Léa Seydoux is getting an American Cinematheque retrospective celebrating her extensive filmography. Over the course of two decades, Seydoux has built an acclaimed career in independent filmmaking (the Cannes Palme d’Or winner “Blue is the Warmest Color”) and major productions (Denis Villeneuve’s “Dune” movies and two James Bond films). Seydoux’s American Cinematheque retrospective runs Thurs. […]
Thirty-three months after it was announced, the grime legend’s new album is coming out. He explains how skinheads, fatherhood and rap history came to bear on its socially conscious contents ‘I can’t be perfect,” Skepta says, pulling a black Arc’tyrex beanie down over a furrowed brow with both hands. “But I can be conscious.” The self-proclaimed king of grime has always been a serious person, wary of fools and time-wasters. Focus is important to him, perhaps because he’s often multitasking: balancing his music career, his fashion label Mains, film-making and acting (his debut short, Tribal Mark, came out in 2024), his Big Smoke festival and a house music project, Más Tiempo. He coordinates them all from the scruffy but functional studio in London’s West End where we meet. At one point, he picks up a Rubik’s Cube from the cluttered coffee table, and, over the course of five minutes of conversation, solves it. “This album has been winding me up,” he admits, referring to The Fork and Knife, which is out next week, 33 months after it was first announced. “But I think I’ve actually made something here that is what the people want from me.” Continue reading...
The Netherlands is withdrawing from participating in the Eurovision Song Contest, reversing a decision in September to return to the show
