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The world of cinema is often associated with scripted perfection, but a growing trend on social media suggests that some of the most iconic lines and scenes were improvised on the spot. However, this claim is often far from the truth.Across the internet, content creators are spreading misinformation about famous movie scenes, claiming that they were made up on the spot. For example, Al Pacino's kiss of death in The Godfather II and Heath Ledger's frustration in The Dark Knight are often cited as examples of improvisation.However, these claims are often fabricated and have been debunked by industry insiders. The accounts that spread these lies tend to have a lot in common, including a focus on "history" in their handles and a formulaic approach to their content.The trend is driven by a desire for engagement and profit. Social media platforms reward creators for making content that generates likes, replies, and shares, and some creators are taking advantage of this by spreading misinformation.Despite the fact that many commenters are savvy enough to point out the errors in these claims, they are still helping creators to profit. And while some creators may not be intentionally lying, they may not know when they are spreading untruths.The article suggests that this trend is a symptom of a larger issue - the monetization of misinformation on social media. It also highlights the importance of media literacy and critical thinking in the digital age.Ultimately, the myth of improvisation in cinema is a complex issue that resists a simple explanation. While it may be nice to feel involved in a production and to know a behind-the-scenes secret, it's also important to separate fact from fiction.

Mark Fisher, a renowned cultural theorist, left an indelible mark on modern thought with his critiques of capitalism and its pervasive influence on society. His book, Capitalist Realism: Is There No Alternative?, published in 2009, was initially met with silence from journalists and academics. However, it has since become a seminal work, selling over 250,000 English-language copies and being translated into numerous languages.Fisher's work was characterized by its accessibility and brutal honesty, earning him a following through his k-punk blog (2003-2016). He popularized the notion that “it’s easier to imagine the end of the world than the end of capitalism”, a concept attributed to Fredric Jameson. Fisher's writing covered a wide range of topics, including popular culture, work, mental health, and education, challenging the profit-driven economic system and reflecting on the feelings of hopelessness experienced by many.Konrad Kay, writer and co-creator of the finance drama series Industry, praises Fisher for documenting the subconscious human drives that underpin capitalism's immortality. Fisher's ideas continue to resonate, influencing artists such as Miki Aurora, who has explored his concepts of 'acid communism'.Fisher's philosophy of “hauntology” suggests that modern society is haunted by futures that failed to happen. This concept is explored in the documentary We Are Making a Film About Mark Fisher, which features archival recordings, interviews, and fictional performances. The film highlights Fisher's belief that artists have never been given the assets and opportunity to bring forth the new.The documentary has inspired a collective effort to undermine capitalism, with audience members organizing in-person group screenings worldwide. As the film concludes, “We are making a film about Mark Fisher and, now that you are watching, so are you.”

Angelina Jolie leads the new fashion‑driven drama Couture, bringing a rare level of personal honesty by confronting a storyline that mirrors her own double mastectomy performed to prevent breast cancer. While her performance is undeniably courageous, the film’s overall execution falls short of its ambitions.The plot follows Maxine, an American indie filmmaker (Jolie) who arrives in Paris to direct the opening short for a prestigious runway show. She discovers, through a compassionate doctor played by Vincent Lindon, that a recent biopsy confirms she has breast cancer, forcing her to consider postponing or abandoning her next project. Jolie conveys the shock and denial with subtlety, yet the script, penned by director Alice Winocour, often lapses into glib dialogue that undermines the emotional weight of the situation.Supporting characters include Ada, a fledgling South Sudanese model (Anyier Anei), makeup‑artist‑turned‑writer Angèle (Ella Rumpf), and the brooding first‑assistant director Anton (Louis Garrel). Their subplots—most notably Ada’s ankle injury that threatens the runway performance—remain underdeveloped, serving more as decorative set‑pieces than integral narrative threads.Visually, the film captures the glamour of Parisian haute couture with polished cinematography, yet this sheen accentuates the story’s lack of depth. The fashion world is presented with a “precious” aesthetic that feels specious, offering little insight beyond surface‑level allure.Despite these shortcomings, Jolie’s star power shines through. Her willingness to align a fictional role with a deeply personal health battle adds a layer of authenticity that the surrounding screenplay fails to sustain. ‘Couture’ will be available on digital platforms from 20 April, offering audiences a chance to appreciate Jolie’s performance even if the film’s broader ambitions remain unfulfilled.

The creation of the soundtrack for the film 'Mother Mary' was a collaborative effort between director David Lowery, actress Anne Hathaway, musician FKA twigs, and producers Charli xcx and Jack Antonoff. The film, which explores the story of a fictional pop star, required a soundtrack that captured the essence of 21st-century pop music.Lowery spent time studying the music of the last 25 years, including artists like Taylor Swift, Lorde, and FKA twigs, who appears in the film as a medium named Imogene. As the film's story emerged, Lowery's musical influences shifted towards artists like James Blake and Aldous Harding, who better captured the emotional tone of the film.Anne Hathaway, who plays Mother Mary, had a background in theater and had won an Oscar for her performance in the musical Les Misérables. However, the recording process for 'Mother Mary: Greatest Hits' was a new experience for her. She spent time with Jack Antonoff to record the soundtrack, exploring her vocal range and learning about production. She even changed minor lyrics to better fit her character.FKA twigs contributed to the soundtrack with her song 'My Mouth Is Lonely for You', which was not included in the final film but showcased her ability to create shimmeringly erotic and captivating music. Her other contribution, an ethereal song, was used in a scene featuring the dress Mother Mary requires from her former friend and designer, Sam.The soundtrack, 'Mother Mary: Greatest Hits', paints a uniform portrait of a 21st-century pop star with a cult-like following and avant-garde fashion sense. The music and performance footage have been acclaimed, with Hathaway and twigs delivering standout performances.Hathaway describes Mother Mary as a pop star who embodies a type of stardom that is neat, perfect, and huge, with a mass appeal that is slightly glossier than what twigs and xcx have experienced. The film implies that Mother Mary's fandom is attracted to her ecstasy and vulnerability, with fans feeling safe around her and seeking a motherly figure.

When Capcom first unveiled Pragmata alongside the PlayStation 5 in 2020, the teaser promised high‑octane space action. Six years later, the game finally launched on April 17, 2026 at a retail price of £49.99, revealing a narrative that leans more toward emotional storytelling than pure spectacle.Set on a moon‑based research outpost operated by the fictional Delphi corporation, the story revolves around a cutting‑edge 3D‑printing material called Lunafilament. When the station loses power, Earth‑based engineer Hugh is dispatched to investigate, only to discover a silent, half‑printed landscape littered with abandoned tools and unfinished constructs.Gameplay hinges on a novel hacking mechanic. Hugh is accompanied by Diana, a 3D‑printed android designed to resemble a six‑year‑old girl, who can infiltrate enemy code in real time. Players trigger a side‑screen mini‑game that reveals robotic foes’ weak points, turning combat into a blend of reflex shooting and strategic code‑breaking reminiscent of classic handheld RPGs.Beyond the mechanics, the title’s emotional core emerges through the evolving bond between Hugh and Diana. Their interactions feel organic, with Diana sketching pictures, playing hide‑and‑seek, and gradually learning about humanity through Hugh’s stories. This father‑daughter dynamic avoids saccharine tropes, instead offering moments that genuinely resonate.Exploration rewards curiosity: the lunar base gives way to tropical jungles, sun‑kissed beaches, and a half‑printed recreation of New York City. An underground shelter functions as a hub for upgrades, training simulations, and further character development, echoing the atmospheric pacing of titles like Death Stranding.Visually, the game benefits from the direction of Cho Yonghee, known for the acclaimed Nier: Automata. Despite its ambitious art direction, Pragmata runs smoothly on both the high‑end PS5 Pro and the portable Switch 2, demonstrating impressive optimization across hardware tiers.In sum, Pragmata stands out as a beautifully crafted single‑player adventure that marries inventive combat with a surprisingly moving narrative. Its blend of sci‑fi aesthetics, heartfelt storytelling, and polished performance makes it a noteworthy addition to the current generation of console releases.

Cédric Klapisch’s new film, Colours of Time, is an entertaining sentimental fantasy that invents a romantic backstory to the career of Claude Monet and his contemporary, the pioneering photographer Félix Nadar. The film follows Adèle, a fictional young woman who makes a fateful journey to find her errant mother in Paris during the belle époque, leaving behind her sweetheart and the village where she was brought up, in the countryside near Monet’s home town of Le Havre.The story intercuts enjoyably between past and present, as Adèle's life and times are rediscovered by her descendants. In the present day, dozens of descendants of Adèle are contacted by lawyers and PRs working for a property company that wants to build a vast new shopping mall, which would mean bulldozing Adèle’s derelict cottage. This garrulous ragtag bunch must give their collective consent, leading to a journey of discovery that uncovers historical secrets: photos, letters, and even what might be a painting.The film takes a pretty un-subversive view of art and artists but is executed with brio and comic gusto, particularly in the “past” sections. Suzanne Lindon’s performance has charm, and the detective work is interspersed ingeniously with what Adèle in her own day discovers about her errant mother. The film culminates in a wacky climax when the present-day claimants have an Ayahuasca psychoactive experience, sending them back in time to encounter historical culture icons in person at an exhibition.Colours of Time is a film that requires a sweet tooth, but it’s tasty. It’s set to hit UK cinemas from 17 April.

The Blue Trail, directed by Gabriel Mascaro, is a captivating and thought-provoking film that defies easy categorization. Set in the remote north-west of Brazil, the movie follows Tereza, a 77-year-old widow played by Denise Weinberg, as she navigates a dystopian future where older citizens are forced into 'colonies'. This chilling premise serves as the backdrop for a film that explores themes of rebellion, freedom, and the patronization of older people.The film's narrative is characterized by its meandering pace, reminiscent of a road movie or river movie, as Tereza encounters a series of characters who aid her in her escape. These encounters are woven together with fascinating visual compositions, showcasing the Amazonian landscape in a way that is both breathtaking and haunting.One of the most striking aspects of The Blue Trail is its exploration of gerontocide and the dehumanizing treatment of older citizens. The 'wrinkle wagon', a special prison vehicle for errant oldsters, and the humiliating, compulsory adult diapers issued to those being transported to 'colonies' are potent symbols of this theme.Tereza's journey is marked by moments of defiance and resilience, as she forms connections with a riverboat captain, Cadu (played by Rodrigo Santoro), and a woman named Roberta (played by Miriam Socarras), who becomes her friend and potential love interest.The film's use of symbolism adds depth to its narrative, particularly in the form of the 'blue drool snail', whose ecstatic visions offer a glimpse into a world beyond the dystopian reality. This blend of tones, from the bittersweet to the subversive and disquieting, makes The Blue Trail a generic mashup that is both captivating and thought-provoking.The Blue Trail is set to release in UK and Irish cinemas on April 17, making it a must-watch for fans of dystopian fiction and those interested in exploring the complexities of ageism and rebellion.

Michael Rosen, celebrated poet and author of titles such as We’re Going on a Bear Hunt and Chocolate Cake, has been awarded the 2026 Hans Christian Andersen Award in recognition of his lifelong impact on children’s literature.The accolade makes him the fourth Briton to receive the honor, joining the ranks of Eleanor Farjeon, Aidan Chambers and David Almond.The International Board on Books for Young People (IBBY) praised Rosen’s work for echoing the rhythms of children’s language, blending playfulness with emotional depth and social awareness. IBBY highlighted his ability to foster empathy and spark conversations about history, family, loss, identity and society across poetry, novels and non‑fiction.The companion illustration prize was bestowed upon Chinese artist Cai Gao, whose distinctive visual language and high artistic quality expand the possibilities of children’s illustration. Past illustration laureates include Quentin Blake, who won in 2002.Rosen missed the award announcement at the Bologna Children’s Book Fair after being denied boarding on a flight from Stansted to Bologna due to post‑Brexit passport regulations. The rule requires UK passports to have been issued within the previous ten years and to retain at least three months’ validity on the day of departure.He later posted on X (formerly Twitter), noting the irony of being turned away because his passport was issued in March 2016 despite an expiry in August 2026, calling it a “Brexit benefit”.Despite the setback, Rosen received a call from an Italian woman informing him of his win, which he described as a “happy ending”.From a pool of 78 candidates across 44 countries, the jury evaluated the “distinctive literary and artistic qualities” of each entrant and their capacity to view the world through a child’s eyes. The formal award ceremony is slated for August in Ottawa.

Acclaimed director Ken Loach revisits his 2016 film I, Daniel Blake, a poignant portrayal of poverty and the struggles faced by those in need. The film, which sparked controversy upon its release, shed light on the cruel realities of a system that vilifies the vulnerable.Loach reveals that the film was born out of a time of 'mean-spiritedness,' where those who needed support were met with punishment. The story follows Daniel Blake, a character who desperately wants to work but is thwarted by a system designed to fail him.The film's screenwriter, Paul Laverty, conducted extensive research, including a visit to a Glasgow food bank, where he encountered a young man who had not eaten in two to three days. This harrowing experience inspired a pivotal scene in the film, where Katie, played by Hayley Squires, is forced to eat cold baked beans from a tin.Loach notes that at the time of the film's release, the notion of food banks as an institution was unimaginable. However, food banks are now a normalized part of society, with many people relying on them to survive. The film's portrayal of poverty and hunger was met with resistance from some, including Damian Green, who claimed it was a work of fiction. Loach counters that while the characters are fictional, the stories are rooted in truth.Hayley Squires, who played Katie, shares her experience working on the film. She was drawn to the project after meeting Loach and was impressed by his authenticity and warmth. The film's shooting process was unique, with Squires and her co-star Dave Johns working chronologically and improvising scenes.Squires also recounts her preparation for the food bank scene, which included visiting a real food bank and cutting back on food to better understand the experience of hunger. The scene was shot only once, with Loach and the cinematographer Robbie Ryan working to create a sense of empathy and realism.