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Elvira Notari—Italy’s first and most prolific female filmmaker—crafted a vivid portrait of early‑20th‑century Naples through melodramas such as È piccerella (1922). The film opens with bustling pilgrimage scenes at the Candelora festival, juxtaposing flamboyant revelry with stark images of poverty, a visual strategy that challenged the sanitized narratives favored by the fascist regime.According to film scholar Giuliana Bruno, Notari’s work was driven by a desire to document reality, exposing class tensions and gendered oppression that Mussolini’s censors deemed unacceptable. A 1928 censorship law explicitly banned Neapolitan films featuring “stallholders, beggars, urchins, dirty alleyways,” effectively silencing Notari’s authentic street‑level storytelling.Despite directing around 60 feature films—many hand‑coloured—alongside her husband Nicola at Dora Film, only three titles (A Santanotte, È piccerella, Fantasia ‘e surdato) and fragments survive today, a loss directly attributable to fascist suppression and the prohibitive cost of sound‑film conversion.The newly released documentary Elvira Notari: Beyond Silence, produced by Antonella Di Nocera and directed by Valerio Ciriaci, reconstructs Notari’s fragmented career by collaborating with contemporary “artisans”—photographers, visual artists, novelists, and musicians who reinterpret her silent‑film aesthetics. Ciriaci notes that the absence of personal archives made the film’s investigative approach essential, turning Notari’s silence into a creative catalyst.Critics emphasize Notari’s lasting influence on Italian‑American auteurs such as Francis Ford Coppola and Martin Scorsese. Elements of her chaotic street festivals anticipate the wedding scenes in *The Godfather* and *Goodfellas*, while her raw urban tableaux echo the gritty New York sequences of *Taxi Driver*.Beyond cinematic technique, scholars like Cristina Jandelli argue that Notari’s intertitles reveal a pronounced class consciousness and a critique of women’s marginalisation in early 20th‑century Italy. Her use of Neapolitan dialect and unvarnished depictions of squalor directly opposed the regime’s propaganda‑driven vision of a unified, pristine Italy.After Dora Film collapsed in 1930, Notari retired to Cava de’ Tirreni and died in 1946, largely forgotten until recent scholarly revival. The documentary positions her as a “symbol of the right to memories,” underscoring the ongoing relevance of silenced female voices in cultural history.*Elvira Notari: Beyond Silence* will premiere at New York’s Film Forum on 6 April 2026 and tour the United Kingdom throughout April and May, offering audiences a chance to reconnect with a pioneering filmmaker whose work was once erased by fascism.

The transition from live piano accompaniment in silent cinemas to recorded soundtracks marked a turning point for movie‑goers; the Vitaphone disc system of 1926 and the optical Movietone process that followed gave films a reliable, repeatable musical identity.Sunrise: A Song of Two Humans (1927) was the first feature to have its music and sound effects printed directly onto the film strip, allowing audiences to hear orchestrated pieces by Chopin and Gounod in perfect sync with the picture.King Kong (1933) showcased Max Steiner’s pioneering use of the orchestra to drive narrative, mood and scene transitions, laying the groundwork for the symphonic Hollywood score that dominated the mid‑20th century.Citizen Kane (1941) gave Bernard Herrmann a platform to break from the lush, “Hollywood” sound, delivering a stark, atmospheric score that emphasized psychological tension and set a new standard for dramatic underscoring.Blackboard Jungle (1955) introduced Bill Haley’s Rock Around the Clock as the film’s musical spine, proving that popular rock could boost a movie’s commercial appeal and ushering in the era of song‑driven soundtracks.Forbidden Planet (1956) featured the first entirely electronic score, created by Louis and Bebe Barron using magnetic‑tape techniques; the pioneering use of the theremin and other electronic textures opened a fresh sonic frontier for sci‑fi cinema.Breakfast at Tiffany’s (1961) highlighted Henry Mancini’s “symphonic pop” style, marrying a timeless hit – Moon River – with a jazzy, contemporary score that demonstrated how pop sensibilities could coexist with traditional orchestration.2001: A Space Odyssey (1968) is remembered more for its curated classical pieces than Alex North’s original score, yet the film’s bold juxtaposition of Ligeti, Strauss and Khachaturian proved that pre‑existing music could become an integral narrative force.American Graffiti (1973) assembled over 40 period songs, weaving them into the story’s fabric and proving that a soundtrack could function as a cultural time‑capsule, influencing countless later productions.Star Wars: A New Hope (1977) revived the full‑orchestra tradition when John Williams delivered a heroic, leitmotif‑rich score that re‑ignited audience love for symphonic film music and set a template for blockbuster scoring.Crimson Tide (1995) marked Hans Zimmer’s breakthrough, blending aggressive electronic pulses with a powerful orchestral choir to create the modern, hybrid sound that now defines many high‑budget action films.These ten milestones illustrate how film music has continually evolved— from live accompaniment to electronic experimentation—while retaining a core purpose: to deepen storytelling and shape audience emotion. The legacy of these scores is celebrated each April at the London Soundtrack Festival, underscoring their lasting influence on both cinema and popular culture.

Romanian director Radu Jude is known for his wildly improvised and low-budget filmmaking style, often incorporating elements of TV ads, AI-generated content, and amateur dramatics into his movies. His latest film, 'Dracula', continues this trend, presenting a satirical take on Romania's dark past and the country's most reliable export: the legend of Dracula. The film is a meta-cinematic experiment, featuring a smug and supercilious film-maker, Adonis Tanta, who introduces the audience to his cheapo film about Dracula, created on his iPad using unbearable AI. The story is interspersed with set-piece mini-films-within-a-film on Dracula-adjacent themes, including a communist-era tale of a truck driver who falls in love with a local woman. Jude's film is a scathing critique of Romania's persistent strains of fascism, antisemitism, clerical arrogance, exploitative service economy, and stakeholder capitalism. Specifically, it relates to a proposal for a Dracula theme park in the late 1990s, in which thousands of Romanian citizens invested money that they would never see again. While the film may test the audience's patience at times, it features moments of startling insanity and is a testament to Jude's innovative filmmaking style. As the reviewer notes, 'one day, I predict, Jude will make a biopic of political vampirism about the most pressing Romanian subject of all: Nicolae and Elena Ceaușescu.' 'Dracula' is set to premiere at the ICA in London on April 10.

The film 'All the President's Men', directed by Alan Pakula and starring Robert Redford and Dustin Hoffman, premiered 50 years ago on Saturday at the John F Kennedy Center for the Performing Arts. The movie is based on the 1974 book of the same name by Washington Post reporters Bob Woodward and Carl Bernstein, which chronicled their investigation into the Watergate imbroglio that led to the downfall of President Richard Nixon. The film was a critical and commercial success, earning eight Oscar nominations and winning four, including best adapted screenplay for William Goldman and best supporting actor for Jason Robards as Ben Bradlee, the Post editor. The movie is widely regarded as a classic of American cinema and a landmark in the genre of journalism films. Jane Alexander, who played the role of Judy Hoback, the 'Bookkeeper' of the Committee to Re-elect the President, recalls her experience filming the iconic scene with Hoffman and Redford. She praises Pakula's direction and the attention to detail that went into recreating the Post's newsroom. The film's accuracy and attention to detail were indeed a hallmark of its production. Woodward and Bernstein worked closely with the filmmakers to ensure that the story was told accurately, and the production team went to great lengths to recreate the Post's office and the Washington D.C. of the 1970s. The article also touches on the impact of the film on the careers of its stars and the journalists it portrayed. Redford and Hoffman spent months researching and rehearsing their roles, and their performances are widely praised. Woodward reflects on the film's portrayal of him and its impact on his personal life. The anniversary of the film comes at a time when the media is under attack and the Washington Post, now owned by tech billionaire Jeff Bezos, has recently undergone significant changes. The film's themes of investigative journalism and the importance of a free press remain as relevant today as they were 50 years ago.

Canadian astronaut Jeremy Hansen described the new space‑thriller Project Hail Mary as “a real treat” after watching it with his family and fellow Artemis II crew members ahead of their upcoming lunar fly‑around.During a live broadcast organized by the Canadian Space Agency, Hansen highlighted how the film exemplifies the synergy between art and science, noting that it “inspires people to imagine the sacrifices required to save humanity.”Co‑star Ryan Gosling, who shares Hansen’s Canadian roots in London, Ontario, sent his best wishes to the four astronauts before the mission’s scheduled launch on Wednesday.Hansen’s participation marks a milestone: he is the first non‑U.S. citizen to travel to the Moon. If the mission proceeds as planned, Artemis II will travel more than 250,000 miles from Earth, surpassing the distance record set by Apollo 13 in 1970.The crew’s ambition echoes past cinematic portrayals of space, recalling the acclaimed 1995 film about Apollo 13, and underscores the growing cultural interplay between Hollywood storytelling and real‑world exploration.

Mary Beth Hurt died on 28 March 2026 at the age of 79, closing a four‑decade career that blended intellectual cinema with acclaimed stage work. Born in Marshalltown, Iowa, she entered the film world with Woody Allen’s experimental drama Interiors (1978), earning a BAFTA nomination for Best Newcomer alongside Christopher Reeve.Although Interiors was a modest critical success, it proved financially profitable, grossing $10 million on a $3 million budget. Hurt’s portrayal of the directionless Joey marked the start of a career defined by thoughtful, understated performances.Her next high‑profile role came as Helen Holm, the college‑professor wife of Robin Williams’s titular character in The World According to Garp (1982). The film’s daring tonal shifts – including a shocking car‑crash scene – earned Oscar nominations for John Lithgow and Glenn Close, while giving Hurt a rare chance to play a fully sexual woman.Early setbacks included losing the lead in Joan Micklin Silver’s Head Over Heels (1979) to Jamie Lee Curtis and a troubled turn in the melodrama A Change of Seasons (1980), which suffered from production turmoil and poor box‑office returns.On stage, Hurt distinguished herself with three Tony nominations: for Pinero’s Trelawny of the ‘Wells’ (1976) opposite a debuting Meryl Streep, for a 1982 revival of Beth Henley’s Crimes of the Heart, and for Michael Frayn’s Benefactors (1986). She debuted on Broadway in 1974’s revival of William Congreve’s Love For Love opposite Glenn Close.Her personal life intersected with her professional world. She married fellow actor William Hurt in 1971, divorcing in December 1982, and later wed director Paul Schrader in August 1983. Collaborations with Schrader included Light Sleeper (1992), Affliction (1997) and The Walker (2007).Later film work featured a supporting turn in Karen Moncrieff’s feminist thriller The Dead Girl (2006), which earned her an Independent Spirit Award nomination, and a cameo in Martin Scorsese’s The Age of Innocence (1993). Her final screen appearance was in the small‑town drama Change in the Air (2018), filmed before a diagnosis of Alzheimer’s disease.Reflecting on her craft, Hurt once said, "I never felt very beautiful or incredibly smart or witty, so I was always looking for something about the role that intrigued me… more fascinating than the gold‑medal moments."She is survived by husband Paul Schrader and their two children, Molly and Sam.

The Easter bunny has been a staple in many films, often depicted as cute and harmless, but sometimes also menacing and deadly. The Guardian has ranked Easter bunny movies, providing a list of 20 films that showcase the versatility of the Easter bunny character. The list includes Who Framed Roger Rabbit (1988) at number one, a film that combines live-action and animation, featuring a character with characteristics of many cartoon critters. Other notable mentions include Wallace & Gromit: The Curse of the Were-Rabbit (2005) at number three, a stop-motion animated film by Aardman, and Watership Down (1978) at number two, an animated adaptation of Richard Adams's novel. The list also features films like Monty Python and the Holy Grail (1975), which includes a scene with the holy hand grenade of Antioch, and Donnie Darko (2001), which features a sinister figure in a metal-faced bunny suit. Other films, such as No Surrender (1985), Fatal Attraction (1987), and The Favourite (2018), also make the list. The ranking showcases a wide range of Easter bunny depictions, from cute and harmless to menacing and deadly, demonstrating the versatility of the character in cinema.

A writer decided to hand over his dating life to AI for six weeks, using it to write his dating profile and generate conversation prompts. He matched with a woman, A, who was fine with his experiment, and they arranged a daytime cinema trip. The AI advised him to wear a turtleneck, dark jeans, and boots or minimal trainers, and helped him craft messages, including "Morning! Still on for Marty Supreme? Are you more of a trailers-lover or a trailers-hater?". However, A ignored the question and simply confirmed she was coming. During the date, the writer used AI-generated lines, such as "That hair has pure A24 energy", which A found confusing. The AI also suggested complimenting her hair, which he did, but A seemed unimpressed. As the date progressed, A began to notice that the writer's messages sounded "emotionally intelligent, yet something's off about them". She eventually discovered that he was using AI to generate his lines and told him that if someone had sent those messages without her knowing about the experiment, she wouldn't have come on the date. The writer concluded that "AI is great at choosing date ideas. Relying on it for conversation, though, comes at a price of not trusting yourself – your own curiosity, ability to listen, and what you have to offer". He realized that the artificial confidence of AI-generated lines can make them worse than someone who is honestly nervous.

When billionaire hedge‑fund manager Chris Rokos announced a £190 million contribution to the University of Cambridge, the move instantly became the largest single donation to any UK university in modern history. The funds will establish a new “school of government” aimed at bridging policy, science and emerging technologies. Rokos, a 55‑year‑old Oxford graduate, has amassed an estimated £2.6 billion fortune, primarily through his firm Rokos Capital Management (RCM), which he founded in 2015 after a high‑profile stint at Brevan Howard. RCM now oversees **over £22 billion** in assets, employs roughly 350 staff, and operates from offices in London, New York, Singapore and Abu Dhabi. In the most recent fiscal year ending March, Rokos paid himself nearly £500 million, according to Companies House filings, reflecting the firm’s strong performance amid volatile markets. Beyond finance, Rokos has kept a remarkably low public profile. He famously declined to provide a photograph when launching a £500 million fund in 2007, and he has avoided media attention despite owning one of England’s most expensive private residences. The £175 million refurbishment of the Grade I‑listed Tottenham House in Wiltshire – featuring a tennis pavilion, private cinema, basement squash court and a proposed “subterranean family link” to a pool house – has drawn local council scrutiny but stands as a tangible testament to his wealth. Rokos’s career trajectory began in banking at UBS and Goldman Sachs, moving to Credit Suisse where he was recruited by Alan Howard. He later joined the founding team of Brevan Howard in 2002, generating roughly $4 billion (≈£3 billion) in investor profits and about £600 million for himself before departing in 2012. His philanthropic philosophy emphasizes diversity of thought. In a video released by Cambridge, Rokos warned that a school populated only by “centrist, socially liberal” voices would be a failure, insisting on a broad spectrum of intellectual viewpoints. Earlier this year, RCM’s exploratory talks to bring former UK business secretary Peter Mandelson onto its advisory board collapsed after revelations about Mandelson’s connections to the late Jeffrey Epstein. Rokos also ranks among the UK’s biggest taxpayers and maintains a family office in Mayfair. A lingering legal dispute over a five‑year non‑compete clause with a former employer was settled out of court, clearing the way for his current venture. Overall, the record‑breaking Cambridge donation not only reshapes the university’s academic landscape but also underscores how hedge‑fund wealth is increasingly channeled into high‑impact philanthropy, blurring the lines between finance, education and public policy.