily Collins.

What’s bringing people in?

What draws people to independent theaters can vary, from older programming to elevated food-and-drink offerings to lower prices. But many agree, above all, there is a communal aspect chains can’t match.

“The bigger places obviously have premium formats and stuff like that. But I think there’s a lot less communal connection” said Dr. Michael Hook, who attended a matinee of “Seven Samurai” at Vidiots with a Children’s Hospital Los Angeles co-worker. “You’re not just milling around with people who also have selected to go to a three-hour-long 1950s Japanese movie.”

Although the pandemic was a blow from which the box office has yet to recover, it also served as a pruning that made the movie theater landscape more sustainable for the streaming era, according to Janice O’Bryan, Comscore’s senior vice president.

“COVID weeded out some of the stuff that needed to close anyway,” O’Bryan said of the more than 500 theaters that closed nationwide. “I think that it made everything healthier.”

The theaters that survived have found niches, sometimes purposefully eschewing the chains’ 4DX, reclining seats and dining services.

“For the types of films that we show, I definitely don’t want waiters walking around, bringing stuff to people and hearing the scraping of cutlery on plates,” laughed Greg Laemmle, who co-runs the Laemmle Theaters, a fixture of independent cinema in Los Angeles for nearly a century.

But Laemmle acknowledges the importance of giving audiences options beyond popcorn and soda, especially as an additional revenue source. Embracing food and drinks can sometimes turn the theater into a unique destination.

“When I normally go to a movie theater, I show up two minutes before the movie starts,” Duplass said. “I go to Vidiots like 45 minutes before the movie starts so I can get my chilled Junior Mints, I can have a drink at the bar, see some people. I go and walk around the video store.”

In February, more than 30 filmmakers — including Jason Reitman, Steven Spielberg, Denis Villeneuve and Christopher Nolan — acquired Westwood’s Village Theater in an effort to preserve it. Also coming to the red-carpet premiere favorite? A restaurant, bar and gallery.

Not without challenges

Like the rest of the country, LA movie theaters have had their share of pandemic-inflicted challenges — some exacerbated by last summer’s strikes — including fewer movies to show.

And not all theaters have found their Tarantino or Reitman. The iconic Cinerama Dome’s closure was a blow to the city’s cinephiles. Though owned and operated by the ArcLight Cinemas chain when it closed in April 2021, the Dome was a kind of singularity in Hollywood, a regular premiere spot memorialized in film and a symbol of the city’s place in the industry.

Its fate remains in limbo, with reported delays to the targeting reopening date, despite parent company Decurion Corporation, who couldn’t be reached for comment, being granted a liquor license for the multiplex in July 2022.

The venues that have been preserved often have done so through some form of benefaction or aid, like the $16 billion federal Shuttered Venue Operators Grant program, which Laemmle used during the pandemic. He said the funds were a needed bandage in June 2021. But a full recovery has been slow.

“It provided some some stability. How much remains to be seen,” he said. “The waters are still muddy.”

Only in Hollywood?

In some ways, thanks to the city’s history, culture and surfeit of theaters, this renaissance is restricted to Los Angeles, admits Bryan Braunlich, the executive director of the National Association of Theatre Owners Cinema Foundation.

Tarantino, who declined to be interviewed, is less likely to purchase a dying revival house in Peoria, Illinois. But, Braunlich argued, that doesn’t mean this trend can’t have an impact there.

“Hollywood and filmmakers are saying, ‘Hey, movie theaters matter,’” he said. “There are amazing independent theater owners that are thriving across the country. And I think they get a boost of confidence of like, ‘Yes, this is a great business to be in. This is a great business to invest in. And we’re not alone as film nerds doing this.’”

As Duplass reflected on his own introduction to cinema growing up in the suburbs of New Orleans, he recalled a trip to Vidiots to see “Raising Arizona” with his parents.

“I realized that I was the same age now that they were then when we first saw it in the movie theater together. And I got to hold my dad’s hand as we cried in that last scene,” he said. “We shared that movie, but we shared the passing of time in our favorite church, which is the movie theater.”

KYIV, Ukraine (AP) — Their costumes are put on with surgical precision: Floppy hats, foam noses, bright clothes, and a ukulele with multicolored nylon strings.

Moments later, in a beige hospital ward normally filled with the beeping sounds of medical machinery, there are bursts of giggles and silly singing.

As Ukraine’s medical facilities come under pressure from intensifying attacks in the war against Russia’s full-scale invasion, volunteer hospital clowns are duck-footing their way in to provide some badly needed moments of joy for hospitalized children.

The “Bureau of Smiles and Support” (BUP) is a hospital clowning initiative established in 2023 by Olha Bulkina, 35, and Maryna Berdar, 39, who already had more than five years of hospital clowning experience between them. “Our mission is to let childhood continue regardless of the circumstances,” Bulkina, told The Associated Press.

BUP took on new significance following a Russian missile strike on Okhmatdyt Children’s Hospital in Kyiv in July. The attack on Ukraine’s largest pediatric facility forced the evacuation of dozens of young patients, including those with cancer, to other hospitals in the capital – and the clowns did not stand aside.

Together with first responders, Berdar and Bulkina helped with clearing the rubble after the attack and attended to the children who were relocated to other medical facilities. But even for them, the real heroes there were young patients.

“When the children were evacuated from Okhmatdyt after the missile attack, many of them were in extremely difficult medical conditions, but even in this situation they tried to support the adults,” said Berdar, recalling the events after the strike.

The hospital clowns, who use traditional clown noses and bright costumes, are now visiting multiple hospitals in the Ukrainian capital region, including the National Cancer Institute, where patient numbers have surged after the Okhmatdyt attack.

Tetiana Nosova, 22, and Vladyslava Kulinich, 22, are volunteer hospital clowns who go by Zhuzha and Lala and joined BUP more than a year ago. For them, hospital clowning is as challenging as it is rewarding.

“I volunteer so that children don’t think about their illness, even for a short moment, so that laughter replaces tears, and joy replaces fear, especially during medical procedures,” Kulinich said. In her practice, she stays together with children, sharing all their feelings, whether they are fear, pain, or joy.

For Nosova, the process itself is what made her start clowning. “I am motivated by joy. I simply enjoy it. All my life I studied to be an actress, all my life I enjoyed making people laugh. That’s enough motivation for me,” she said.

In a city grappling with nightly air raid alerts and power outages, overworked doctors say the presence of the volunteers brings a much-needed distraction, often helping children who had been undergoing painful medical treatment to feel happy again.

“Clowns play a very important role in the treatment of children. They help distract the children, they help them forget about the pain, they help them not pay attention to the nurses or doctors who come to treat them,” Valentyna Mariash, a senior nurse on the Okhmatdyt cancer ward, told AP.

The July attack complicated treatment plans for many families. Daria Vertetska, 34, was in Okhmatdyt with her 7-year-old daughter, Kira, when the missile exploded just outside their ward. Kira, who was diagnosed with rhabdomyosarcoma of the nasopharynx, was asleep, medicated with morphine.

“It saved her that she was covered with a blanket during the strike, but still, her head, legs, and arms were cut with small glass shards,” said Vertetska. She and Kira returned to Okhmatdyt in less than a week after the attack.

Not all the children returned to the hospital. Some stayed in the medical facilities where they had been evacuated, while others were moved to apartments paid for by charity organizations and located in the hospital’s vicinity.

Despite hospital clown initiatives like BUP across Ukraine, the need for their work grows exponentially. “When I see how our work is needed in the large children’s hospitals located in Kyiv, I can only imagine what a great need there is in regional and district hospitals, where such (clown) activity, as for example in Okhmatdyt, to be honest, simply does not exist,” Berdar said.

The World Health Organization, earlier this month, warned that the country faces a deepening public health crisis, largely due to devastating missile and drone strikes on the country’s electricity system as well as hospital infrastructure.

Since the start of Russia’s full-scale invasion in February 2022, WHO has recorded nearly 2,000 attacks on Ukraine’s health care facilities and says they are having a severe impact.

Children are among the most vulnerable, but a mental health crisis affects the whole country. It means the clowns’ work has won broad support from medical professionals.

Parents are simply happy to see a smile return to their children’s faces.

“With clowns, children learn to joke, they play with soap bubbles, their mood lifts. Today, Kira saw clowns playing the ukulele, now she wants one, too,” said her mother, Daria.

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Associated Press writer Derek Gatopoulos contributed to this report.

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