Photography: Andrew Mee £7,000 Raised for Charity as Miss England and Mr England Contestants Dazzle at Leicestershire’s Semi-Final Fashion, talent, sustainability and fundraising took centre stage at Melton Theatre as contestants from across England competed for places in the national grand final. Melton Theatre came alive on Sunday 11th October 2026 as Miss England semi-finalists and Mr England contenders showcased their talents, creativity and charitable achievements in an entertaining national event. More than £7,000 was raised for charity, supporting Miss World's Beauty with a Purpose and Mr England's chosen charity, Balls to Cancer. Among the fundraising stars were Amber Hood from Dagenham, Essex, who raised over £1,100 for Beauty with a Purpose, and Matthew Teal from Bradford, who raised over £1,000 for Balls to Cancer. The Mr England contest is being supported by Envoy London menswear who are taking the eventual winner to Sri Lanka. Triple Crown Success for Essex Contestant Amber Hood was one of the evening's biggest winners, collecting three awards: Beauty with a Purpose, Explore the Nation and Crowd's Queen. She has now been invited to represent Essex at the Miss England Grand Final. Other standout award winners included: Ques-Li de Bruin (18), Northamptonshire - Talent winner for her impressive dance performance. Ques-Li de Bruin | Photography: Andrew Mee Sophie Mitchell (25), Derbyshire - People's Choice winner and Talent runner-up after performing a Dolly Parton song. Sophie Mitchell | Photography: Andrew Mee Pearl Ede (17), Market Harborough - WeDoEthical Iconic Legend Award winner for her recycled Vivienne Westwood-inspired creation. Evanjelin Elchmanar (25), Birmingham - Bare Face Award winner. Mackenzie Porter - (21) from Hampshire - Publicity Queen Award winner for promoting women’s golf alongside her place in the Miss England contest. Reigning Miss England Grace Richardson with co-hosts Charlotte Grant (former Miss World England) and Melissa Rae. Photography: Andrew Mee The judging panel included former Miss England winners Dr. Bhasha Mukherjee and Laura Coleman with her beauty queen mum Dena, alongside Dr. Rani Gundhu QPM & Digital judge included Ariel Lavi International film producer who chose their favourite contenders to progress to the final . The audience also celebrated reigning Miss England Grace Richardson's historic Miss World Talent victory in Vietnam, and were treated to a special singing performance from Grace, while dancers from Ann Oliver's school provided entertainment. Mel V Thomas QPM | Photography: Andrew Mee The event was hosted by the High Sheriff of Leicestershire, Mel V Thomas QPM, and co-hosted by former Miss World England Charlotte Grant and Melissa Rae , organiser of Miss Newcastle. Photography: Andrew Mee All Roads Lead to Leicester The excitement now builds towards the Miss England and Mr England Grand Final on Tuesday 17th November 2026 at Athena, Leicester, when both national winners will be crowned at a spectacular red-carpet event. Photography: Andrew Mee Before the glamour begins, Miss England finalists will take to the catwalk completely make-up-free for The One Clinic, Miss England’s new official skincare partner, who will select their favourite natural beauty on the morning of the Grand Final. Photography: Andrew Mee The finalists will then enjoy their glamorous transformations courtesy of the talented hair and make-up team from Riverside College in Stafford, long-standing supporters of the event. The new Miss England will go on to represent her country at Miss World 2027 in Tanzania. The public can now vote for their favourite Miss England finalist from 6pm on Friday 23rd October by visiting https://missengland.1voting.com/

Simonetta Lein has built a career on the belief that authenticity is our strongest connection. As the host of The Simonetta Lein Show, she invites audiences into conversations that go far beyond the surface. Balancing a hit series, her philanthropic work with the Wishwall Foundation, and her commitment to inner peace, Lein sat down ahead of her eighth season to discuss the art of the interview, setting boundaries, and the power of a quiet mind. According to HypeAuditor, Simonetta Lein maintains her position at first place in the modeling and cinema categories across Australia, alongside rankings of second in Germany and Colombia, fifth in Italy and the UK, and seventh nationwide in the U.S. You blend fashion, tech, and storytelling beautifully right now. What is the single story you are most proud of telling this year? "The story I am most proud of telling is the story of human potential," she replied. "Through The Simonetta Lein Show, I have had the privilege of sitting across from people who have reached incredible levels of success, but what fascinates me most is the person behind the achievement, the struggles, the lessons, and the moments nobody saw. This year has been about showing that behind every icon is a journey, and that vulnerability is often the greatest form of strength." You started by finding power in stillness. How does that calm energy change the vibe when you sit down with A-listers for season seven? "Stillness is my superpower," she observed. "In a world that moves so quickly, creating a moment of calm allows people to feel safe enough to be real. When a guest sits down with me, I am not there just to ask questions, I am there to create a space where they can breathe, reflect, and share something beyond the headlines. That energy changes everything." Through the Wishwall Foundation, you make real magic happen for women’s rights. What does it actually feel like when you see that “pay it forward” moment click? "It is one of the most meaningful feelings in the world," she noted. "A wish is often the beginning of hope. When you see someone realize they are supported, heard, and valued, you understand that even one small act of kindness can create a ripple effect. The Wishwall Foundation was built on the belief that humanity grows when we choose to lift each other." You get industry legends like Ice-T and Howie Mandel to totally drop their guard on your show. What is your secret to making them feel so at home? "I never approach my guests as just their fame," she explained. "I approach them as human beings. Everyone has a story they want to tell, and when someone feels genuine curiosity instead of judgment, they naturally open up." She offered a warm smile before adding, "Respect, authenticity, and a little bit of fun can break down any barrier." What is your absolute favorite, slightly rebellious icebreaker when a high-profile guest sits down and initially gives you nothing to work with? "I like to surprise people with questions they are not expecting," she answered. "Instead of asking the predictable questions they have answered a thousand times, I might ask something that takes them back to a dream, a childhood memory, or a defining moment. Sometimes the most unexpected question creates the most unforgettable conversation." "But I also believe the secret begins before the first question," she added. "I approach my guests as human beings, because at the end of the day, that is what we all are. I appreciate their time, I value their presence, and I never want them to feel like they are simply there because of their fame. When people feel respected and genuinely seen, they naturally open up and allow the real story to come through." You are filtering all your new partnerships for deep meaning right now. What is the most surprising thing you have learned about your own boundaries in that process? "I have learned that saying no can be just as powerful as saying yes," she stated firmly. "Growth means understanding your value and protecting your energy. Every opportunity does not have to be accepted. The right partnerships are the ones that align with your purpose, your audience, and the legacy you want to build." She continued, "I have also learned how important it is to surround myself with people who respect my vision, support my growth, and protect the energy I bring into the world. The people around you influence the way you feel, create, and show up, so choosing those relationships with intention is one of the greatest forms of self-respect." Your style inspires so many to feel strong. How do you translate your recent focus on inner peace and health directly into your daily fashion choices? "For me, style has always been a reflection of my energy," she reflected. "As I have become more focused on health, balance, and inner peace, I have become more intentional about what I choose to bring into my life and the people I surround myself with. Protecting your energy is just as important as taking care of your body." "I choose pieces that make me feel confident, elegant, and authentic, but I also believe true beauty comes from feeling aligned within," she added. "When you surround yourself with people who respect and protect your energy, that confidence naturally shows in the way you carry yourself and the way you present yourself to the world." You were so open about the realities of media with Teresa Giudice recently. Going from top influencer to global talk show host, what does “stardom” actually mean to you? "Stardom is not about being seen, it is about what you do with that visibility," she asserted. "The greatest privilege is having a platform that can inspire, connect, and create meaningful conversations. Fame without purpose is temporary. Influence with intention can create lasting impact." Looking at everything you have built, what is the exact feeling you want people to get when they hear the name Simonetta Lein? "I want people to feel inspiration, elegance, kindness, and possibility," she answered. "I want the name Simonetta Lein to represent the idea that you can dream boldly, stay authentic, and use your voice to make a difference." "This is me" she shared candidly. "I believe that strength is a real superpower and that happiness is a choice. In a world full of noise, I choose me and what makes me feel happy and authentic." "I choose meditation, prayer, God, family, and real friendships that I dedicate time to. I choose holistic health, protecting my energy, and continuing to learn about myself through different practices, including astrology," she elaborated. "I believe growth is a lifelong journey, and I am always working toward becoming more aligned with my purpose. And yes, I am working on that Saturn alignment." Since you radiate that energy, what is a quiet, recent victory you haven’t shared on camera yet? "One of my quiet victories has been preparing for Season 8 of The Simonetta Lein Show," she revealed. "After six years of building, evolving, facing challenges, and overcoming setbacks, I am still here, dreaming bigger and creating something even more meaningful. That, in itself, is a victory." "I am also incredibly grateful to see that the work and consistency are being recognized globally," she noted. "Quietly, recent rankings have ranked me at number one in Australia, number two in Germany, number five in the UK and Italy, and number six in Mexico and the United States in the beauty, modeling, and entertainment categories." "For me, those moments are not just about rankings," she concluded. "They represent the power of believing in your vision, staying authentic, and continuing to show up even when the journey is not always easy. They are a reminder that passion, resilience, and hard work truly do create results." You can follow Simonetta Lein on her Instagram, Simonetta Lein Show, The Wishwall Foundation.

The Emmy Award winning producer and filmmaker steps into a darker world with Final Judgment, a new action thriller starring her husband, Sean Kanan, the actor known for The Karate Kid III, Cobra Kai and The Bold and the Beautiful. Some stories begin with a question. Final Judgment begins with a challenge: when the justice system fails, what happens to the person who decides to deliver justice himself? That question drives Michele Kanan’s new film project, an action thriller centered on Martin Quick, a former elite military special operator imprisoned after killing a criminal during a robbery. Behind bars, Quick earns a law degree and watches his faith in the legal system collapse. He emerges determined to pursue those who evade justice, even as PTSD, a ruthless crime syndicate and a larger conspiracy threaten to turn his mission into something he can no longer control. The film’s tagline, “When the system fails, he delivers vengeance,” sets the tone. But Quick’s story reaches beyond the promise of action. It places a man trained for combat inside a moral conflict, asking whether revenge can ever repair injustice, or whether it only creates another kind of damage. Kanan is directing and producing Final Judgment, with Sean Kanan starring as Martin Quick. Their creative partnership brings together Michele’s work behind the camera and Sean’s decades of experience on screen. Audiences know Sean as Mike Barnes, the formidable rival in The Karate Kid III, a role he reprised in Cobra Kai. He is also widely recognized as Deacon Sharpe on CBS’s The Bold and the Beautiful. Now, the couple is bringing that familiar screen presence into a new story about trauma, power and the consequences of taking justice into one’s own hands. For Michele, Final Judgment marks another step in a career shaped by a willingness to take on multiple sides of filmmaking. She is an Emmy Award winning producer, writer and director whose credits include the digital drama STUDiO CiTY, the science fiction feature Colonials, Darkness of Man, ’Til Death Do Us Part, Limelight and the My Trip to the Dark Side films. On Bloodhound, she was credited as producer, executive producer and showrunner. Her work on Bodyman, another action thriller, has also brought her together with Sean and a cast that includes Tom Arnold and Johnathon Schaech. Her Emmy recognition came through STUDiO CiTY, where she worked as a producer and writer. The series won the 2021 Daytime Emmy for Outstanding Limited Drama Series. Kanan also shared the 2020 Indie Series Award for Best Writing, Drama with Lauren de Normandie, and was included among the show’s Emmy nominated writing team. Those honors recognize her work both behind the camera and in shaping the stories audiences saw on screen. Kanan’s path into entertainment was not a straight line. Before entering film and television, she was raising a family and helping run a medical practice. Her move into filmmaking began when she decided to step outside that established life and make a movie. Since then, she has built experience as a producer, writer and director, pairing the practical demands of production with a clear interest in strong characters and high stakes. She works with Sean through Flip Creative Media and is a member of the Producers Guild of America. That range matters in Final Judgment. The story asks its filmmaker to hold two energies at once: the forward momentum of an action thriller and the emotional weight of a man trying to live with what he has done. Quick may believe his legal education has given him a clearer view of right and wrong. His descent into vigilantism tests that belief at every turn. The film also puts Kanan’s creative evolution in focus. From award winning digital drama to independent features and action projects, her work moves across formats while keeping character at its center. With Final Judgment, she enters a world of prisons, crime syndicates and hard choices, giving its central conflict a human face.

How would you define yourself today? "Today, I define myself first and foremost as an entrepreneur and a mentor," Halili said, "but I am also a dancer, choreographer, actor and a model." She noted, "On a personal level, I am ambitious, resilient and constantly evolving. I am not afraid of hard work, and when I set a goal, I find a way to move toward it, even when the path changes along the way." She stated, "Today, I understand that I have built much more than a dance studio. I have created a community where girls and women develop through movement while also gaining confidence, discipline, leadership skills and an entrepreneurial mindset." How did you evolve from dance into choreography, modeling, acting and entrepreneurship? "Movement and performance have always been part of my life," Halili explained. "Even as a young girl, I was drawn to dance, modeling, acting and creative expression. I never saw them as completely separate worlds - they were all different ways for me to communicate, tell stories and express different sides of myself." She continued, "After my mother passed away when I was 11, I had to grow up very quickly. By the age of 16, I had already opened my own dance studio. That experience introduced me to responsibility, leadership and business at a very young age." "At the same time, I continued developing my own career. I worked as a model and fronted major campaigns, including nationwide outdoor campaigns. As an actress, I appeared in award-winning films & series such as Asia, Bnei Or & more." She added, "Each part of my career naturally led to the next. Dance developed into choreography, teaching, workshops and events." "The studio taught me how to manage people, build a team and create a community. My experience as a performer helped me understand branding and communication. Eventually, all of these worlds developed into digital courses, personal mentoring and business guidance." Halili concluded, "Entrepreneurship was never a departure from my creative career. It became the way I could connect all of my experience, turn ideas into real projects and create opportunities for myself and for others." What have been the biggest challenges and turning points in your journey? "Losing my mother at such a young age was one of the most defining experiences of my life," Halili said. "It forced me to become independent, responsible and emotionally strong much earlier than I expected." She shared, "Opening my studio at 16 was another major turning point. I was still growing up myself while already being responsible for students, a business and a vision that I wanted to develop. I had to learn through experience how to lead, make decisions and continue moving forward even when I did not have all the answers." "One of the clearest turning points came after my first trip to Los Angeles. I was around 20 years old, and I suddenly looked at my life from a different perspective. I realized that I already owned a studio with approximately 200 students - and that what I had built at such a young age was actually extraordinary." She noted, "That realization made me stop, reset and organize everything. I began asking myself bigger questions: What had I already created? Where could it go next? How could I build it more professionally and create something much larger from it?" "Another ongoing challenge has been learning how to grow without losing myself. In dance, modeling, acting and business, it has always been important for me to choose opportunities that feel respectful, professional and aligned with who I am." What is The FLAME Method, and what inspired you to create it around flexibility, strength and confidence? "The FLAME Method is an approach that combines flexibility, strength, technique, body awareness, confidence and performance," Halili explained. "It was created from years of working with dancers and women at different levels, and from recognizing what was often missing in the way movement is taught." She stated, "I believe dance should be enjoyable, expressive and empowering, but it should also be built on strong foundations. Today, people are often encouraged to look for quick results or focus mainly on how a movement appears on camera. The FLAME Method brings the focus back to understanding the body, developing strength and flexibility safely, learning correct technique and remaining consistent enough to create real progress." "The method is also about the environment in which that progress happens. Professional training does not have to feel cold, intimidating or competitive. I wanted to create a genuine community where women support one another, celebrate progress and encourage each other to move forward." "It is not only about coming to a class and having fun for an hour. It is about enjoying the process while developing discipline, confidence and a deeper connection with your body." What’s next for Eden Halili, and where do you see yourself internationally? "I feel that I am entering a new chapter," Halili said. "I still love dancing, performing and acting, and I would be happy to continue developing those parts of myself. However, what attracts me most today is the transition into leadership, management and business." She noted, "My goal is to make the FLAME Method accessible to women worldwide through online programs, international workshops, collaborations and a strong global community." "I see myself developing worldwide, especially in the United States, Europe & Dubai and teaching, creating, building partnerships and expanding both the creative and business sides of my work." "I am not leaving the stage behind - I am expanding my role. I want to use my experience not only to perform, but also to lead, manage, mentor and help other talented people turn their abilities into meaningful and sustainable careers." What is something people often misunderstand about you? "People do not always realize that behind the appearance, confidence and dance, there is also a businesswoman," Halili pointed out. "I am deeply interested in entrepreneurship, strategy, management and the commercial side of building and developing ideas." "Over the years, I have had to prove that being feminine, visible and expressive does not contradict depth, seriousness or professionalism." "Today, I understand that I do not need to make myself smaller or change who I am in order to be taken seriously. The way I look and express myself is part of who I am, and it does not take away from my intelligence, abilities or professionalism." Who is Eden Halili when she’s not working, performing or building a business? "The truth is that even when I am not working, my mind continues to work," Halili said. "New ideas are always coming to me, and I think that is simply part of who I am. Over time, I have learned not to fight it, but to accept that creativity, thinking and building will always be a part of me." "At the same time, one of the most important things I have been working on in recent years is finding my own sense of peace. It is not necessarily about stopping my thoughts, but about learning to breathe, be present and feel fulfilled and secure without depending on income, success or the next achievement." "I love the moments when I can simply laugh, enjoy myself and be present without feeling that I always need to lead or manage everything. That sense of peace, fulfillment and balance has become a new personal goal for me." What gives you the confidence to keep reinventing yourself? "I think a large part of my confidence developed from my survival instinct," Halili explained. "From a young age, I understood that I had to learn how to handle challenges, adapt and continue moving forward even when I did not have all the answers." "Later, I realized that in order to make decisions confidently, I needed to explore things deeply and understand every small detail. Every time I learn something, I discover another layer to understand, and then another one. That knowledge allows me to see the bigger picture and make decisions with greater clarity and courage." "I do not believe that confidence means being fearless. For me, confidence is knowing that even when I enter a new world, I am capable of learning, understanding and finding my way through it. Every time I reinvent myself, I am not starting from zero - I am bringing everything I have already experienced, learned and built with me." Is there a side of you that the public hasn’t really seen yet? "The public has mainly known me as a dancer, performer and content creator," Halili said, "but there is also a very strategic and business-oriented side of me that is only now beginning to become more visible." "Behind every class, workshop, event or piece of content I create, there is a great deal of planning, management and decision-making. I genuinely enjoy developing ideas, recognizing potential in other people and helping turn talent into something structured, stable and sustainable." "There is also a more sensitive and private side of me that I do not always show. I care deeply about the people around me, and I take their growth and success personally. I believe that the next chapter of my life will reveal more of both sides - the businesswoman and the person behind the public image." If you could give one piece of advice to your younger self at 16, when you first opened your studio, what would it be? "I would first tell her to believe in herself more and trust her instincts," Halili stated. "Those instincts were almost always right, but for a long time, I searched for external confirmation. I did not always know whom to ask or where to find that reassurance, and searching for it delayed me in many situations." She concluded, "I would tell her that she doesn't need to wait for someone else to confirm what she already feels and knows inside. Other people will not always be able to see the full picture she sees or understand her path."

The Better World Fund's "Gala for Humanity" Honors Egypt and Global Changemakers at the 83rd Venice Film Festival. The Better World Fund once again took center stage during the 83rd Venice Film Festival with its "Gala for Humanity," held at the Procuratie in St. Mark's Square, Venice. Focused on cinema and art in the service of humanity - championing women's rights, gender equality, and education - the event brought together influential figures from the worlds of cinema, philanthropy, diplomacy, and technology, highlighting the power of art and culture as catalysts for meaningful global change. Angelina Usanova Organized under the high patronage of the Arab Republic of Egypt in France, with the support of H.E. Tarek Dahroug, Ambassador of Egypt to France, and his wife, Alia El-Sirafi, this year's edition paid tribute to Egypt and celebrated its rich cultural heritage. The event was presented in collaboration with Anwar Elkamony's Hope Giver Campaign, further strengthening the Better World Fund's commitment to high-impact humanitarian initiatives. "We believe that today the film industry has an essential role to play as a vehicle for social, educational, and environmental values. Raising public awareness is a fundamental pillar of art, as is the need to give greater visibility to powerful and compelling films driven by the desire to make a positive impact on the world," said Manuel Collas de la Roche, President and Founder of the Better World Fund. Continuing a tradition dedicated to those making a positive impact, the Better World Fund has recognized and honored an extraordinary array of international figures over the years. Previous editions have welcomed and celebrated Hollywood icons including Susan Sarandon, Sharon Stone, Kevin Costner, Catherine Deneuve, Juliette Binoche, Isabelle Huppert, H.S.H. Prince Albert II, Mary J. Blige, and David Lynch, alongside renowned activists, business leaders, philanthropists, ambassadors, and members of royal families. The "Gala for Humanity" held at the Procuratie, with a red-carpet reception, followed by a charity dinner, artistic performances, and the presentation of the Better World Awards. The evening also featured a special tribute to the Amazônia Fund Alliance and the Akbaraly Foundation. The event honored a distinguished group of personalities from cinema, culture, diplomacy, and social engagement with the Better World Fund Award, including Shahrbanoo Sadat, writer, filmmaker, and producer; Beth Powell, Jamaican airline captain, filmmaker, and producer; Julian Mylchreest; Thierry Klemeniuk; and Soraya Chaar, Amazônia Fund Alliance Program. The Hope Giver Campaign Award was presented to Mrs. Elvira Paterson, honoring a global movement launched in 2021 to inspire hope and support vulnerable communities worldwide. Ahead of the Gala, at the Procuratie, the Better World Fund brought together international leaders, policymakers, artists, and thinkers for a high-level forum for dialogue. Structured around two sessions - "Stories, Scripts, Screens: Can We Sculpt a Better World through Cinema?", curated by Valentina Castellani Quinn, and "Artificial Intelligence for a Better World," led by Enzo di Taranto - the program examined how diplomacy, cinema, and technology can contribute to building a more equitable and sustainable future. Discussions addressed the role of artificial intelligence in education, sustainability, cinema, and global development, with a particular focus on women's leadership, gender equality, and the future of education. Key themes included the legacy of AI for future generations and its impact on storytelling, culture, and society. Valentina Castellani Quinn Master Class The program featured a distinguished group of speakers and panelists. The cinema session, "Stories, Scripts, Screens: Can We Sculpt a Better World through Cinema?", moderated by Valentina Castellani Quinn, brought together Shahrbanoo Sadat, writer, filmmaker, and producer (in collaboration with the Venice Film Festival); Matt Hookings, actor and CEO of Camelot Films; Clara McGregor, actress and producer; Alexandre Bouchet, film director; Luke Faulkner, film producer; and Michela Scolari, film producer. Together, they discussed how cinema can contribute to building a safer, fairer, and more inclusive world. The session dedicated to artificial intelligence was moderated by Enzo di Taranto, with the participation of Cinzia Catalfamo Akbaraly, President of the Akbaraly Foundation, and Angelina Usanova, Miss Universe Ukraine 2023 and Miss Eco-International 2024. Together, the two sessions reflected the Better World Fund's mission to foster dialogue and collaboration across different sectors, using culture, technology, diplomacy, and cinema as catalysts for a more inclusive and forward-looking future. The Better World Fund thanks its partners and supporters for their generous support: Hotel Nani Mocenigo Palace; the Embassy of Egypt in Paris; EgyptAir, a Star Alliance member; Hollywood Hills Magazine; The Human Safety Net; Amazônia Fund Alliance Program; Akbaraly Foundation; Relentless Magazine; Thalie Paris; Christophe Como RJC Project Management LLC; Enif Make Up Academy; Obsidian; To Share The Italian Good Living; Vitiamo; A Pinch of Soul; Studio Mao; L. Raphaël; La Prairie Switzerland; Dante Mortet; Adalgisa Conte of Travel Setter Italy; Anwar El Kamouni and The Hope Giver Campaign; Camelot Films; ENIF Makeup Academy; Sting and Il Palagio Vineyard; RepoStage Magazine; Joanna Plafsky; Maia Wine; Dr. IVY London; SANCTA CRUX Wine; La Giuva. Special recognition was given during the event to the support of the Amazônia Fund Alliance Program. Launched in 2023 during the Cannes Film Festival at the Better World Fund Gala, and working in partnership with the Brazilian Federation of UNESCO Clubs and Associations, the Program connects local communities and environmental initiatives with international partners, specialist expertise, and resources. Since its launch, the Amazônia Fund Alliance Program has supported and connected a growing network of organizations and initiatives, including SOS Amazônia, ANMIGA, AmazoniAlerta, O'Organismo, Centro Huwa Karu Yuxibu, HealthRoots Project, Mermaid Hotel Amazon, Mothers of the Amazon, and Yemaya Productions. Together, these organizations and initiatives work across complementary areas including biodiversity conservation, forest restoration, Indigenous rights and women's leadership, cultural heritage preservation, community health, food security, access to technology, intercultural dialogue, sustainable development, and the amplification of Indigenous voices through media and film. The Amazônia Fund Alliance Program is supported by internationally renowned public figures and philanthropists, whose involvement helps amplify its mission, visibility, and impact. Through its international network, the Program helps these organizations and initiatives increase their visibility, build strategic connections, and gain access to funding, technical expertise, and other forms of support tailored to their specific needs. This year, two major initiatives provide tangible evidence of the impact of this work. Thanks to an extraordinary €500,000 donation from one of the Amazônia Fund Alliance Program's benefactors to Mothers of the Amazon, the organization was able to support the acquisition and protection of 20,501 hectares of forest and biodiversity in the Acre region, returning the land to the Huni Kui people. Seeking to help audiences understand what the peoples of the forest are fighting to protect, the Amazônia Fund Alliance Program also supported the film "RAONI," directed by Alexandre Bouchet, helping to mobilize funding for the project and bring greater attention to the legacy of Chief Raoni and a century-long struggle to protect the Amazon. This commitment reaffirms a fundamental belief: protecting the Amazon also means protecting the voices and stories of those who defend it. At Better World Fund Venice, the Better World Award recognized the Amazônia Fund Alliance Program's continued commitment to protecting the Amazon, supporting Indigenous communities, and turning international support into concrete action. Working alongside Indigenous communities, local organizations, and international partners, the Program supports conservation projects, cultural heritage protection, reforestation, and community-led initiatives throughout the Brazilian Amazon. Through responsible partnerships, international advocacy, and resource mobilization, the Program helps support the people and organizations working every day to protect the Amazon and the communities that call it home. Enzo Di Tarento The evening also honored the Akbaraly Foundation and its mission of care for people and life for the world, alongside people who share the belief that meaningful change is possible when solidarity is translated into concrete action. The Akbaraly Foundation was established in 2008 from the vision of its Founder and President, Cinzia Catalfamo Akbaraly, and from one fundamental principle: access to healthcare and education should never depend on where a person is born, their economic circumstances, or whether they are a woman. Through its medical centers, laboratories, Mobile Unit, and community-based programs, the Foundation places particular emphasis on women's and children's health, cancer prevention and early diagnosis, maternal health, and support for people in the most vulnerable circumstances. To date, the Akbaraly Foundation has provided more than 300,000 healthcare services, including over 80,000 breast cancer screenings, 75,000 cervical cancer screenings, and 22,000 pediatric consultations. At the same time, through awareness, prevention, and screening campaigns, it has reached more than one million people. Manuel Collas de La Roche Masterclass These achievements reflect an ongoing commitment: to turn solidarity into action and help make the right to healthcare a tangible and accessible reality for everyone. But behind every number is a person. There is a woman who, thanks to a timely diagnosis, can return home to her family. There is a child, once weakened by malnutrition, who can now grow, learn, play, and imagine a future. There is a community receiving the tools it needs to protect its health and that of future generations. Yet for every person reached, many more are still waiting for a screening, a diagnosis, treatment, essential medicines, or adequate nutrition - or simply for someone to make them feel that they have not been forgotten. Every donation enables the Akbaraly Foundation to reach more patients, provide more care, strengthen its healthcare facilities, and bring essential assistance to the places where it is needed most. Supporting the Foundation does not simply mean funding a program. It means helping to make essential healthcare, restoring dignity and hope and, in some cases, offering a second chance. The Akbaraly Foundation invites everyone who shares its values to support its work and contribute to building a future in which quality healthcare and education are not privileges reserved for a few, but opportunities accessible to all. Better World Fund Website

Photography: Nicolas Tobias Følsgaard Writer and director Brian Sean Tange brings a distinctive, uncompromising eye to Kessler: The Viking Warrior. In this exclusive conversation, he discusses the parallels between corporate boardrooms and championship rings, the meticulous art of casting, and the grit required to bring an epic scale. You built an intense, high-stakes drama in the corporate boardroom with “Hood” and a Danish drama about the famous dancer Silas Holst “I believe I love you”. How does that compare to capturing the visceral brutality of a world championship boxing match? "The intensity of sitting in a boardroom, negotiating for your future and millions of dollars, can be just as brutal and psychologically demanding as stepping into a boxing ring," he said, reflecting on the thematic connections across his work. He continued, "The difference between Hood and Kessler: The Viking Warrior is simple: in boxing, there is nowhere to hide. When the bell rings, you stand alone. Man against man. Every decision, every second, every mistake belongs to you. One moment can mean the difference between victory and defeat." He added, "Boxing is also one of the most visceral and cinematic sports ever captured on film. It is raw, physical, and deeply emotional. The sound of a punch, the roar of the crowd, the fighter's breathing, the silence before impact. These elements become part of the storytelling itself." He concluded, "In Kessler: The Viking Warrior, you won't just watch the fight. You'll feel every punch, every heartbeat, and every ounce of pressure that comes with risking everything when there is nowhere left to run." Photography: Nicolas Tobias Følsgaard Mikkel Kessler is a national icon in Denmark, known for his relentless discipline. How do you balance honoring his legacy with the need to build a gripping, cinematic narrative? "Mikkel's life is the kind of story filmmakers dream about," he noted. "The battles fought outside the ring were often just as intense as the ones fought under the bright lights. His journey contains enough drama, sacrifice, victory, and personal struggle for ten lifetimes, let alone one film." He explained, "In preserving his legacy, we have stayed true to the spirit of who he is. Blending reality with carefully crafted storytelling, our ambition has been to honor both the icon and the human being behind the legend." He remarked, "Ultimately, it was important for us to tell Mikkel's story. For years, his family has been part of the public conversation in Denmark largely because of the legacy he created and the reality stars they have become afterwards. But this time, we wanted to bring the focus back to where it all began: the man himself." He noted further, "The timing could not be more fitting. As Kessler: The Viking Warrior tells the story of his extraordinary journey, the real Mikkel Kessler is preparing for his own comeback on November 28, 2026. in many ways, life is imitating cinema once again." The cast features Hollywood veterans like Jeremy Piven (Entourage) alongside Danish heavy-hitters such as Dar Salim (The Covenant and The Game of Thrones), Bodil Jørgensen (The last Viking and the Idiots), Anders Matthesen (Checkered Ninja and Toscana) and Thomas Bo Larsen (The hunt and the Celebration). What is your secret to blending these very different acting backgrounds on set? "Working with actors at this level is a privilege," he stated. "They have spent a lifetime mastering their craft." He added, "As a director, your responsibility is to arrive fully prepared, with a strong vision and the confidence to lead, while also having the humility to listen." He continued, "Together, scene by scene, you build something greater than what exists on the page. Through trust, collaboration, and creative exploration, the characters come alive." He concluded, "Then the magic happens. The actors are now in their element and elevate every moment beyond your expectations, creating the kind of performances that stay with an audience long after the credits roll." Left to right: Peter Mangraad, Nicolai Afseus, Lee Levi , Brian Sean Tange | Photography: Nicolas Tobias Følsgaard Sylvester Byder is lacing up the gloves to play Kessler himself. What was the exact moment you realized he had the raw intensity to pull off this physically demanding role? "Time was running out - we had the other characters settled," he recalled. He mentioned, "With only a few months left before production, we still hadn't found the actor capable of becoming Mikkel Kessler. Sylvester's name kept appearing in conversations, but I was skeptical. I admired him, but I couldn't immediately picture him as one of Denmark's greatest boxing champions. My Producer Johan Dahlerup kept saying, give him a chance." He explained, "Then he walked into the casting room. Within minutes, everything changed. There was something impossible to ignore. Not just talent, but presence. Intelligence. Focus. Determination." He added, "Beneath his youthful energy was an actor with exceptional emotional depth and a relentless desire to understand the character from the inside out. In that moment, I knew we had found our Kessler." He reflected, "The last hurdle was the physical journey. Could he transform himself into a world champion fighter? He embraced the challenge without hesitation. What he achieved was extraordinary." He concluded, "Beyond the astonishing physical transformation, what impressed me most was his dedication to honoring the man behind the champion. The creative partnership we built throughout the process became one of the highlights of the entire production, and together we created a Kessler that we are both incredibly proud of." The script comes from Adam August, who has a strong pedigree in character-driven storytelling. How did the two of you find the actual man hiding behind the Viking Warrior myth? "Every legend leaves behind a thousand stories," he observed. "The challenge is deciding which ones make it to the screen. Creating a film about Mikkel Kessler meant making difficult choices from day one. Some of our favorite moments, characters, and stories had to be left behind. That's the nature of filmmaking. You constantly have to kill your darlings in pursuit of something greater." He continued, "Together with Adam August and producer Johan Dahlerup, I set out to find the heart of the story. Not just the boxer. Not just the champion. The man." He noted, "Mikkel was involved throughout the process, and our many conversations helped guide us toward the emotional truth behind the public image. While Jesper Alexander Blok, who is the creative producer, was a huge part of the boxing matches and facts around the fights.״ "It was meant to be cinema. Cinema that feels larger than life. Cinema that captures the intensity, the emotion, and the mythology surrounding one of Denmark's greatest sporting icons." He added, "To achieve that, we embraced both reality and fiction. Because sometimes facts tell you what happened. Cinema tells you what it felt like." Kessler faced legendary opponents like Joe Calzaghe, Andre Ward and Carl Froch. Will the movie focus strictly on his biggest victories, or will it lean just as hard into the emotional toll of his defeats? "I could tell you what happens," he smiled. "But that would miss the point. This is not a film that should be explained. It's a film that should be felt." He stated, "You will laugh. You will cry. You will believe. You will doubt." He concluded, "There will be moments filled with hope and moments where all hope seems lost. And through it all, you'll walk in the shoes of the man on the screen. The journey, the people, the victories, and the sacrifices are things best experienced the way cinema was always meant to be experienced: On the big screen. Together. Feeling every moment." You have a massive ensemble that includes very experienced actors like Vicki Berlin, Jesper Lohmann, Jacob Lohmann, Molly Egelind, Amalie Dollerup, Johannes Lassen, Mia Lyhne and huge talents like Lee Levi, Sebastian Bull, Sylvester Byder, Anna Munch, Josephine Højbjerg Youssef Hvidtfeldt And Jesper Alexander Blok. How do you ensure such beloved, recognizable actors disappear into their specific roles without distracting the audience? "Casting is one of the most important creative decisions a filmmaker can make," he explained. "For this film, we invested nearly a year in finding the right actors, watching countless performances and carefully researching every role. Our ambition was never simply to assemble a strong cast. We wanted to create a family of characters who felt real, layered, and emotionally connected." He mentioned, "The strength of the ensemble comes from its diversity. Different generations, different energies, different approaches to acting. The combination of youth and experience, restraint and intensity, creates a dynamic that feels alive on screen." He added, "Once cast, every actor became part of the creative process. Together, we revisited scenes, developed characters, explored motivations, and made adjustments where necessary to ensure everyone felt deeply connected to their role." He concluded, "This collaborative approach created an incredible level of dedication and ownership throughout the production. I had a very specific vision for every character, but what made the experience special was watching these actors exceed anything I could have imagined. They embraced the characters as if they were their own. And I believe audiences will feel that honesty and passion in every frame." Brightside Pictures and Northstar Studios are backing this as one of Denmark’s biggest recent film undertakings. Does working with that massive scale and budget change your approach as a film director? "Being an independent filmmaker comes with both freedom and responsibility," he reflected. "The greatest advantage is that you are not bound by traditional ways of making films. From the screenplay to the visual language, every creative decision can be driven purely by vision and ambition rather than convention." He noted, "At the same time, independence demands sacrifice. With a budget of approximately $1.3 million, I was deeply involved in every aspect of the process, constantly making difficult choices, cutting scenes we loved, and finding creative solutions to achieve something far larger than our resources would normally allow." He stated, "Our ambition was simple: to create an epic cinematic experience on Danish soil. I genuinely believe audiences will see something they have never experienced before in a Danish film." He added, "We assembled an exceptional team of artists and technicians, including some of the finest lighting and cinematography professionals in the industry. In particular, I want to highlight Nicolas Tobias Følsgaard, our Director of Photography, co-owner, and creative producer. Nicolas was not only instrumental in shaping the visual identity of the film, but also played a significant role in the script, production, and overall creative vision." Left to right: Brian Sean Tange , Lee Levi , Peter Mangaard, Nicolai Afseus | Photography: Nicolas Tobias Følsgaard "Together, we embarked on an ambitious journey to create a visually stunning biopic with the scale, ambition, and cinematic quality of a film many times our budget. We believe we achieved that, and it is something everyone involved in the production can be proud of." "I would also like to thank my partners at Northstar Studios, Lee Levi, Nicolai Afseus, Peter Mangaard and Michael Kristensen. We invested not only our time and passion, but also our own resources to make this film a reality. To our investors and executive producers: without your belief in the project, there would simply be no film." He finished with gratitude: "And finally, to my fiancée, Lee Levi. She has stood by my side through every challenge, every victory, and every difficult decision along this incredible journey. For that, I am eternally grateful." When audiences finally walk out of the cinema 18 of march 2027, what is the single core feeling you want them to take away from Mikkel Kessler's journey? "I want people to leave the cinema believing that no matter how hard life hits you, there is always another round to fight," he said firmly. "Courage. Sacrifice. Legacy." You can follow Brian Sean Tange on his Instagram, Northstar Studios, IMDB

Photography: Nikki Ross Guillermo del Toro builds worlds that exist entirely on their own terms. To step into his cinematic universe as a young artist is to watch practical magic take physical form before the cameras even roll. In this exclusive conversation, Sofia Galasso reflects on the scale of Frankenstein, the craft of character creation, and what it takes to bring complexity to the screen at just eleven years old. Guillermo del Toro has a very distinct vision for his films. What was it like stepping onto the set of Frankenstein for the first time, and how did he help you find your character? "That's a really great question," she said, recalling the memory. "Frankenstein was like nothing I had ever imagined. I remember seeing the ship being built in the studio parking lot and thinking it was so cool. My tutoring trailer was right beside it, the stunt team would have rehearsals, that was really amazing. Everyday was just like that, I really looked forward to seeing what would be there next." She continued, "Guillermo was so kind and funny, and I really enjoyed working with him. I loved listening to him give directions, not just to me but to everyone. Before my scenes, Guillermo would talk to me and make sure I understood what I needed to do. I was younger then and that really helped me know what he expected and helped me find my character. I also really loved when Guillermo would yell ‘ACTION’ …that was exciting." She added, "I also think finding my character happened during all the costume fittings and I loved meeting all the people who worked in costumes and hair and make-up…I loved that part of becoming Anna-Maria." Photography: Nikki Ross You share the screen with incredible talents like Jacob Elordi and David Bradley. What was it like watching them transform into their characters on the set of Frankenstein? Did you learn anything by watching them work? "Seeing everyone become their characters was one of my favourite parts of being on set," she remarked. "When Jacob came onto the set on my first day as the creature, and seeing David as my grandfather, it was really amazing. I learned a Yorkshire dialect for the film; and I would listen to David Bradley and speak with him for practice." She mentioned, "A few times after my scenes were done, I was able to stay back and watch Jacob film his scenes, and that was amazing to see. I really loved watching Jacob as the creature." Photography: Nikki Ross You’ve been dancing since you were three, and continue to train in ballet and compete in tap, jazz, lyrical and musical theatre. How does your dance background help you when you’re acting? "I think my dance background helps me with my acting in a lot of ways," she noted. "With dance, you’re telling a story with your movements and facial expressions. When I am learning choreography, I have to listen carefully, follow directions and pay attention to timing." She noted further, "This is the same when I’m acting in a scene - knowing how to express emotions, take directions and be on time with my scene partners. I would really love to combine dance and acting together one day." Playing Anna-Maria in Frankenstein and Eva in Slip requires you to tap into different kinds of emotions. Do you have a specific way you prepare yourself before the director calls "action"? "I really love wardrobe and becoming the character, I was always really obsessed with dress-up when I was little and Halloween," she recalled. "I had so many different costumes, I spent a lot of time in a batman costume as a little kid. I think my earliest times on set what I loved the most was getting to wear costumes and become the character. It was just really fun." She reflected, "The emotions of Eva and Anna-Maria characters are very different - I think it’s important to understand the story and how your character is feeling." Photography: Nikki Ross Acting often requires you to step into someone else's shoes. What is the most surprising thing you have learned about yourself by playing characters who are different from you? "I’ve learned that even when a character is really different from me, I can try to find ways to connect with what they are experiencing," she explained. She added, "I also have an amazing acting coach and we spend time rehearsing scenes together and figuring out the character …we share ideas and sometimes the way we start a scene is nothing at all like the end result." The sets for films like Frankenstein are highly detailed and atmospheric. Do you prefer working with practical sets and costumes, and how do they change the way you act? "I really like both, but if I had to choose I think I would choose any set that lets me go back in time," she answered. "Frankenstein was my first role that let me experience that. The wardrobe, hair and makeup and being on the sets. It really helped bring me into that time." Photography: Nikki Ross Many young actors find it difficult to balance the demands of school, training, and filming. How do you find quiet moments for yourself when your schedule gets demanding? "It can definitely be hard, I try to be really organized with my schedule," she said. "My mom and sisters help me a lot too. Sometimes we’ll read scripts in the car on the way to dance, and we’ve even taped auditions on vacation or at dance competitions…my family helps me a lot." She shared, "When I do have quiet time, I like to read or watch movies. I have a new puppy named Phoebe to spend time with and my friends - I also really love school." Photography: Nikki Ross When you read a script for the first time, what makes you fall in love with a character and decide you want to play them? "I know immediately when I love a script," she stated. "When I first read a script, if the story really interests me I want to know everything I can about it." She explained, "I love reading character descriptions and learning about who they are. I like to memorize my lines before going to sleep and I dream about the story." You have accomplished a lot by the age of 11. When you look toward the future, what kind of stories or characters are you hoping to bring to the audience next? "Thank you! That’s a really hard question because there are just too many stories and characters!" she smiled. "There are so many different kinds of roles I’d love to play," she continued. "There’s actually an audition I did recently that I can’t stop thinking about. I would really love the chance to play that role because it has so many of the things I love all together. It’s exciting to know that opportunities like that are out there." She concluded, "Mostly, I just hope I get to keep acting and have the chance to play lots of different characters and tell lots of different stories."

In line with MBC GROUP’s vision and Saudi Vision 2030, investing in Saudi human capital has been at the heart of our Audio and Music strategy. By empowering young talent, developing local capabilities and creating opportunities across radio, podcasts and music, we are contributing to a creative ecosystem that reflects the Kingdom’s ambitions. For Ziad Hamza, whose career has been rooted in programming and content, the transformation of audio is not simply about technology. It is about preserving the relationship between the medium and its audience while adapting to how people increasingly consume content. “Radio has always had a unique relationship with its audience. Whether you are listening during your morning commute or late at night, there is a sense of companionship that is difficult to replicate. Technology may change how people listen, but that personal connection remains. Our responsibility is to strengthen it across FM, streaming, podcasts and emerging digital platforms.” Having witnessed the evolution of the industry first-hand, Hamza believes that data has become an increasingly important tool in understanding audiences, but it cannot replace creative instinct or cultural understanding. “Data can tell us what people are listening to and how their habits are changing, but it cannot create an emotional connection on its own. Creativity and understanding the culture of your audience remain essential. Our focus is on giving Saudi creators the platforms and confidence to tell their own stories and reach audiences across the region.” Beyond broadcasting, Hamza sees significant opportunities emerging from Saudi Arabia’s rapidly developing music and entertainment sector, from artist development and music production to live events and commercial partnerships. “What is particularly exciting today is that we are seeing an ecosystem taking shape. Riyadh Season and the General Entertainment Authority have opened new doors for the music industry, but the opportunity goes beyond individual events. It is about developing talent, building capabilities and creating a sustainable industry around music and entertainment.” Hamza also sees artificial intelligence and digital innovation reshaping how audio and music are produced, distributed and discovered. However, he believes technology should enhance creativity rather than define it. “AI will undoubtedly change parts of our industry and give creators new tools, but technology should serve creativity, not replace it. Ultimately, audiences connect with ideas, personalities and stories.” Looking ahead, Hamza believes the next phase of growth will depend on combining technology with talent development and a deeper understanding of local audiences. “The future of audio and music is about investing in people, embracing innovation and creating content that genuinely connects with audiences. If we get that balance right, we are not simply responding to how the industry is changing; we are helping build an industry that can grow from Saudi Arabia and reach audiences across the region.”

From September 26 to October 4, the seventh edition of the Matera International Film Festival brings together 815 works from 57 countries, independent cinema, leading international figures, masterclasses and the new MAMA – Matera Film Market. Artistic Director Valentina Castellani-Quinn: “Matera can become a bridge between different worlds and help draw a new map for the future of cinema.” MATERA - Not simply a festival where films are presented, but a place where the world of cinema can come together, exchange ideas and shape its future. This is the ambition behind the seventh edition of MATIFF – Matera International Film Festival, taking place from September 26 to October 4, 2026, with the Mediterranean chosen as this year’s central theme and narrative horizon. Under the presidency of Leonardo Fuina and the artistic direction of Valentina Castellani-Quinn, MATIFF strengthens its international vocation with a program combining arthouse and independent cinema, premieres, industry meetings, masterclasses, literature, music, art and civic engagement. The numbers already reflect the Festival’s growing international dimension: 815 works from 57 countries, divided across seven competitive categories, ranging from feature films and documentaries to short films, animation, screenplays, music videos and advertising. Castellani-Quinn: “Less red carpet, more hands-on” At the heart of the 2026 edition is a clear vision: to transform Matera into a working and meeting place for international cinema, prioritizing professional relationships and the development of new projects over the purely social side of the festival experience. “My commitment as Artistic Director of MATIFF 2026 has been to build a truly international film festival, inspired by the original spirit of the Sundance Film Festival, with which I collaborated in the United States, where I have lived and worked as a film producer for the past thirty years. A festival less focused on red carpets and more ‘hands-on,’ dedicated to independent cinema, screenwriting, production and distribution, creating meaningful connections among filmmakers, producers, distributors and major players in the international film industry. “In an industry that is deeply fragmented and constantly evolving, Matera and MATIFF aim to serve as a bridge between different worlds: a place to meet, develop collaborations and build new projects. Matera’s unique intimacy allows us to create a true global village of cinema, capable of helping draw a new map for the future of filmmaking,” says Valentina Castellani-Quinn. The concept of a “global village of cinema” is one of the defining elements of the new MATIFF: harnessing Matera’s extraordinary and intimate scale to bring together professionals who would normally meet only at major international film markets, creating a more direct environment where collaborations can emerge between Europe, the United States, the Mediterranean and new territories in the global audiovisual landscape. From Sergio Castellitto to James Conlon: Nine Days of International Cinema The Festival will open on September 26 with Sergio Castellitto, who will take center stage on opening night with Giuseppe Tornatore’s The Star Maker (L’uomo delle stelle), selected to introduce the Mediterranean as a space of encounters, identities and cultural exchange. Castellitto will receive the MATIFF “Acqua del Cinema” Award. Nicola Claudio, Chairman of Rai Cinema, is also expected to attend. The international jury will be chaired by Deirdre Hopkins, Head of Feature Films at BAFTA, joined, among others, by Gary Shapiro, producer and former Senior Vice President at Sony Pictures, and American actress and producer Julie Carmen. The program spans different generations and cinematic traditions. Masterclasses with Sergio Castellitto and Alessandro Gassmann are scheduled, while Lina Sastri will present the short film La mancanza. A special tribute will honor Robert Redford, featuring a screening of The Milagro Beanfield War in partnership with Universal Pictures and attended by Julie Carmen. The international selection also includes The Present by Palestinian filmmaker Farah Nabulsi, winner of the 2021 BAFTA Award for Best British Short Film and nominated for an Academy Award that same year. Also on the program is Jihan K’s My Father and Qaddafi, followed by a conversation with the director, while Antonio Capuano will receive a Lifetime Achievement Award and, together with Teresa Saponangelo, present Il buco in testa. Among the other announced highlights is the world premiere of Matt Routledge’s The Awakening, starring Kevin Spacey and presented by producer Matt Hookings, as well as the Italian premiere of Ramin Niami’s Fade Away. MAMA: The Film Market Becomes Part of the Festival One of the central pillars of MATIFF’s new identity is MAMA – Matera Film Market, led by CEO Alberto Festa, an internationally renowned marketing executive, and taking place from September 27 to 29. Rather than a parallel event, MAMA serves as the Festival’s industry arm: a program of meetings, panels and masterclasses designed to connect writers and producers with professionals working across international production, distribution and marketing. Announced participants include professionals from organizations and companies such as Sony Pictures Entertainment, BAFTA, Abu Dhabi Film Commission, Arab News Network, Publispei and Archivio Storico Luce. MAMA will also introduce IDEA’MATER – Authors’ Forum, a platform dedicated to developing new audiovisual content and connecting writers, producers, broadcasters, institutions and territories. Its scope extends to the technological transformation of the industry, from artificial intelligence and immersive media to cultural gaming and new forms of interactive storytelling. Producer and executive Gary Shapiro will lead a masterclass focusing on production processes and the dynamics of the film industry, while Hollywood screenwriter Gary Hoffman will lead a session dedicated to screenwriting. Other prominent participants include Hans Fraikin, Lichelli Lazar-Lea, Alberto Festa, Riccardo Romani, Enrico Bufalini and writer Giorgio van Straten. Cinema, Literature, Art and Memory MATIFF 2026 also expands its narrative beyond the screen. The program includes Dacia, Vita mia – Dialoghi Giapponesi, dedicated to Dacia Maraini, and Il mestiere di vivere, dedicated to Cesare Pavese, alongside a series of literary encounters. On the twentieth anniversary of Oriana Fallaci’s death, the Festival will dedicate a special event to the writer and to the international theatrical project Fallaci – A One Woman Show, featuring Edoardo Perazzi, Fallaci’s nephew and curator of her archive, and renowned Hollywood screenwriter Gary Hoffman. Art and spirituality will enter the program through Il Cantico del Mediterraneo, a project curated by Felicia Cigorescu, patroness of this year’s edition, involving symbolic locations throughout Matera and works by international artists. These include an exhibition by Marco Klee Fallani and Michelangelo Pistoletto’s Il Terzo Paradiso, connected to MATIFF’s journey for peace across the Mediterranean. The Grand Finale: James Conlon, Cinema and Dialogue On October 3, the Festival will celebrate conductor James Conlon, former Music Director of the Opéra national de Paris and LA Opera and currently Conductor Laureate of the Los Angeles company, with the Don Rossino–Vivaldi Lifetime Achievement Award. In his honor, MATIFF will present James Conlon: Between Italian Roots and American Wings, a documentary written and directed by Edoardo Zucchetti. On the same day, the international panel A Drop of Hope will explore cinema’s role as an instrument of dialogue, testimony and social transformation. The closing day on October 4 will continue the dialogue between art, cinema and spirituality with a screening of Aldeas, The Final Dream of Pope Francis, a documentary co-directed by Martin Scorsese, Johnny Shipley and Clare Tavernor, built around Pope Francis’s final in-depth video interview. The seventh edition therefore marks another significant step in MATIFF’s evolution: Matera not simply as a setting for international cinema, but as a place where the industry can come together and imagine what comes next. Ultimately, this is the challenge embodied by Castellani-Quinn’s idea of a “global village of cinema”: transforming Matera’s intimate, human scale into a strength—a place to build relationships, generate new projects and create new bridges for international cinema

The entertainment industry has always drawn dreamers, yet the path from a studio acting class to a working set is famously guarded by closed doors. Reel Scene Owner, producer, casting director, and talent agent Alex Fidelski recognized a fundamental flaw in how talent was being prepared for the screen. He saw that aspiring performers needed far more than acting lessons. They needed an honest understanding of the business, direct access to the people making casting decisions, and actual time under the lights. Driven by a philosophy of practical, on-the-ground experience, he founded The Reel Scene. This London-based acting and film school has quietly rewritten the script on how emerging talent breaks into the business. Fidelski’s approach strips away academic theory in favor of genuine industry immersion. He believes that coaches should be the very professionals currently shaping television and cinema. As a result, his students find themselves learning directly from active actors, directors, producers, and agents. They train with seasoned screen actors whose credits span massive productions like Game of Thrones, Afterlife, The Crown, Downton Abbey, and Pirates of the Caribbean, alongside established names like Asa Butterfield, Kevin McNally and David Schaal. This exposure gives performers multiple perspectives on the realities of the business. It builds the exact type of confidence and versatility expected on a professional set, ensuring the training stays completely in step with a rapidly changing medium. The alumni roster features highly recognized names, from former unified cruiserweight and WBA heavyweight world champion David Haye to Olympic silver medalist, and heavy weight boxer Joe Joyce. The network also includes actors with deep roots in the industry, such as David McNally, the son of celebrated British actors Phyllis Logan and Kevin McNally. This welcoming environment extends far beyond London through The Actors' Gym. This online platform allows performers worldwide to participate in classes, tackle self-tape challenges, and connect with a global network of peers. As this community expanded, Fidelski took the natural next step. He realized that giving actors the right training was only the first half of the equation; they also needed the right representation. This realization led to the creation of RS Talent, The Reel Scene’s in-house acting agency. For approximately a decade, RS Talent has represented select graduates alongside experienced professionals. This provides a credible, direct route from the training room to paid employment. Because of his deep relationships with directors and producers, his students quickly became trusted, reliable performers, booking roles in commercials, television series, and feature films. Yet, Fidelski’s most ambitious move was making The Reel Scene a fully functioning production house. Through RS Productions, the organization has created an extensive slate of over 30 professionally produced short films and five feature films. These are not mere classroom simulations. Students work with professional crews and perform alongside the established actors who coach them. These projects regularly compete and win on the international circuit, earning selections at BAFTA and Oscar qualifying festivals. For a performer fresh out of training, holding a role in a polished, festival-ready film provides something money simply cannot buy. It delivers undeniable proof of their capability. Beyond the academy, Fidelski’s own star continues to rise as a producer and casting director. His public IMDb record reflects a growing catalog of independent successes, including To a Cinder, The Inheritance, and The Bystanders - a feature film co-produced and cast by Fidelski that brought together Reel Scene alumni and coaches. Following its festival journey, The Bystanders ultimately landed distribution on platforms like Amazon Prime and Disney+. He is actively developing new feature films, creating even more opportunities for his network. Whether he is engaging with Oscar winners like Adrien Brody at the Red Sea Film Festival or reviewing a self-tape from a brand-new student, his guiding purpose remains exactly the same. For Alex Fidelski, supporting actors and making films are not separate jobs; they are a single, unified mission. By fusing training, representation, and production into one cohesive entity, he has given performers the rarest gift in entertainment. He has given them a clear, practical path forward, guided by a leader who is genuinely invested in their success.

Markos Papadatos interviewed Grammy and Golden Globe-nominated artist Frank Stallone about his respected career in the music and entertainment industry, and his latest project which includes “Enzo: The Mafia’s Boxer.” Winston Churchill once said: “Success is not final; failure is not fatal: It is the courage to continue that counts.” This quote applies to Frank Stallone. ‘Enzo: The Mafia’s Boxer’ Frank stars in the independent mob drama “Enzo: The Mafia’s Boxer,” which was directed by Alex Javo (who stars in the film). Franks plays Giorgio Cantini, a consigliere to a local mafia boss, in a story that follows an up-and-coming boxer coerced into throwing a key match. “That was good. We will see what’s up with that,” he said. “I have done a lot of movies, and one just bleeds into another. I can’t wait for people to see it.” Future plans On his future plans, he stated, “There are a few things in the works, but I cannot talk about them just yet. There are some exciting things going on.” When asked if there is any new music in the works, Frank responded, “No, not at the moment. Well, that is another thing that has changed. Nobody is doing albums anymore except hip-hop and rap music acts.” “For all intents and purposes, the music and film scene in Los Angeles is dead,” he observed. “Nobody films here anymore and all the songwriters have left; they have gone to other places such as Nashville. I am thinking of moving myself because there is nothing left here anymore.” “People very rarely do movies here. There is no music industry at all. Most of the record labels have left, and they have gone to Nashville or other places. These days, these young acts can just use Pro Tools and make a record in their homes.” Being a part of the Kennedy Center Honors for his brother Sylvester Frank was thrilled that his older brother, Sylvester, was recognized at the Kennedy Center Honors. “That was great,” he exclaimed. “I was very honored to have been a part of that. It was a great deal of fun.” “On July 6th, we will be celebrating my brother’s 80th birthday, which is unbelievable,” he admitted. “We look back on where we came from. I never wanted to be the biggest star. I know what I’m worth, and I know what I can do. Listen, Vincent van Gogh never sold a single painting when he weas alive. Now, his paintings go for hundreds of millions of dollars.” The digital age Frank expressed that he has a strong disdain towards AI and the digital age. “The digital age does not feel great,” he admitted. “I am not a fan of AI. I think it’s potentially very dangerous.” “I feel that AI is ruining the arts and entertainment business,” he said. “All producers think about is saving money. They can just create an actor with AI. They don’t have to put them in a hotel, they don’t have to pay insurance, and they don’t have to give them a salary. They can just make something up, which is creepy in a way.” “These days, people have driverless cars, but I am not into any of those things. I am more old-school. I think AI just disables people from being able to do things on their own,” he said. “These days, I dissuade people to go into the entertainment business because the way I grew up in the industry vs. the way it is now, is completely different. I tell the youth to not try to become actors or musicians because the chances now of them getting their big break is slim to none because they don’t have casting calls anymore.” Frank truly dislikes self-tape auditions. “I won’t do self-tapes myself,” he stressed. “Thank God, I saved my money. To sit there and talk in my phone and try to get any kind of emotion is just pointless. People have gotten lazy these days, and they use COVID as an excuse for everything.” “These young kids that are coming up right now have to sit there and try to act into their phones. I tell casting people if they want me for a movie, they should just take a meeting. If they are not interested, then I am not interested,” he elaborated. “I just think self-tapes are so degrading for actors. Back in the day, we would act with other actors in front of casting people. This way, they could see how we talk, how tall we are, and the expressions on our faces.” “So, if anyone asks me to do a self-tape, I turn them down and I tell them that I am not interested. Self-tapes are just not my thing,” he noted. “This is what young actors are facing now. It has nothing to do with the level of talent now vs. then. Personally, I just don’t know how anyone can give a good performance into a cell phone,” he expanded. “The same thing holds true with self-driving cars. One of the friends encourages me to watch his car park itself. I tell him that he ‘shouldn’t be allowed to have a driver’s license.’ If you can’t park your own car, then you shouldn’t be able to drive. So, the same thing is true in the music business,” he explained. Frank on ‘The Family Stallone’ and his Amazon documentary Frank discussed being a part of the reality series “The Family Stallone.” “It’s a shame that it really didn’t get the push it deserved,” he said. “The same is true for my documentary, ‘Stallone: Frank, That Is’ on Amazon.” “We had won fix awards for ‘Best Documentary’ for ‘Stallone: Frank, That Is’ but then COVID hit, and it just ruined everything,” he admitted. “COVID actually destroyed the industry. All the venues and concerts shut down. From a movie standpoint, no casting was done in person.” “Personally, I feel that a great director who is doing movies would like to see the person they are casting by being in a room not over a phone. In a room, you can feel the energy and enjoy the back-and-forth banter. That is missing these days.” “On my IMDb page, they have me done for 250-plus projects, where 101 of those are films. These days, they don’t look at footage, and they don’t do their research,” he noted. “Back when I was coming up, they had some amazing casting directors such as Bonnie Timmermann and the legendary Lynn Stalmaster. They had been in the business for a long time and they knew how it worked. They knew that interaction between actors is important, and now, that interaction is gone,” he elaborated. “These days, you have people in casting who four years ago were getting coffee for the executives in the studio. Again, you are not going to get a great audition from a cell phone. Sorry, but it’s very intimidating for the actor,” he said. Frank’s advice for young and emerging actors and entertainers “Personally, I love the arts,” he enthused. “These days, they have taken music and drama out of schools. So, there is nowhere for kids to get their foot in the door or hone their craft unless they do regional theater. “When I came up in the industry, I learned on the job myself. I did small little movies, but I gained a ton of experience,” he admitted. “There are some songwriters who died in poverty unknown such as Stephen Foster, who wrote some of our greatest songs,” he said. “Money doesn’t really equate to talent. I’ve seen people in bars who are some of the most phenomenal musicians I’ve ever seen in my life. You just push forward and do what you do.” “I would tell up-and-comers to find a small boutique agency that returns your phone calls, that likes you, and that is coming for you and coming up with new ideas. If not, then you are just wasting your time. Also, you need to develop tough skin. Don’t be too trusts and don’t be taken advantage of.” “Every star is going to fade. My brother’s career is one of the few exceptions and very weird because he had a 10-year stretch where nobody picked up the phone. No one was calling for him until he did ‘Rocky Balboa,’ followed by ‘The Expendables’ and now, ‘Tulsa King’.” “Speaking of ‘Tulsa King,’ it is the No. 1 streaming show in the world right now. These days, you have to be a fighter," Stallone emphasized. “You have to fight for your place. You just go in and do the best that you can. Also, remember that you are not going to get every part. A lot of it in this industry is timing and luck.” “If ‘Rocky’ came out two years later in 1978, it might not have been the same movie because there might not have been the same audience yearning for a new face in pictures. So, it goes that way,” he elaborated. “Young and aspiring actors need to remember to not quit their day jobs. Just because they may be a hit in Iowa, doesn’t mean that they will have a big career. The industry doesn’t work that way; it just doesn’t.” “There are some actors that work for years and years waiting tables, doing plays, and they still don’t make it until later on in their lives,” he observed. “It’s a very turbulent, unrelenting and somewhat of a cruel business. So, I just tell people to make their money and save it,” he added. Frank Stallone on his love for working “I would love to work more as I am getting older. While I don’t like the business part of the industry, I do like the artistic part of it. I love acting, being creative, and hanging out on a set.” “I like doing concerts and everything that goes with that. That is what I enjoy. I let my manager, Chuck Binder, handle the business aspect of the industry, which he seems to enjoy. What I love about Chuck is that he has had huge stars in his career, but he always makes himself available and he always gets back to you.” “Chuck is always working very hard, he is trying, and he always comes up with something great,” he added. Stage of his life On the title of the current chapter of his life, Frank stated, “Right now, I am very financially well-situated.” “I don't have to go out and buy a brand-new car. I don't care about those things anyway. I have my hobbies. I have my friends that I hang out with. I'm a competitive trap shooter and I really like to work,” he said. “At times, the Stallone surname has been more of a curse than a blessing in my life. Trust me on this. I’ve had to deal with a lot of prejudice; however, I know who I am and I know my worth and my talent,” he said. Frank continued, “I know what I can do. I’ve played every dump club for almost 20 years before I did ‘Staying Alive.’ So, I came up on the hard road, where I had to really stand and deliver. It has been 60 years since I turned professional as a musician.” “So, they can't tell me what I can or cannot do. I know I'm not a Shakespearean actor. That’s a fact. The same goes for anybody because not everyone can play every role,” he said. “John Wayne, Humphrey Bogart, James Cagney, and Clint Eastwood, all did their thing. They played different roles, but they knew their niche,” he noted. “Harrison Ford is not going to play ‘Othello,’ and Mark Wahlberg is not going to do Eugene O’Neill’s ‘Desire Under the Elms.’ That’s not his niche. So, you need to find what you are good at,” he added. “I remind the young actors to not go out and spend all their money, and they shouldn’t do drugs or get involved in horrible relationships,” he said. “I’ve known actors who had a lot of money, but they are broke now. Avoid making bad decisions and having bad people around you.” “There are guys like Mark Harmon who have not been off the TV since the ‘70s. He lives a settled life, and he has done incredibly well, and he knows where he is at, and he is doing great,” he said. “The same holds true for Robert Wagner, who is 96 years old, and goes from one series to the next. RJ is very likable, and everyone loved him. He is 96 years young now, and he is doing very well. The same goes for Linda Evans,” he added. Success On his definition of the word success, Frank said, “Success means being able to fulfill your personal goals. Again, some people think of it as financial. I think of it more on a creative end.” “If finance comes with success, then fine. Success is when a great musician comes up to me and tell me that they listened to my album growing up, and that they have found it great. That means more to me than anything, especially getting kudos from somebody you respect.” “While other people think of success as making a lot of money or fame, I’m not superficial. I’m gregarious, a little outrageous and eccentric. There are very few people that stay at the top level… Frank Sinatra, Elvis Presley, and Michael Jackson are three who have stayed at a marquee level for almost their whole careers,” he elaborated. Message for his fans For his fans and supporters, Frank expressed, “I love my fans! I answer all my fanmail. I really do! I get them from all over the place… Germany, France, the U.S. People take the time to write these beautiful letters with beautiful return envelopes. When they take the time to send me something, I take my time to respond to them and send them personalized autographed photos back.” For more information on veteran actor and musician Frank Stallone, follow him on Instagram.

Mark Forti with Papua New Guinea locals How One Conversation with a Homeless Man Became a Twenty-One-Year Pilgrimage—and an Extraordinary Gathering at the Vatican. American inventor, artist and filmmaker Mark Forti shares his journey across continents. Twenty-one years ago, on Skid Row in Los Angeles, a homeless man named Murphy Holmes changed my life. He told me the key to life could be expressed in seven words. Naturally, I asked him what they were. He smiled and refused to tell me. Instead, he handed me five questions and said that if I truly wanted the answer, I would have to discover it myself. At the time I was a young entrepreneur and filmmaker with plenty of confidence, strong opinions about God, and all the certainty that usually accompanies insufficient experience. Murphy appeared to possess almost nothing. Yet he had something I didn't. Peace. That unlikely conversation became a twenty-one-year pilgrimage through sixty-three countries, interviewing everyone from tribal chiefs, Hindu sadhus, Buddhist lamas, Muslim imams and Jewish rabbis to Orthodox priests, refugees, genocide survivors and internationally known figures such as the Dalai Lama and the Nechung Oracle of Tibet. Asking the same five questions again and again gradually became Why in the World-a film exploring where humanity is the same, where we differ and whether those differences ultimately matter. Mark Forti with an Orthodox nurse in a church I could never have imagined that Murphy’s humble conversation would eventually lead back to Rome - or that representatives of the religions and cultures encountered during the journey might gather at the Vatican to watch the film together. Yet that is precisely what is now taking shape. A Second Pilgrimage When I arrived in Rome this July, I had little more than a week to see whether such an event was even possible. Friends warned me that Vatican bureaucracy was surpassed only by North Korea. This was not especially comforting. I walked through the colonnade with an Italian journalist colleague Marco Colombo and considered the task before us. Fortunately, I soon discovered something important. While paperwork may move slowly, people do not. Every time someone watched the trailer, another unexpected door opened. Veteran Vatican journalist Massimo Franco graciously pointed us toward Monsignor Dario Edoardo Viganò, who welcomed us at the beautiful Casina Pio IV in the Vatican Gardens. Monsignor Viganò immediately understood the film's emphasis on encounter and encouraged us to contact the Dicastery for Interreligious Dialogue. Within days we found ourselves warmly welcomed by Monsignor Indunil Janakaratne Kodithuwakku Kankanamalage. Our meeting quickly became much more than a discussion about showing a film. Monsignor Indunil immediately recognized that the five questions at the heart of Why in the World could themselves become an occasion for dialogue. He even suggested that Cardinal George Jacob Koovakad might answer those same questions for the film and invited the visiting religious leaders to the Dicastery for conversation and fellowship. It struck me that something unexpected was happening. The film was no longer simply coming to the Vatican. The Vatican was beginning to enter the film. Doors Keep Opening Throughout those days, I repeatedly returned to the Holy See Press Office to share developments and seek guidance. Matteo Bruni, Cristina Ravenda and Vatican correspondents including Annaliese Taggart of Newsmax and Elise Ann Allen of Crux offered encouragement, practical insight and valuable introductions. Then another remarkable encounter occurred. Walking around Rome, I happened to be carrying a copy of Inside the Vatican magazine. On its cover was Father Agnello Stoia, the Franciscan parish priest of St. Peter's Basilica. After several attempts - and more than a few memorable encounters with the Vatican Gendarmerie - we finally met him. Father Agnello is a towering, energetic Franciscan whose warmth fills a room before he speaks. We showed him the trailer. He was visibly moved. Then he embraced me. What followed felt less like a bureaucratic meeting than another scene from the film. Father Agnello led us through St. Peter’s, speaking about its history, saints, architecture and living spiritual meaning. He suggested arranging a symbolic opening of the great doors of the basilica for the interfaith delegation and offering the visitors a private tour. He also helped us pursue permission through Cardinal Gambetti to film during the period surrounding the 400th anniversary of the dedication of St. Peter’s Basilica and is helping to arrange the baciamano ceremony where our distinguished guests will be able to personally greet the pope at the papal audience. Among the guests expected in November are remarkable musicians, including Fra Alessandro Brustenghi - the “Voice of Assisi” - and renowned Ukrainian singer Alina Pash. The possibility arose that they might sing for the delegation inside the basilica. A Franciscan tenor from Assisi and a Ukrainian artist singing before religious leaders from several traditions in an otherwise quiet St. Peter’s Basilica: the image captures the spirit of the entire project better than any promotional description could. The surprises continued. Through a young Roman woman named Nadia Accetti, we attended Mass at the Church of the Artists in Piazza del Popolo and met Monsignor Guillermo Karcher, the gracious Argentine priest who served for many years alongside Pope Francis and now works in the Secretariat of State Cardinal Parolin. He kindly explained that meeting the Holy Father is not something one improvises. There are official channels for the baciamano, the traditional greeting of the Pope. That sent us first to the U.S. Embassy to the Holy See and eventually to the Vatican Post Office, carefully mailing letters to Ambassador Brian Burch and Cardinal Pietro Parolin. Rome, I was discovering, has a wonderful way of turning every apparent detour into another chapter of the pilgrimage. The deeper we went, the more doors opened. Before Dawn Perhaps the most extraordinary moment will come before sunrise. Gianni Crea, the Vatican Museums' legendary clavigero, has graciously agreed to welcome our guests into the Vatican Museums before dawn. Carrying thousands of keys, he unlocks the galleries one by one before the world arrives. The image could not be more fitting. Murphy once handed me five questions. Now another keeper of keys will open another journey. The morning will culminate in the Sistine Chapel, where Orthodox iconographer Jonathan Pageau will help explain the symbolism of the masterpieces to guests representing Christianity, Buddhism, Hinduism, Islam and other traditions. The purpose is not to erase differences. It is to encounter one another honestly. Plans also include gatherings in the Vatican Gardens, a meeting at the Dicastery for Interreligious Dialogue and, finally, the screening of the film Why In the World. Among those expected are Lama Tenzin Choegyal, Fra Alessandro Brustenghi, Jonathan Pageau, Rakesh Bahadur, Alina Pash and many of the remarkable people whose stories have shaped the film over two decades. The Hidden Story Looking back, what surprises me most is not the access we were given. It is the generosity. Again and again, a trailer became a conversation. A conversation became a friendship. A friendship opened another door. The process of organizing the Vatican screening began to resemble the making of the film itself: improvised, improbable and sustained almost entirely by the kindness of people who believed that genuine encounter still matters. And beneath every conversation stood Murphy. He had no title. No office. No followers. He did not know the Dalai Lama. He had never entered the Vatican Gardens. He could not have imagined a cardinal answering his five questions or religious leaders gathering beneath Michelangelo’s ceiling because of something he said. He simply told one person the truth. Modern culture teaches us to measure influence through wealth, followers, access and visibility. Murphy possessed none of these. Yet a conversation almost nobody witnessed crossed continents, entered monasteries and temples, survived wars and personal tragedies, and is now drawing people of different faiths toward one another at the heart of the Catholic Church. The world had overlooked Murphy. Providence apparently had not. Perhaps this is the hidden story of Why in the World: the kingdom of God often enters history quietly, through people whom history does not yet recognize. A mustard seed is planted. A fisherman answers a call. A beggar rebuilds a church. A stranger is welcomed without anyone realizing that an angel has entered the room. Or a homeless man speaks honestly to a cynical filmmaker on Skid Row. Twenty-one years later, the doors of St. Peter’s begin to open. The November gathering will celebrate a film, but its deeper purpose is encounter: the person before the label, the story before the stereotype and the image of God before every category that obscures it. Murphy never set out to bring the world together. He changed one person. Apparently, that was enough. Mark Forti spent over seventeen years exploring fifty-three countries on six continents to film his debut feature length film "Why in the World." During hundreds of hours of interviews and adventures, he asked five basic worldview questions to a staggering variety of people. The questions seek to discover how we humans are alike, where we differ, and whether the differences matter.