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The Lead Dan Asma's superbly unsettling debut feature could well be California’s answer to The Blair Witch Project, as it follows a retired professor protagonist heading out into the Cuyamaca mountains and into the bowels of Mount Shasta on the trail of a lost sect. The Event Details Our intrepid academic Devin (Asma) has bitten off more than he can chew, judging by the riverbed of bloodshot veins disfiguring his face and failing mental faculties that have left him unable to drive his car out of the wilderness. Still able to access his past recordings, he jogs his own memories about what led him out there in the first place: ex-wife Kate (Nicole Jones) dropping off old camcorder excerpts of college hangouts with pal Charlie (Keaton Asma), who recently killed himself. The Data Analysis The film features a mix of found-footage, vlogs, Zoom calls, and Facetime, creating a sharp narrative line and nagging suspense. The movie's use of archival multimedia creates a sense of disintegration and malignancy. The Impact Analysis Asma bakes in a palpable sense of disintegration and malignancy into the very fabric of the film; our technological compulsion to constantly record, seek meaning and rewind back towards our origins feels like the real corrupting force here. The Prediction The film 'Tribe' is available on digital platforms from 25 May, and is expected to resonate with fans of unsettling and thought-provoking cinema.

Lead: A Ouija‑Board Dialogue with the CanvasSanya Kantarovsky describes his process as “like a Ouija board, I listen to the painting,” a sentiment that permeates his latest exhibition, Basic Failure, which opened in May 2026 at Venice’s Institute of Sciences, Letters and Arts. The show, timed with the 2026 Biennale, confronts viewers with dishevelled figures, uncanny transformations and a lingering sense of alienation. Basic Failure Opens in a Historic Venetian PalazzoSet within a palazzo of high ceilings, dark terrazzo‑marbled floors and walls lined with antique books, the exhibition begins with the diminutive portrait Boy With Cigarette. The painting’s pallid, down‑turned youth, rendered in thick blue brushstrokes, “feels both familiar and kind of alien at the same time,” according to the artist. Nearby, a child spins carefree, creating a visual tension between innocence and menace. Quantifying the Exhibition: Scale and ReachOpening date: May 2026Artist age: 44Venue capacity: approximately 200 visitors per hour during peak Biennale daysNumber of works displayed: over 30 paintings and installations Impact: Re‑defining the Supernatural in Contemporary ArtKantarovsky’s work draws on Russian literary darkness while echoing the metaphysical concerns of Pablo Picasso, Giorgio de Chirico and Milton Avery. By rendering subjects from memory rather than direct observation, he creates “narrative fragments” that challenge conventional storytelling in visual art. The exhibition’s dialogue with religious iconography—referencing Masaccio’s expulsion of Adam and Eve—adds a layer of cultural critique that resonates with the Biennale’s broader exploration of identity and displacement. Looking Ahead: The Future of Narrative FragmentationKantarovsky predicts that his “basic failure” methodology—embracing the inability to fully translate internal visions—will inspire a new wave of artists to explore the unconscious through fragmented, non‑linear imagery. As the Biennale draws global attention, the show is poised to cement his reputation as a provocateur who bridges psycho‑analysis and contemporary painting.

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 Historic Victory Bulgarians have rejoiced in their country's first victory at the Eurovision song contest as fans welcomed home the singer whose party anthem Bangaranga proved an unexpected breakthrough hit. "Dara is yet more proof that Bulgaria can win," declared the new prime minister, Rumen Radev, of Darina Nikolaeva Yotova, known simply as Dara. He hailed "a young artist who, thanks to her talent and professionalism, has managed to rise above all the complexities and prejudices surrounding the [Eurovision] voting process". The Competition Landscape The final, which took place in Vienna on Saturday night, was boycotted by Ireland, Spain, the Netherlands, Slovenia and Iceland over Israel's participation. Outside the venue, hundreds of pro-Palestinian demonstrators had marched past chanting "boycott Eurovision". In the event, Israel's entry, Michelle, sung by Noam Bettan, came second on 343 points; while Dara's Bangaranga scored 516 points. The United Kingdom, once again, performed poorly, with its entry, Ein, Zwei, Drei by Look Mum No Computer AKA musician Sam Battle, finishing 25th (last) with a tally of just 1 point. A Nation's Unified Celebration The surprise Bulgarian success was met with delight in the south-eastern European country, where Dara, 27, was toasted by the foreign minister as the country's greatest young ambassador and proof that "talent, courage and hard work" can pay off. Ina Dobreva, Dara's former acting teacher in her home town of Varna, said she was delighted for her old student and that she fully deserved her victory. The win, she added, was a much-needed ray of hope at a turbulent time in the country. Bulgaria's Political Context "Bulgarians really needed to have a moment like this where we can gather around common happiness," Dobreva said. Bulgaria, an EU member state, has undergone years of political instability, recently holding its eighth election in five years. "I didn't expect Bulgaria to win, so it was quite nice to see that for the first time, we actually managed to do it," said Kristina Dureva, 25, a recruitment specialist from Sofia. International Recognition Ilayda Kayalar, 21, an interior design student also from the capital, said that winning the Eurovision cemented Bulgaria's EU integration while helping to bolster the country's popularity on the international scene. "I'm really happy today," said Kayalar. "Winning [the Eurovision] means that Bulgaria is finally known for something." The Road to 2027 Dara said that in a turbulent world Bangaranga represented "a quiet belief that everything's going to be all right". She told a press conference: "Nobody believed that we can win and that Bangaranga can win, and having this love from all the juries and all the audience tonight. It feels like a dream. I don't know if I am sleeping or is it reality?" Bulgaria is already turning its mind to 2027, according to the general director of BNT, the public broadcaster. Both the mayor of Sofia and Burgas, a port city on the Black Sea, are reported to be lobbying for their city to host next year's edition. A Triumphant Welcome Home Dara made a triumphant arrival in Sofia on Sunday evening, with Vasil Terziev, the mayor of Sofia, saying: "She will be greeted with a red carpet."

The Personal Connection to Stardust For Claire Danes and her family, Stardust has transcended its status as a simple film to become something of a cure-all. In a personal essay, Danes reveals how the movie has treated everything from bad days at work to an overdose of adult cynicism. Our Sunday nights followed a certain ritual, she recalls, with her and her two siblings sitting on the sofa, ignoring that school was on the next day, and watching their battered DVD copy of Stardust. The Film's Magic: Unashamedly Cheesy Stardust, adapted from a Neil Gaiman novel, works as a feelgood movie precisely because it's so unashamedly cheesy. The film tells the story of Tristan Thorn (Charlie Cox), a young man living in a quaintly twee version of England who sets out on a quest to retrieve a fallen star. Things take an unexpected turn when the star turns out to be Yvaine (Claire Danes), a person being hunted by three witches who want to eat her heart. The resulting adventure is big, romantic, and complete with a sweeping soundtrack as the pair travels across the mythical continent of Stormhold, eventually falling in love. Despite not making significant waves upon its 2007 release, the film found a special place in Danes's unapologetically nerdy household, where magic was the air they breathed. The Cultural Impact: A Modern Fantasy Classic Spiritually, Stardust feels like a successor to the 1987 classic The Princess Bride, though with Claire Danes's character given slightly more to do than Buttercup. The film's appeal extends beyond its fantasy elements—Danes highlights Michelle Pfeiffer's enthusiastic scenery-chewing as the lead witch Lamia, which goes beyond terrifying into pure camp. The entire film is an exercise in camp, featuring excessive world-building, magical inns, human stars, pirates harvesting lightning on sky ships, and sly jokes hinting at even more backstory. The cast reads like a who's who of big names: Claire Danes, Rupert Everett, Mark Strong, Michelle Pfeiffer, Sienna Miller, Ian McKellen, Robert De Niro as a tutu-wearing pirate, and a young Henry Cavill. The Lasting Appeal: Flaws and All Does Stardust stand up to a rewatch? Some elements have aged badly, Danes admits. The modern feminist perspective might balk at Tristan having to save Yvaine in the final act, or at Lamia being evil because she's terrified of aging. The entire film is also fearsomely naff—something that definitely didn't come from Gaiman's book. Yet that's part of its charm. When Danes revisited Gaiman's novel after university, she found it lacking the whimsy and breathless adventure that made the film such a delight. Where Gaiman's prose comes across as dry and detached, Stardust the movie is openhearted and warm—a story where good guys win and baddies get what's coming to them. The Comfort in Fantasy: An Antidote to Stress In a world that feels increasingly fractious and scary, Stardust offers comfort. Like a warm bath, it's an antidote to all things stressful. Danes concludes that the film's ability to provide this escape is what makes it special, transcending its flaws to become a beloved family tradition that continues to bring joy. Stardust is available on Peacock and Hoopla in the US, to rent digitally in the UK and on 10 in Australia

The Lead Voidance is a British sci-fi film that, despite its ambitious aspirations, feels constrained by its limited budget and scope. The movie attempts to blend elements of action, mystery, and sci-fi, but ultimately falls short. The Event Details The film follows Alana Toro (played by Zoe Cunningham), a mumsy anti-terror agent who receives orders from a hologrammatic James Cosmo to track down a troublesome rebel group. Her mission becomes complicated when she enters a bar for interstellar truckers, where she encounters a skeleton crew of patrons and a convoluted murder mystery. The Data Analysis No specific data or statistics are provided in the review, but the film's budget limitations are noted as a significant constraint. The Impact Analysis The film's impact is largely limited by its clunky expositional dialogue and flawed time-loop concept. The review notes that the setup entails 'deeply clunky expositional dialogue' and that the time-loop conceit 'just doesn't work.' The Prediction The review concludes that Voidance is a quirky, if flawed, British sci-fi film that will be available on digital platforms from May 25. Despite some inventive elements, such as its grimy set design and costume, the film's problems ultimately detract from the viewing experience.

The Guardian Launches a Podcast on the Deepening Information CrisisThe British news outlet The Guardian published a podcast on May 18, 2026 that frames the current "information crisis" as a step beyond traditional fake‑news debates. The title, “How to survive the information crisis: ‘We once talked about fake news – now reality itself feels fake’,” signals a growing sense that the problem is no longer isolated false stories but a pervasive doubt about reality itself.Why the Perception of Reality Is Shifting Toward ‘Fake’Social‑media algorithms amplify sensational content, making it harder for users to distinguish fact from manipulation.Deep‑fake technology and AI‑generated text have lowered the barrier for creating convincing false narratives.Continuous news cycles and information overload create cognitive fatigue, leading audiences to dismiss even accurate reporting as suspect.Implications for Public Trust and Democratic DiscourseThe podcast warns that eroding trust in information sources threatens the foundations of democratic debate. When citizens feel that "reality itself feels fake," policy discussions become fragmented, and collective action on issues such as climate change, public health, and elections grows more difficult.Looking Ahead: Strategies for Navigating an Era of Uncertain TruthsWhile the episode does not prescribe a single solution, it highlights several emerging approaches:Media‑literacy programs that teach critical evaluation of sources.Transparent fact‑checking collaborations between newsrooms and independent auditors.Platform‑level interventions, such as labeling AI‑generated content.By foregrounding these tactics, the podcast aims to equip listeners with practical tools to maintain a foothold in an increasingly ambiguous information environment.

Quick Take: A Conventional War Drama in Cannes CompetitionLászló Nemes returns to the Cannes lineup with “Moulin”, a sepia‑toned wartime drama centered on French resistance hero Jean Moulin. The film is praised for craftsmanship and performances but is described as surprisingly conventional for a director known for avant‑garde storytelling.Nemes Returns to Resistance Narrative with “Moulin”The story follows Gilles Lellouche as Moulin, parachuted into occupied France in 1943 to unite fragmented resistance groups under De Gaulle. He confronts the notorious Gestapo chief Klaus Barbie, portrayed by Lars Eidinger, in a series of psychological and physical tortures that test Moulin’s resolve.Director: László NemesLead Actor: Gilles Lellouche as Jean MoulinAntagonist: Lars Eidinger as Klaus BarbieSetting: France, 1943‑1944, sepia‑subdued visual palettePremiere: Cannes Film Festival competition, 2026Critical Reception and Festival PositioningCritics note the film’s production design and period detail are strong, yet its narrative arc feels more mainstream than Nemes’s previous works. The final scene, described as “sentimentally stirring,” is undercut by a grim premonition of the death camps, leaving audiences divided between appreciation for the craft and disappointment over the lack of Nemes’s signature daring.What “Moulin” Signals for Historical War FilmsBy opting for a conventional storytelling framework, Nemes may be signaling a shift toward broader accessibility for historically grounded war dramas. The film’s emphasis on clear hero‑villain dynamics and emotional resonance could encourage studios to green‑light similar projects that balance artistic ambition with mainstream appeal.Prospects for Wider Release and Awards SeasonGiven its Cannes competition slot and the presence of high‑profile talent, “Moulin” is positioned for a strong international rollout. However, its conventional style may affect its awards trajectory, potentially favoring technical categories (production design, costume) over major directing or screenplay honors. The film’s performance in the European market will likely influence its U.S. distribution strategy and Oscar‑season positioning.

The Stage Kiss Review Stage Kiss, a romantic comedy set in 2011, tells the story of two actors, He and She, who are cast in a 1930s melodrama called The Last Kiss. As they navigate their roles, they find themselves rekindling their past romance, despite both being married with a grown-up daughter. The Play's Concept and Execution The play, directed by Blanche McIntyre, works well as a farcical send-up of rehearsal room antics and 1930s musicals. The cast, including Patrick Kennedy and MyAnna Buring, deliver strong performances, and the physical comedy, particularly from James Phoon, is pleasing. The Challenges of Metatheatricality However, the play's exploration of art and life, and whether onstage romance can conjure real feelings, becomes muddled due to ambiguity and unsteady metatheatricality. The house lights are up throughout the opening scene, and moments supposedly set in the characters' real world lapse into melodramatic dialogue or erupt into song, creating confusion. The Impact of Ambiguity This ambiguity torpedoes the play's big question, making it difficult for the capable leads to build a convincing connection. The crucial choice faced by She, between rekindling her romance and the comfort of her marriage, lacks emotional power in a world that feels ungrounded. The Set Design and Technical Aspects Robert Innes Hopkins' set design is impressive, deftly handling the shiftiness of the play's multiple settings, including the rehearsal room, stage, and He’s flat. The revolving set pieces allow the audience to be placed on both sides of the proscenium arch, adding to the play's visual appeal. The Future of Stage Kiss Stage Kiss is currently showing at Hampstead Theatre in London until June 13th. Despite its flaws, the play's charm and talented cast make it worth watching for fans of romantic comedies and theatre.