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The Revolutionary Spirit of Zineb Sedira's Exhibition Zineb Sedira's exhibition at Tate Britain's Duveen Galleries is a vibrant ode to revolutionary cinema, intellectualism, and the power of art to inspire change. The installation, titled 'When Words Fall Silent, Cinema Speaks,' transports visitors to the iconic La Cinémathèque Algérienne in Algiers, a mecca for leftist filmmakers and intellectuals in the 1960s and 1970s. Recreating a Revolutionary Hub Sedira's meticulous recreation of the Cinémathèque Algérienne includes a model movie theater, vintage jukebox, and a cafe serving wine and couscous. The space is filled with books about leftist cinema, and clips from films like Agnès Varda's 'Salut les Cubains' play in the background. This immersive environment embodies the spirit of radical chic, where intellectual pursuits and pleasure are intertwined. A Tribute to Boudjemaâ Karèche and La Cinémathèque Algérienne The exhibition centers around Boudjemaâ Karèche, the director of La Cinémathèque Algérienne. Through a short documentary film, Sedira shares Karèche's stories of the cinema's heyday, when it was a gathering place for young idealists who debated revolutionary art and social change. The beret-wearing Karèche is portrayed as a charismatic figure who embodied the fusion of politics and creativity. The Challenge of Preserving Revolutionary Energy The exhibition's final film poses a poignant question: can revolutionary moments be preserved and rekindled in a museum setting? Sedira's installation suggests that by celebrating the past, we can inspire new generations to engage with art and politics. As Sedira shows, truly revolutionary art empowers people to express themselves and challenges the status quo. A Lasting Impact Sedira's exhibition is a testament to the enduring power of art to inspire and educate. By recreating a pivotal moment in cinematic history, Sedira invites visitors to reflect on the intersections of art, politics, and identity. The exhibition runs at Tate Britain's Duveen Galleries until January 17.

The Deadly Israeli Drone Strikes Three Israeli drone strikes on cars on a major highway linking Beirut to southern Lebanon have killed at least eight people, including two children, Lebanon’s Ministry of Health reported. A photograph of the bombed cars shared by Lebanon’s National News Agency following the attacks on Wednesday in the Jiyeh area, some 20km (12 miles) south of the Lebanese capital, showed the vehicles severely damaged, their exteriors charred and torn apart. Escalating Conflict and Humanitarian Crisis Al Jazeera’s Zeina Khodr, reporting from Tyre in southern Lebanon, said the “conflict is only escalating”. “It is a conflict that is taking a high toll on the civilians who live in these areas,” she said. Lebanon and Israel are expected to hold a new round of direct negotiations in Washington on Thursday, brokered by the United States. Hezbollah, which has been launching attacks on northern Israel and on Israeli troops who have entered and occupied a section of southern Lebanon, says it opposes the negotiations in the US. The Humanitarian Toll On Wednesday morning, the Israeli military issued forced displacement orders for the residents of Meiss el-Jabal, Yanouh, Burj Shemali, Hula, Debl and Aabbasiyyeh, warning that it will soon act against these six southern Lebanese villages “forcefully”. Anyone who remains “endangers their life,” the military said, warning residents to move at least 1,000 metres (0.6 miles) away to “open areas”. After this new round of forced displacement orders – which have been happening almost daily in the past week – Al Jazeera’s Khodr said one of the few remaining hospitals in the area was in the displacement zone. At least 100,000 people still live in the district of Tyre. 13 people were killed in attacks on towns in the south on Tuesday. Two Lebanese Civil Defence paramedics were among the dead. At least 380 people have been killed during the truce. The total death toll since the Israeli invasion and bombardment began on March 2 is more than 2,800. 108 emergency medical services and healthcare workers have been killed in Lebanon during the war. The Future Outlook “All of this is having a huge impact here on the communities in southern Lebanon,” Al Jazeera’s Obaida Hitto said from Tyre. “And there is a growing humanitarian crisis, with over a million people displaced.”

Vistry warned that its first‑half adjusted pre‑tax profit will be "significantly lower" than the prior year, citing the fallout from the US‑Israeli war on Iran. The warning sent the stock down 10.5%, its lowest level in nearly 15 years, and prompted a company‑wide operational review led by new CEO Adam Daniels. Vistry’s Profit Warning Amid Middle East Conflict The housebuilder, owner of Bovis Homes, Countryside and Linden Homes, updated investors hours before its AGM, stating that heightened macro‑economic uncertainty has altered the outlook since the March update. While sales volumes remain above last year, buyer caution has risen sharply due to the conflict. Financial Fallout: Share Drop and Profit Forecasts Key financial signals include: Share price fell 10.5% in early trading, reaching a 15‑year trough. First‑half profit expected to be "significantly lower" than 2025. Adjusted pre‑tax profit for 2026 projected to sit in the "middle of the range" of analyst forecasts. Company halted its share‑buy‑back programme to prioritise debt reduction. Ripple Effects on the UK Housing Market and Supply Chain The conflict has introduced upward pressure on building‑material costs and labour wages, pressures Vistry expects to persist into the second half of the year. To mitigate, Vistry is negotiating with suppliers and offering larger buyer incentives, actions that further compress margins. Industry analysts, such as Anthony Codling of RBC Capital Markets, note that while execution risks remain high, the update reflects a broader slowdown in UK housing activity. Outlook: Operational Review and Path to Recovery CEO Adam Daniels has launched a company‑wide operational review, with findings slated for September. The firm anticipates a partial recovery in the second half of the year, aiming for profits flat with 2025 levels and a return to a more stable growth trajectory thereafter.

The Artist's Journey Through Love and LossFalling in and then out of love is a universal experience that often brings sadness, grief and heartbreak, and with time, hope and healing. Photographer Diana Markosian used her camera lens to document these complex feelings in her new project, Replaced.She brings the viewer on her journey of having, losing and reclaiming love, in a project that blurs documentary and fiction. "[The moments] no longer existed in the way they had, and I wanted to reclaim them," she says. "I wanted to feel that I could exist in my own story again."Recreating Intimate Moments Through ArtTo document their relationship, Markosian and her team worked with an actor to play her ex-partner. Each intimate image from the series, taken over three months, is a replica of an exact moment once shared with her ex and now shared between her and the actor. Her connection to him deliberately led to his being cast as her partner in the series so that the experience would feel as real as possible.With the actor, she visited Miami, Paris, Naples, Capri and Nice, all places she had once traveled to with her ex-partner. "These locations carry an existing weight of romantic myth," she says. "They are already shaped by cultural narratives of love, desire and idealized experience."The Emotional Toll of ReenactmentShe stayed at the same hotels and did the activities they had once done together, describing the experience as painful but cathartic. "It hurts so much, watching myself be replaced, watching those memories erased, and I didn't want to live in this any more," she says. "I'm so grateful that the project happened quickly."One of the most tender moments she recreates with the model appears in an image of them seated in a bathtub, holding one another with a red light glowing around them. Their vulnerability allows the viewer to reflect on a delicate moment between two people whose past love no longer exists, fostering empathy and prompting the audience to reflect on their own past relationships.Art as a Tool for Processing EmotionsCreating these intimate photographs enabled her to contemplate her journey. "I wanted to acknowledge how these same spaces can be reoccupied," she says, before adding: "If anything, [the project] just showed me how much I loved this person."For the past 16 years, Markosian has not let go of her camera, often using it to reach back and understand her past. "Art has given me a way of processing. I was studying writing, and suddenly found myself holding a camera and not wanting to let go of it; it became just a friend in my life," she says.A Career Built on Memory and ReconnectionShe first picked up a camera at 20, during graduate school at Columbia University. After graduating with a master's degree in journalism, she wanted to see the world, so she moved back to Moscow, Russia, where she was born. There she taught herself how to use the camera.Today, her lens serves as a tool for reconnecting with her past life and reclaiming it as her own. In her previous, highly regarded photo monograph Inventing My Father, she demonstrates her unique ability to reveal the unseen past through her images. Working on the book for 10 years, she depicts her journey of finding her father after 15 years of no contact, following her move to California in 1996 from Armenia, where he lives."Father, my previous work of the past decade, it's all rooted in memory, and I think what's beautiful about memory, there's a blend of fiction, interpretation, and it's very subjective," she says. "So I think I love existing in that territory because none of it is really real."

The Lead Lauren Elkin's book 'Vocal Break' is a celebration of the female voice in all its forms and imperfections. Elkin, a London-dwelling French-American translator and author, examines the female voice through the lens of her own musical passions and explores the rules and expectations foisted on female vocalists. The Event Details Elkin's book is not strictly a memoir, but she mines her past as she examines singers and singing. She digs into notions of self-image, coolness, integrity, and authenticity, and ponders the history of the vocoder and the current vogue for Auto-Tune. The Data Analysis No specific data is provided in the article, but Elkin's research takes in Roland Barthes's 'The Grain of the Voice,' Greil Marcus's 'Lipstick Traces,' and Homer's 'Odyssey.' She also shares surprising facts, such as the French phrase for singing along to a song in a language you don't know: 'chanter en yaourt,' or 'to sing in yoghurt.' The Impact Analysis Elkin asserts that women using their voices is 'not a neutral proposition but a hard-won right' and that judgments on their singing are wrapped up in power and identity. She highlights the physical violence women have endured for daring to sing and be themselves on stage, citing examples such as Ari Up and Tori Amos. The Prediction Elkin notes that 'singing is about wanting that thing that is just beyond reach, and that is why we love it, and need it.' She encourages more people to sing, emphasizing that through music, we can get things that are just beyond our reach, or feel like we have, for the time the music lasts.

The Cultural Phenomenon of Northern SoulAlan Byron's film is an absorbing docu-celebration of the northern soul scene that flourished from the late 1960s to the end of the 1970s. It was a fascinating, vernacular youth movement and a kind of regional open secret: a club culture, a zine culture, a music-and-fashion culture which uncynically invented and sustained itself without the need for any svengali figure from London to keep the show on the road. Northern soul fans were passionate about thumpingly sensual mid-60s American soul, a musical style which they kept alive on the all-night dancefloor by doing spectacular spins and drops, while the official voice of the music business decreed that disco or MOR rock or glam or heavy metal was where it was at.The Wigan Casino LegacyDJs would travel to the US to sort through the boxes and mounds of 7-inch vinyl which had been discarded by Motown and the radio stations – basically prospecting for gold – and bring it back to northern English clubs. The principal clearing house was the mighty Wigan Casino which mounted legendary all-nighters from 2am to 8am, attracting soul fans from miles around who knew that this was the only place where certain tracks could be heard. (No Spotify or Apple Music in those days.)Cultural Resistance and RecognitionLicensing laws meant that only Coca-Cola could be served, but dancers took amphetamine, a part of the northern soul scene that has perhaps only recently been acknowledged fully, and is in fact not looked into all that closely here. It carried on through the 1970s, all but ignored by the cultural gatekeepers of the south; that is, until documentarist Tony Palmer brought his cameras and lights into the club to make The Wigan Casino as part of Granada TV's This England strand, an outsider incursion grumblingly resented at the time but now treasured as a unique archive record.Understanding the Movement's IdentityWhat is fascinating about northern soul is the way it survived under the media-cultural radar and appears to resist larger interpretive analysis. It was not overtly political, unlike punk or reggae, and there is no consensus here about the status of the northern soul consumers. Were they unemployed, poor, alienated and angry? Not necessarily. Many here recall having good jobs and apprenticeships of the sort they wouldn't have now.Enduring Influence and MysteriesAs for whether it was revolutionary in any sexual sense, commentator Paul Mason suggests that there was something homoerotic in the male atmosphere. Maybe, yes: but no one here has any first-hand experience to share about that. As for the Wigan Casino itself, the building's lease was terminated by the council at the end of the 70s prior to planned demolition; just when the tenants might have disputed this, the building mysteriously burned to the ground. (Maybe we need David Peace to write a novel about that.) Northern soul was clearly the godfather of the club and rave scenes of the 90s and beyond, but for me, a question remains: what did the American acts themselves think of it? Were they ever tempted (or invited) to play live at the Wigan Casino?

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 Official Rebuttals from Mexico and the CIA Mexico’s government and the CIA issued statements on Tuesday denying a CNN report that U.S. intelligence agents participated in targeted killings of alleged cartel members in Mexico. CIA spokesperson Liz Lyons called the story “false and salacious,” while Mexico’s Secretary of Security Omar Garcia Harfuch said the nation “categorically rejects” any notion of foreign lethal operations on its soil. Alleged CIA‑Backed Assassinations: What CNN Reported CNN cited unnamed sources claiming CIA operatives “directly participated” in several attacks since last year, including a March car explosion that killed Francisco Beltran, described as a member of the Sinaloa Cartel. Operations allegedly ranged from “passive intelligence sharing” to “direct participation in assassination operations.” The focus was said to be on mid‑level cartel figures. Numbers Behind the Controversy: Reported Deaths and Designations 190+ people killed in U.S. air strikes targeting drug‑trafficking vessels in the Caribbean and Pacific, according to the Trump administration. Nine Latin‑American drug gangs, including the Sinaloa Cartel, have been labeled “terrorist organisations” by the United States. Two alleged CIA operatives died in a car crash after a counter‑narcotics raid, prompting the latest scrutiny. Diplomatic Fallout and Sovereignty Concerns The allegations have intensified existing friction between Washington and Mexico, where President Claudia Sheinbaum recently threatened sanctions against Chihuahua officials for allowing CIA involvement in raids on clandestine labs. Mexico’s 2020 law requires foreign agents to share information with the government and denies them diplomatic immunity, underscoring the sovereignty debate. What Lies Ahead: Potential Shifts in U.S.–Mexico Security Cooperation Both sides stress that cooperation “exists, is important, and has yielded relevant results,” yet future joint operations may be conditioned on stricter oversight and transparent information‑sharing protocols. Analysts warn that continued public denial without independent verification could erode mutual trust, potentially prompting Mexico to seek alternative security partners or renegotiate existing agreements.

The Lead: A Budget That Begins to Pay Future GenerationsThe latest Australian federal budget, presented by Jim Chalmers, acknowledges that the nation is at a point in the economic cycle where a surplus should be possible. While it does not erase the existing debt, it marks a decisive step toward investing in reforms that benefit younger Australians and protect the country’s natural capital.Key Reform Packages Embedded in the 2026 BudgetThe budget goes beyond headline numbers to fund a suite of reforms aimed at long‑term productivity and environmental stewardship:Implementation funding for the sweeping amendments to the Environment Protection and Biodiversity Conservation (EPBC) Act passed in December.Investment in a national bioregional planning framework to guide development, renewable energy, mining and carbon‑farming projects.Dedicated resources for Environment Information Australia to improve the quality of biodiversity data.Establishment of a fully resourced, independent Environment Protection Agency with enforcement powers.Fiscal Context: Deficit, Debt and the Push for SurplusThe commentary notes that Australia is currently adding tens of billions of dollars each year to public debt. The budget’s ambition is to reverse this trend by:Targeting a surplus in the current economic cycle.Ensuring the tax system, overdue since the Rudd‑era review, supports stronger budget outcomes.Seeking a larger share of resource rents from foreign multinationals for the public purse.Environmental Impact: From EPBC Amendments to a Resourced EPABy allocating funds to close the implementation gap of the EPBC reforms, the budget aims to move environmental protection from a reactive afterthought to a proactive planning tool. Bioregional plans will map where development can proceed, where it cannot, and where restoration delivers the greatest return, providing certainty for industry and habitat connectivity for threatened species.Outlook: How the Reforms Could Shape Australia’s Next DecadeAccording to former Treasury secretary and climate advocate Ken Henry, the budget’s reforms are “the building blocks that can transform how we protect and restore the environment in the midst of massive economic change.” If the market for nature restoration takes off and the new EPA enforces standards effectively, future generations could inherit a continent with robust ecological foundations, supporting both biodiversity and a sustainable economy.