Podcasts about Cannes

"Una mujer que, junto a contados actores, se convirtió en la heroína silenciosa del cine mexicano. De un sueño de infancia, pasando por el rigor universitario y el debut inesperado, hasta desafiar la pantalla chica. Descubre la vida, los éxitos como La Mujer de Benjamín y Cilantro y Perejil, y el momento cumbre en Cannes de una de las actrices más disciplinadas y talentosas de su generación." Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

Elle Fanning is an A-list actor who calls herself a "nepo sister.” When she was just two years old, she appeared in her sister Dakota Fanning's movie “I Am Sam,” playing a younger version of her character, Lucy. But for someone who's been famous for nearly her entire life, there's a bit of mystery surrounding Elle — and that's intentional. During the Toronto International Film Festival in September, she sat down with Tom Power to talk about her latest film, “Sentimental Value,” which broke applause records when it premiered in Cannes earlier this year. She discusses the movie, her start in acting and why she wants to maintain some mystery around who she is.

The sixth episode of our season on the awesome movie year of 1971 features the Cannes Film Festival Palme d'Or winner, Joseph Losey's The Go-Between. Directed by Joseph Losey from a screenplay by Harold Pinter and starring Dominic Guard, Julie Christie, Alan Bates, Margaret Leigthon and Edward Fox, The Go-Between is based on the 1953 novel by L.P. Hartley.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/the-go-between-1971), Vincent Canby in The New York Times (https://www.nytimes.com/1971/07/30/archives/views-of-a-freudian-classic-and-an-arctic-venture-julie-christie.html), and Tony Mastroianni in the Cleveland Press (https://www.clevelandmemory.org/mastroianni/tm472.html).Check out more info and the entire archive of past episodes at https://www.awesomemovieyear.com and visit us on Facebook at http://www.facebook.com/awesomemovieyear You can find Jason on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Letterboxd at https://letterboxd.com/goforjason/You can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/, on Bluesky at signalbleed.bsky.social and on Letterboxd at https://letterboxd.com/signalbleed/If you're a Letterboxd user and you watch any of the movies we talk about on the show, tag your review “Awesome Movie Year” to share your thoughts.You can find our producer David Rosen and his Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod, on Bluesky at piecingpod.bsky.social and on Letterboxd at https://letterboxd.com/bydavidrosen/ Join the Popcorn & Puzzle Pieces Facebook group at

Every brand wants the next big experiential idea. But too often, what gets delivered is safe, predictable, and easy to forget.Audiences are craving creativity. They want experiences that surprise them, move them, make them pause. And behind every “cool idea” that actually worked is a deeper story—why it mattered, how it connected, and what made it resonate long after the lights went down.But what if you've never walked through SXSW or experienced Cannes in person? What if you don't have easy access to the creative executions that make people stop and pay attention?Matt Kleinrock brought the inspiration straight to you in this episode featuring Joe Rivers (Manager, Global Experiential Marketing at Dolby) and Eva Phelan (Senior Creative Producer at Heaps + Stacks).They brought the examples. You get the insights: ✅ The activations that grabbed their attention as consumers, not just marketers✅ What big brands are doing to capture attention and connect face-to-face✅ The stories and impact behind the ideas that actually workedIf you're hungry for creative inspiration and want to know what's actually working in experiential right now, this is your refresh.----------------------------------Connect with ThemJoe Rivers: https://www.linkedin.com/in/joe-rivers/ Eva Phelan: https://www.linkedin.com/in/eva-phelan/ Connect with Matt KleinrockLinkedIn: https://www.linkedin.com/in/matt-kleinrock-9613b22b/Company: https://rockwayexhibits.com/ 

Esta madrugada hemos invitado a 'El Faro' al cineasta Guillermo Galoe para hablar del inminente estreno de su última película, 'Ciudad sin sueño'. A Galoe ya le conocimos con 'Aunque es de noche', un cortometraje galardonado con un Goya en el que retrataba la realidad de la Cañada Real. Su nueva película, premiada también en el Festival de Cannes, vuelve a poner el foco en el que es el mayor asentamiento irregular de Europa, donde viven unas 8.000 personas que llevan más de 40 años pidiendo unas condiciones de vida dignas. En su sección de los martes, Alejandro Pelayo nos ha traído un recopilatorio de las canciones que más se pide tocar a los pianistas. Y la 'Gataparda' esta madrugada ha sido la artista multidisciplinar Miriam Garlo, protagonista de la película 'Sorda', dirigida por Eva Libertad. 

We delve into the evolving landscape of filmmaking in the region, the importance of authentic, locally rooted narratives, and the critical role of institutions like the Doha Film Institute in fostering emerging talent. Award-winning filmmaker and associate professor at Northwestern Qatar, Rana Kazkaz, offers a glimpse into her current project "The Hakawati's Daughter," and provides recommendations for essential Arab cinema. She shares her experiences teaching film in the Arab world, highlighting the unique challenges and immense joys of mentoring a new generation of storytellers. This episode is in collaboration with Qatar Foundation. 0:00 Introduction0:23 The Joy of Mentoring Arab Students3:19 The "Why" of Storytelling: Finding Your Authentic Voice4:44 Navigating Censorship and Risk in Filmmaking7:24 How Technology is Shaping New Narratives10:47 Shifting Away from the "Other" Narrative14:55 Building the Filmmaking Pipeline: The Role of the Doha Film Institute19:39 The Critical Need for Producers in the Arab World21:39 The Impact of Non-Regional Producers on Arab Films26:12 Recommending Authentic Arab Films for Students29:28 Addressing Class Bias in the Film Industry31:19 Unlearning Self-Orientalism in Storytelling33:40 The Genesis of "The Hakawati's Daughter"41:26 Essential Films from the Arab World Rana Kazkaz is a filmmaker and associate professor in residence at Northwestern University Qatar. Her films have been recognized at the world's leading festivals including Cannes, Sundance, Toronto, Tallinn, Tribeca, and Abu Dhabi. She received her MFA from Carnegie Mellon University/Moscow Art Theater and BA from Oberlin College. With a focus on Syrian stories, her producing, screenwriting, and directing portfolio includes The Translator (2020), Mare Nostrum (2016), Searching for the Translator (2016), Deaf Day (2011), and Kemo Sabe (2007). Her current film projects include The Hakawati's Daughter and Honest Politics. She is a member of the Académie des César and was awarded fellowships with the Buffett Institute, MacDowell and the American Film Institute's Directing Workshop for Women.Connect with Rana Kazkaz

Send us a textWhat if a thriller could do more than raise your pulse—what if it could help you see the early signs of harm and chart a path back to yourself? We sit with writer-producer Bella Bahar and actress Shiva Nagar to explore Deadly Vow, a film that starts with romance, swerves into danger, and refuses to look away from the realities of domestic abuse. The conversation moves from Cannes panels to late-night calls between collaborators, revealing how a story powered by empathy becomes a movement for awareness, healing, and change.Shiva brings us inside her character's world, honoring the emotional truth of someone who once chose love and family before facing control, isolation, gaslighting, and escalating threats. Bella shares why she left a medical career to produce a project rooted in real experiences, drawing on years of advocacy through Paradise Charity and a deep belief that cinema can connect audiences to the hard-to-name patterns many endure in silence. Together, we talk about how independent film actually gets made—finding investors at markets, delivering to festivals and distributors, and protecting sensitive material—while keeping the mission front and center.At the core is sisterhood: women sharing knowledge instead of competing for the spotlight, translating industry jargon, showing up to meetings, and holding space when the work gets heavy. We discuss the first steps for someone living in fear, the importance of recognizing warning signs early, and what it means to break the cycle for children who learn what “normal” looks like at home. You'll hear why storytelling creates empathy, how validation can be a catalyst for healing, and the simple, fierce reminder: you are not what happened to you; you are what you rise from.Deadly Vow arrives November 14. Join us to learn the signs, support survivors, and back a film made with courage and care. If this conversation moved you, subscribe, share it with a friend, and leave a review—your voice helps more listeners find resources and hope.Thanks for listening! Follow us on X, Instagram and Facebook and on the podcast's official site www.theheartofshowbusiness.com

Welcome back to Snafu with Robin Zander. In this episode, I'm joined by Kevan Lee and Shannon Deep, co-founders of Bonfire – a creative studio reimagining what it means to build brands, tell stories, and live meaningful lives. We talk about how Bonfire began as a "Trojan horse" – a branding agency on the surface, but really a vehicle for deeper questions: What does fulfilling work look like? How do we find meaning beyond our careers? And how can business become a space for honesty, connection, and growth? Kevan and Shannon share how their partnership formed, what it takes to build trust as co-founders, and how vulnerability and self-awareness fuel their collaboration. We explore their path from tech and theater to building Bonfire, hosting creative retreats, and helping founders tell more authentic stories. We also dive into how AI is changing storytelling, the myth of "broetry" on LinkedIn, and why transparency is the future of marketing. If you're curious about what's next for creativity, leadership, and meaningful work, this episode is for you. And for more conversations like this, stay tuned for Responsive Conference 2026, where we'll be continuing the dialogue on human connection, business, and the evolving role of AI. Start (0:00) How Bonfire Started (14:25) Robin notes how transparent and intentional they've been building their business and community Says Bonfire feels like a 21st-century agency – creative, human, and not traditional Invites them to describe what they're building and their vision for it Kevan's response: Admits he feels imposter syndrome around being called an "entrepreneur" Laughs that it's technically true but still feels strange Describes Bonfire as partly a traditional branding agency They work with early-stage startups Help with brand strategy, positioning, messaging, and differentiation. But says the heart of their work is much deeper "We create spaces for people to explore what a fulfilling life looks like – one that includes work, but isn't defined by it." Their own careers inspired this – jobs that paid well but felt empty, or jobs that felt good but didn't pay the bills Bonfire became their way to build something more meaningful A space to have these conversations themselves And to invite others into it This includes community, retreats, and nontraditional formats Jokes that the agency side is a Trojan horse – a vehicle to fund the work they truly care about Shannon adds: They're agnostic about what Bonfire "does" Could be a branding agency, publishing house, even an ice cream shop "Money is just gas in the engine." The larger goal is creating spaces for people to explore their relationship to work Especially for those in transition, searching for meaning, or redefining success Robin reflects on their unusual path Notes most marketers who start agencies chase awards and fame But Shannon and Kevan built Bonfire around what they wished existed Recalls their past experiences Kevan's path from running a publication (later sold to Vox) to Buffer and then Oyster Shannon's shared time with him at Oyster Mentions their recent milestone – Bonfire's first live retreat in France 13 participants, including them Held in a rented castle For a two-year-old business, he calls it ambitious and impressive Asks: "How did it go? What did people get out of it?" Shannon on the retreat Laughs that they're still processing what it was They had a vibe in mind – but not a fixed structure One participant described it as "a wellness retreat for marketers" Not wrong – but also not quite right Attendees came from tech and non-tech backgrounds The focus: exploring people's most meaningful relationship to work Who you are when you're not at your desk How to bring that awareness back to real life — beyond castles and catered meals People came at it from different angles Some felt misaligned with their work Others were looking for something new Everyone was at a crossroads in their career Kevan on the space they built The retreat encouraged radical honesty People shared things like: "I have this job because I crave approval." "I care about money as a status symbol." "I hate what I do, but I don't know what else I'd be good at." They didn't force vulnerability, but wanted to make it safe if people chose it They thought deeply about values – what needed to be true for that kind of trust Personally, Kevan says the experience shifted his identity From "marketer" to something else – maybe "producer," maybe "creator" The retreat made him realize how many paths are possible "Now I just want to do more of this." Robin notes there are "so many threads to pull on" Brings up family business and partnerships Shares his own experience growing up in his dad's small business Talks about lessons from Robin's Cafe and the challenges of partnerships Says he's fascinated by co-founder dynamics – both powerful and tricky Asks how Shannon and Kevan's working relationship works What it was like at Oyster Why they decided to start Bonfire together And how it's evolved after the retreat Kevan on their beginnings He hired Shannon at Oyster – she was Editorial Director, he was SVP of Marketing Worked together for about a year and a half Knew early on that something clicked Shared values Similar worldview Trusted each other When Oyster ended, partnering up felt natural – "Let's figure out what's next, together." Robin observes their groundedness Says they both seem stable and mature, which likely helps the partnership Jokes about his own chaos running Robin's Café – late nights, leftover wine, cold quinoa Asks Shannon directly: "Do you still follow Kevan's lead?" Shannon's laughs and agrees they're both very regulated people But adds that it comes from learned coping mechanisms Says they've both developed pro-social ways to handle stress People-pleasing Overachievement Perfectionism Intellectualizing feelings instead of expressing them "Those are coping mechanisms too," she notes, "but at least they keep us calm when we talk." Building Trust and Partnership (14:54–23:15) Shannon says both she and Kevan have done deep personal work. Therapy, reflection, and self-inquiry are part of their toolkit. That helps them handle a relationship that's both intimate and challenging. They know their own baggage. They try not to take the other person's reactions personally. It doesn't always work—but they trust they'll work through conflict. When they started Bonfire: They agreed the business world is unpredictable. So they made a pinky swear: Friends first, business second. The friendship is the real priority. When conflict comes up, they ask: "Is this really life or death—or are we just forgetting what matters?" Shannon goes back to the question and clarifies  Says they lead in different ways. Each has their "zone of genius." They depend on each other's strengths. It's not leader and follower – it's mutual reliance. Shannon explains: Kevan's great at momentum: He moves things forward and ships projects fast. Shannon tends to be more perfectionist: Wants things to be fully formed before releasing. Kevan adds they talk often about "rally and rest." Kevan rallies, he thrives on pressure and urgency. Shannon rests, she values slowing down and reflection. Together, that creates a healthy rhythm.  Robin notes lingering habits Wonders if any "hangovers" from their Oyster days remain. Kevan reflects  At first, he hesitated to show weakness. Coming from a manager role, vulnerability felt risky. Shannon quickly saw through it. He realized openness was essential, not optional. Says their friendship and business both rely on honesty. Robin agrees and says he wouldn't discourage co-founders—it's just a big decision. Like choosing a spouse, it shapes your life for years. Notes he's never met with one of them without the other. "That says something," he adds. Their partnership clearly works—even if it takes twice the time. Rethinking Marketing (23:19) Kevan's light moment: Asks if Robin's comment about their teamwork was feedback for them. Robin's observation  Notes how in sync Shannon and Kevan are. Emails one, gets a reply CC'd with the other. Says the tempo of Bonfire feels like their collaboration itself. Wonders what that rhythm feels like internally. Kevan's response  Says it's partly intentional, partly habit. They genuinely enjoy working together. Adds they don't chase traditional agency milestones. No interest in Ad Age lists or Cannes awards. Their goal: have fun and make meaningful work. Robin pivots to the state of marketing (24:04) Mentions the shift from Madison Avenue's glory days to today's tech-driven world. Refers to Mad Men and the "growth at all costs" startup era. Notes how AI and tech are changing how people see their role in work and life. Kevan's background  Came from startups, not agencies. Learned through doing, not an MBA. Immersed in books like Hypergrowth and Traction. Took Reforge courses—knows the mechanics of scaling. Before that, worked as a journalist. Gained curiosity and calm under pressure, but also urgency. Admits startup life taught him both good and bad habits. Robin notes  Neither lives the Madison Avenue life. Kevan's in Boise. Shannon's in France. Shannon's background Started in theater – behind the scenes as a dramaturg and producer. Learned how to shape emotion and tell stories. Transitioned into brand strategy in New York. Worked at a top agency, Siegel+Gale. Helped global B2B and B2C clients define mission, values, and design. Competed with big names like Interbrand and Pentagram. Later moved in-house at tech startups. Saw how B2B marketing often tries to "act cool" like B2C. Learned to translate creative ideas into language that convinces CFOs. Says her role often meant selling authentic storytelling to risk-averse execs. Admits she joined marketing out of necessity. "I was 27, broke in New York, and needed a parking spot for my storytelling skills." Robin connects the dots  Notes how Silicon Valley's "growth" culture mirrors old ad-world burnout. Growth at all costs. Not much room for creative autonomy. Adds most big agencies are now owned by holding companies. The original Madison Avenue independence is nearly gone. Robin's reflection  Mentions how AI-generated content is changing video and storytelling. Grateful his clients still value human connection. Asks how Bonfire helps brands tell authentic stories now that the old model is fading. Kevan's take  Says people now care less about "moments" and more about audiences. It's not about one viral hit—it's about building consistency. Brands need to stand for something, and keep showing up. People want that outcome, even if they don't want the hard work behind it. Shannon adds Notes rising skepticism among audiences. Most content people see isn't from who they follow, it's ads and algorithms. Consumers are subconsciously filtering out the noise. Says that's why human storytelling matters more than ever. People crave knowing a real person is behind the message. AI can mimic tone but not authenticity. Adds it's hard to convince some clients of that. Authentic work isn't fast or easily measured. It requires belief in the process and a value system to match. That's tough when your client's investors only want quick returns. Robin agrees  "Look at people's incentives and I'll tell you who they are." Shannon continues Wonders where their responsibility ends. Should they convince people of their values? Or just do the work and let the right clients come? Kevan says they've found a sweet spot with current clients. Mostly bootstrapped founders. Work with them long-term instead of one-off projects. Says that's the recipe that fits Bonfire's values and actually works. The Quarter Analogy (35:36) Robin quotes BJ Fogg: "Don't try to persuade people of your worldview. Look for people who already want what you can teach, and just show them how." He compares arguing with people who don't align to "an acrobat arguing with gravity – gravity will win 100% of the time." The key: harness momentum instead of fighting resistance. Even a small, aligned audience is better than chasing everyone. Kevan shares Bonfire's failed experiment with outbound sales: They tried reaching out to recently funded AI companies. "It got us nowhere," he admits. That experience reminded him how much old startup habits – growth at all costs, scale fast – still shape thinking. "I thought success meant getting as big as possible, as fast as possible. That meant doing outbound, even if it felt inauthentic." But that mindset just added pressure. Realizing there were other ways to grow – slower, more intentional – was a relief. Now they've stopped outbound entirely. Focused instead on aligned clients who find them naturally. Robin connects it to a MrBeast quote. "If I'm not ashamed of the video I put out last week, I'm not growing fast enough." He says he doesn't love the "shame" part but relates to the evolution mindset – Looking back at work from six months ago and thinking, I'd do that differently now. Growth as a visible, measurable journey. Robin shifts to storytelling frameworks: Mentions Kevan and Shannon's analogies about storytelling and asks about "the quarter analogy." Kevan explains the "quarter" story: A professor holds up two quarters: "Sell me the one on the right." No one can – until someone says, "I'll dip it in Marilyn Monroe's purse." That coin now has emotional and cultural value. Marketing can be the same – alchemy that turns something ordinary into something meaningful. Robin builds on that: You can tell stories about a coin's history – "Lincoln touched it," etc. But Kevan's version is different: adding new meaning in the present. "How do you imbue something with value now that makes it matter later?" Shannon's take: It's about values and belonging. "Every story implicitly says: believe this." That belief also says: we don't believe that – defining who's in your tribe. Humans crave that – community, validation, connection. That belonging is intangible but real. "Try selling that to a CFO who just wants ROI. Impossible — but it's real." Kevan adds: Values are one piece – authenticity is another. Some brands already have a genuine story; others want to create one. "We get asked to dip AI companies into Marilyn Monroe's purse," he jokes. The real work is uncovering what's true or helping brands rediscover it. The challenge: telling that story consistently and believably. Robin mentions Shannon's storytelling framework of three parts – Purpose → Story frameworks → Touch points. Shannon breaks it down: Clients usually come in with half-baked "mission" or "vision" statements. She uses Ogilvy's "Big Ideal" model: Combine a cultural tension (what's happening in the world) with your brand's best self. Then fill in the blank: "We believe the world would be a better place if…" That single sentence surfaces a company's "why us" and "why now." It's dramaturgy, really — same question as in theater: "Why this play now?" "Why us?" Bonfire's own version (in progress): "We believe the world would be a better place if people and brands had more room to explore their creativity." Kevan adds: it's evolving, like them. Robin relates it back to his own story: After selling Robin's Café, he started Zander Media to tell human stories. He wanted to document real connections — "the barista-customer relationships, the neighborhood changing." That became his north star: storytelling as a tool for change and human connection. "I don't care about video," he says. "I care about storytelling, helping people become more of who they want to be." Kevan closes the loop: A good purpose statement is expansive. It can hold video, podcasts, even a publishing house. "Maybe tomorrow it's something else. That's the beauty — it allows room to grow." Against the Broetry (49:01) Kevan reflects on transparency and values at Bonfire He and Robin came from Buffer, a company known for radical transparency — posting salaries, growth numbers, everything. Says that while Bonfire isn't as extreme about it, the spirit is the same. "It just comes naturally to invite people in." Their openness isn't a tactic – it's aligned with their values and mission. They want to create space for people to explore – new ideas, new ways of working, more fulfilling lives. Sharing their journey publicly felt like the obvious, authentic thing to do. "It wasn't even a conversation – just who we are." Shannon jumps in with a critique of business culture online Says there's so much terrible advice about "how to build a business." Compliments Robin for cutting through the noise – being honest through Snafu and his newsletter. "You're trying to be real about what selling feels like and what it says about you." Calls out the "rise and grind" nonsense dominating LinkedIn: "Wake up at 4 a.m., protein shake at 4:10, three-hour workout…" Robin laughs – "I'll take the three-hour workout, but I'll pass on the protein shake." Shannon and Kevan call it "broetry" The overblown, performative business storytelling on social media. "I went on my honeymoon and here's what I learned about B2B sales." Their goal with building in public is the opposite: To admit mistakes. To share pivots and moments of doubt. To remind people that everyone is figuring it out. "But the system rewards the opposite – gatekeeping, pretending, keeping up the facade." Shannon says she has "no patience for it." She traces that belief back to a story from college Producer Paula Wagner once told her class: "Here's the secret: nobody knows anything." That line stuck with her. Gave her permission to question authority. To show up confidently even when others pretend to know more. After years of watching powerful men "fail upward," she realized: "The emperor has no clothes." So she might as well take up space too. Transparency, for her, is a form of connection and courage – "When people raise their eyes from their desks and actually meet each other, that's power." Robin thanks Shannon for the kind words about Snafu. Says their work naturally attracts people who want that kind of realness. Then pivots to a closing question: "If you had one piece of advice for founders – about storytelling or business building – what would it be?" Kevan's advice: "Look beyond what's around you." Inspiration doesn't have to come from your industry. Learn from other fields, other stories, other worlds. It builds curiosity, empathy, and creativity. Robin sums it up: "Get out of your silos." Shannon's advice: "Make the thing you actually want to see." Too many founders copy what's trendy or "smart." Ask instead: What would I genuinely love to consume? Remember your audience is human, like you. And remember, building a business is a privilege. You get to create a small world that reflects your values. You get to hire people, pay them, shape a culture. "That's so cool, and it should make you feel powerful." With that power comes responsibility. "Everyone says it's about making the most money. But what if the goal was to make the coolest world possible, for as many people as possible?" Where to find Kevan and Shannon (57:16) Points listeners to aroundthebonfire.com/experiences. That's where they host their retreats. Next one is April 2026. "We'd love to see you there."   Companies/Organizations Bonfire Buffer Oyster Vox Zander Media Siegel+Gale Interbrand Pentagram Reforge Robin's Café Books / Frameworks / Theories Traction BJ Fogg's behavioral model Ogilvy's "Big Ideal" Purpose → Story Frameworks → Touch Point People Paula Wagner BJ Fogg MrBeast (Jimmy Donaldson) David Ogilvy Newsletters Snafu Kevan's previous publication  

Visuals: https://getbehindthebillboard.com/episode-97-andy-clough-richard-mcgrannGood things come to those who wait … and we've been waiting a while for Andy Clough & Richard McGrann, but it was thoroughly worth it. Andy & Rich are one of adland's most brilliant and prolific teams, creating iconic award-winning work wherever they've worked. RKCR / Y&R, BBH, AMVBBDO, adam&eveDDB and Neverland have all benefited from their passion for big ideas, superbly executed. They've won awards wherever they've been, including 5 Grand Prix for their emotive ‘The Last Photo' campaign for CALM, placing them amongst the world's most awarded creatives at D&AD and Cannes.In a packed episode, we talked about The Times ‘Biggest For Sport' campaign and got a sneak peek into Andy's notebook and his sketches which were incredibly close to the finished work.For The Last Photo we discovered the inspiration for the big idea came in part from a Google search for ‘depression / suicide'. Every result had people sad, head in hands, in a dark place. The question was asked, what if people looked happy? Like a weight had been lifted, because they had decided to take the next step. This lead to the line ‘Suicide doesn't always look suicidal' and the concept of the last photo featuring real people. It's an incredibly moving story and a worthy follow up to the previous year's Project84 from Ant & Mike.We went into the wild with Whiskas, Feeding Your Cat's Instinct, which naturally won an outdoor Lion ;-)While for The Economist, for once we didn't discuss white headlines out of red, instead a thought provoking piece of DOOH on the subject of assisted suicide.Another important project was for Melanoma, more great crafting a simple graphic idea. And of course we found out how pot holes help create a great poster campaign for Pot Noodle.Gents, it was a total pleasure. So much amazing work for such a range of brands and projects, a tour de force in the great outdoors. Thank you so much.Thanks to our sponsorsBauer Media OutdoorView2FillSuper OptimalGAS Music

I denne podkastepisoden møter vi Joachim Trier til en lang og detaljert samtale om Affeksjonsverdi, med fokus på filmens tematikk, hvordan han gir visuell form til det han ønsker å si og hvilken utvikling han ser i seg selv som regissør etter seks spillefilmer på to tiår. Etter verdenspremieren i Cannes i mai og påfølgende kinolansering denne høsten, har Affeksjonsverdi blitt årets suverent mest omtalte norske film. Hundretusenvis av publikummere har strømmet til kinosalene (også i utlandet), og langvarige diskusjoner om filmen har ledet til flere interessante debatter – inkludert kritikken i Morgenbladet og meningsutvekslingen som fulgte. Faste lyttere vil huske at Joachim Trier har vært gjest hos oss på Filmfrelst tidligere – først i episode #102 om tidenes 10 beste filmer og deretter i episode #473 om Verdens verste menneske. Deltagelsen her på Filmfrelst er Triers eneste (eksklusive) norske podkastopptreden denne høsten. I dialog med Montages-redaktør Karsten Meinich reflekterer regissøren ikke bare rundt tematikk, form og sin reise om filmskaper, men åpner også opp om konkrete scener fra Affeksjonsverdi og hvordan ideene kom til liv i skriverommet med co-manusforfatter Eskil Vogt. Praten vår med Trier er todelt, og andre del publiseres i neste Filmfrelst-episode. God lytting!

Retail is back in force. Alex reports from Cannes at MAPIC on why capital is returning to physical retail. Simone unpacks the new John Lewis Christmas advert and how sentiment sells. We cover CBRE's data, MINISO's Bond Street bet, retail parks' quiet surge, and why athleisure keeps compounding.The 5 stories1. John Lewis Christmas advert 2025: Why nostalgia + vinyl is the most effective emotional shortcut this season.2. MAPIC takeaways (CBRE): Investment is thawing; leasing momentum improves; prime rents keep edging up as footfall normalizes.3. MINISO on Bond Street: Tourist gravity, pop‑culture IP, and an experience‑first flagship moment.4. Retail parks' resurgence: Value + access + parking = resilient openings and low vacancy.5. Athleisure's resilience: Demand holds; big‑box footwear/apparel remains a habit, not a fad.

Neste episódio do Ypocast, recebemos Fernando Figueiredo, fundador e CEO da Bullet, uma das agências de publicidade mais inovadoras e premiadas do Brasil. Com mais de 38 anos de trajetória, Fernando revolucionou a forma como as marcas se conectam com as pessoas, unindo criatividade, storytelling e resultados tangíveis. Ele foi responsável por levar o primeiro Promo Lions de Cannes para o Brasil com a icônica campanha "iPod no Palito" e transformou a Bullet em referência mundial em criatividade e performance.Na conversa, Fernando compartilha os altos e baixos de sua jornada — desde a fundação da agência, passando pela venda e recompra durante a crise com um grande grupo internacional, até sua mudança para os Estados Unidos e a adaptação durante a pandemia. Ele também fala sobre a importância do foco em resultados, a transformação do mercado de comunicação com a inteligência artificial e como encontrou equilíbrio entre vida pessoal e profissional. Uma aula sobre resiliência, inovação e a arte de criar narrativas que geram impacto real.-----------------------------------------------------------------Disponível nas principais plataformas de streaming ou no YouTube.

Aclamado pela crítica, premiado no Festival de Cannes: o filme de Kleber Mendonça Filho entra em cartaz em mais de 700 salas, em todo o Brasil, no dia seis de novembro. A expectativa é que a bilheteria supere antecessores como “Ainda Estou Aqui”, de Walter Salles, vencedor do Oscar em 2024. Nossa reportagem acompanhou a sessão de pré-estreia do longa pernambucano no Festival do Rio, em outubro, e conversou com Carlos Pimenta, gerente de programação da rede UCI Cinemas.Reportagem: Guilherme FelicianoEdição: Gabriel Savelli

durée : 00:12:29 - Les Midis de Culture - par : Marie Labory - En compétition à Cannes 2025, "Deux procureurs" de Sergueï Loznitsa adapte une nouvelle de Gueorgui Demidov pour plonger au cœur des purges staliniennes. À travers le parcours d'un jeune procureur idéaliste, le cinéaste signe une tragédie kafkaïenne sur la loyauté et la machine totalitaire. - réalisation : Laurence Malonda - invités : Murielle Joudet Critique de cinéma au Monde; Olivier Lamm Journaliste et critique à Libération

Will Guidara is the author of Unreasonable Hospitality and co-founder of the world's #1 restaurant, Eleven Madison Park. He joins us to share how lessons from hospitality can be a huge competitive advantage for your brand. We discuss the power of small but impactful gestures, intelligent naivety, the 95/5 rule and investing in the things that can't be measured but make all the difference.Will also reflects on the mindset that took Eleven Madison Park to the top, what businesses can learn from restaurants, and how applying unreasonable hospitality can turn any customer experience into something truly extraordinary.Timestamps00:00:00 - Start00:00:57 - Will's experience writing his book00:02:11 - Getting 4 stars from The New York Times00:04:43 - What marketers can learn from Unreasonable Hospitality00:08:08 - Where did the term “unreasonable hospitality” come from?00:14:13 - Why Will is fine being “The Dining Room Guy”00:16:40 - Why Will added a beer sommelier - reverse benchmarking00:20:29 - Intelligent naivety and the advantages of youth00:23:30 - The power of small thoughtful gestures that make a lasting impact00:27:22 - The 95/5 rule - how to succeed with things that cannot be measured00:31:47 - Restaurant smart vs corporate smart00:36:50 - Why you sometimes need conflicting goals00:41:34 - Is the customer always right?00:45:55 - Turning pain points into highlights00:48:06 - How Will Guidara makes getting the bill a memorable experience00:51:38 - Why nothing in the world can replace persistence00:53:40 - Never waste a good crisis00:56:52 - What Will would do at Cannes with no budget00:59:56 - How Shake Shack kept 11 Madison Park going01:00:48 - Which fast food chains does Will admire01:03:51 - Hiring exceptional talent01:06:17 - Getting siloed teams to work together in harmony01:09:07 - What would you do if you knew you couldn't fail

Présenté exceptionnellement par Valérie BAUD, retrouvez "Homomicro, le podcast qui se prend aux mots", avec l'invité du jour : - Arnaud ARSENI, créateur du projet "HexaBoi", nous présente son projet, son approche artistique, ses thèmes de prédilection, et son dernier projet musical sortit en Septembre dernier Ainsi que le Cercle des Chroniqueurs : - Denis-Martin CHABOT pour « Planète Arc-en-Ciel »  a eu la chance d'interviewer Marinette PICHON, ancienne attaquante de l'équipe de France de Football féminine. - Louis-George TIN « Nos Couleurs, Nos Colères » "Les personnes LGBTQI+ en Russie, entre courage et répression" - Anne-Catherine MEZURE dans sa chronique « Un Film, Un Regard » et Valérie BAUD nous présente le film "La Petite Dernière" réalisé par Hafsia HERZI, qui a remporté au Festival de Cannes la prestigieuse "Queer Palm" Réalisation / Montage : Nathan Hillaireau Soutenez-nous sur PayPal !

C'est l'histoire d'une femme qui a délaissé une carrière brillante pour un homme. Mais il y a tout de même des aspects plutôt charmants dans la relation de Grace Kelly et de Rainier III. On sent qu'ils se sont beaucoup aimés, même si à un moment, comme pour beaucoup de couples, la routine a fini par s'installer et, avec elle, son lot de regrets. Mais pourquoi, en 1955 à Cannes, avoir organisé une rencontre entre un prince et une actrice Hollywoodienne comme Grace Kelly ? Un podcast Bababam Originals Ecrit et raconté par Alice Deroide Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 00:18:55 - Les Nuits de France Culture - par : Albane Penaranda - En 1974, Pier Paolo Pasolini explique ce qui fait la trame et l'originalité de son film "Les Mille et Une Nuits", récompensé du Grand Prix Spécial du Jury au Festival de Cannes quelques jours après cet entretien. - réalisation : Virginie Mourthé - invités : Pier Paolo Pasolini Cinéaste italien

Un automobiliste a percuté trois personnes vendredi 31 octobre dans la soirée à Cannes. Deux d'entre elles ont été gravement blessées, d'après le maire de la ville, David Lisnard, qui mentionne un "chauffard ivre". Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

On this week's show we identify the top IMDB user rated original movies per streamer. We also read your emails and take a look at the week's news. News: Classic TV props fetch $3.17M Netflix feature lets you decide what happens next, live 'High Potential' Is First 10 p.m. Drama to Hit No. 1 For the Fall Since 'ER' in 1999 Other: Explaining the magic yellow first-down line · The 42 Frndly TV Your Smart TV's HDMI Port Is Spying On You! The Last Frontier Top User Rated Original Movies per Streamer Last week we ran down the top streamer's price histories and at one point I (Ara), said that Amazon really didn't have many movies worth watching but since it came included with Prime shipping who cares. So this week I wanted to see what Amazon Original Movies were available and how they rated on IMDB. This did not include TV series like Reacher, Terminalist, etc. I just wanted to see if there was something I was missing. Then I expanded it to all the streamers we talked about last week and thus we created a list of the highest rated original movies from each streamer as rated by viewers on IMDB. Note the list goes from lowest to highest. Paramount+ Hunger Ward (2020) with a rating of 7.1/10. This short documentary, directed by Skye Fitzgerald, explores the Yemeni Civil War's famine through the work of two female health workers at therapeutic feeding centers for malnourished children. It premiered on Paramount+ in 2021 and was nominated for an Academy Award for Best Documentary Short Subject. Hulu Good Luck to You, Leo Grande (2022) with a rating of 7.2/10 based on over 34,000 user votes. Directed by Sophie Hyde and starring Emma Thompson as a widowed retiree exploring her sexuality with a young sex worker (Daryl McCormack), it's a witty and intimate comedy-drama praised for its honest take on aging, desire, and vulnerability. Peacock Psych 3: This Is Gus (2021) with a rating of 7.5/10 based on over 5,500 user votes. This comedy-mystery TV movie, directed by Steve Franks, serves as the third installment in the Psych film series and follows fake psychic detective Shawn Spencer (James Roday Rodriguez) and his best friend Burton "Gus" Guster (Dulé Hill) as they investigate Gus's bride-to-be's past amid wedding chaos, all while Lassiter (Timothy Omundson) faces career uncertainty. It's praised for its sharp humor, heartfelt moments, and nostalgic callbacks to the original USA Network series. Netflix Marriage Story (2019) with a rating of 7.9/10 (from over 380,000 votes). Directed by Noah Baumbach, this poignant drama follows a stage director (Adam Driver) and his actress wife (Scarlett Johansson) as they navigate a grueling divorce, exploring the emotional toll on their family and creative lives. It received critical acclaim for its sharp screenplay, authentic performances, and raw depiction of marital breakdown, earning six Oscar nominations including Best Picture. Apple TV+ Wolfwalkers (2020) with a rating of 8.0/10 based on over 43,000 user ratings. This animated fantasy adventure, directed by Tomm Moore and Ross Stewart, follows a young hunter's daughter who befriends a girl from a wolf-shifting tribe in 17th-century Ireland. It stands out for its hand-drawn animation, themes of friendship and freedom, and cultural folklore elements, earning an Oscar nomination for Best Animated Feature. Amazon Prime The Handmaiden (2016) with a rating of 8.1/10 from nearly 195,000 votes. Directed by Park Chan-wook and adapted from Sarah Waters' novel Fingersmith, this erotic psychological thriller is set in 1930s Japanese-occupied Korea. It follows a con artist, a pickpocket disguised as a handmaiden, and a wealthy heiress in a tale of seduction, betrayal, and revenge told across three perspectives. Amazon Studios acquired U.S. distribution rights after its 2016 Cannes premiere, making it an exclusive Prime Video original. Its high rating comes from praise for its intricate plot, stunning visuals, and strong performances by Kim Min-hee, Kim Tae-ri, and Ha Jung-woo. For comparison, other top Amazon originals include Manchester by the Sea (7.8/10), Sound of Metal (7.7/10), and The Big Sick (7.5/10).

Fin de semana de Halloween y la cartelera aprovecha el buen tirón del cine de terror con un puñado de títulos interesantes, como 'Together' con Dave Franco y Alison Brie reflexionando sobre la dependencia y la toxicidad de una pareja, o 'Esa cosa sin alas', una historia de duelo con Benedict Cumberbatch. En cines está ya también 'Los tigres', la nueva película de Alberto Rodríguez sobre dos hermanos buzos que lidian con la precariedad económica y emocional, esos hermanos son Antonio de la Torre y Bárbara Lennie. Además, se estrenan dos grandes películas que pasaron por Cannes y ahora lo han hecho por la Seminci, la antipelícula de atracos 'The Mastermind' con Josh O'Connor y el drama sobre madres adolescentes de los Dardenne. En televisión, comentamos el estreno de 'It: Bienvenidos a Derry', la adaptación de 'Cometierra' y la vuelta del creador de 'Breaking Bad' con 'Pluribus'.

W “Kulturze na weekend” Hania Rani: wywiad o nowym albumie „Non Fiction”, projekt Chilling Bambino i muzyka do filmów. Hania Rani pianistka i kompozytorka, wkrótce wydaje nowy album zatytułowany “Non Fiction”. Autorka wielu płyt m.in. “Music for film and theatre” czy współautorka duetu Hania Rani & Dobrawa Czocher opowiada o swoim nowym projekcie Chilling Bambino - czy to hołd dla Childish Gambino? Rozmawiamy też o tym, czym dla Hani Rani jest muzyka i film, jak lubi pracować? I jak do tego doszło, że reżyser Joachim Trier zaprosił ją do współpracy przy filmie “Wartość sentymentalna”, który dostał tegoroczne Grand Prix w Cannes?

In the final TellyCast MIPCOM special from Cannes, we hear from the people shaping the digital-first future of TV. Fan Club's Joe Churchill talks about brands becoming broadcasters and his upcoming session at the TellyCast Digital Content Forum. Luci Sanan from Cowshed Ventures reveals her new YouTube adventure joint venture with Propagate Content. EndemolShine Nederland's Sil Geurtsen explains how hit format Let's Play Ball made the leap from YouTube to TV, and Arsenal Fan TV's Robbie Lyle shares how he built a global fan-led media empire.Sponsored by ITV Studios Sign up for The Drop newsletter Support the showBuy tickets for the TellyCast Digital Content Forum Buy tickets for NEXTWAVE - NEXTWAVE: The Digital-First Production Summit Subscribe to the TellyCast YouTube channel for exclusive TV industry videosFollow us on LinkedInConnect with Justin on LinkedINTellyCast videos on YouTubeTellyCast websiteTellyCast instaTellyCast TwitterTellyCast TikTok

It's Lobster's birthday, and what better way to acknowledge the toll aging takes on our bodies than to watch a movie about what goes wrong when we try to cheat the clock. From writer-director Coralie Fargeat comes the tale of Elizabeth Sparkle, a former sex symbol and acclaimed actress turned daytime tv aerobics instructor. When a mysterious treatment offers to restore her youthful appearance, the realization that beauty is only skin deep is only the first of many horrors that await. Starring Demi Moore and Margaret Qualley in dual roles, this 2024 release burst onto the scene at Cannes, where it was nominated for the Palme d'Or and Fargeat won Best Screenplay. After a wide release, which saw the film bring in $80 million through word-of-mouth social media marketing, it earned five Oscar noms, including Best Picture, Best Director, and Best Actress for Moore, taking home the statue for Best Makeup & Hairstyling. But appearance isn't everything, so let's take a long hard look in the mirror and decide if we like what we see. Is The Substance all style, and no substance? Or is it the stuff that dreams are made of? And for Legends of Halloween, that means it's also the stuff of nightmares!   For more geeky podcasts visit GonnaGeek.com    You can find us on iTunes under ''Legends Podcast''. Please subscribe and give us a positive review. You can also follow us on Twitter @LegendsPodcast or even better, send us an e-mail: LegendsPodcastS@gmail.com    You can write to Rum Daddy directly: rumdaddylegends@gmail.com    You can find all our contact information here on the Network page of GonnaGeek.com Our complete archive is always available at www.legendspodcast.com, www.legendspodcast.libsyn.com    Show Music:Danger Storm by Kevin MacLeod (incompetech.com).. Licensed under Creative Commons: By Attribution 4.0 https://creativecommons.org/licenses/by/4.0/

durée : 00:09:44 - L'invité de 7h50 - par : Alexandra Bensaid - Le maire Les Républicains de Cannes, David Lisnard, milite pour "une grande primaire de la droite" pour la présidentielle de 2027, qui irait de l'UDI (Union des démocrates et indépendants) jusqu'à l'eurodéputée Reconquête Sarah Knafo. - invités : David Lisnard - David Lisnard : Homme politique français Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 03:58:39 - La Grande matinale - par : Simon Le Baron, Alexandra Bensaid, Daphné Bürki, Anne-Laure Sugier - Ce matin sur France Inter, à 7h50, David Lisnard, Maire LR de Cannes. À 8h20, la COP 30 au Brésil avec son président André Corréa do Lago et Laurence Tubiana. Et à 9h20, Panayotis Pascot. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

La Femme la plus riche du monde revient sur l'une des sagas judiciaires les plus célèbres et médiatisées de France : Isabelle Huppert joue une version romancée de la célèbre héritière Liliane Bettencourt, dans cette fiction inspirée de faits réels.Face au personnage de Pierre-Alain Fantin, incarné par un Laurent Lafitte très en verve, Isabelle Huppert livre une prestation remarquable, qui va surprendre. Avec un humour parfois mordant, avant d'aller vers un registre plus sombre et dramatique.La Femme la plus riche du monde de Thierry Klifa, passé hors compétition à Cannes, repose sur une très belle distribution : autour d'Isabelle Huppert et Laurent Lafitte, Marina Fois, Raphael Personnaz, André Marcon ou encore Mathieu Demy.Nous avons rencontré le réalisateur Thierry Klifa pour connaitre les coulisses de la création de ce projet.Crédits :Journaliste : Brigitte BaronnetMontage : Constance Mathews Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.

durée : 00:09:44 - L'invité de 7h50 - par : Alexandra Bensaid - Le maire Les Républicains de Cannes, David Lisnard, milite pour "une grande primaire de la droite" pour la présidentielle de 2027, qui irait de l'UDI (Union des démocrates et indépendants) jusqu'à l'eurodéputée Reconquête Sarah Knafo. - invités : David Lisnard - David Lisnard : Homme politique français Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

As we head into a jam-packed end of 2025, we give a refreshed list of what we're looking forward to, plus a little rundown of what we've been watching on both the big and small screens. Some topics from our lowkey hangout episode: HBO's Peacemaker, Alien: Earth, The Smashing Machine, and a rundown of New York Film Festival.

A CMO Confidential Interview with Jim Lecinski, Clinical Professor of Marketing at the Kellogg School of Management, author, and former Google VP. Jim discusses why he believes marketers are often overly focused on using AI for productivity improvements versus business growth, the gaps between marketers and the C-Suite highlighted by recent Gartner research, and the difference between "big frontier models" and "shiny objects." Key topics include: why you should avoid "gray market AI", how to manage the 5 AI risks (privacy, accuracy, regulatory, personnel, and reputation), and the false precision that accompanies a focus on intermediate measures like Click Through Rate (CTR). Tune in to hear why he's not a fan of Cannes and how AI helped figure out a wedding invitation calling for "casual to semi-formal beach attire."What should CMOs actually do with AI right now—and how do you avoid chasing shiny objects? Mike Linton sits down with Jim Lecinski, Professor of Marketing at Northwestern's Kellogg School (and author of The AI Marketing Canvas and Winning the Zero Moment of Truth) to unpack the AI application layer: the good, the bad, and the ugly. Jim explains why CEOs-CFOs obsess over growth (not merely efficiency), how to reframe marketing dashboards around business outcomes, and his simple two-by-two for AI use cases (internal productivity vs. external value creation). We cover privacy, legal/regulatory, personnel, and reputational risks—and how to mitigate them—plus a pragmatic roadmap: center on a leading frontier model and layer vetted apps instead of stitching together fragile point solutions. Jim also shares candid takes on Cannes vs. Effies and ends with a challenge: personally build something with AI before year-end.You'll learn:* Growth over cost-cutting: aligning with CEO-CFO priorities and measuring ends, not means* The AI use-case 2×2: internal productivity vs. external, customer-facing value creation* Practical examples (e.g., apparel personalization) that lift CSAT, CLV, and revenue* The 5 risk buckets (privacy, accuracy, regulatory-IP, personnel, reputation) and guardrails* How to choose core models (GPT, Gemini, Claude) and avoid “tool soup”* Why awards that honor outcomes beat awards that celebrate activityGuest: Jim Lecinski — Professor of Marketing, Northwestern Kellogg; former VP Customer Solutions (Americas) at Google; author of The AI Marketing Canvas (2nd ed.) & Winning the Zero Moment of Truth.Host: Mike Linton — former CMO of Best Buy, eBay, Farmers Insurance; CRO of Ancestry.com.Sponsor: Better marketing is built on Quad. See how better gets done at (https://www.quad.com/resources/research-and-tools/return-of-touch-consumer-engagement-has-an-omnichannel-revival?utm_source=cmoconfidential&utm_medium=paid&utm_campaign=001_brand&utm_id=podcastnl1031&utm_content=a-paidemail&utm_vp=)If you're enjoying the show, please like, subscribe, and share with your leadership team. New episodes every Tuesday; companion newsletter on Fridays.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Tout le monde me trouvait sublime, phénoménale. Je n'en revenais pas. J'étais enfin consacrée. Mais pour compenser cette joie, aberrante, il me fallait expier. Rester un corps souffrant. Ça a commencé au niveau des pieds, ils enflaient dans les chaussures.  Dans « Avale », on suit deux parcours, celui de Lame, une jeune comédienne montante qui découvre aux portes du succès qu'elle est atteinte d'une mystérieuse maladie de peau, et Tom, un jeune homme désœuvré et tourmenté, obnubilé par la jeune actrice jusqu'à développer pour elle une obsession dévorante, angoissante et malsaine. Chacun, dans l'écriture, a sa langue propre.  Écrit à la façon d'un polar ou d'un thriller, par moment gore, inspiré et nourri du parcours et de l'expérience personnelle de Séphora Pondi sans être pour autant de l'auto-fiction, le roman explore les thématiques du harcèlement, de la vie d'actrice et de tout ce qu'elle implique dans sa corporéité la plus brute, ainsi que la question du désir sous toutes ses déclinaisons.  Invitée : Séphora Pondi, actrice franco-camerounaise. Elle grandit en banlieue parisienne dans un environnement modeste, où elle découvre très tôt le goût de la lecture et de la scène. Après une formation théâtrale à l'École départementale de théâtre de l'Essonne, elle rejoint le programme « Premier Acte » de Stanislas Nordey au théâtre de la Colline, avant d'intégrer l'École régionale d'acteurs de Cannes et Marseille (ERACM). En septembre 2021, elle devient pensionnaire de la Comédie-Française. Artiste polyvalente, elle travaille actuellement au scénario d'un long-métrage et prépare sa première mise en scène, l'adaptation de Bestioles de Lachlan Philpott. « Avale », publié en 2025 aux éditions Grasset, est son premier roman.  Programmation musicale : La colère - Dernière fois ► Séphora Pondi est à l'affiche d'Hécube, pas Hécube de Tiago Rodrigues au théâtre 13E Art dans le XIIIe Arrondissement de Paris du 21 mars au 2 mai 2026. 

Tout le monde me trouvait sublime, phénoménale. Je n'en revenais pas. J'étais enfin consacrée. Mais pour compenser cette joie, aberrante, il me fallait expier. Rester un corps souffrant. Ça a commencé au niveau des pieds, ils enflaient dans les chaussures.  Dans « Avale », on suit deux parcours, celui de Lame, une jeune comédienne montante qui découvre aux portes du succès qu'elle est atteinte d'une mystérieuse maladie de peau, et Tom, un jeune homme désœuvré et tourmenté, obnubilé par la jeune actrice jusqu'à développer pour elle une obsession dévorante, angoissante et malsaine. Chacun, dans l'écriture, a sa langue propre.  Écrit à la façon d'un polar ou d'un thriller, par moment gore, inspiré et nourri du parcours et de l'expérience personnelle de Séphora Pondi sans être pour autant de l'auto-fiction, le roman explore les thématiques du harcèlement, de la vie d'actrice et de tout ce qu'elle implique dans sa corporéité la plus brute, ainsi que la question du désir sous toutes ses déclinaisons.  Invitée : Séphora Pondi, actrice franco-camerounaise. Elle grandit en banlieue parisienne dans un environnement modeste, où elle découvre très tôt le goût de la lecture et de la scène. Après une formation théâtrale à l'École départementale de théâtre de l'Essonne, elle rejoint le programme « Premier Acte » de Stanislas Nordey au théâtre de la Colline, avant d'intégrer l'École régionale d'acteurs de Cannes et Marseille (ERACM). En septembre 2021, elle devient pensionnaire de la Comédie-Française. Artiste polyvalente, elle travaille actuellement au scénario d'un long-métrage et prépare sa première mise en scène, l'adaptation de Bestioles de Lachlan Philpott. « Avale », publié en 2025 aux éditions Grasset, est son premier roman.  Programmation musicale : La colère - Dernière fois ► Séphora Pondi est à l'affiche d'Hécube, pas Hécube de Tiago Rodrigues au théâtre 13E Art dans le XIIIe Arrondissement de Paris du 21 mars au 2 mai 2026. 

Cada primer domingo del mes, el Café du Village, en el distrito 13 de París, se llena del ritmo afro-uruguayo del candombe. Una rueda de candombe, inspirada en "La Rueda de Candombe" de Montevideo, reúne a músicos latinoamericanos y franceses que, entre tambores y guitarras, recrean una tradición que es al mismo tiempo celebración, memoria y resistencia. Reportaje de Mariana Rivera Ramírez para RFI. Es común en las familias candomberas de Uruguay que, después de un asado, la sobremesa termine entre guitarras y tambores. Esa atmósfera musical es la que se recrea en el Café du Village, en París, el primer domingo de cada mes desde mayo pasado. Situado en el distrito 13 de París, muy cerca de la Place d'Italie, un grupo de músicos hace los últimos ajustes en ese café, antes de iniciar la rueda de candombe uruguaya. Es el momento de acomodar cables, hacer las pruebas de sonido y todo ello, por supuesto, compartiendo el mate. Cuatro de ellos son uruguayos, hay dos franceses y una argentina. Cada quien tiene su propio proyecto musical o se dedica a otros oficios, pero el denominador común es el candombe. Joaquín Fernández es un músico itinerante que viaja con su proyecto solista de canciones, en cuyo repertorio el candombe ocupa un lugar central. Está de paso por París y, como acostumbra en cada ciudad que visita, se reúne con otros músicos para tocar. Allí organizó una rueda de candombe, inspirada por el éxito del formato de La Rueda de Candombe en Montevideo. "Me fascina la estructura del candombe, la forma que adquiere (...) El formato del círculo, el canto en círculo, se ve en varias culturas afro-indígenas de Latinoamérica. Ver ese elemento incorporado al candombe me pareció algo muy bueno y muy efectivo, muy práctico de trabajar", expresa Fernández. La Rueda de Candombe en la capital uruguaya, a la que alude Joaquín, fue la primera que se organizó y se convirtió en un verdadero boom que estalló a fines de 2024. Todo comenzó en un bar, luego de que dos amigos —Caleb Amado y Rodrigo Fernández, alias Rolo— regresaran de un viaje a Río de Janeiro. Inspirados en las fervientes "rodas de samba" brasileñas, "se nos empezó a cruzar por la cabeza la idea de intentar hacer algo parecido con nuestra música", recuerda Rolo. Así decidieron adaptar ese formato y crear su propia rueda con el candombe, ahora llamada oficialmente "La Rueda de Candombe". "Teníamos más preguntas que certezas sobre si iba a funcionar. Por ejemplo, si habría repertorio suficiente. En las rodas de samba cariocas las canciones se encadenan durante mucho rato: hay un repertorio gigantesco. Por suerte, esa fue una de las dudas que tuvo una respuesta muy feliz. Se generó un fenómeno muy lindo", cuenta. Ese éxito los llevó a cruzar el Atlántico con su proyecto. Rolo Fernández habló con RFI durante una parada en París, tras la presentación de La Rueda de Candombe en el Festival de Cannes 2025. Allí animaron la fiesta charrúa de la delegación uruguaya participante en el certamen. La convocatoria fue tal que muchas personas de la comunidad uruguaya viajaron desde otras ciudades, como París o Barcelona, para unirse a La Rueda de Candombe en Niza, al pie de un yate en la Riviera francesa. Para Fernández, conceder una entrevista sobre el candombe en esa ciudad, tan lejos de Uruguay, "para cualquier uruguayo es una manera de llevarlo a casa". Esa sensación de hogar de la que habla Rolo es quizás lo que hace que los tambores del candombe retumben también, a casi once mil kilómetros de Montevideo, en tierras francesas. "Lo amo desde lo más profundo de mi ser"   El fenómeno de las ruedas candomberas resuena desde hace un tiempo en París, en el Café du Village, punto de encuentro musical el primer domingo de cada mes. RFI estuvo en la segunda rueda, en junio. Ese día, Joaquín y su grupo de amigos preparaban el espacio para el cierre de la tarde: una mesa central, los tambores, dos guitarras y un par de micrófonos. Jimena Laje dejó Buenos Aires hace más de veinte años huyendo de la crisis económica del Corralito. En París formó el grupo "La Milongón", con el que interpreta milongas, tangos y candombe. Gracias al ritmo de su país vecino, se reencontró con la música y hoy integra las ruedas de candombe que se hacen en París. . Laje era mesera en un restaurante cuando conoció a Léo Melo, cantante de Los Maniseros: "Vivía enfrente mío, realmente enfrente. Fue una casualidad (...) Y empecé a aprender de a poquito el chico, el tambor. También sigo aprendiendo otros tambores, piano y repique. Pero el instrumento que prefiero es el tambor. Lo amo desde lo más profundo de mi ser". Enganchado al candombe desde los 15 años  Emmanuel Brun, alias Manu, es otro de los integrantes. Francés, creció en una zona multicultural de París. "Era 'Le Tour du Monde'. Una especie de vuelta al mundo en 80 edificios, porque en cada uno vivía gente de distintos lugares", bromea. Gracias a ese entorno, Manu asumió una identidad plural. Se impregnó de la cultura uruguaya desde joven: "Me conecté con el candombe cuando tenía 15 años. Fui a la casa de un amigo uruguayo del liceo a comer tortas fritas. Puso un casete con música uruguaya y candombe. Desde ese día me volví loco con esa música". Esa pasión lo llevó a dejar el bajo y empezar a tocar tambor. Su historia remite a las décadas de 1970 y 1980, cuando la dictadura uruguaya forzó al exilio a unas 380 mil personas. La ciudad donde creció, Fontenay-sous-Bois, en el Val-de-Marne, acogió a muchas familias que huían de las dictaduras de Chile y Uruguay. El candombe, medio de expresión y resistencia de los esclavizados, sigue siendo un vínculo con la memoria para la comunidad uruguaya exiliada en Francia. Así lo expresa Manu: "Mi camino en este género tiene que ver con la militancia. El candombe es una herramienta política y cultural, ligada a formas de resistencia. Me acerqué a activistas afrouruguayos y trabajé con ellos para reescribir la historia del país, para visibilizar los aportes de las poblaciones africanas, afrodescendientes y afroamericanas en la identidad uruguaya. Es una militancia cultural, una lucha "pacífica, pero no pasiva", como me dijo un amigo". Sonidos de resistencia y herencia afrouruguaya Apostar por el formato circular aportó una novedad que generó el boom, pero el candombe se remonta al siglo XVIII, cuando Montevideo fue designada por la corona española como puerto de introducción de esclavos en el sur del Virreinato del Río de la Plata. A fines de ese siglo, un tercio de la población de la ciudad era afrodescendiente. Para sobrellevar la represión, las comunidades se reunían alrededor de los tambores, en las llamadas Salas de Nación, donde recreaban los rituales de sus tierras con música y danza. Con el tiempo, y debido a la estigmatización de la cultura negra, el valor ritual se fue perdiendo. El candombe quedó restringido a los antiguos conventillos, viviendas colectivas de inquilinato. Más adelante, las comparsas de candombe se integraron al carnaval nacional. Hoy los tambores alegran las angostas calles de los barrios Sur y Palermo. El candombe, con sus variaciones rítmicas, es la columna vertebral de muchas canciones uruguayas. Y la Rueda de Candombe es hoy otra plataforma para difundir ese cancionero. "Hace quizás 70 u 80 años, los compositores montevideanos comenzaron a crear canciones con este ritmo. En La Rueda de Candombe tocamos de corrido unas diez o doce canciones por vuelta, todas enlazadas mientras los tambores son el hilo conductor", explica Rolo. Para quienes nacieron en Uruguay, escuchar su música en el extranjero aporta un fuerte sentido de identidad y pertenencia. "La escuela del candombe es la calle" Vicente Pérez, conocido como "Vicho", vive en Francia desde hace más de cinco años. Para él, las nuevas ruedas de candombe en París lo reconectan con su impulso natural de tocar y cantar en comunidad: "En Uruguay, en mi tiempo libre, salía a la calle a tocar el tambor y a bailar con mis amigos. Eso en Francia es difícil de encontrar. Desde que llegué sentí que algo me faltaba. Con las ruedas de candombe encontré eso que me faltaba. También lo había sentido con las ruedas de samba, aunque no es lo mismo. Ambas crean un espacio de libertad, de música y de disfrute", comenta. En el agitado ritmo de París, la convocatoria a la segunda rueda de candombe, en junio, fue un éxito. Pasadas las siete de la tarde, la comunidad uruguaya y latina empezó a ocupar todas las sillas del colorido Café du Village. Esa convivencia musical rompe la famosa cuarta pared del escenario, un objetivo de los candomberos que idearon La Rueda de Candombe en Montevideo. Rolo se muestra complacido de que el fenómeno latinoamericano genere eco en París: "Me parece maravilloso y también necesario. Empezamos con la misión de mostrar nuestra música, pero con el tiempo entendimos que había otra misión: la del punto de encuentro", dice Rolo. Para Vicho, el candombe mantiene su esencia popular: "La escuela del candombe es la calle. Uno aprende porque tiene un amigo que toca, o porque en su familia hay tambores, o porque alguien le prestó uno. No es algo que se estudie en la facultad, aunque ojalá algún día sí. Se necesita la transmisión oral, compartir entre amigos y familia para que el conocimiento no se pierda", subraya. Comunión alrededor de los tambores  En medio de la rueda de candombe en París, ahora bautizada "Antología", Manu explica al público, en francés, la función de los tres tambores que crean la polirritmia: "Hay tres tambores de tamaños distintos. El más grande, el más grave, se llama tambor piano y lleva la base. El del medio, el repique, es con el que más se improvisa. Y el más agudo, el chico, marca el tiempo y el norte. Eso es candombe". Los primeros tambores, construidos por los esclavos africanos, eran de troncos ahuecados o maderas recicladas de barriles, con un cuero clavado en la boca superior. Vicho explica que ese tambor tradicional sigue vivo y que el calor es esencial para su afinación: "El fuego tiene un lugar muy importante. Antes de tocar, hacemos un fuego y ponemos los tambores alrededor. El fuego sirve también para afinar el tambor". "Hoy tenemos tambores de todos los materiales, con parches y sonidos diversos. Pero hay algo que permanece. No sé si es la relación con el ritmo del cuerpo o algo del espíritu de los pueblos africanos que viajó por el mundo con esos tambores", agrega Vicho. Esa reflexión se hace palpable cuando los tambores inundan el local parisino y se forma un espacio de complicidad. El público, que al principio se mostraba tímido, terminó apartando las sillas para formar un trencito humano alrededor de los músicos. Tres amigas colombianas compartieron la sorpresa de asistir por primera vez a una rueda de candombe. "No me lo esperaba para nada", dijo una. "Estas son las fiestas a las que me tienen que invitar siempre", agregó otra. Un músico francés comentó que comprendió mejor la herencia afrouruguaya del ritmo gracias a las explicaciones. Para muchos —argentinos, mexicanos o costarricenses— fue su primer encuentro con el candombe; para la comunidad uruguaya, una cita con su patria. "El candombe me sana"  Aquella noche fue la segunda rueda de candombe en París. Más que un concierto, se sintió como un espacio de comunión, de unión y de pertenencia, en palabras de Joaquín: "Yo creo que la salud puede venir un poco desde ese lado: tocar, bailar, cantar y formar parte de un grupo". Para Jimena Laje, las ruedas son un punto de encuentro sanador: "A mí lo que me pasa es que me cura; pase lo que pase, cualquier dolor o problema. Cuando toco el tambor me siento regenerada, como nueva". "La música es un impulso vital muy primitivo, algo que está muy dentro de uno", reflexiona Rolo. "El corazón está todo el tiempo percutiendo y marcando el ritmo de nuestras vidas. Lo que sucede en la rueda es casi mántrico: uno se deja llevar por ese maravilloso ritmo y trasciende, por un rato, este plano de lo real”. Cada rueda de candombe en París suena a Montevideo. La comunidad uruguaya en el exilio espera ya la próxima fecha. Mientras tanto, en la Plaza España de la Ciudad Vieja, en la capital uruguaya, el fenómeno de la Rueda de Candombe sigue efervescente: donde haya un uruguayo, seguirán sonando los tambores y las canciones de Rubén Rada, Chabela Ramírez, Eduardo Da Luz o Jaime Roos.

Idag ska vi bege oss in i en värld av läder, latex och piskor. Lyssna på alla avsnitt i Sveriges Radio Play. Eller, rättare sagt – vi ska ta en titt på hur modet samspelar med den subkultur i vilken den typen av fetischer förekommer, BDSM. Inte minst tack vare just mode. Modeskapare som Thierry Mugler, Jean-Paul Gaultier, Versace, Helmut Lang, Alexander McQueen och – förstås – Vivienne Westwood är bara några som har inspirerats av själva stilen, och på så sätt bidragit till att göra den mer mainstream. På årets upplaga av filmfestivalen i Cannes höjdes till exempel ett och annat ögonbryn längs röda mattan när Alexander Skarsgård stövlade in i skjorta, kostym, slips – och lårhöga läderboots. Stövlarna (som även hade vissa likheter med de vadarstövlar som hobbyfiskare bär) kom från Saint Laurent. Att stövlarna var en direkt blinkning till den film han var där att göra PR för, ”Pillion”, var det ingen tvekan om. Skribenten, författaren och fetischisten Anastasiia Fedorova recenserar Skarsgårds BDSM-stil. Det finns de som menar att John Sutcliffe borde vara en minst lika berömd modeskapare som Mary Quant. För även han förändrade modet under 1960-talet i London. Hör om den bortglömda läder och latex-pionjären. När Amanda Romares självbiografiska bok, ”Halva Malmö består av killar som dumpat mig”, nyligen kom ut som tv-serie på Netflix, så syntes Amanda Romare, med sitt entourage, på bilder från premiärfesten hållandes i en liten ridpiska. Hör den verkliga berättelsen om hur det kom sig att piskan blev hennes favoritmetod för att ragga killar.

Legendary journalist and author Elizabeth Becker, who has spent her career bearing witness to the frontlines of history, joins us to talk about her new book, You Don't Belong Here: How Three Women Rewrote the Story of War ,a riveting account of three trailblazing female correspondents who shattered gender barriers to cover the Vietnam War. The book tells the stories of Frances FitzGerald, Kate Webb, and Catherine Leroy, but Elizabeth herself reported from Cambodia and Vietnam in the 1970s. Her courage and insight—captured in You Don't Belong Here—help redefine how we understand both war and the craft of journalism. We'll also explore Becker's earlier, haunting book, When the War Was Over: Cambodia and the Khmer Rouge Revolution. Drawing on her harrowing reporting in Cambodia, Becker offers an account of the Khmer Rouge's genocide. She became one of only two Western journalists to meet Pol Pot—an experience that forever shaped her understanding of power, propaganda, and human tragedy. That historic meeting has now inspired the new feature film Meeting with Pol Pot (2024), directed by acclaimed Cambodian filmmaker Rithy Panh. The dramatization follows three Western journalists navigating a tightly controlled “Potemkin village” as the regime teeters on the brink of collapse and mass murder is underway behind the scenes. The film, which premiered at Cannes in 2024, brings Becker's gripping firsthand account to life and raises questions about truth, memory, and the moral responsibility of journalists. As the character based on Becker—Lise Delbo, played by Irène Jacob—observes, “Genocide is also about silence. You don't see anything, you don't hear anything.” Elizabeth Becker is a pioneering journalist and author. She began her career as a war correspondent for The Washington Post in Cambodia and later served as The New York Times' Senior Foreign Editor. She has covered politics, economics, and international affairs for decades and is a sought-after commentator and lecturer. Her books—award-winning, deeply reported, and beautifully written—have reshaped how we understand Vietnam, Cambodia, and the role of women in war. Learn more: elizabethbecker.com/about | Reviews We're grateful to UPMC for Life  for sponsoring this event!

Before 20-year-old Sam Raimi could make The Evil Dead, he had to convince investors that three friends from Michigan could pull off a horror masterpiece. Enter "Within the Woods," a short film that became the ultimate pitch; screened across Detroit until enough people bought in. The result? An initial $85,000 and a one-way ticket to a freezing, abandoned cabin in Tennessee with no heat, no plumbing, and 12 weeks of pure filmmaking chaos.Bruce Campbell's on-screen suffering was real—those bruises, cuts, and exhausted reactions weren't acting. The crew ended up living in the dilapidated cabin, inventing techniques and visual effects out of creativity and desperation. It was the epitome of low budget, inexperienced but passionate filmmaking.The Evil Dead could have easily disappeared into low budget horror movie obscurity, though. They struggled to find domestic distribution until Stephen King saw it at Cannes and called it "the most ferociously original film of the year." That single endorsement transformed everything.When it was released in the UK, it became the best selling VHS of the year in 1983. It was subsequently banned as the "number one video nasty" in the UK, and called too extreme for mainstream distribution. Thanks, Mary Whitehouse.The Evil Dead rewrote the rules. It proved indie horror could be artful, that gore could be kinetic poetry, and that a cabin in the woods could become the most terrifying place on Earth. It showed a generation of filmmakers that you don't need studio money to make something revolutionary; you just need vision, determination, and friends willing to suffer for the cause.I would love to hear your thoughts on The Evil Dead (1981) !Verbal Diorama is now an award-winning podcast! Best Movie Podcast in the inaugural Ear Worthy Independent Podcast Awards and was nominated for the Earworm Award at the 2025 Golden Lobes.CONTACT.... Twitter @verbaldiorama Instagram @verbaldiorama Facebook @verbaldiorama Letterboxd @verbaldiorama Email verbaldiorama [at] gmail [dot] com Website verbaldiorama.comSUPPORT VERBAL DIORAMA....Give this podcast a five-star Rate & Review Join the Patreon | Send a Tip ABOUT VERBAL DIORAMAVerbal Diorama is hosted, produced, edited, researched, recorded and marketed by me, Em | This podcast is hosted by Captivate, try it yourself for free. Theme Music: Verbal Diorama Theme Song. Music by Chloe Enticott - Compositions by Chloe. Lyrics by Chloe Enticott (and me!) Production by Ellis Powell-Bevan of Ewenique StudioPatrons: Simon, Laurel, Derek, Cat, Andy, Mike, Luke, Michael, Scott, Brendan, Ian, Lisa, Sam, Jack, Stuart, Nicholas, Zo, Kev, Heather, Danny,

Javier Ocaña tenía fe en la película, creía desde hace tiempo que la verdadera transgresión en el cine español sería contar la historia de una chica de nuestros días que quiere hacerse monja. Ha llegado, se llama "Los domingos", y confirma la creencia de Ocaña en el buen cine de Alauda Ruiz de Azúa de la que dice siempre consigue un mecanismo con profundidad, grandes personajes llenos de matices y esquinas, complejidad, muchos temas... Cine que nos deja aire para respirar como espectadores y que nos hagamos preguntas. Esta semana también ha compartido su impresión sobre la Palma de Oro en el pasado Festival de Cannes, "Un simple accidente", del cineasta iraní Jafar Panahi, que es una buena película que torna en muy buena película teniendo en cuenta la vida y obra de Pahani, aún privado de libertad y sometido a la prohibición de no hacer cine. Y terminamos asomándonos al disco Nebraska de Bruce Springsteen que es el proceso de creación que retrata el biopic "Spingsteen. Deliver me from nowhere". Un temporada complicada para el artista, en medio de una depresión y tensiones con su discográfica, pero que es una ligera decepción para Javier por sus flashbacks repetitivos y su falta de misterio.

durée : 00:08:25 - Nouvelles têtes - par : Mathilde Serrell - Lauréate du Prix d'interprétation au Festival de Cannes pour "La petite dernière", troisième long-métrage de Hafsia Herzi, le destin de Nadia Melliti, étudiante en troisième année de STAPS, a changé, entre études et carrière naissante au cinéma. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:27:23 - Les Midis de Culture - par : Marie Labory - Aujourd'hui au menu de notre débat critique, comme tous les mercredis : du cinéma avec "La Petite dernière" de Hafsia Herzi, primé au dernier Festival de Cannes & le réalisateur russe Kirill Serebrennikov revient après son "Limonov, La Ballade" avec "La Disparition de Josef Mengele" - réalisation : Laurence Malonda - invités : Antoine Leiris Journaliste; Sandra Onana Critique française de cinéma

This year, Iranian director Jafar Panahi won the Palme d'Or at Cannes for his extraordinary new film, “It Was Just an Accident,” which he shot secretly in Tehran under great risk of serious harm. Jafar has been in prison twice on charges of “anti-government propaganda” as well as for protesting the imprisonment of other filmmakers. At this year's Toronto International Film Festival, he joined Tom Power to tell us how “It Was Just an Accident” was shaped by his two experiences in Tehran's Evin Prison.Fill out our listener survey here. We appreciate your input!

From her childhood in Islington to the red carpet at Cannes, Kathy Burke has always spoken her mind, and that strength and independence of thought is on every page of her memoir, A Mind of My Own. We sat down to speak with her about those early days in London, how they have informed her whole life, and what have been her guiding principles through it all.

A pioneering voice in Arab cinema, Annemarie Jacir has written, directed, and produced over sixteen films, with premieres at Cannes, Berlin, Venice, Locarno, Rotterdam, and Toronto. In 2007, she made history by shooting the first feature film by a Palestinian female director. All four of her feature films have been chosen as Palestine's Oscar submissions. Set in 1936 during the Arab Revolt in British-ruled Palestine, Palestine 36 chronicles the intertwined lives of farmers, revolutionaries, and business owners resisting colonial rule. It's a stirring portrait of resilience, featuring a stellar cast including Hiam Abbass, Jeremy Irons, and Saleh Bakri. In this episode, Annemarie shares the ten-year journey behind the making of Palestine 36, the challenges of filming on location under threat, and the vital role Palestinian cinema plays in preserving histories too often left untold. Palestine 36 wil be released nationwide in Cinemas across the UK and Ireland on 31st October. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Jafar Panahi siempre ha practicado un cine de resistencia. El autor iraní, encarcelado y perseguido en su país durante años, conquistó la Palma de Oro en Cannes con 'Un simple accidente', una tragicomedia que une enredo, humor y una reflexión sobre la justicia y la venganza. La analizamos a fondo en este episodio, junto al resto de estrenos, como 'La caza de brujas' de Julia Roberts, el banquete de Franco en una comedia antifascista o el nuevo fenómeno del terror en EEUU, 'Good Boy'. En 30 minutos os ponemos al día de todo.

In the conclusion of our two-part deep dive into TWIN PEAKS: FIRE WALK WITH ME, we trace the turbulent production, Cannes premiere, and long road to reevaluation that has led some to now call it David Lynch's greatest work. This episode covers the shoot itself — from on-set tension and cut scenes to the mysterious ‘Missing Pieces' — as well as the hostile reception the film received upon release and how its legacy has shifted dramatically in the decades since. Along the way, we explore how FIRE WALK WITH ME reframed the world of Twin Peaks, restored Laura Palmer's voice, and laid the groundwork for everything Lynch would explore next.

TellyCast is back in Cannes for Day One of MIPCOM 2025 — bringing you the biggest new shows, the freshest formats, and the digital-first innovators transforming the global content business.Justin Crosby talks to Jodie Whittaker and Elizabeth Berrington about Frauds — the hit ITV drama created by Suranne Jones and Anne-Marie O'Connor — as it makes waves with international buyers.Then it's format innovation with Richard Cowles of Lifted Entertainment and Jonty Nash and Chris Potts of Nobody's Hero, joined by Emily Atack, discussing the making of Nobody's Fool — the quiz-meets-reality hybrid co-hosted by Atack and Danny Dyer.Mike Beale, Managing Director of Creative Network at ITV Studios, reveals the company's new global formats including Celebrity Sabotage, The Neighbourhood, and Nobody's Fool, and explains how ITV is working with creators across the evolving entertainment landscape.From the digital-first front, Neil Francis of Night Train Digital talks about the studio's new micro-drama partnership with Spirit Studios, while Bogdan Nesvit and Anatolii Kasianov from HolyWater unpack their landmark deal with Fox Entertainment and how AI and vertical video are shaping the future of storytelling.Nella Rose, Specs Gonzalez join Callum McGinley (Callux) and Ben Doyle (Rvbberduck) to talk about her new show and After Party Studios.Then we have Victor Bengtsson from Sidemen Entertainment on what comes next for the supergroup creator collectiveFinally, Jay Bennett, EVP of Creative and Innovation at Shaftesbury, joins Justin to discuss the Canadian company's digital-first strategy, its success with short-form storytelling, and how traditional producers can evolve to meet the demands of the social video era.Recorded on location in Cannes, this episode captures the energy, creativity, and big ideas driving the future of global TV and social video.Sponsored by ITV Studios Sign up for The Drop newsletterSupport the showBuy tickets for the TellyCast Digital Content Forum Buy tickets for NEXTWAVE - NEXTWAVE: The Digital-First Production Summit Subscribe to the TellyCast YouTube channel for exclusive TV industry videosFollow us on LinkedInConnect with Justin on LinkedINTellyCast videos on YouTubeTellyCast websiteTellyCast instaTellyCast TwitterTellyCast TikTok

Ep. 355: Jafar Panahi on It Was Just an Accident Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. This year during the New York Film Festival, I was extremely fortunate to speak with Jafar Panahi, director of It Was Just an Accident. The story concerns a prison survivor who runs into the man he believes to be his former tormenter, leading him to take action and reconnect with others. Panahi's outstanding film won the Palme d'Or at Cannes this year, after years of government bans of one kind or another on his filmmaking and freedoms. Through a translator I spoke with Panahi about It Was Just an Accident and especially the enduring philosophical issues raised by its characters living under a repressive regime. It Was Just an Accident opens in theaters on October 15. My thanks to the translator for making the conversation possible. (Please note that because of recording circumstances, the audio of my questions is only in English.) Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Mom Curious is a weekly podcast produced by Hoff Studios in New York City, hosted by storyteller, actress, and thought leader Daniella Rabbani. Each episode dives into candid conversations about motherhood, womanhood, and the messy, magical spaces in between. With humor, honesty, and (you guessed it!) curiosity, Daniella sits down with women of all stripes to talk about what it really means to raise children—and ourselves—in today's world.About the Host:Daniella Rabbani (@DaniellaRabbani on Instagram) is a Brooklyn-based storyteller. On screen, she's appeared in HBO's Scenes from a Marriage, Amazon's The Better Sister, FX's The Americans, and films like Ocean's 8. On stage, she's headlined concerts worldwide, from Jazz at Lincoln Center in NYC to the State Jewish Theaters of Warsaw, Poland and Bucharest, Romania. She is also the voice behind national campaigns for Colgate, Starbucks, and Noom among others. Her award winning film OMA, inspired by her Holocaust survivor grandmother, can be seen on Amazon Prime. Through her podcast Mom Curious, Daniella blends her creative spirit and lived experience as a mother of two to spark conversations that are raw, hilarious, and deeply relatable. Her mission: to create a community where mothers (and those curious about motherhood) feel seen, supported, and inspired. This Week's Guest! Whitney Uland is a filmmaker, actor, and the creator of How to Be Famous—dubbed “Hollywood's Next Power Player” by Paper Magazine. Her work has been featured at Cannes and in Vogue, and her viral programs The Self-Made Celebrity and The Celebrity Energy Circuit have helped thousands of creatives tap into their It Factor and become magnetic to fame, fans, and opportunity. Through her signature frameworks rooted in human psychology and Hollywood secrets, Whitney is on a mission to help good-hearted, wildly talented people stop playing small and finally take up space like the stars they are. For more information, find her on social media @whitneyuland or her podcast, How to Be Famous with Whitney Uland. Learn more about your ad choices. Visit megaphone.fm/adchoices