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Photography: Ian Fisher Markos Papadatos recently interviewed actress and producer Natalie Burn regarding her two upcoming films, “Chupacabras” and “Foster.” During the conversation, she also shared her perspective on working as a filmmaker in the current media environment. How was your experience shooting “Chupacabras”? “Chupacabras” is a folklore-inspired horror film that dives into one of Latin America’s most iconic legends. I play Dr. Mia Hunter, a surgeon who is trying to hold herself together emotionally after losing her husband to a significant illness, as well as experiencing a rough goodbye to her daughter, who is about to leave for college. They had an argument while returning from a family trip to Mexico, so she is carrying a lot of guilt and emotional weight when everything starts to unravel. The story takes place at a remote roadside restaurant where something terrifying happens—what should have been a quiet stop turns into a fight for survival. What really drew me to this role is that it is not just about the horror or creature elements - it is also a story about motherhood, forgiveness, learning when to let go, and the things we fear most inside ourselves. Photography: Serge Guerand Can you tell us a little about “Foster”? Haunted by his past and clawing his way through sobriety, Donald “Don” Foster (James Franco) just wants harmony - one day at a time. When June (Natalie Burn), a troubled addict, leaves her young son on his doorstep, Don is dragged back into the violent underworld he thought he left behind. Hunted by his former boss Brooks (Ron Perlman) - a ruthless crime lord who knows every secret Don swore to bury - Don must fight for redemption, protect the boy, and face the sins of the woman who pulled him back in… one bullet at a time. What was it like shooting in Guatemala? Shooting in Guatemala has been incredible. The landscapes are breathtaking - lush jungles, mountains, and these small, timeless villages that capture the spirit of folklore. It adds an authenticity you cannot recreate on a set. We actually lived and shot the film on a farm, so every morning I would wake up to the sounds of horses and cows right outside my window. The smell of the farm was… incredible (haha). Photography: Serge Guerand Honestly, it added to the whole experience - it was so real, so raw. The local crew and community have been so welcoming and passionate about bringing this story to life. Of course, filming in remote locations always comes with challenges - weather, long travels, and sometimes even unexpected visitors like snakes, giant spiders, endless mosquitoes, and even traffic jams caused by cows (laughs) - but that rawness is part of what makes the film so powerful. Guatemala gives “Chupacabras” its soul; it is definitely a huge character in the film. As crazy as it sounds, I would go back to filming there again. We created a family I will never forget. What was it like working with Oscar nominee James Franco? Working with James Franco and Ron Perlman was truly a once-in-a-lifetime experience. They are both remarkable actors with decades of experience, acclaimed careers, and a deep understanding of the craft. Having the chance to work alongside them felt surreal - these are artists who have worked with the best directors and shared the screen with some of the greatest actors in the industry, and suddenly I was standing in scenes with them. James was incredibly present and generous as a scene partner. He was always open, attentive, and supportive, allowing our scenes to unfold organically. He helped create an environment where we could fully explore our characters and let emotion lead the moment, which made the work feel honest and alive. James would say, “Just look at me, look into my eyes.” Photography: Serge Guerand What was it like working with Ron Perlman? Ron is a true legend. His voice, gravitas, and commanding presence are undeniable - he is powerful and intimidating on screen, yet off camera he is warm, kind, and genuinely wonderful to be around. His professionalism and energy are inspiring, and watching him work was a lesson in itself. I feel incredibly lucky to be working alongside an Oscar nominee and a legend - two actors whose careers I have admired for years. To learn from them, to share scenes with them, and to be part of the same story feels like a dream come true and a powerful reminder of why I fell in love with acting in the first place. What do your plans for the future include? From both an actress and producer’s point of view, my future is about continued growth, exploration, and meaningful storytelling. I am excited to keep challenging myself creatively and to take on roles that push me emotionally and artistically, while continuing to develop projects that reflect stories I genuinely care about. I have several passion projects in development that I am deeply invested in as a producer - stories I want to bring to life with intention, depth, and strong representation. As an actress, one of my biggest dreams is to transition more into television and become part of a compelling TV series where I can grow with a character over time and reach a wider audience. Overall, my plans are about building a lasting career - one that balances acting and producing, allows me to collaborate with inspiring creatives, and continues to evolve as I do. Photography: Serge Guerand What’s it like making movies with Emmy winner Timothy Woodward Jr.? Making movies with Timothy Woodward Jr. is a dynamic and creatively fulfilling experience. He is a director who knows exactly what he wants, yet remains open to collaboration, which creates an environment where everyone feels invested in the story being told. His vision is clear and focused, and that confidence sets the tone on set. Timothy brings a strong sense of discipline and efficiency to filmmaking, while still allowing room for emotional exploration and character development. As an actress, that balance is incredibly empowering - it gives you structure while trusting you to bring your own instincts and depth to the role. As a producer, I also appreciate his understanding of the bigger picture and his ability to guide a project from concept to execution with purpose. Working with him feels grounded, professional, and creatively energizing. There is a shared commitment to storytelling and to making each project better than the last, which makes the collaboration both inspiring and rewarding. I get to spend my days next to my husband, doing what we love and growing together. What more could I possibly want? What motivates you each day? What motivates me each day is my passion for my craft and the purpose behind it. As an actress, I am driven not only by the work itself, but by the opportunity to inspire young girls around the world to believe in themselves and pursue their dreams fearlessly. I find fulfillment in the process - the long hours, the discipline, the growth, and the constant learning that comes with chasing excellence. I have learned to value both success and failure as essential parts of the journey. Success feels meaningful because of the effort that leads to it, and failure is never something I fear - it is a teacher. Every setback sharpens my resilience, deepens my understanding, and prepares me for greater achievements. Embracing failure makes success even more rewarding, because it reminds me how far I have come and how much I have grown along the way. After all, I am just an ordinary girl from Ukraine who chose to pursue my dreams instead of merely dreaming about them. Photography: Serge Guerand How does it feel to be a filmmaker and actress in the digital age? Being a filmmaker and actress in the digital age feels empowering, fast-paced, and full of possibility. The digital era has opened doors that once felt unreachable, allowing stories to be told across borders and voices to be heard without waiting for permission. It is a space where creativity, persistence, and authenticity matter, and where dreams can begin anywhere in the world. As a Ukrainian who once only dreamed of Hollywood, the journey feels especially meaningful. What started as a distant vision has become a career I actively pursue, proving that background, geography, or circumstance do not define the limits of ambition. The digital age made it possible to learn, create, and share my work globally, turning dreams into tangible steps forward. It is inspiring to know that my path can encourage others - especially girls from all over the world - to believe in their own potential. If my journey shows anything, it is that dreams are valid no matter where you come from, and with passion, resilience, and courage, they can become reality. These days, you have the freedom to create your own path without anyone’s permission. So, take advantage of this opportunity and start your own journey. What would you like to tell our readers about your new projects? What I would love readers to take away from my new projects is a sense of honesty, resilience, and possibility. Each project I am working on comes from a very personal place and is driven by the idea that growth often comes through challenge. Whether the story explores ambition, vulnerability, or transformation, the heart of the work is about embracing the journey - both the triumphs and the setbacks. I hope audiences feel inspired to believe in themselves, to take risks, and to understand that failure is not the end of the story, but part of becoming who you are meant to be. If my projects spark emotion, connection, leaving them with a lasting impact that encourages them to discuss and share my projects years after the movie ends or even the courage to keep going after a dream, then I have done what I set out to do. To learn more about Natalie Burn, follow her on Instagram, IMDb.

Photography: Cosimo Buccolieri The celebrated Italian novelist discusses a triumphant, literary career. In your 2023 novel, Quello che ti nascondevo, you brilliantly transform a simple voice message into an anchor of suspense. What inspired this fascinating narrative device? "The inspiration for this thriller came suddenly one day while I was stuck in traffic in Milan," Marina recalled, her eyes reflecting the gravity of the memory. "I'd received a voice message from a friend saying everything was fine. But from her tone of voice, I knew something was wrong. I called her and asked her a thousand questions. My friend finally decided to open up and tell me the truth: she had a big problem and was very worried." Leaning forward slightly, she explained, "This situation made me reflect and realize that voice messages communicate much more than we'd like. In my mind the story of a man who, having lost his wife in a mountain accident, to console himself, perhaps a little masochistically, listens to the messages his wife has left him over the years, began to take shape." A shadow crossed her expression as she continued. "One evening, however, he realizes something he hadn't noticed two years earlier: he hears a man's voice whispering 'baby.' From that moment, he realized that perhaps there was a part of his wife's life he didn't know, and from that moment on, his own descent into hell begins." What was your primary purpose in writing Quello che ti nascondevo, and why did you feel compelled to explore the terrifying possibility that those closest to us harbor dark secrets? "I have always been fascinated by the theme of disillusionment," she noted thoughtfully. "The exact moment in which we discover that a person could be a friend, a colleague, or even a member of our family, it’s completely different from what we imagined. A discovery that leaves us stunned, empty, sad." She gestured emphatically, drawing a line between fiction and reality. "If you think about it, many murders arise from this disillusionment. How many betrayals, how many deceptions and treachery give rise to brutal crimes." A knowing, confident smile appeared as she concluded, "Perfect material for a thriller!" Photography: Cosimo Buccolieri Your explosive 2025 release, Braccata, powerfully critiques the media pillory. How did you channel your protective maternal instincts into portraying Angela’s resilience against the press? "It wasn't easy to portray Angela's character, a girl who leads a quiet, almost monotonous life and suddenly finds herself at the center of a terrible media pillory," the author confessed, adopting a solemn and deeply empathetic tone. "I tried to describe the feelings of confusion and the total disorientation my character suddenly finds herself in. I tried to make readers reflect on the fact that we could find ourselves in Angela's situation too." Her voice grew firmer, laden with warning, as she added, "All it takes is being in the wrong place at the wrong time, and the whole life collapses like a house of cards." You've noted that the title Braccata perfectly captures the feeling of being relentlessly hunted by reporters. What motivated you to focus so intensely on this destructive public trial? "We've become accustomed to witnessing the mass media's often distorted narratives about certain crimes," she stated, a distinct hint of frustration coloring her words. "Reputations and lives are destroyed with incredible ease, failing to realize that the objects of public derision are human beings whose lives are falling apart." Critics call Braccata a brilliant domestic thriller because it tests a profound female friendship. What drew you to explore women's loyalty under extreme societal pressure? "In a scenario where my protagonist sees everything falling apart, including relationships she thought were solid and now crumbling like snow in the sun, there is also the consolation of some deep friendships," she observed warmly, describing these bonds as a "balm for the soul, litmus tests of true affection that never abandons us in the midst of the storm." Reflecting on the universal nature of her work, she asked, "How many of us have experienced this? False friends who distance themselves in times of crisis and people who instead stand by us with love and dedication." Grounding her narrative in shared human experience, she affirmed, "It's real life, the kind that concerns us all." Photography: Cosimo Buccolieri Before dedicating yourself to thrillers, you worked as a deputy director in a prestigious fashion showroom. In Dress Code Rosso Sangue, you explored the dark shadows behind the glittering facade of the Milanese fashion jet set. How did your firsthand experience in that industry inspire you to peel back its glamorous layers? "I worked for over ten years as deputy director in one of Milan's most important showrooms, and this experience taught me a lot," Di Guardo reminisced, her posture relaxing as she recalled her past career. "I came into contact with incredible designers like Versace and Moschino, and I met countless people who orbited the fashion world, a vital sector for the Italian economy. Although seemingly frivolous and superficial, it is actually made up of very serious and attentive professionals." A spark of mystery touched her tone as she revealed, "I also wanted to explore background stories that most people don't know and that even surprised me. It's a very tense thriller with a truly unpredictable ending and settings that will astound readers." Looking past the gripping suspense and the dark psychological trials your characters endure, how does your personal journey inform your narratives, and what is the most uplifting truth about resilience you hope readers ultimately take away from your work? "My life experience informs every one of my novels," she affirmed with quiet confidence. "Fortunately, I've never had to deal with murders or bloody incidents, I've never had to escape from a killer or solve daring cases like Alfonso Vitanza, the Marshal of Braccata, but there's no doubt that the places I've visited, the people I've met, and the life experiences I've faced have been crucial to the narrative fabric of each of my novels." She leaned back, a nostalgic smile forming. "Since I was a child, I've been an avid reader and viewer of thrillers. And I love the psychological insight into characters, an added value that leads the reader to become attached to the various protagonists." Touching on her core values as an artist, she added, "I also enjoy tackling various themes dear to me: gender violence, the value of friendship, and resilience are among those I love to discuss and analyze." Your work has expanded from intimate suspense to brilliant societal critiques. How has your personal growth inspired you to tackle these complex themes so fearlessly? "I believe it's important for every writer to strive for ever-increasing complexity and variety," she reflected with a striking artistic conviction, "so as to continually engage their readers with new stories that entertain and provoke reflection." Breaking down the architecture of her craft, she explained, "I like to think of my writing as having three levels: the first is the plot, which must be compelling and a page-turner. The second level is psychological introspection, and the third is the themes that offer scope for reflection." Photography: Cosimo Buccolieri Your powerful narrative Com'è giusto che sia is also becoming a television series. Which aspects of your protagonist's inspiring strength are you most eager for viewers to discover? "Dalia, the protagonist of As It Is Right, is a girl who grew up with a mother who forced her to study with a thousand sacrifices and hardships," she shared, her voice brimming with fierce empathy. "Her mother suffered a double affront: abandoned by her partner when she was pregnant with Dalia, and brutally beaten by a second man." Highlighting the emotional core of the vengeance story, she noted, "Dalia will be forever scarred by these two events and will decide to avenge women who are victims of violence at the hands of their partners and husbands." She smiled softly, fully aware of her character's intoxicating duality. "She is an avenger, and the reader is led to empathize with her, supporting her in her deadly intentions. A dark heroine, yet so fascinating and complex." At your Cremona presentation, actor Beppe Arena praised your writing as a "well-oiled mechanism" balancing tension and introspection. How do you maintain this delicate narrative balance? "I believe a good thriller must be balanced," the author answered smoothly, cementing her status as a master of the genre, "balancing moments of tension with situations in which the characters' idiosyncrasies, weaknesses, and strengths are effectively analyzed and explored." Delving into the profound impact of fiction, she mused, "We might discover something of ourselves in the sensitivity of a murderer, as happens with Dalia, the protagonist of As It Is, or feel caught in the grip of a relentless media pillory, as happens to Angela in Hunted." Bringing the conversation to a profound close, Di Guardo added, "This is one of the strengths of literature: living other lives, immersing ourselves in other situations, exploring new boundaries."

How did your upbringing and early experiences shape your commitment to personal growth and mental health advocacy? "Growing up, I learned very early that being sensitive is not a weakness, even if the world sometimes makes you feel like it is," Aragón noted, reflecting on her formative years. "I went through moments where I looked perfectly fine on the outside, but inside I was trying to understand my own mind, my emotions, and why life could feel so heavy sometimes." She continued, "Those experiences made me deeply curious about healing. Not from a perfect place, but from a very human place. I started therapy, I started reading, writing, asking questions, and little by little I understood that mental health is not just about 'being okay.' It is about learning how to come back to yourself with love, honesty, and patience." "That is why I care so much about personal growth and mental health advocacy," she added. "Because I know what it feels like to suffer in silence, and I also know how powerful it is when someone tells you: 'You are not broken. There is a way through.'" Reflecting on your time at Miss Universe 2019, what was the most valuable lesson you learned that you apply in your work today? "The biggest lesson Miss Universe taught me is that being prepared is important, but being present is everything," she remarked. "You can have the perfect dress, the perfect answer, the perfect plan… but life still asks you to show up with your heart, not just your image," Aragón explained. "That experience taught me that true strength is not about looking flawless; it is about staying grounded when everything around you is bigger than you imagined." "I apply that in my work today, especially as an actress, writer, and producer," she said. "I try to create from a place that feels honest, not perfect. Because people don’t really connect with perfection. They connect with truth." What do you believe are the biggest misconceptions about mental health that you aim to address through your advocacy? "I think one of the biggest misconceptions is that mental health only matters when someone is in crisis," she stated. "But the truth is, mental health is something we live with every single day. It affects the way we love, the way we work, the way we see ourselves, and the way we experience life." Aragón went on to address the stigma surrounding vulnerability: "Another misconception is that struggling means you are weak. I believe it is actually the opposite. Sometimes the strongest people are the ones who have been silently fighting battles no one can see." "Through my work," she emphasized, "I want to help people understand that healing is not about becoming perfect or happy all the time. It is about learning to listen to yourself, ask for help, and treat your inner world with the same care you would give to your body." Sharing your struggles with depression has been a courageous step. How has this openness impacted your relationship with your audience? "It has created a much deeper and more honest connection," she observed. "For a long time, people saw me through a very polished image, and I am grateful for that part of my story, but it was not the whole truth," Aragón confessed. "When I started speaking about depression, I think many people felt they were finally seeing the human being behind the crown, the photos, and the public life." "What has touched me the most," she said with evident sincerity, "is when someone tells me, 'I thought I was the only one feeling this way.' That is the reason I keep sharing. Not because I have all the answers, but because sometimes honesty can become a little light for someone who is going through the dark." In your book El color de lo invisible, what specific experiences do you examine, and what do you hope readers gain from them? "In El color de lo invisible, I explore the experiences we usually don’t know how to explain: anxiety, depression, emotional pain, loneliness, fear, trauma, and the silent battles that happen inside a person even when everything looks fine from the outside," she shared. "A lot of the book comes from my own journey, especially from the moments where I felt lost, overwhelmed, or disconnected from myself," she noted. "But I also wanted to bring in psychology, neuroscience, philosophy, and spirituality, because I believe healing is not just one thing. Sometimes we need science to understand what is happening in the brain, and sometimes we need meaning to understand what is happening in the soul." "What I hope readers gain is a sense of relief," Aragón said. "I want them to feel less alone, less ashamed, and more capable of understanding themselves. I want the book to feel like someone sitting next to them and saying: 'What you feel has a name. What you feel makes sense. And you can find your way back to yourself.'" Can you share a few practical strategies or tools that have helped you and that you recommend to others for building self-esteem and resilience? "Yes," she began. "For me, self-esteem has not been about waking up every day feeling powerful. It has been about learning how to stay kind to myself even on the days when I don’t feel that strong." "One tool that has helped me a lot is therapy," she continued. "Having a safe space where you can understand your patterns, your wounds, and your fears changes everything. Another one is writing. I write to organize what I feel, because sometimes the mind becomes too loud and paper helps me see things more clearly." Aragón also pointed toward the power of routine: "I also believe in small promises. Not huge life transformations overnight, but simple acts of self-respect: moving your body, sleeping better, setting one boundary, finishing one thing you said you would do. Every time you keep a promise to yourself, your self-esteem grows quietly." "And finally," she concluded, "asking for help. Resilience is not pretending you can do everything alone. Sometimes resilience is having the humility to say, 'I need support,' and allowing yourself to receive it." What initiatives or campaigns have you found to be most effective in promoting mental health awareness and fostering empathy in communities? "I believe the most effective initiatives are the ones that make mental health feel human, not distant or clinical," she reasoned. "Campaigns that combine real stories with real tools are the most powerful," she said. "It is not enough to say, 'mental health matters.' People need to hear someone say, 'I have been there too,' and then also receive practical guidance: how to ask for help, how to support a friend, how to recognize when something is not okay." "I also think schools, social media, and community spaces are very important, because empathy starts with education," Aragón added. "When people understand that depression, anxiety, trauma, or emotional pain are not character flaws, they become less judgmental and more compassionate. For me, the best campaigns don’t try to make suffering look beautiful. They make it less lonely." How do you use social media to spread your advocacy on mental health, and what challenges do you face in navigating these platforms? "I use social media as a bridge," she stated. "Not to show a perfect life, but to create small moments of honesty where someone can feel seen." "Sometimes it is a reflection, sometimes it is something I learned in therapy, sometimes it is a personal experience, and sometimes it is just a reminder I wish someone had told me when I was younger," Aragón noted. "I try to speak in a way that feels close, simple, and real, because mental health should not feel unreachable." She admitted to the difficulties inherent in digital spaces: "The challenge is that social media can also be a very confusing place. It rewards perfection, speed, and comparison, while healing requires patience, silence, and truth. So I try to be careful with what I share, to not turn pain into performance, and to remember that behind every screen there is a real person who may be carrying something invisible." What advice would you give to young women struggling to find their voice? "I would tell them: your voice is not something you have to invent. It is something you have to remember," she said thoughtfully. "A lot of us spend years trying to be liked, understood, chosen, or accepted, and little by little we start editing ourselves," Aragón observed. "We make ourselves smaller. We become quieter. We become more convenient." "But your voice comes back every time you are honest with yourself," she affirmed. "Every time you say what you really feel. Every time you stop apologizing for having dreams, boundaries, opinions, or emotions." "You don’t need to be loud to be powerful," she said. "You just need to be true. And the moment you start choosing yourself, even softly, your voice starts coming back." What are your aspirations for the future in terms of your advocacy work and any upcoming films that you’re excited about? "My aspiration is to keep creating work that helps people feel less alone," she stated. "Through my advocacy, I want to keep speaking about mental health in a way that feels human, beautiful, and honest," she explained. "Not as something perfect or inspirational all the time, but as something real. I want to create more spaces, books, conversations, and projects where people can understand themselves with less shame and more compassion." Regarding her screen work, she added, "In film, I am very excited about the stories I am developing because they also come from that same place. I am interested in cinema that explores the invisible parts of being human: emotional pain, identity, love, loneliness, resilience, and the things we hide behind a beautiful image." "For me," she concluded, "advocacy and film are starting to become part of the same mission: to transform pain into something that can move, heal, and connect with others." You can follow Sof Aragón on Instagram, IMDb.

Model: London Knight The Cannes Film Festival remains a stage where cinema serves as the backdrop for an international display of high fashion. This season, the conversation centers on Festival d’Azur, a capsule collection by Diana Dieppa Couture that captures the spirit of the French Riviera. The work moves from initial concepts to the reality of the red carpet, presenting a study in contrast through the pairing of Royal Blue and crisp white tones. The foundation of the collection rests on sophisticated silhouettes tailored to hold their own against the grand scale of the Palais des Festivals. The lineup offers a balance of structured tailoring and soft materials, including tulle, delicate polka dots, and lace overlays. Two personas define the aesthetic: the bold Royal Blue, which draws from the Mediterranean, and the noir details that provide a touch of mystery through black lace and sheer fabric. On the historic steps of the festival, the collection challenged traditional red carpet norms. A signature column gown in electric royal blue took center stage, accented by an avant-garde shoulder piece constructed from iridescent black feathers. A deep V-neckline, finished with textured blue ruffles, combined a fierce presence with poise. Gold stiletto heels and metallic accessories completed an ensemble designed to command attention. Away from the intensity of the premiere, the collection shifts its focus toward softer textures within the Carlton hotels of Cannes. A two-piece ensemble defines this portion of the narrative, moving toward ivory shades. The top consists of a sheer white lace bodice with floral patterns, sitting beneath an oversized, multi-layered organza ruffle collar with polka-dot embossing. This pairs with a minimalist, high-waisted cream silk skirt that provides a clean foundation for the dramatic top. Photographed against marble staircases and wrought-iron accents, these pieces connect the luxury of early cinema with a current perspective. The Festival d’Azur capsule stands as proof that the house prioritizes bold choices, finding a middle ground between the chaos of the carpet and the quiet luxury of the Riviera.

Photographer: Daniel Sinoca Sofia Milos knows how to hold her ground. She brings a grounded humanity to women who wear armor to survive. She stepped into the 1980s Brooklyn underworld for Gravesend Season 2 and launching her own luxury skincare line, her career continues to cross new borders. Here, Milos opens up about the emotional weight of her iconic roles, the lessons learned on international sets, and the deep faith that keeps her moving forward with grace. Stepping back into a mafia setting for Gravesend brings back memories of playing Annalisa Zucca. How did your emotional preparation for Tina Teva differ from your time on The Sopranos? "In The Sopranos, created by David Chase, I played Donna Annalisa Zucca, a Neapolitan Camorra boss who takes over the family business after the men are arrested or gone," Milos recalled, setting the scene with a palpable respect for the material. "It was something that historically did happen within certain Camorra families. She was powerful, respected, strategic, and went toe-to-toe with Tony Soprano, played so brilliantly by James Gandolfini, surrounded with an amazing talented cast." She paused, reflecting on the rigorous groundwork required. "To prepare for the role of Donna Annalisa Zucca, director Tim Van Patten gave me a fascinating book about women in the mafia and their influence throughout history. I immersed myself in the psychology, power, and culture of those women. David Chase was also incredibly specific about behavior, fashion, rhythm, down to the Neapolitan accent, so the preparation was very detailed and authentic." James Gandolfini and Sofia Milos, HBO The Sopranos "In Gravesend, created and helmed by William DeMeo, my character Tina Telva is very different," she explained, shifting gears. "She's the wife of a soldier, played by James Russo, who is now in prison, and she suddenly has to step up and protect her family in a severely male-dominated world, specifically Brooklyn in the 1980s. The environment, energy, and social codes are completely different from Naples. Also, an Italian-American versus Italian from Italy is very different in humor, nuances, and culture then and now." To inhabit Tina, Milos had to adopt an entirely new physical vocabulary. "For Tina Telva, I had to learn a Brooklyn accent inflection and really embrace the style and flavor of that 1980s period—the big hair, bold jewelry, animal prints, spandex, heels, nails, all of it. Physically and emotionally, Tina moves differently than Donna Annalisa. Annalisa was elegant, composed, and quietly dangerous. Tina is more raw, emotional, street, and survival-driven." "Another beautiful connection on Gravesend is that my daughter on the show, Rosemarie, is played by Gabriella Palminteri, daughter of Chazz Palminteri," she added warmly. "I actually just had the pleasure of working again with Chazz and a fabulous cast this past month on a new romantic comedy, which was such a joy. The movie could be released as early as the end of this year, and I can't wait to be able to share more about it." "What I love most as an actress is studying a character deeply and bringing her fully to life, from the makeup, the accent, and physicality to the wardrobe, the walk, the rhythm of speech, and even the emotional energy she carries into a room," Milos concluded. "Even the tone of a show or movie influences the flavor of performance. That metamorphosis is one of my greatest passions." Photographer: Daniel Sinoca You frequently play women of immense authority. Do you ever feel isolated carrying that heavy armor on set? "This is one of those moments where art imitates life," she mused thoughtfully. "I believe we must place our faith higher than our sometimes inevitable fears, walk forward with courage and resilience, especially through challenges and difficult times, and never give up. Many of the women I've portrayed carry enormous strength because they've had no other choice. In many ways, I understand that deeply." She continued with quiet conviction, "Working in what has often been a man's world, women frequently have to give twice as much just to stand in the same space or earn the same respect. But I believe there is great power in perseverance, grace, hard work, and gratitude. That strength becomes our crown." "Of course, characters like these can sometimes feel emotionally isolating because they wear armor to survive. But beneath that armor is usually vulnerability, passion, sacrifice, the desire to be loved, and to protect the people they care about. That humanity is what makes them so compelling to play," she noted. "Whether through a role or through my own life experiences, if I can inspire or encourage another woman to stand tall through adversity, then that journey has meaning. At the end of the day, I know I can count on my faith, my resilience, and the strength God gave me to keep moving forward." Detective Yelina Salas remains a television icon. Is there a quiet, unseen moment from the CSI: Miami set that still grounds your acting today? "CSI: Miami truly became a global television phenomenon, watched in nearly 200 countries and still reaching audiences around the world today," she shared, a note of immense gratitude in her voice. "I continue to receive messages from fans from so many different cultures and countries, and I couldn't be more grateful for the love they still have for Detective Yelina Salas. It's very humbling." Pulling back the curtain on the hit procedural, she added, "What people may not have seen behind the scenes was how disciplined and professional that production truly was. It was a very tight ship creatively and technically, groundbreaking for its time, visually stylized, and beautifully produced. It found a unique way to tell crime stories through the colorful, tropical atmosphere of Miami while still keeping emotional depth and intensity. Being part of such a long-running international hit show deeply shaped my work ethic and professionalism. At the time I didn't know the impact it was going to have for decades to come globally." Sofia Milos, CSI: Miami "A long-running series regular role on a hit show taught me the importance of preparation, discipline, and consistency. I learned to come in fully prepared, yet remain flexible enough to adapt instantly when changes happened on set, because in television, they often do." "It also taught me to trust myself," Milos emphasized. "My instincts, my training, and my ability to deliver emotionally and truthfully, often within the first take or two before production needed to move on. That kind of environment sharpens you very quickly as an actor." "And perhaps most importantly, it taught me not to take other people's insecurities personally. In any long-running production, you experience both the beautiful and the challenging moments. I learned the importance of being a team player through all of it—the good, the difficult, and everything in between—while never allowing anyone else's insecurities to dim my light or passion for the work." You bring a broad global perspective to all your work. How did your European roots specifically influence the emotion you poured into Tatort, Section de Recherches, or the upcoming Miracles of the Claves? "My European roots have absolutely influenced the emotional depth and authenticity I bring to my work," Milos replied, her face lighting up. "Growing up between different cultures and languages gave me a very broad emotional palette as an actress and a deeper understanding of people, nuance, and human behavior." "Tatort was especially meaningful for me because it was filmed in the beautiful city of Lucerne, where I had the opportunity to speak Swiss German on screen. I was born in Switzerland, and Swiss German was one of the languages I grew up speaking alongside Italian, Greek, and French German in school. Spanish and English came later in life for me as my travels expanded and crossed the Atlantic." "Playing Abigail, an American-Swiss detective bringing a more American energy and perspective into the Swiss investigative world, was incredibly enjoyable. It added humor, charm, and even a touch of romance to an otherwise gritty crime drama," she explained. "It also gave me the chance to reconnect with and polish my Swiss German after not speaking it regularly for nearly 25 years at that point, which was very special to me personally." "On Section de Recherches, we filmed in beautiful Belgium, and I performed in French," she continued. "This time, I was playing a very different character, a sophisticated casino manager suspected of murder, while also developing a romantic connection with the lead detective. It was another wonderful creative experience and reminded me how much I love working internationally and immersing myself in different cultures and languages." "And now with Miracles of the Claves, which we will shoot in Zurich and the breathtaking St. Moritz next year, I feel that same excitement again. The film will be spoken in English with an international cast, and I will also get to speak some Swiss German, French, and even learn some Romansh, which is considered one of Switzerland's oldest and almost archaic languages today. I immediately fell in love with the script written by Gianfranco Tordi, and I'm deeply grateful he came to me with the offer to play the female lead. I truly cannot wait to bring this story to life." "For me," she reflected softly, "traveling between cultures, languages, and emotional worlds has always been one of the greatest gifts of being an actress. It keeps me curious, connected, and creatively alive." Sofia Milos and David Caruso, CSI: Miami Beyond the camera, your charity work with children connects you to profound real-world pain and joy. How directly does this impact the roles you choose to accept? "Over the past two decades, my support and help for underprivileged children, or children with cancer and abused women going through difficult circumstances, women's homeless shelters, among some foundations and charities - witnessing their stories has definitely deepened me as a human being," Milos shared, her tone turning deeply reverent. "When you witness real pain, real courage, and real hope, it changes your perspective on life and on storytelling." "It reminds me that every person carries a story we may know nothing about, and that truth absolutely influences me as an actress. I'm drawn to characters who have emotional layers, resilience, vulnerability, and humanity. Even strong women who appear powerful on the outside usually carry deep wounds, abuse, fears, love, sacrifice, or longing underneath." She paused, considering the gravity of her platform. "At this stage of my life and career, I'm also more conscious of projects that have heart and a message. Entertainment carries a huge responsibility of hope and inspiration. We all need escapism, joy, laughter, romance, suspense - but I also love stories that leave people feeling something deeper, that inspire, heal, encourage, or create empathy." "Working with children especially reminds me how precious innocence, kindness, and hope are. Children are our future. Though I wasn't fortunate to have children of my own, something I always wanted—to be a mom—watching children helps me understand what truly matters beyond fame or success. But I get to be a good daughter to my mom, and that makes me happy." "So while I don't choose roles only based on charity or social themes, my life experiences absolutely influence the emotional truth I bring into the characters I decide to portray," she concluded. Thinking about television history, David Chase cast you in a very male-dominated environment. Has the industry finally caught up to the standard set for women in crime dramas, or is it still a fight? "Perhaps not much is widely known, for example, about women in the Camorra, the Neapolitan crime organization," she observed. "Unlike the traditional Sicilian mafia structure, there were historical cases where, if a husband died or was incarcerated, women would step in and take over the business. Very powerful women. So when David Chase created Donna Annalisa Zucca in The Sopranos, it was actually inspired by real historical precedents, even two decades ago, and I am so grateful he gave me the opportunity to make Donna Annalisa come to life and live for years to come on the small screen and in my fans' memory." "What made the role so compelling for me to play and for the audience was that David Chase allowed for Donna Annalisa to be powerful without losing her femininity, intelligence, sensuality, or emotional depth," she explained. "Audiences around the world responded to that. I received enormous respect from both men and women because people could recognize the strength in her, but also the humanity in a woman of power." "I think many women connected to these characters because, historically, women have often been oppressed, suppressed, underestimated, or limited culturally, religiously, socially, or professionally. Yet women have always been resilient. We are powerful, intuitive, nurturing, intelligent, and capable of leading in every field." When asked if the needle has moved, Milos was optimistic. "Have things improved across the board since then? Yes, absolutely. Women today have far more opportunities, stronger voices, and more complex roles in entertainment than in the past. We are seeing women leading major television series, films, production companies, directing, and global franchises. But we still have a long way to go, especially regarding equal pay, equal opportunities, and representation not only in entertainment, but across every profession." "That's why storytelling matters so much," she insisted with gentle authority. "Film and television have the power not only to entertain, but also to inspire, educate, and shift perspectives. When audiences see women portrayed as multidimensional human beings - strong yet feminine, vulnerable yet courageous, powerful yet compassionate - it helps reshape outdated ideas of what women can be." "And the truth is, women around the world already are doing extraordinary things every day, in politics, science, medicine, education, business, the arts, and entertainment. Sometimes the screen simply catches up to the reality of who women have always been." Photographer: Daniel Sinoca After all the different types of roles you've played, what still makes you fall in love with a character enough to say yes? "I love the variety and character evolution this profession offers," she laughed, visibly excited by the creative process. "From action films to cop or legal dramas, mafia stories, comedies, romantic comedies, sitcoms, spoof films, and international projects in Italian, French, German, or English. As an actress, I truly enjoy constantly discovering different worlds, emotions, cultures, and personalities." "What matters most to me today is a compelling story that genuinely draws me in, a wonderful cast and creative team to collaborate with, and the feeling that going to set each day will be both inspiring and joyful. Life is too precious not to enjoy the people you create with." "I'm especially attracted to characters that challenge me creatively, emotionally, or linguistically - or simply characters I know I will have tremendous fun bringing to life. Sometimes a role touches something very deep emotionally, and other times it's the joy, humor, chemistry, the arc of the character, or the opportunity to work with friends and talented artists that excites me." "At the end of the day, I want to feel passionate about the work. If a script moves me, inspires me, makes me curious, or sparks my imagination, then I know there's a very good chance I'll want to be part of that journey," she noted. You have been working constantly across multiple genres over three decades. If you could whisper one piece of advice to the young Sofia just starting out, what would you tell her? "I would whisper to young Sofia: trust yourself and trust your instincts," Milos said, her voice dropping into a tender, reflective cadence. "You are enough. Cherish your uniqueness, sensitivity, empathy, and childlike wonder - they are what will make your performances stand out and connect deeply with people." "Believe fully in your passion despite any obstacles, and take action every day toward your dreams with persistence, discipline, faith, and love. Build your faith so strongly that it always will outshine your fears." "I would tell her that all the hard work, years of scene study, and spiritual study - sacrifices, and preparation - will eventually pay off, even in moments when nothing seems to be happening. And that the pain, disappointments, heartbreaks, and challenges she overcomes will one day become gold - part of the emotional reservoir that will shape the depth, strength, compassion, and authenticity she brings to her work and to life." She offered one final, resolute thought on the matter. "Keep growing, keep learning, stay curious, and never lose your imagination and dreams. And most importantly: never give up. No one will ever believe in you more powerfully than you believe in yourself. That belief, combined with perseverance and faith, is what ultimately opens doors and inspires others to believe in you too." You've just recently launched your own skincare line. Tell us about it. "I'm incredibly excited to have recently launched my luxury skincare line, RADIANT by Sofia Milos," she shared, her entrepreneurial spirit shining through. "The Fountain of Youth Cream is the first release in a collection of four amazing products, all handcrafted in fresh artisanal batches in Florence, Italy. Because freshness matters, we currently offer RADIANT directly online to ensure every customer receives the product at its highest quality and effectiveness." "What makes RADIANT truly different is that it's not just skincare - it's true nourishment for the skin. Everything is created with farm-sourced ingredients combined with advanced regenerative anti-aging science to help plump, hydrate, regenerate, and restore the skin laxity and glow for timeless beauty," she explained. Skincare: RADIANT by Sofia Milos "Our products are chemical-free and formulated without parabens, phthalates, glyphosates, paraffins, or harsh toxins. We use only pure, natural ingredients processed through methods that preserve their active potency and visible effectiveness on the skin. The line was developed with my friend and extraordinary chemist Roberto and his talented team in Florence, who created beautiful formulas that combine luxury, purity, and real results." "Our hero product, the Fountain of Youth Cream, is a deeply nourishing anti-aging cream designed to visibly plump, smooth, regenerate, and bring radiance back to the skin," she added with a smile. "It's unisex, because healthy, glowing skin is for everyone." You can follow Sofia Milos on Instagram, IMDb. Photo Credits: Actress & Entrepreneur: Sofia Milos | SofiaMilos.com Photographer: Daniel Sinoca Skincare: RADIANT by Sofia Milos | RADIANTbySofiaMilos.com Stylist: Orlando Cueva Stylist Assistant: Alberto Marez Production Coordinator: Galina Sobolev, Luxury Brand Consultant Press Agent: Meredith Corning PR Dress: GLAUDI by Johana Hernandez

Photography: Sarah Louise Bennett / EBU Delta Goodrem losing Eurovision 2026 with her stellar song "Eclipse" is one of the biggest disappointment of the year. #Powerjournalist Markos Papadatos has the recap. The disappointment of Eurovision 2026 is not that Australia lost. Eurovision fans are used to heartbreak, chaotic voting patterns, and juries making baffling decisions in the final hour. No, the real disappointment is that Delta Goodrem delivered the performance of her career - the kind of soaring, emotionally devastating Eurovision moment the contest was built for - and still walked away without the trophy. Years from now, people won’t remember the winning staging gimmick or the safe, algorithmically optimized pop chorus that edged her out. They’ll remember Delta standing alone beneath a cascade of silver light, belting a final chorus so raw and triumphant that even hardened commentators fell silent for a moment. Eurovision claims to celebrate artistry, emotion, and spectacle. Delta Goodrem gave all three. And somehow, it still wasn’t enough. Second Semi-Final Performance: Delta Goodrem performing Eclipse for Australia during the Second Semi-Final of the Eurovision Song Contest at Wiener Stadthalle, Photography: Alma Bengtson/EBU That’s what makes the result feel so profoundly wrong and bizarre at the same time. This is also an insult to her song's co-writers Ferras Alqaisi, Jonas Myrin, and Michael Fatkin, all of which co-penned it with Goodrem. Eurovision has increasingly become a contest obsessed with virality. Songs are now engineered for TikTok clips before they are written for arenas. Delegations chase “moments” instead of music. But Delta’s entry felt refreshingly sincere. It was unapologetically melodic, emotionally mature, and vocally fearless. In a field crowded with ironic dance tracks and half-finished hooks masquerading as avant-garde genius, she delivered an actual song - one with structure, crescendo, and heart. And perhaps that was the problem. Delta Goodrem represented something Eurovision often says it wants but rarely rewards anymore: authenticity without gimmick. She didn’t descend from the ceiling in a chrome bodysuit. She didn’t arrive flanked by ten dancers dressed as AI-generated angels. She simply stood there and sang with conviction powerful enough to command an entire continent’s attention. The public clearly connected with it. Social media exploded within minutes of her performance. Reaction videos flooded YouTube. Eurovision veterans immediately called it “a classic entry” and “one of Australia’s greatest ever performances.” Even rival delegations reportedly gave her standing ovations during rehearsals. Yet when the votes came in, the juries scattered points elsewhere, and the televote fractured along predictable regional lines. It exposed one of Eurovision’s enduring flaws: the best performance does not always win. Sometimes the winner is merely the most strategically positioned act in a fragmented field. Delta’s loss also feels symbolic for Australia itself. Since entering Eurovision, Australia has often been treated like the overachieving guest at someone else’s party - welcomed, applauded, but never fully embraced when it comes time to hand over the crown. Time and again, Australian artists bring polished vocals and ambitious songwriting only to watch Europe reward novelty over craftsmanship. And no Australian artist embodied that frustration more painfully than Delta Goodrem in 2026. What makes the outcome sting is that her performance transcended Eurovision. It was not just “good for Eurovision.” It was genuinely world-class. The vocal control, the emotional pacing, the cinematic staging - all of it felt like the culmination of decades spent mastering performance. This was not nostalgia bait from a legacy artist. This was a veteran performer proving she still had something urgent to say. Grand Final Performance: Delta Goodrem performing Eclipse for Australia during the Grand Final of the Eurovision Song Contest at Wiener Stadthalle, Photography: Alma Bengtson/EBU The irony is that losing may ultimately immortalize the song more than winning would have. Eurovision history is filled with runners-up and robbed fan favorites who outlived the actual champions in public memory. Ask casual viewers to name the greatest Eurovision performances, and they often recall the emotional near-misses, not the technically victorious entries. Delta Goodrem now joins that lineage. Simply put, Delta Goodrem is the Kate Bush of our generation. Because while Eurovision 2026 may officially record another winner, many viewers know who truly owned the night. The scoreboard said one thing. The audience reaction said another. And sometimes, the scoreboard gets it wrong.

The Stage is Set for Miss England A theater in Leicestershire is about to host a significant shift in the world of pageantry. On Sunday, 11th October 2026, at 5 PM, the Melton Theatre on Asfordby Road Melton Mowbray will fill with an inspiring group of contestants who represent a modern standard of achievement. These young people are not just competing for a title; they are bringing inspiration and community leadership to the spotlight. This year, the event expands its reach by including the search for the next Mr. England, creating a double celebration of talent and character. Real Impact Over Status The heart of this gathering remains a commitment to service, highlighted by the Beauty with a Purpose awards the ethos of Miss England & Miss World . Following the global tradition of using influence for good, each participant arrives with a dream of advocacy and they will to fundraise for the Miss World charity called Beauty with a Purpose as part of their journey which helps meaningful projects across the world having raised millions of pounds over the years. (See About Us on the Miss England website. ) For the Mr. England hopefuls, this includes a dedicated effort to raise funds for Balls to Cancer, a partnership that successfully raised over £23,000 in 2024. The event will also feature a "We Do Ethical" fashion show, proving that style can be both conscious and impactful. Defining True Confidence Walking onto a stage requires more than a steady stride; it demands the ability to speak clearly about one's journey. The semi-finalists use this moment to show their personality through various qualifying rounds, including a Make up Free round to celebrate natural beauty, alongside Sports and Talent segments. They are judged on how they handle the pressure of the moment and how they communicate their values. It is a test of poise that prepares them for much larger roles in the public eye. A Special Homecoming The event carries a local spark this year with an appearance by the reigning Miss England, Grace Richardson. As a performing arts student from Leicester, her presence serves as a reminder of what is possible. Her guest performance bridges the gap between being a contestant and becoming a national representative. Now in the process of preparing represent England at Miss World in Vietnam this August & September , her journey from this very stage to the international spotlight offers a clear map for those following in her footsteps. The Path to the Final Only a select number of contestants will move forward from this weekend to the national final. The stakes are high, as the eventual winner will compete for the opportunity to represent England at Miss World in Tanzania in May 2027. For those interested in joining this supportive network, applications are currently open through the official website and the free Miss England app. While tickets were prioritized through 11th May, the momentum continues to build as the date draws near. A New Generation Rising As the October date approaches, the atmosphere is one of anticipation rather than just rivalry. This event marks a transition for many young leaders who are finding their voices. By focusing on passion and ethical intent, the competition stays relevant for a new age. It proves that when young people are given a platform to shine, they use it to light the way for others. If you think you're the next Miss England, enter the competition here. For Mr England , download the Miss England App (iPhone / Android) and complete the online entry form on the Mr England tab.

Photography: Disney/Ser Baffo Cassandra Kulukundis spoke with members of the media in the Oscars Press Room after her Academy Award win, where she became the first person to ever win the Oscar for “Best Casting” for “One Battle After Another.” She is of Greek-American descent. The 2026 Academy Awards took place on March 15th at the Dolby Theatre in Hollywood, California. On the importance to her and Paul Thomas Anderson on seeking fresh new faces to cast on that film (in addition to A-listers), she said, “Authenticity. In a lot of ways, it keeps everyone on their toes. We don’t really know what’s going to come out of the real people’s mouths. I mean yes, he wrote an idea, but at the same time, we use them as consultants. I mean a lot of the times it’s what you do.” Photography: Disney/Stewart Cook “If you’re in the military, you’re playing military. If you’re a jail nurse, you’re playing a jail nurse. If you skateboard, you’re going to hang off a car in a Paul Thomas Anderson movie, and that’s kind of the fun of it,” she noted. “We love real actors as well,” she said. “You know, the ones who have trained, so we try to just keep it mixed because that’s what life is, isn’t it? I looked out in that sea of people there. There’s actors, there’s behind the scenes people, and everyone has a story to tell and we want to tell that story.” On the evolution of her partnership with Paul Thomas Anderson over the past two decades, she shared, “I mean we were children, I think. Me younger, of course. We grew up watching movies and then we grew up making movies together. That’s why this night is insane.” Photography: Disney/Gavin Bond “This is our 10th movie, and the collaboration changes on every movie because it depends on what we’re doing. ‘Phantom Thread’ cannot be remotely compared to ‘Magnolia’ or ‘Boogie Nights.’ It’s just wild, and I feel like ‘One Battle’ in a lot of ways combined all of that, everything that we’ve ever thought, said, seen together. It’s number 10, and it kind of all makes sense I guess, we’re full circle here,” she elaborated. When asked what she saw in Teyana Taylor and Chase Infiniti when they were doing their auditions, Kulukundis responded, “Well, I mean Teyana is a fighter. I read so, so many people —women — for that role. And Teyana just, I mean, she wanted it and she fought and she fought and then she got it and then she kept fighting when she had it. There’s just no end in sight.” “Chase, was the exact opposite. She was so demure, so polite, so fresh, so new and so innocent. So, for her it was like, ‘Girl, you got to be a fighter,’ and she did it. She found it. She worked within herself. She found things that she didn’t even know she had and now she’s a shooting star,” Kulukundis elaborated. Photography: Disney/Ser Baffo “Both of them are like planets actually. They’re amazing and you’re drawn to them. I’m worried that this might be the end. I might not see them for a long time, but I’ll see them on screen. So, yay,” she exclaimed. Regarding the particular performances that moved her in this movie (and reminded her why she believed in those actors that were cast for the role), she stated, “Oh God, there were so many. Almost in every 10 minutes there’s something that makes me go, ‘I’m so glad I worked on this movie.’ I watched it 30 days in a row with a paying audience in New York City.” “I love every bit of it,” she admitted. “In general, I just love the fact that we got so many different types of people in there. A member from every military service in every way. I love my El Paso gang, my jail nurses to my skateboarders, and in general, the letter! The letter we were never 100% sure on it.” “Some people in the crew were talking. Then, Teyana’s voice cracks and she just brings me to tears. That and Leo talking about how he can’t do his daughter’s hair. It’s all just so, so good. It’s iconic, funny, and heartfelt. The whole movie is so good,” Kulukundis concluded. Photo Credit: Richard Harbaugh, The Academy

Photography: Sandun de Silva, Makeup: Neaha Ranasinghe, Styling: Tara Pascale Germani “I made this film because I don't want my father to disappear a second time. It is a small act of justice for him — a service to his memory and to his love for his country. Telling his untold story also means telling an untold story of Libya, spanning nearly a century of Libyan history and politics. I chose to use historical archives because I believe it is important, for both global audiences and Libyans, to witness the Libya we have lost. When my father disappeared in 1993, he was one of the most influential visionaries of his generation in the Arab world, and his voice was silenced. In light of today’s global conflicts, his absence is felt more than ever." — Jihan Photography: Sandun de Silva, Makeup: Neaha Ranasinghe, Styling: Tara Pascale Germani You have taken this story from a nomination for the Golden Globes Impact Prize in Venice to winning top honors in Doha and Marrakech; does this global recognition feel like the "act of justice" you set out to achieve for your father Mansur Rashid Kikhia? I made this film as a small act of justice for my father - a service to his memory and to his love for his country. Telling his untold story also means telling an untold story of Libya, spanning nearly a century of Libyan history and politics. I chose to use historical archives because I believe it is important, for both global audiences and Libyans, to witness the Libya we have lost. I treated his story, and the story of Libya itself, as a puzzle demanding a solution. This film is my contribution to a vast movement of healing - not just for my family, but for all Libyans. It is a genuine offering. I like to imagine the world is now helping me carry the weight of my father's courage, helping to put a human face on the Libyan experience. These awards are an honor, and they serve as an encouragement for me to continue my mission. Young Jihan in "My Father and QaddafI" © Desert Power LLC You were only six years old when your father disappeared in Cairo; did the decade you spent making this film allow you to finally meet the man behind the fading childhood memories? My father and I are connected in a realm that I can’t describe. Our bond lies beyond my numbness and shock - a place that I can’t name or clearly feel. My life with my father is trapped in a faint dream, illuminated by my family’s stories and by my faith. Sometimes my faith is fragile and unforgiving, and sometimes it is gentle and comforting. Ultimately, although the mystery of my father silently tortures me I believe that my connection with him is in a peaceful place where none of this matters. Photography: Sandun de Silva, Makeup: Neaha Ranasinghe, Styling: Tara Pascale Germani Your mother, Baha, spent nineteen years searching and even confronted Muammar Qaddafi in the desert; how much of this documentary is a love letter to her refusal to let the world forget him? My mother is a woman of unwavering principle; her conviction is a magnetic force. Her sense of duty—not just as a mother, but as a human being - is what sustains me. Not only did she courageously search for my father, exposing herself to the world as a woman alone, but she protected us as children. She is raw, potent, and possesses a razor-sharp wit. As an artist and oil painter, she fills our world with melodies and celebrates the beauty of Damascus, Jerusalem, and Baghdad, and the old cities of her family's history. We grew up in a home that defied the darkness - it was a place of play, color, and music. She gave us permission to be happy even while she was out fighting for justice. She taught us that while life is dangerous and unjust, we can still choose love and joy. She is the reason I have the strength to honor my father today. This film is my way of reaching out to embrace her. Jihan's mother Baha Al Omary in "My Father and QaddafI" © Desert Power LLC Growing up in Paris and the US, you lived between the safety of the West and the trauma of Libya; how did that distance shape your unique voice as a filmmaker? My identity is a product of politics. I was born in Paris during my father’s exile. When he disappeared, I was uprooted to Washington D.C. to live with my sister, separated from my mother, and forced to trade my French for English within months. My childhood in Paris became a ghost. I am part of a diaspora that is constantly fleeing uncertainty - feeling culturally orphaned and physically displaced. Libya was always this distant, terrifying mystery, yet I was silently obsessed with it. I felt a part of myself hovering over that land. Every time I return, it feels like a reckoning. I live in the 'in-between,' looping through parallel lives and languages. Filmmaking allowed me to take those fractured elements and give them a structure. It was a healing exercise to turn a nebulous, haunting past into something I could finally hold. From Left to right: Muammar Qaddafi and Mansur Rashid Kikhia in "My Father and QaddafI" © Desert Power LLC Your father, Mansur, was a diplomat who believed he could reason with a dictator; was it painful to document the moment his faith in dialogue led him into the trap? This process revealed the true harshness of life and the treachery of investing in a passion. The business of art is full of contradictions - you are trying to quantify the abstract. Over the last decade, I’ve faced deception, malice, and fear. Ironically, those professional struggles gave me a deeper empathy for my father. I began to understand his perseverance not as a political statue, but as a man. I started asking how he felt in those moments of betrayal. By stripping away the 'glory' of his title, I was able to use my imagination to finally find the human being. Mansur Rashid Kikhia as the Permanent Representative to the United Nations in "My Father and QaddafI" © Desert Power LLC After decades of not knowing, your father’s body was found in a freezer near Qaddafi’s palace in 2012; how did you find the strength to translate such a macabre reality into art? I followed a raw intuition. I promised myself I would tell the truth, no matter how absurd or horrific it became. I had to break the spell of shock that had kept me silent for so long. It was a rite of passage. I had to ask myself: if I am too afraid to face my own father’s story, how can I ever expect the rest of the world to care? You chose to use grainy home videos and archival footage rather than just interviews; was this your way of fighting the "national amnesia" that Qaddafi tried to impose on Libya? I chose honesty over polish. Life is disjointed and messy. I wanted the film to embrace those sudden silences and haunting gaps because they reflect my internal state. While the film needs a linear logic for the audience to follow, the emotional core had to be real. Qaddafi’s 42-year rule didn't just govern; it suffocated. It imposed a collective amnesia, veiling everything that came before - the Italian colonization, the discovery of oil, the old identity of the country. I wanted to venture into that history to help piece together the fragments of who we are. His 'cult of personality' tried to erase us, and this footage is my way of saying we were always there. Young Jihan and her family with President Bill Clinton in "My Father and QaddafI" © Desert Power LLC Public figures often become two-dimensional symbols after death; how important was it for you to show your father’s flaws and humanity rather than just his political heroism? I needed to humanize him to heal. Living in the shadow of a hero is a heavy burden; I’ve spent my life terrified of disappointing him or Libyan society. But I wasn't looking for a symbol - I was longing for a father. Seeing his flaws gave me permission to be flawed myself. The world’s response has been the 'tender embrace' I was missing. Strangers have stepped into that void with empathy, showing me a kindness that has been incredibly restorative. Photography: Sandun de Silva, Makeup: Neaha Ranasinghe, Styling: Tara Pascale Germani You have named your production company "Desert Power," which suggests resilience; does this mark your transition from a daughter searching for answers to a filmmaker commanding her own narrative? I hadn't viewed it through that lens, but I find that interpretation incredibly moving. The desert appears hostile and barren, but it possesses a secret language and hidden networks beneath the sand. 'Desert Power' is about our fragility, yes, but it’s also about the ancient knowledge of my ancestors. It’s the realization that we can find our greatest strength in the most unlikely, desolate places. Now that you have reclaimed your father’s story and shared it with the world, are you ready to close this chapter of grief and turn your lens toward the future? To move forward, I had to walk directly back into the past. My life is inextricably linked to Libya’s history. If I didn't integrate that, I would be moving in a loop. I’m not looking for a definitive 'end'. But I have expanded. I can now hold my father, my country, and my identity with more honesty. The truth reinforces my center. I am trying to weave acceptance and peace with authenticity and freedom. But I still have a lot to learn. PR: Valentina Castellani-Quinn Film Credits: Director: Jihan Producers: Jihan, Dave Guenette, Mohamed Soueid, Sol Guy, Valentina Castellani-Quinn Production Company: Desert Power Co-Producers: Andreas Rocksén, Mohamed Siam, William Johansson Kalén Co-Production Company: Laika Film & Television AB, Siam Films In Association With: Quiet

Photography: Hollywood Hills Magazine The atmosphere of modern cinema thrives on the visceral collision of high fashion and unvarnished grit. The industry continually starves for authenticity, hunting for visionaries who capture the unfiltered essence of youth through a spectacularly stylish lens. A director must understand that the drape of a fabric, the saturation of a neon light, and the chaotic energy of a hedonistic party carry as much narrative weight as the dialogue. Within this exclusive pantheon of visual storytellers, Charles Henri Belleville has steadily carved out a distinct and coveted niche. Recognized early as a Screen International Star of Tomorrow and celebrated globally as a Berlinale Talent Campus alumnus, his cinematic universe operates on stark contrasts, blending rugged realities with heart-pounding aesthetics. Formal education in film theory at Newcastle provided academic structure, but the invaluable lessons came from the muddy trenches of the industry. Theoretical knowledge requires the aggressive pairing of practical experience. He spent years working as a runner, dutifully fetching scripts, making tea, and performing the physically exhausting tasks that keep a set functioning. Observing the complex mechanics of production from the absolute bottom of the hierarchy allowed him to absorb how a crew either hums like a machine or collapses into fiery chaos. This grassroots period imbued him with a deep, enduring respect for every crew member, forging a rare leadership trait that would later prove invaluable during the logistical nightmares of international shoots. The leap from aspiring student to award-winning feature director occurred with blistering speed and astonishing resourcefulness. Belleville unleashed his directorial debut, a gripping, emotionally raw Scottish road movie titled The Inheritance, in his early twenties. Armed with a microscopic budget of merely a few thousand dollars, he set out to prove that artistic vision could overpower massive financial limitations. The production operated as a masterclass in guerrilla filmmaking. The crew commandeered a second-hand Volkswagen camper van, transforming it into both the primary setting and the mobile production unit navigating the frozen, breathtaking landscapes of the Scottish north. The shoot lasted a punishing eleven days, relying predominantly on natural light and the stark, unforgiving beauty of the outdoors. When the ancient camper van inevitably broke down, a disaster that would have halted a traditional production, the director simply rewrote the script on the fly to incorporate the engine failure directly into the storyline. Supreme adaptability became a defining hallmark of his style. The film featured an incredibly astute casting choice in Tom Hardy, a talent who brought an intense, deeply magnetic energy to the project. Hardy's powerhouse performance elevated the micro-budget feature, telling the moving story of estranged siblings navigating a fraught emotional journey. The Inheritance premiered to critical acclaim at the Raindance Film Festival, securing multiple prestigious nominations and ultimately winning the inaugural Raindance Award at the British Independent Film Awards. Navigating the independent film landscape in the United Kingdom demands a shrewd understanding of funding bodies and distribution networks. A stint working in the marketing department as a distribution intern for Vertigo Films provided a crash course in how films are sold and marketed to the masses. This deep understanding of the business mechanics fuels his current passion for mentorship. A sobering industry statistic reveals that eighty-one percent of directors never manage to make a second feature film. Burdened by the crushing weight of critical expectations and complex funding structures, the sophomore project is notoriously difficult. Refusing to become a statistical casualty, the director returned to the screen with a project that aggressively expanded his visual horizons. The resulting feature, Jet Trash, based on Simon Lewis's cult-favorite novel Go, permanently cemented his reputation for stylish, character-driven cinema. Jet Trash represents a massive departure from the damp realism of the Scottish Highlands. The narrative follows two complex characters hiding out on a spectacular, sun-kissed beach in Southern India, immersing themselves in a slacker lifestyle defined by wild parties and hedonistic escapism. Their fragile paradise is violently disrupted by the sudden arrival of an enigmatic figure from their past, triggering a devastating domino effect of paranoia. The crew traveled to the sun-baked island of Goa, shooting in sweltering forty-degree heat. The harsh elements severely tested their physical and mental endurance. In one chilling behind-the-scenes incident, a crew member suffering a severe psychotic reaction to malaria medication attempted to choke the lead actor on set. Despite the terrifying chaos, the film emerged triumphant as a sleek, fast-paced thrill ride. The film operates as a masterclass in utilizing curated wardrobe, innovative lighting, and meticulous art direction to silently communicate the psychological unraveling of its characters. A brilliant dual narrative starkly contrasts the dangerously claustrophobic, shadow-drenched atmosphere of a London nightclub with the overwhelming sensory assault of Goa. The neon-soaked party land scatters fractured, blinding light across the screen, creating a dangerously seductive dreamscape. The overarching aesthetic is incredibly kinetic and highly saturated. Robert Sheehan plays the protagonist with a deadpan, deeply chaotic energy, his distressed wardrobe reflecting the stripped-down reality of the international backpacker trail. Opposite him, Sofia Boutella brings an undeniable, magnetic grace, her wardrobe blending the harsh aesthetics of the London underworld with the fluid nature of the Indian coast. Creating a film requires an unwavering physical and psychological commitment. Belleville views the profession as a grand adventure, likening the unpredictable existence to running away with the circus. Cinema remains the singular, unshakable anchor in his chaotic world. To achieve the intense focus required to orchestrate vast crews and flawlessly execute a singular vision, he imposes strict personal rules. During the grueling months of directing, he ceases drinking alcohol entirely. This fierce intensity seamlessly carries over into the maddening isolation of the editing suite, where his relentless perfectionism dictates spending years refining a film rather than rushing a compromised(insert ) piece of work. Charle’s next project a Sci-Fi thriller taps directly into the modern cultural zeitgeist, exploring a profound obsession with youth, extreme longevity, and the blurry ethical boundaries of science. Bangkok provides the absolute perfect cyberpunk aesthetic, with its towering neon skyscrapers, sweaty urban textures. Managing a massive project of this scale, complete with intricate visual effects to realistically depict genetic manipulation, requires supreme confidence. The fascinating trajectory of Charles Henri Belleville serves as a powerful testament to the thrilling vitality of independent cinema. He absolutely refuses to be easily categorized. He seamlessly transitions from the freezing emotional realism of the Scottish working class to the hallucinogenic paranoia of a tropical thriller, and finally to the sterile terror of a futuristic biological mystery. Throughout these dramatic shifts in genre, his distinct, pulse-pounding visual signature remains entirely constant. He understands the profound impact of wardrobe, the deep emotional resonance of saturated color, and the intensely seductive power of a perfectly framed shot. Through sheer willpower, visionary style, and a total commitment to his craft, Charles Henri Belleville has firmly secured his place in the very front row of modern cinematic innovators. You can follow Charles Henri Belleville on his Website, IMDb.

Parallel Tales - Photo Courtesy: Carole Bethuel The sun-drenched coastline of the French Riviera is currently bracing for the most anticipated cultural convergence of the season, as the seventy-ninth edition of the Cannes Film Festival prepares to unroll its legendary crimson carpets. Scheduled to unfold from the middle of May through the twenty-third of the month, this spectacular event represents the absolute pinnacle of global auteur cinema, high-stakes international film distribution, and the uncompromising, breathless glamour of haute couture. The Palais des Festivals et des Congres will once again undergo its magical transformation, evolving from a mere architectural structure into a sprawling, multi-tiered sanctuary for the world's most visionary storytellers and the fashion industry's most influential, A-list power players. This upcoming festival arrives at a profoundly critical juncture for the international film community. Under the rigorous, forward-thinking curation of festival director Thierry Fremaux and president Iris Knobloch, the selection serves as a powerful reaffirmation of the communal theatrical experience. In an era increasingly overshadowed by the looming specter of artificial intelligence, this edition is deliberately positioned as a fierce defense of raw, unfiltered human creativity. The official selection, meticulously culled from a staggering two thousand five hundred and forty-one feature film submissions spanning one hundred and forty-one countries, reflects a curation process that champions breathtaking diversity and a notable surge in women's representation behind the camera. As the global elite-from Hollywood royalty to Parisian fashion executives-descend upon the South of France, the atmosphere is electric, charged with the intoxicating promise of scandalous premieres, triumphant standing ovations, and the forging of timeless artistic and aesthetic legacies. While the magnificent films naturally provide the intellectual and emotional core of the festival, the iconic, towering red steps serve an equally vital function as the world's most scrutinized and prestigious fashion runway. The magical intersection of cinema and haute couture at Cannes is never merely incidental; it is a meticulously orchestrated, high-stakes theatrical performance where careers are minted and brand legacies are solidified. However, this is not a free-for-all display of personal style. The festival enforces a notoriously strict, traditional dress code for its evening gala screenings, demanding a level of classical elegance that borders on the dictatorial. According to the official decrees, attendees seeking entry to the grand premieres must adhere to rigorous standards: a dinner jacket-specifically a tuxedo complete with a mandatory bow tie-or an exquisite evening dress is required. In the absence of these traditional garments, guests may opt for a sophisticated cocktail dress, a dark, sharply tailored trouser suit, a dressy top paired with immaculate black trousers, or a midnight blue suit, provided the bow tie remains firmly in place. The footwear regulations are perhaps the most fiercely debated aspect of the Cannes style mandate. The festival explicitly demands elegant shoes, whether adorned with heels or completely flat, while strictly and unequivocally forbidding sneakers of any kind. Furthermore, the authorities politely but firmly request that attendees avoid disrupting the sleek visual aesthetic with cumbersome backpacks, tote bags, or any oversized accessories. Yet, it is precisely this rigid, classical framework that has historically provided the perfect canvas for high-profile, viral sartorial rebellions by the industry's most daring icons. The endlessly chic Kristen Stewart famously subverted the footwear mandate several seasons ago by defiantly wearing the forbidden sneakers, and later escalated her protest against the restrictive glamour by shedding her shoes entirely and walking the length of the rain-slicked red carpet completely barefoot. The legendary Julia Roberts similarly discarded her towering heels in a display of joyful, rule-breaking defiance, while the perpetually relatable Jennifer Lawrence recently navigated the imposing steps in a pair of casual, black flip-flops cheekily hidden beneath the voluminous hem of her sweeping couture gown. These brilliant moments of deliberate nonconformity do not diminish the glamour; rather, they highlight the fascinating tension between the festival's deep-rooted classical traditions and the evolving, fiercely independent attitudes of modern Hollywood royalty. The fashion narratives extending from the Croisette are heavily influenced by the broader luxury ecosystem, and this season, the spectacular, boundary-pushing revival of Schiaparelli looms incredibly large over the red carpet landscape. Under the brilliant, visionary creative direction of Daniel Roseberry, the historic French house has recaptured the zeitgeist, shifting the cultural conversation toward a taste for the gilded, the avant-garde, and the fabulously surreal. Roseberry's mastery truly exploded into the mainstream consciousness during a previous Cannes festival when the supermodel Bella Hadid ascended the steps in a plunging, scoop-neck black gown. The piece de resistance was a massive, anatomical breastplate crafted from a gold chain, meticulously shaped to resemble the bronchial trees of human lungs. This single, unforgettable look cut through the media noise and established a new benchmark for wearable, museum-quality art. This specific aesthetic of extreme, architectural opulence has generated a ferocious appetite among the industry's most important clients, propelling the brand to become one of the top five best-selling labels at Harrods, which is notably doubling the brand's retail footprint on its shop floor this coming summer. The very top tier of luxury shoppers now crave these profound, theatrical moments, guaranteeing that the custom creations on display at the upcoming festival will be nothing short of breathtaking. This atmosphere of uncompromising glamour mirrors the aesthetic risks taken at recent high-profile galas, where attendees draped themselves entirely in full-body Mikimoto pearl structures, blending Belle Epoque royalty with military fringe, and Beyonce made a show-stopping return in a complex, Byzantine-inspired Olivier Rousteing creation. The Cannes red carpet absorbs and amplifies this energy, demanding that its attendees present profound, meticulously styled sartorial statements rather than merely wearing beautiful clothing. In the equally vital realm of beauty, the Cannes red carpet consistently dictates international trends for the seasons that follow. For this seventy-ninth edition, the celebrated, globally renowned celebrity hairstylist John Nollet has confidently predicted a massive, worldwide resurgence of the classic chignon. Nollet's approach to hair styling transcends mere aesthetics; it is a deeply architectural and narrative endeavor. He views the chignon not simply as a hairstyle, but as a holistic, integral element of a star's overall presentation, fully capable of expressing deep, unspoken personality traits and flawlessly accompanying the high drama of a massive couture gown. Top-tier salons across the globe are reportedly already preparing for the massive consumer demand that will inevitably follow the deployment of these intricate, elegantly swept-up styles by the world's most photographed women on the Croisette. One of the most defining, thrilling cultural shifts in the modern era of the Cannes Film Festival is the massive, highly influential, and impossibly glamorous presence of the Indian delegation. No longer relegated to the periphery of the global cinematic market, Indian actors, visionary filmmakers, and powerhouse producers are commanding the absolute center of the spotlight, reflecting the undeniable economic and cultural might of the subcontinent. Leading this magnificent charge is the undisputed, eternal queen of the Cannes red carpet, Aishwarya Rai Bachchan. Returning to the Riviera as a global brand ambassador for L'Oreal, her appearances are not mere photo opportunities; they are highly orchestrated, globally covered media events that consistently define the visual legacy of the entire festival. She is brilliantly joined by fellow ambassador Aditi Rao Hydari, who returns to the festival following a universally praised appearance where she masterfully, seamlessly blends global haute couture with deep, traditional Indian elements. The powerhouse actress Alia Bhatt is also expected to grace the red carpet once again, sending hearts fluttering as she follows up her stunning previous appearances. Her sustained presence signifies the seamless integration of Bollywood royalty into the absolute highest echelons of European luxury fashion. The festival will also witness the highly anticipated, intensely covered debut of Tara Sutaria, whose cutting-edge, fashion-forward sensibilities are being unleashed on the Croisette just ahead of the release of her major upcoming film project. The stylistic influence extends far beyond the traditional leading ladies, with veteran actress Pooja Batra also anticipated to make a striking appearance on the French Riviera this season. The visionary filmmaker, producer, and ultimate fashion insider Karan Johar is slated to bring his unapologetically maximalist, trend-setting style to the event, fresh off his striking sartorial triumphs at the Met Gala. The South Asian delegation is beautifully diversified by the debut of the Punjabi singer and actor Ammy Virk, who arrives on the global stage to support his regional feature alongside Roopinder Kaur Gill. When combined with the extensive, high-stakes industry dealings at the Marche du Film by figures like Anurag Kashyap and Anubhav Sinha, the Indian narrative at Cannes has evolved from a series of beautiful red carpet moments into a profound, undeniable demonstration of global soft power and cinematic industry dominance. The sheer spectacle of the festival will commence with a breathtaking opening ceremony, elegantly hosted by the esteemed, captivating actress Eye Haidara. The evening promises an extraordinary auditory experience, featuring a collaborative, highly stylized performance by the brilliant singers Theodora and Oklou, alongside the mesmerizing presence of the Grammy Award-winning American violinist Miri Ben-Ari. Following the exquisite pageantry, the cinematic program will officially ignite with the highly anticipated world premiere of Pierre Salvadori's film The Electric Kiss. Set against the intoxicating, jazz-soaked backdrop of Paris in the late twenties, the film stars the incredibly magnetic Pio Marmai as a celebrated, wildly successful painter who is grappling with a profound, debilitating loss of inspiration following the tragic death of his beloved wife. The narrative takes a dark, manipulative turn when his ambitious gallery owner tricks him into believing he is actively communicating with his deceased spouse from beyond the grave, blurring the delicate lines between grief, artistic exploitation, and supernatural longing. The immense responsibility of awarding the legendary, career-defining Palme d'Or rests upon the shoulders of an incredibly diverse, historically significant, and flawlessly curated jury. Presiding over this formidable panel of industry titans is the acclaimed, visionary South Korean director Park Chan-wook. Known worldwide for his visually intoxicating, psychologically labyrinthine masterpieces, Park brings an uncompromising aesthetic rigor to the presidency. Joining him is a hand-picked, curated assembly of international cinematic royalty, including the iconic American actress Demi Moore, the brilliant Chloe Zhao, Ruth Negga, Stellan Skarsgard, Isaach De Bankole, Paul Laverty, Laura Wandel, and Diego Cespedes. Together, this international coalition will deliberate behind closed doors over the twenty-two films in competition. The grueling, beautiful race for the Palme d'Or is defined this season by a breathtaking lineup of feature films, representing a masterful, seamless blend of established global cinematic giants and thrilling, provocative new voices. James Gray makes a triumphant return to the Croisette with Paper Tiger, a highly anticipated narrative exploring the elusive nature of the American Dream through the fractured relationship of two brothers, starring Adam Driver, Scarlett Johansson, and Miles Teller. The beloved Spanish auteur Pedro Almodovar presents his latest glorious tragicomedy, Amarga Navidad, a vibrant exploration of complex emotional landscapes starring Barbara Lennie and Leonardo Sbaraglia. The masterful Iranian director Asghar Farhadi offers Parallel Tales, featuring a towering cast of French cinema royalty including Isabelle Huppert and Virginie Efira. The competition is fierce and unrelenting, with entries like Lukas Dhont's emotionally devastating Coward, Ryusuke Hamaguchi's hypnotic All of a Sudden, and Na Hong-jin's intensely anticipated South Korean thriller Hope. The domestic French contingent is formidably represented by Arthur Harari's The Unknown, starring the incomparable Lea Seydoux, alongside new works from Charline Bourgeois-Tacquet, Emmanuel Marre, and Lea Mysius. The profound historical weight of Eastern European cinema is masterfully carried by Laszlo Nemes's sweeping historical epic Moulin and Pawel Pawlikowski's visually poetic Fatherland, while the daring Austrian director Marie Kreutzer brings the provocatively titled Gentle Monster to the official selection. Running parallel to the intense glare of the main competition, the Un Certain Regard section serves as a vital, wildly exciting incubator for bold, unconventional storytelling. Unveiled by the visionary Thierry Fremaux, this selection will brilliantly open with Jane Schoenbrun's Teenage Sex and Death at Camp Miasma, immediately signaling a visceral dive into modern youth. The lineup is particularly notable for its fierce engagement with contemporary cultural reckonings, championed by the celebrated French actress Judith Godreche making a profound directorial statement with her debut feature A Girl's Story. Zachary Wigon introduces a thrilling element of gothic tension to the slate with Victorian Psycho, starring the captivating Maika Monroe. The festival's beloved parallel sections-Critics Week, Directors Fortnight, and ACID-offer a thrilling, necessary counter-narrative prioritizing radical artistic freedom. Further expanding the global cinematic footprint, the festival has recently programmed special screenings of Diego Luna's visceral new project Ashes, alongside the highly anticipated premiere of Christophe Honore's intricately woven family drama, Orange-Flavoured Wedding. Amidst the relentless pursuit of the new and the groundbreaking, the festival remains deeply committed to the preservation of cinematic history through the Cannes Classics selection, featuring impeccably restored works like Guillermo del Toro's Pan's Labyrinth and Ken Russell's The Devils. Yet, the magic of Cannes extends far beyond the dark theaters. The social calendar is anchored by the breathtakingly glamorous amfAR Gala, a charity event that merges high fashion, A-list celebrity, and vital philanthropy at the legendary Hotel du Cap-Eden-Roc. The starry, incredibly exclusive guest list is a who's who of global influence, featuring titans like Jeff Bezos alongside high-fashion luminaries such as Izabel Goulart and powerhouse actress Michelle Rodriguez. It is here, amidst the clinking of crystal and the flash of diamonds, that the true, intoxicating power of the Cannes social scene is fully realized. For the public and exhausted industry professionals seeking a breezy respite from the intensity of the Palais, the Cinema de la Plage offers an absolutely magical, open-air alternative directly on the Mace Beach, screening beloved classics like Top Gun and Viva Maria under the Mediterranean stars. As the seventy-ninth Cannes Film Festival prepares to ignite the French Riviera, the entire event stands as a monumental, unbreakable testament to the enduring power of global storytelling and absolute sartorial excellence, promising to deliver an unforgettable, dizzying synthesis of art, commerce, and pure, unadulterated glamour.

Oscar Isaac and Carey Mulligan @Courtesy of Netflix Lee Sung Jin and Jake Schreier return to Netflix with a second season that shifts form but not emotional intensity. A masterpiece that deserves far more attention than it’s getting. What happens to love once it survives loss? And when life itself seems to turn against us, what is left when we were never truly able to choose the right people to love in the first place? Once you begin to understand how the world really works, what are you willing to sacrifice just to stay alive inside it? With Beef 2, Lee Sung Jin and Jake Schreier return with something deeper, stranger, and far more emotionally devastating than repetition would allow. The new season does not attempt to recreate the first. Instead, it expands its emotional language, shifting from chaos and collision toward something quieter and infinitely sadder. Oscar Isaac and Carey Mulligan The extraordinary Oscar Isaac and Carey Mulligan, whose emotional intelligence has shaped films like Inside Llewyn Davis and Drive, bring devastating precision to Josh and Lindsay, a wealthy couple trapped inside the invisible architecture of their own relationship. In the first season, Beef followed two strangers whose rage slowly transformed them into distorted reflections of one another. Here, the tragedy is more intimate: two people who once loved each other deeply can no longer recognize the person standing in front of them. This time, unlike the first episode with its swinging golf clubs, there is no violent rupture, no immediate descent into conflict. The season moves carefully, almost patiently, allowing discomfort to accumulate scene after scene until it finally burns through everyone involved. By the final episode, Lee strips the story down to its emotional essence. Josh and Lindsay lie on the floor back to back, fully aware that something in their lives is about to disappear forever, trying to convince themselves that those 960 months together still meant something. It is one of the most vulnerable moments the series has ever attempted. For the first time, Josh and Lindsay confront what remains once everything else falls away, echoing a belief often explored by our Italian director Paolo Sorrentino: that life reveals itself most clearly only once everything else has been stripped away. What makes the scene extraordinary is how completely form gives way to feeling. The dialogue barely reaches for grandeur, yet the emotional weight beneath it is overwhelming. The season opens in chaos and violence, but Lee knows that true devastation comes much later, in the exhausted calm after emotional collapse. Oscar Isaac and Carey Mulligan @Courtesy of Netflix There is something distinctly Korean in the emotional precision of the series, but also something unmistakably American in the way Lee delves into his characters emotionally, recalling the kind of psychological depth that Martin Scorsese has often explored and pursued throughout his work. He knows exactly when to withhold emotion and exactly when to let it break through. Schreier follows that rhythm beautifully, building a visual language of silence, shadows, reflections, and restrained movement that constantly threatens to rupture underneath the surface. Finneas’ score becomes essential to that architecture. The music does not simply accompany the scenes. It breathes inside them. “Vicious Thoughts” moves through the final stretch of the season like an emotional pulse, shaping Lindsay’s desperate gravity toward Josh with almost unbearable intimacy. There is an old belief that we only grasp the depth of love through grief, in the moment we realize we are about to lose someone forever. Nearly every character in Beef 2 is trapped in that realization. Josh reaches for connection through destruction, and Ashley throws herself toward Austin with the desperation of someone terrified of disappearing entirely. Cailee Spaeny and Charles Melton @Courtesy of Netflix Cailee Spaeny gives Ashley a volatile presence that is both irritating and heartbreaking, while Charles Melton plays Austin with a quiet emotional exhaustion that grounds every scene they share. Even then, the series refuses sentimentality. Yoon Yeo-jeong’s chairwoman understands something the younger characters do not. Much of what they call love has already been contaminated by performance, ego, status, and survival. Capitalism in Beef is not simply an economic structure. It is emotional corrosion. It teaches people to approach relationships as extensions of ambition, self preservation, and control. That idea runs beneath every episode like a hidden current. People betray each other not because they are evil, but because modern life has convinced them that vulnerability is weakness. Every relationship becomes transactional sooner or later. Every expression of affection risks becoming another negotiation for power, validation, or escape. As the Roman playwright Plautus once wrote, “Homo homini lupus”: Beef 2 understands that instinct intimately, and refuses to excuse anyone from it. The Architecture of Intimacy What makes the series so bittersweet is how recognizable its failures feel. These are not monsters. They are flawed people desperately trying to make sense of the damage they keep causing each other. We sympathize with them because we recognize the same impulses in ourselves. The instinct to lie. The instinct to hold on too long. The instinct to hurt someone before they can hurt us first. Lee once again turns the camera toward the hypocrisies hidden beneath privilege and self invention. Austin and Ashley initially seem naive, almost directionless, but their desire to enter that world eventually destabilizes it completely. They do not simply participate in the system. They expose its fragility. Meanwhile, Josh and Lindsay slowly rediscover traces of the intimacy they lost years earlier. Their final scenes together carry an astonishing emotional clarity, even the silence between them feels alive. On set, the sound of that final kiss reportedly felt palpable to everyone in the room, as if the entire emotional gravity of the season had condensed into one physical moment. What is remarkable is how little the series needs to explain itself by the end. The writing understands when language should disappear. Music, breath, hesitation, physical distance. These become the real dialogue. The soundtrack choices throughout the season are extraordinary. Tracks like Low Roar’s “Nobody Loves Me Like You” deepen the emotional texture of scenes without ever overwhelming them. Oscar Isaac, completely at ease behind his millennial-era Moog synth, brings an unexpected tenderness to the series simply through presence and rhythm. Oscar Isaac and Carey Mulligan @Courtesy of Netflix For Schreier, music becomes a way of warning the audience that something darker has always existed beneath the narrative surface. Nothing in Beef 2 stays emotionally stable for long. The moment viewers believe they understand where the story is heading, the ground shifts underneath them. Lee also possesses one of the rarest instincts a creator can have, he knows exactly who to place inside these emotional spaces. His writing has always adapted itself around performers rather than forcing performers into rigid structures, and the result here is extraordinary ensemble chemistry. The cast moves through scenes almost musically, searching together for what Oscar Isaac described as “the right tone” and that trust between actors eventually becomes visible onscreen. By the end of production, the emotional closeness between the cast seems to have created its own gravitational center, one capable of holding together every contradiction the series explores. Yoon Yeo-jeong @Courtesy of Netflix The final images evoke the eternal return of Samsara, the Buddhist cycle of life and repetition, bringing the story back to the emotional wound where everything first began. Like ants walking across ice, human beings in Beef remain suspended between helplessness and control. Are we crushed by the momentum of our choices, or are we still capable of changing before it is too late? The series leaves behind the same wound that made the first season unforgettable, but this time the pain feels more aware of itself. If we know we have loved badly, betrayed badly, chosen badly, are we truly capable of forgiving ourselves? And more importantly, are we truly capable of letting go of the people we love? An absolute masterpiece. Beef2, The Cast Oscar Isaac - Josh Carey Mulligan - Lindsay Charles Melton - Austin Cailee Spaeny - Ashley Youn Yuh-jung - Chairwoman Park Song Kang-ho - Dr. Kim William Fichtner -Troy Mikaela Hoover - Ava Seoyeon Jang - Eunice Beef2, Official Trailer Follow us on Instagram and follow Serena Elise, the author.