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Gen Z's Cinema Comeback People born between 1997 and 2012 are now more frequent cinemagoers than some older age groups, with 87% having seen at least one film in a cinema in the last 12 months compared with 58% of baby boomers. This shift in cinema attendance patterns is reshaping the film industry and challenging assumptions about younger generations' entertainment preferences. The Digital Escape to Big Screens Many young people cite the cinema as a rare distraction-free zone in an increasingly digital world. "It's a distraction-free zone," says Emma Balfour, 19, from Kirkcaldy in Scotland. "It helps me stay off my phone, since it's something I want to stop using so much. There's a lot more social stigma around being on your phone when a film's playing on a cinema screen versus your own home, and the complete darkness means I can fully immerse myself." Alex McAleer, 22, living in Berkeley, California, agrees. "The ability to block out two hours and have that time be your own is so rare in a world where you're constantly accessible, aware of the news cycle and aware of the potential for your phone to alert you." Communal Experience in a Fragmented Media Landscape Cinema provides a rare communal experience that appeals to younger generations. "You don't get a lot of opportunities any more to really watch things with people in a group," says Jae, 23, from Swansea. "There are moments when everyone in the cinema laughs in unison, or you can see people crying or gasping in shock. It's the kind of setting where there's absolutely no commitment to chat, but you are still spending time with people." This communal aspect has become particularly valuable as media consumption becomes increasingly fragmented. Cinema provides the few "water cooler moments" that Jae's generation has left, with films released universally allowing for shared cultural touchstones. Social Media's Influence on Cinema Culture Ironically, while many young people seek to escape their phones at the cinema, social media platforms are driving cinema's popularity with this demographic. "The cinema is romanticised on TikTok," Kate, 26, from Cambridge, explains. "Film TikTokers do films to look out for, and there are normal people showing their Letterboxd or their experience of going to the cinema. You put anything to nice music and make it a montage, and that content does very well on social media." Letterboxd, an app for cinephiles to log films and publish reviews, has over 26 million users and is most popular among those aged between 18 and 35. "I've used Letterboxd for probably four years now," says Kate, who has 850 films logged. "I'm on it more than probably anything else and that's my main way of tracking what might be worth going to see." The Future of Cinema in a Digital Age Despite the enthusiasm from Gen Z, the future of cinemas remains uncertain. Many young cinemagoers are conscious that theaters could be under threat as attendance declines. Cineworld closed 11 UK cinemas in 2024, and a 2025 survey showed almost a third of UK independent cinemas are at risk. Cost is also a significant factor, with many young people favoring more affordable options. "If my only option was to go to Cineworld or something which is at least £15, I think I would struggle to want to go as much," says Cesca, 26, from London. "But my local cinema is Peckhamplex and they do £6.99 tickets, so that's more reasonable." Despite these challenges, Gen Z's enthusiasm for cinema offers hope for the industry's future. "The cinema is really valuable," says Alex McAleer. "I try to encourage as many of my friends to go as possible."

Demi Moore warned at a Cannes press conference that the film industry “cannot fight” the rise of artificial intelligence, describing resistance as a losing battle and calling for collaborative approaches.The Cannes Jury’s Candid Take on AI’s Inevitable RoleDuring a Tuesday press conference, the actress – a member of the Cannes Film Festival jury – answered questions about AI’s impact on cinema. She said, “AI is here. To fight it is a battle we will lose,” and suggested that filmmakers should explore ways to work with the technology rather than oppose it.Absence of Quantitative Data Highlights Qualitative ConcernsThe discussion contained no specific financial figures or usage statistics, underscoring that the debate is currently driven by ethical and creative considerations rather than measurable market impacts.Implications for Filmmakers and the Regulatory LandscapeMoore expressed doubt that the industry is doing enough to protect creators, hinting at a need for stronger regulation.Fellow juror Park Chan-wook reinforced the idea that art and politics should not be divided, linking the AI conversation to broader questions of creative freedom.Screenwriter Paul Laverty warned of potential “blacklisting” in Hollywood, suggesting that AI‑driven content controls could exacerbate existing censorship pressures.Future Outlook: Collaboration Over ConflictMoore concluded that the “beautiful aspects” of AI can enhance filmmaking, but the “true art” will always come from the human soul. The prevailing view among the jury is that embracing AI as a tool, while safeguarding artistic integrity, will shape the next era of cinema.

The Unparalleled Experience of CannesNothing prepares you for the shock that is the Cannes film festival: the adrenaline, the fatigue, the elation and the emotion, but also the hunger, the anger, the magic and the ridicule. For young cinephiles, and for almost everybody who works in the film industry, it is the mecca of cinema and has been so for nearly eight decades. Anyone going for the first time this week, as I did 25 years ago, should not listen to the old grognards – Cannes' battle-worn veterans – who will lament that the festival has become an abominable circus and swear this year will be their last. It is a circus, and you can bet they will be back for as long as their knees can take it. For there is nothing quite like it.From Resistance to Global Cinema HubBorn to counteract Benito Mussolini's Venice film festival, its first edition was planned for September 1939, but Adolf Hitler had other plans. The previous year, under pressure from Berlin and Rome, the Venice film festival's top prize, the Coppa Mussolini, was handed to Leni Riefenstahl's propaganda film Olympia, prompting the French, British and American delegates to walk out. Hence Cannes, conceived as the festival of the "free world". More than 80 years later, for all its sins, it has remained faithful to that founding promise.The Expansive Scale of Modern CannesOver the decades, Cannes has mutated into an ever-hungrier mammoth, needing more space, and more venues, as it attracts an increasing number of journalists and professionals. A purpose-built Palais des Festivals had to be erected in the 1980s. "The bunker", as we have come to call it, is not exactly beautiful but brutally efficient at managing Cannes' mind-boggling crowds. This year, about 40,000 accredited festival-goers are descending on the French Riviera from 140 different countries, with dozens of films selected across all sidebars. At the same time, the Marché du Film, running alongside the festival since the late 1960s, is gathering about 16,000 participants, with thousands of films and projects up for sale. Cannes is both a summit for the cinema elite and a giant film bazaar.Three Worlds Colliding at La CroisetteFor 11 days in May, three different worlds lead parallel lives – critics, deal-makers and red-carpet royalty – colliding almost by accident on the seafront boulevard known as La Croisette. Hundreds of critics watch multiple films a day with monastic discipline. When they give in to parties, they bitterly regret it the next morning. You can spot some of us sleeping through entire screenings; how some colleagues manage to review films is a mystery. I remember a well-known French critic who had such vivid dreams in the darkness that he became convinced they were scenes in the films. His reviews were full of brilliant analysis of moments that did not exist.We critics rush between screenings, press conferences, interviews, our desks and the bunker's free espresso machines, often forgetting to eat or even pee. Downstairs, in the bunker's basement, and in hotel suites and rented apartments, the film market runs day and night: buyers juggle numbers, producers charm, directors and screenwriters fight for their vision. Above them floats Cannes' top layer – stars and "talent" spending hours in hair and makeup before climbing the 24 steps of the red carpet in borrowed couture and jewellery. When people in the industry groan, "oh God, it's Cannes again", it is this collision of financial anxiety, choreographed glamour and sheer exhaustion they are bracing themselves for.The Magic and Meaning Behind the GlamourThese worlds sometimes collide in the most poetic or grotesque ways. One morning, rushing to my first screening at 7.30am, I was walking along the Croisette when I saw, coming towards me, slightly dishevelled in a tuxedo, Jack Nicholson on his way back to his hotel after a long night. I smiled, he smiled back. He was alone, no bodyguards, no chaperones. Those were the days. I also shared a lift with Takeshi Kitano in full samurai attire, and I will never forget turning into a hotel corridor and finding myself nose to nose with Max von Sydow – Ingmar Bergman's medieval knight from The Seventh Seal. My cinephile heart skipped a beat.One of my favourite sidebars in Cannes, alongside the competition where you watch the year's best crop of films, is Cannes Classics, showing restored world masterpieces and documentaries about cinema. I always start the festival there: it is the best way to reset and begin afresh. Then I am ready for the 10-day onslaught of motion pictures, and for the magic moment that precedes each Cannes screening – the festival's own jingle, a palm ascending the red carpet from underwater and then into the sky, lifted by the ethereal arpeggios of Camille Saint-Saëns's Carnival of the Animals.Cannes: Enduring Symbol of Cinematic ResistanceIn 1955, Cannes gave its first official Palme d'Or to Delbert Mann's Marty; half a century later I found myself befriending its wonderful star, Betsy Blair, on the Croisette. I had the joy of seeing Ken Loach twice climbing those steps to collect the Palme, escorted by police outriders from Nice airport as if he were a head of state. I watched Iranian directors Jafar Panahi and Mohammad Rasoulof showing films at peril to their lives. For all the craziness of the red carpet and the samurai outfits, Cannes never forgets that it was founded as a gesture of resistance. That, as much as the glamour and the exhaustion, is why we keep going back.

The Growing Concern in French Cinema More than 600 cinema figures have signed an open letter warning that the growing influence of the far right on French cinema production risks turning into a "fascist takeover of the collective imagination." Published in the newspaper Libération to coincide with the opening of the Cannes film festival, the letter specifically targets billionaire Vincent Bolloré's dominant position in French film production and distribution. The Power of Vincent Bolloré's Media Empire Bolloré, a conservative industrialist with powerful media connections, controls Canal+ and its in-house production operation, StudioCanal, which is Europe's leading film and television production and distribution group. His recent films include the Amy Winehouse biopic "Back to Black" and "Paddington in Peru." The letter expresses alarm that Canal+ has taken a stake in UGC, the third-biggest network of French cinemas, with a view to fully owning it in 2028. The Political Landscape and Its Cultural Impact The protest comes amid rising influence of Marine Le Pen's far-right National Rally (RN) in French politics, with uncertainty about potential funding cuts to the arts. MPs for the RN have questioned the model of public funding and tax breaks that bolster the film industry through the Centre National du Cinéma (CNC). The party has also been highly critical of France's public broadcaster, France Télévisions, which is a key financier of film, drama and documentaries. Industry Response and Future Concerns This protest follows similar actions by writers who quit the publishing house Grasset in protest against Bolloré's control of its parent company, Hachette Livre. The film industry figures fear that Bolloré might take advantage of his dominant position to influence film content, warning that "the only thing still being financed will be propaganda films that serve an ideology." They called on the wider film industry "to build a movement" that would defend independence. The Broader Implications for French Culture The unprecedented concentration of the financing chain in the hands of Vincent Bolloré gives him total liberty of action when the moment comes, according to the letter. The protest highlights growing concerns about the intersection of media ownership, political influence, and cultural production in France, particularly as the country approaches a presidential election where the far-right is polling strongly.

Stormzy has announced his role as executive producer on a forthcoming biopic about former Arsenal, Crystal Palace and England striker Ian Wright, signalling the rapper’s expanding footprint in the film industry. Stormzy Joins Forces with Tom Wilton to Bring Ian Wright’s Story to the Screen The feature, currently in development, will be written and directed by Tom Wilton, who grew up on the same Brockley housing estate as Wright. Merky Films, Stormzy’s production company, will co‑produce the movie. In a statement the creators described Wright’s journey as “a deeply moving story of heart‑ache, determination and unbelievable triumph” that reflects the experience of a Black British boy born to first‑generation Caribbean immigrants. Career Milestones and Numbers That Shape Wright’s Narrative Debut for Crystal Palace in 1985 at age 22. Scored two goals in the 1990 FA Cup final. Joined Arsenal in 1991 and became the club’s all‑time leading scorer until surpassed by Thierry Henry. Recorded nine goals in 33 appearances for the England national team. Retired from professional football in 2000 and transitioned to media work. Why the Wright Biopic Matters for British Culture and Representation The film spotlights several under‑explored themes: the legacy of the Windrush generation, the socioeconomic realities of South London, and the broader narrative of Black British achievement in sport and media. By foregrounding Wright’s personal story, the project aims to provide “hope and joy” to audiences, echoing the rapper’s own comment that Wright’s journey “goes far beyond football – it’s about resilience, family and believing in yourself against the odds.” What the Film Could Signal for Future Sports Biopics and Merky Films’ Trajectory If successful, the biopic may encourage more collaborations between music artists and the film sector, especially for stories that blend sport, culture, and social history. For Merky Films, it follows the short‑film The Big Man and could cement the company’s reputation for championing diverse British voices. Industry observers predict a surge in similar projects that celebrate Black British icons, potentially reshaping the UK biopic landscape over the next few years.

The Lead The 2026 Cannes Film Festival, which opens on Tuesday and runs until May 23, is set to showcase a lineup that marks a return to its roots in auteur-driven cinema. For the first time in recent memory, there are no major Hollywood studio films premiering at the festival. The Event Details Historically, Cannes has been a platform for Hollywood's most glamorous outings, with stars like Grace Kelly, Quentin Tarantino, and Tom Cruise making appearances. However, this year's lineup tells a different story. Only two American films, The Man I Love and Paper Tiger, are competing for the Palme d'Or, both of which were majority-financed outside the US. The festival's director, Thierry Frémaux, attributes this shift to wider industry changes, noting that studios are producing fewer blockbusters and auteur films. Scott Roxborough, European bureau chief of the Hollywood Reporter, suggests that studios have grown wary of the risks associated with festival premieres, where a bad review can go viral and impact a film's box office performance. The Data Analysis No major Hollywood studio films are premiering at the 2026 Cannes Film Festival. Only two American films are competing for the Palme d'Or. The festival features a strong lineup of international auteur-driven films. The Impact Analysis This shift towards auteur-driven cinema reflects a changing landscape in the film industry. Younger audiences, influenced by platforms like Letterboxd and Mubi, are increasingly drawn to international directors. The absence of major Hollywood films may signal a new era for Cannes, one that prioritizes cinema from global auteurs over blockbuster franchises. The Prediction As the film industry continues to evolve, Cannes' focus on auteur-driven cinema is likely to endure. With a jury led by South Korean director Park Chan-wook and a lineup that includes films from Pedro Almodóvar, Asghar Farhadi, and Hirokazu Kore-eda, this year's festival is poised to celebrate the art of filmmaking from around the world.

The LeadIn a revealing interview, acclaimed actress Juliette Binoche opens up about the deeply personal experience that inspired her transition from acting to directing. The Academy Award winner discusses how a violent attack during her teenage years became the creative catalyst for her first film as a director, offering a rare glimpse into the personal motivations behind her new artistic venture.The Personal JourneyBinoche recounts the harrowing experience of being attacked as a teenager, describing how she told her attacker, "Go ahead, do it" during the ordeal. This traumatic event, which she kept private for decades, has unexpectedly become the foundation of her directorial debut. The actress explains how processing this past trauma has allowed her to explore complex themes of survival, resilience, and transformation through her new work.The Artistic VisionAs an actress known for her nuanced performances in films like The English Patient and Chocolat, Binoche brings a unique perspective to directing. Her directorial debut reportedly explores themes of vulnerability and strength, drawing directly from her personal experience. The film represents a departure from her on-screen roles, showcasing her ability to shape narratives from behind the camera while maintaining the emotional depth that has defined her acting career.The Industry ImpactBinoche's transition to directing represents a significant development in the film industry, particularly for established actors exploring new creative avenues. Her success could inspire other performers to venture into directing, potentially bringing fresh perspectives to filmmaking. The industry has seen similar transitions from actors to directors before, but Binoche's approach—rooted in personal trauma and healing—offers a unique narrative that may resonate with audiences seeking authentic, emotionally resonant stories.Future ProjectsFollowing her directorial debut, Binoche has indicated that she plans to continue developing projects that blend her acting experience with her growing expertise in directing. The actress has expressed interest in exploring more personal stories and collaborating with emerging talent, suggesting that her transition to directing may mark the beginning of a new chapter in her already illustrious career. As she balances both acting and directing roles, Binoche is positioning herself as a multifaceted artist with a distinctive voice in contemporary cinema.

The Shift in UK Film Studio Development The UK film industry has hit a turning point, with a slowdown in production leading to a decrease in demand for studio space. This shift is prompting property developers to reconsider their plans and pivot towards building datacentres, driven by the growing demand for data storage and processing capacity in the AI era. Peak TV Production and Its Aftermath The industry hit peak TV production four years ago, with a record £7.8bn spend on UK-made productions. This led to a surge in studio building and expansion, as well as the use of temporary sites such as old carpet factories and military sites. However, with the streaming wars recalibrating and a slowdown in the content arms race, the demand for studio space has decreased. The Data-Driven Decline The British Film Institute (BFI) is expected to report a third consecutive annual overall decline in the number of films and high-end TV shows made in the UK in 2025. This decline, combined with the financial pressures on domestic broadcasters, has led to a pull-back on content commissioning. As a result, property developers are reevaluating their plans for studio developments. The Rise of Datacentres Datacentres are becoming an attractive alternative for property developers, with land for datacentre development worth at least twice as much as studios. This has led to several high-profile projects, including Pinewood's plan to convert 78% of its proposed 1.4m sq ft expansion into a datacentre, and the abandonment of a £700m studio complex in Hertfordshire. The Future Outlook While there continues to be some expansion in the UK film industry, such as at Ealing Studios, the market appears to have hit peak studio space. As the industry adapts to the changing landscape, developers are likely to focus on datacentre development, driven by the growing demand for data storage and processing capacity in the AI era.

Lead: Allegations of Story‑Fudging Surface in CourtA producer who worked on Rebel Wilson's directorial debut The Deb testified that Wilson accused actress Charlotte MacInnes of retracting a sexual‑harassment complaint to advance her career, describing the claim as "fudging". The court heard conflicting narratives about a post‑medical‑episode bath shared with co‑producer Amanda Ghost, and the producer's role in removing MacInnes from shared accommodation.The Bath Incident and Social‑Media Defamation ClaimsMacInnes alleges Wilson defamed her on social media, labeling her a liar and a sell‑out for allegedly withdrawing a complaint. The disputed incident involved Ghost suffering a medical episode on 5 September 2023 at Bondi Beach, after which she and MacInnes shared a warm‑up bath in swimwear. Neither the actress nor a witness reported any misconduct, but Wilson’s posts suggested otherwise.No Monetary Damages DisclosedThe filing does not specify any claimed financial loss or damages; the focus remains on reputational harm and the veracity of the alleged complaint.Impact on Australian Film Industry and Defamation LawThe testimony underscores the delicate balance producers and talent must maintain when handling harassment allegations on set. It also highlights the heightened scrutiny of defamation claims in Australia, where public figures face stricter standards for proving false statements that damage reputation. Industry observers warn that such high‑profile disputes could prompt tighter internal reporting protocols and more cautious public commentary.Potential Outcomes and Next StepsThe court will need to assess whether Wilson’s statements constitute actionable defamation or are protected opinion. A ruling in favor of MacInnes could set a precedent for how social‑media accusations are treated in entertainment‑law contexts, while a dismissal may reinforce the current threshold for proving reputational injury. Both parties are expected to present further evidence in the coming weeks.