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The Lead: A Disturbing Body-Swap Horror Arthur Harari's film "The Unknown" is a doomy, murky and intriguing supernatural noir mystery that explores themes of identity and self through a bizarre body-swap narrative. Adapted from a graphic novel he wrote with his brother Lucas, the film presents a deeply unsettling experience that blends horror with existential questions about our relationship with our own bodies. The Event Details: A Complex Supernatural Narrative The film follows David Zimmerman, a photographer in his late 30s who documents the changes in his hometown over the past century. After a New Year's Eve party where he encounters a woman named Eve (played by Léa Seydoux) whom he photographed months earlier, they have sex in a squalid basement. David wakes up the next day to find he is now in Eve's body. The narrative becomes increasingly complex as it reveals that a supernatural entity is transferring consciousness between bodies through sexual encounters, creating a chain of identity swaps that challenges the very concept of self. The Impact Analysis: Identity Crisis in Horror "The Unknown" stands out in the horror genre for its philosophical approach to identity rather than relying on traditional scares. The film draws comparisons to classics like "Blow-Up," "The Man Who Haunted Himself," and "It Follows," but distinguishes itself through its exploration of gender identity and the profound unknowability of our own bodies. The film's dark, toxic atmosphere and characters' expressions of misery and fear create an immersive experience that questions the stability of identity itself. The Prediction: A Divisive but Memorable Cannes Entry As a Cannes Film Festival entry, "The Unknown" is likely to generate significant discussion among critics and audiences alike. While the film's premise is compelling, the review suggests it may be flawed by its narrative conclusion. Despite this, its unique approach to body horror and existential themes ensures it will be remembered as one of the more distinctive entries in this year's festival. The film's exploration of identity transfer may resonate particularly in an era when questions about gender and self are increasingly prominent in cultural discourse.

The Lead: A Mis‑Timed Pandemic ThrillerGuardian reviewer Erin Kellyman returns to the plague‑infested screen in Woken, a 2023‑made post‑apocalyptic thriller that aims to ride the post‑Covid zeitgeist but ultimately falters under its own ambitions.The Narrative Setup: Amnesiac Survival on a Plague‑Ravaged IslandKellyman plays Anna, an amnesiac, heavily pregnant woman who awakens in a rundown cottage on an isolated island, unaware that a pandemic is sweeping the region. Guided by the unsettling neighbour Helen (Maxine Peake) and a dubious husband James (Ivanno Jeremiah), Anna’s reality unravels when infected castaways arrive on a swan‑shaped pedalo, prompting a violent confrontation that reveals the island’s true horror.Visual and Thematic Influences: Echoes of Children of Men and Social‑Realist Brit Sci‑FiDirector Alan Friel frames the story against brooding shale cliffs, using muted interiors and seagrass‑fringed impressionism to highlight Anna’s fragility. The film nods to the social‑realist British sci‑fi lineage of Never Let Me Go and Children of Men, especially in its bleak world‑building and the later shift toward clandestine labs, ligament‑weaving surgery units, and fascistic hazmat squads.Critical Verdict: Strong Performances Undermined by a Disjointed PlotWhile Kellyman’s “wide‑eyed, floundering” performance and Peake’s authoritative presence earn praise, the narrative never fully gels. The first half feels like “tepid domestic parlour games” dressed in visual flair, and the second half’s sci‑fi revelations feel regurgitated, making the film’s climax feel like a “certifiable debt” to its inspirations.Future Outlook: Post‑Covid Horror Must Find Fresh GroundWoken will be available on digital platforms from 25 May 2026, but its mixed reception signals that the genre needs more originality than pandemic‑centric melodrama. For filmmakers, the lesson is clear: compelling visuals and strong acting cannot compensate for a story that fails to innovate within an increasingly saturated post‑pandemic horror market.

The Lead: A Haunted Return to a Venezuelan Plantation Asia Argento plays Caro, an Italian‑Venezuelan who returns to an inherited plantation fraught with personal and historical trauma. The film, Death Has No Master, opens the Director’s Fortnight at Cannes, promising a blend of psychological horror and political allegory. The Film’s Narrative and Historical Context Director Jorge Thielen Armand frames the story as a “surrealist psychological thriller” that layers personal inheritance with Venezuela’s “eternal” tensions. The plot follows Caro’s legal claim against caretaker Sonia (Dogreika Tovar) and her son, while flashbacks invoke colonial exploitation symbolised by cacao beans and oil refineries. The Director’s Commentary on Venezuelan Turmoil Armand links the film to recent U.S. actions in Venezuela – the 2025 warship deployment and the 2026 arrest of President Nicolás Maduro. He suggests that these events amplify the film’s themes of betrayal by domestic and international systems. Cultural Resonance and Argento’s Personal Inheritance Argento describes immersing herself in the location, confronting “my own blood, my inheritance.” She draws parallels between Caro’s abusive father and her own parents, horror maestro Dario Argento and screenwriter Daria Nicolodi. The film’s visual style, reminiscent of 1970s Italian psychological thrillers, underscores this personal‑historical overlap. Looking Ahead: Cannes Reception and the Future of Venezuelan Cinema Armand aims to avoid clear‑cut victims, presenting legal, moral, and historical conflicts as intertwined. The premiere will test whether the film’s abstract dream‑logic resonates with international audiences and whether it revitalises interest in Venezuelan stories on the global stage.

The Week's Must-See Cinema ReleasesThis week's film offerings range from action thrillers to historical dramas. Normal, directed by Ben Wheatley, stars Bob Odenkirk as an interim sheriff in a small Minnesota town with unexpected secrets involving the yakuza. Also starring Henry Winkler and Lena Headey, this crime thriller promises plenty of intrigue.For horror fans, Obsession offers a literal 'be careful what you wish for' storyline about a music store employee who makes a magical wish for his coworker to love him unconditionally, leading to extreme consequences. Orphan provides a historical drama set in post-revolution Budapest, following a teenager raised on stories of his missing father, while The Christophers is an art world caper from director Steven Soderbergh featuring Ian McKellen and Michaela Coel.Live Music Highlights: From Pop to OperaDoja Cat kicks off her European tour in Dublin, bringing her signature style of 27 songs, high-cut leopard print leotards, and performances inspired by 80s superstars like Prince and Janet Jackson. While her latest album 'Vie' may not have reached the commercial heights of previous work, her live shows remain spectacular.In Sheffield, the Get Together festival features Southend goth overlords the Horrors alongside Welsh-Cornish artist Gwenno and Hot Chip's Alexis Taylor. Other highlights include 'wonk pop' practitioners Lime Garden and London-based noise merchants Factory Floor.For classical music enthusiasts, Glyndebourne opens its summer season with Puccini's Tosca, staged by US director Ted Huffman in the festival's intimate theater. Soprano Caitlin Gotimer leads two rising-star casts under conductor Robin Ticciati.Contemporary Art ExhibitionsIn Colchester, Godfried Donkor presents an exhibition at Firstsite that travels from Colchester to West Africa and the Caribbean. The London-based Ghanaian artist weaves together stories of resistance from Boudicca to Yaa Asantewaa, using collage, painting, and textile to explore how identity, power, and trade shape our world.At the Barbican in London, Colombian installation artist Delcy Morelos presents a major exhibition through July, featuring large-scale muddy installations that challenge perceptions of space and materiality.Stage Performances and Cultural EventsLeeds jazz festival celebrates its fifth year with genre-fluid performances from pianist-organist Kit Downes and sax star Emma Rawicz. The 16-year-old Submotion Orchestra brings their fusion of electronica, jazz, and soulful ambience to the opening night, promising a memorable start to the festival.

The LeadThis week's entertainment landscape is dominated by standout performances and productions that have critics raving. From Ian McKellen's latest role in 'The Christophers' to the bonkbuster revival of 'Rivals' on Disney+, viewers are spoilt for choice with exceptional content across both television and film.TV Highlights: Rivals Takes Center StageDisney+'s 'Rivals' stands out as a preposterous adaptation of Jilly Cooper's 80s bonkbuster that has everyone involved clearly having the time of their life. Critics describe it as 'beyond earthly praise' with 'naked audacity' that deserves to be celebrated with a glass of Cinzano.Documentary Impact: Children of the BlitzBBC iPlayer's 'Children of the Blitz' offers a moving and important film featuring the last survivors of the blitz sharing their shattering stories. The documentary provides priceless access to the inner lives of children in wartime, with reviewers noting how these insights can be transposed to understand the emotional dislocation of modern children in conflict zones like Gaza, Ukraine, and Sudan.Political Satire: Wrestling With TrumpChannel 4's 'Wrestling With Trump' sees comedian and satirist Munya Chawawa deliver what reviewers describe as a 'punchy, passionate and weirdly uplifting documentary' that offers a much-needed smackdown to the US president. The film explores how Trump's political style is inspired by WWE wrestling, providing a fascinating look at the intersection of entertainment and politics.Film Spotlight: The ChristophersSteven Soderbergh's 'The Christophers' leads this week's film recommendations, featuring Ian McKellen as an irascible painter and Michaela Coel as his assistant. The London-set movie is described as 'terrifically exhilarating and funny, as bracing as a large vodka and tonic before lunch: fast, literate and funny.' The plot revolves around potentially valuable lost paintings of the artist's former lover.Emerging Talent: ObsessionWriter-director Curry Barker follows up his $800 YouTube hit 'Milk & Serial' with 'Obsession,' an effective and gory cautionary tale that reviewers call 'satisfyingly slick proof that Barker knows just what to do when levelling up to a different platform.' The film demonstrates promising talent in the horror/thriller genre.

The Relegation Battle Fury. Grief. Embarrassment. Horror. Resignation. The emotions run hot for supporters of West Ham and Tottenham right now as the two grand old clubs stare at potential relegation from the Premier League. The Impact of Mismanagement With their spiritual homes demolished at the altar of progress and profit, first Upton Park in 2016 and then White Hart Lane in 2017, both clubs had visions of glory days ahead. Instead they have been consumed by greed, mismanagement and false promises. Key perpetrators such as Karren Brady at West Ham and Daniel Levy at Spurs have exited the scene, but David O’Sullivan is still the Hammers chairman and the damage remains. The Current State of Affairs The London Stadium – which West Ham now rent for a knock-down price – is universally panned as stale and unsuited to football, while the sparkling Tottenham Hotspur Stadium looks like a monument to hubris. One of these 60,000 seater stadiums will be hosting Championship football in August. The Fans' Perspective Defeats on the pitch this season have been calamitous and bruising (they’ve endured 34 league losses between them); protests have been loud and fuming. Two points separate the teams, with two games remaining. The equation now is very simple: it’s either them or us. The Future Outlook As the Tottenham Supporters Trust put it on their website: “The arithmetic is stark, the stakes unmistakable. This is no longer a conversation about style or long-term trajectory; it is a question of survival.”

The LeadHoward Ashman and Alan Menken's cult musical Little Shop of Horrors receives a solid production from Northern Stage and Derby Theatre that embraces its B-movie roots while introducing pioneering accessibility features through creative captioning. The production balances kooky romance with doo-wop musical numbers, though it scales back some of the original's darker elements.The B-Movie ProductionDirected by Sarah Brigham, this production deliberately maintains the low-budget aesthetic from Roger Corman's 1960 film, which is considered core to the musical's charm. The story follows Seymour, a struggling florist whose fortunes change when he discovers a mysterious, bloodthirsty plant named Audrey II. While the production is solid, it's not described as sparkling, with humor and sensitive elements like Audrey's domestic abuse being toned down compared to previous versions.Pioneering Accessibility Through Creative CaptioningWhere this production truly innovates is in its use of creative captions designed by Ben Glover—a still-rare feature in UK theatre. Rather than simply providing accessibility, Glover incorporates the captions into the fabric of the show, using chunky, horror movie-style lettering and cartoonish speech bubbles that appear on screens behind the action. This approach makes the staging both accessible and entertaining, enhancing rather than distracting from the performance.The Split Performance of Audrey IIA key creative decision in this production is the split portrayal of Audrey II, the carnivorous plant that grows from a small bud into a monstrous entity. Tasha Dowd provides soulful vocals from off-stage while Ross Lennon operates the increasingly bulbous foam puppet from within. This dual approach allows for both vocal performance and physical manipulation, creating a unique interpretation of this iconic character.Visual Design and Musical PerformanceDesigner Verity Quinn employs a color palette referencing the flesh-eating flytrap, with petal pink and stem green elements appearing in costumes, the flower shop set, and the street beyond. The cast of actor-musicians delivers broad New York accents to the doo-wop and rock'n'roll favorites. Kristian Cunningham's Seymour channels Rick Moranis's 1986 film portrayal, while Amena El-Kindy's Audrey presents a less wispy interpretation than Ellen Greene's original film version. Their duet 'Suddenly, Seymour' showcases powerful vocal performances as they break through their timidity.The Future of Accessible TheatreThis production of Little Shop of Horrors demonstrates how accessibility features can be integrated into theatrical storytelling without compromising artistic vision. The creative captioning approach by Ben Glover sets a precedent for future productions seeking to make theatre more inclusive while maintaining its unique magic. As UK theatre continues to evolve, innovations like this may become more commonplace, expanding audiences and redefining how stories can be experienced.

Top Picks in Crime and Thrillers A selection of standout crime and thriller novels reviewed recently. Honey by Imani Thompson Honey by Imani Thompson (Borough, £16.99) centres on Yrsa, a young Black woman studying for a sociology PhD and teaching undergraduates at Cambridge. Irritated by her solipsistic, over-privileged students and tired of situationships, she’s fed up with life, and men in particular. Her first killing – that of a much older supervisor who reneges on his promise to leave his wife for a colleague, and steals her research in the process – is an accident, but Yrsa, who has catastrophically poor impulse control, enjoys the sensation and, more importantly, gets away with it. Quite Ugly One Evening by Chris Brookmyre Quite Ugly One Evening by Chris Brookmyre (Abacus, £22) features journalist Jack Parlabane, now 60, who feels increasingly like a “Boomer Ambassador” to the younger colleagues who are snapping at his heels. With his job on the line, he agrees to investigate a cold case: the death, 40 years earlier, of an MI5 operative. The Final Chapter by CB Everett The Final Chapter by CB Everett (Simon & Schuster, £18.99) is a metafictional tour de force: the story of literary superstar Jon Durward, who achieved critical acclaim, commercial success, well-regarded film adaptations and a Booker prize before he mysteriously disappeared in 2009. The Hollow Boys by Tariq Ashkanani The Hollow Boys by Tariq Ashkanani (Viper, £18.99) is set in Appalachia, a prize-winning Scottish author’s latest novel and a masterpiece of smalltown horror. The town of Aurora seems doomed – blighted by poverty, drug addiction, diseased crops, a mysterious beast that slaughters dogs and an underground coal seam fire that grows ever closer. Shrink Solves Murder by Philippa Perry Shrink Solves Murder by Philippa Perry (Hutchinson Heinemann, £18.99) features therapist Patricia Phillips, who lives on East Sussex’s South Downs with Dave the cat, and swims in the sea every morning. When her client Henry Clayton’s body is found below cliffs near the notorious suicide spot Beachy Head, the police assume he has taken his own life.

The Cannes Premiere of a Queer Horror MasterpieceJane Schoenbrun's "Teenage Sex and Death at Camp Miasma" has made its debut at the Cannes Film Festival, opening the Un Certain Regard sidebar with a bold exploration of gender identity and horror tropes. The film, which follows a filmmaker obsessed with a cult slasher franchise, represents a significant addition to the growing canon of queer horror cinema that challenges traditional genre boundaries.A Director's Vision: Reimagining Slasher TropesSchoenbrun continues their exploration of media obsession and identity, following previous works like "We're All Going to the World's Fair" and "I Saw the TV Glow." The director invents an imaginary slasher franchise called "Camp Miasma" about a transgender killer called Little Death, treating this fictional creation with complete seriousness while simultaneously critiquing horror's problematic treatment of gender. The film cleverly walks through the franchise's fictional history, from initial success to critical backlash, mirroring real conversations about representation in horror.Gillian Anderson's Showstopping PerformanceThe film features a career-defining turn from Gillian Anderson as Billy Presley, the iconic Final Girl from the original "Camp Miasma" film who has become a recluse. Anderson brings droll style and sophisticated sexiness to the role, creating a character who is both amused by and critical of the current filmmaker's attempts to reclaim the franchise. Her performance elevates the material, adding layers of meta-commentary about aging in Hollywood and the legacy of horror icons.Exploring Fantasy and Reality in HorrorAt its core, "Teenage Sex and Death at Camp Miasma" explores the relationship between fantasy and reality, suggesting that liberating escapist experiences can be more "real" than mundane existence. The film follows Kris, a young filmmaker hired to reboot the franchise, as she visits Billy in the disused camp where the original was filmed. Their relationship blurs the lines between creator and creation, with hints that the slasher character might be more than just fiction. Schoenbrun uses techniques like the split diopter shot to create dreamlike sequences that question what is real and what is imagined.The Future of Queer Horror CinemaWith "Teenage Sex and Death at Camp Miasma," Schoenbrun further establishes themselves as a vital voice in contemporary horror, particularly within the queer filmmaking community. The film's Cannes premiere positions it for potential awards attention and critical acclaim, which could lead to greater visibility for horror that centers LGBTQ+ experiences. As audiences increasingly seek representation that goes beyond tokenism, films like this that reimagine genre conventions through queer perspectives may become increasingly influential in shaping the future of both horror and independent cinema.