movies
Demi Moore Decries “Self-Censorship,” Park Chan-wook Welcomes Politics “Without Prejudice” as Cannes Gets Underway
Hollywood star Demi Moore and Korean auteur Park Chan-wook kicked off the 79th edition of the Cannes Film Festival on Tuesday with a series of careful but unequivocal statements defending the role of politics in cinema.
Asked whether she had concerns about political statements during the festival potentially distracting from the films themselves, Moore said she strongly hoped not. “I think part of art is about expression, so if we start censoring ourselves, then we shut down the very core of our creativity, which is, I think, where we can discover truth and answers,” she said.
Park, who is chairing this year’s Cannes jury, then offered an extended defense of political filmmaking in response to a similar question, which quickly became the dominant theme of Cannes’ first press conference.
“I don’t think politics and art should be divided,” the South Korean auteur said. “I think it’s a strange concept to think they’re in conflict with each other. Just because a work of art has a political statement, it should not be considered an enemy of art. At the same time, just because a film is not making a political statement, that film should not be ignored.”
But Park also noted that the most “brilliant political statement” can easily devolve into “propaganda” if it’s “not expressed artfully enough.”
Park later added: “I am prepared to watch films with the pure eyes of an audience member, without any prejudice or stereotype, just excitement to watch films that will surprise me.”
The remarks came three months after this year’s politically embattled 76th Berlin International Film Festival, where jury president Wim Wenders told reporters during the opening press conference that filmmakers “have to stay out of politics because if we make movies that are dedicatedly political, we enter the field of politics.” The comments drew immediate online backlash and helped set off one of the most acrimonious editions in the German festival’s recent history. The fallout included an open letter signed by more than 80 industry figures — among them Javier Bardem and Tilda Swinton — criticizing the Berlinale for what they called its “silence” over the war in Gaza and Germany’s culture ministry convening a meeting on the festival’s future direction.
This year’s nine-member Cannes jury is characteristically stacked with filmworld talent. Park is joined by Moore; Oscar winner Chloé Zhao (Nomadland, Hamnet); Swedish veteran Stellan Skarsgård (Sentimental Value); French actor Isaach De Bankolé (Ghost Dog: The Way of the Samurai); Irish-Ethiopian actress Ruth Negga (Loving); Belgian filmmaker Laura Wandel (Adam’s Sake); Chilean director Diego Céspedes (The Mysterious Gaze of the Flamingo); and Scottish screenwriter Paul Laverty, the longtime collaborator of Ken Loach.
Later in the press conference, Moore was asked about the rise of artificial intelligence in filmmaking and took a more measured stance. “AI is here, and so to fight it is to, in a sense, fight something that is a battle that we will lose. So to find ways in which we can work with it, I think, is a more valuable path,” she said. “Are we doing enough to protect ourselves? I don’t know. My inclination would be to say probably not.” Even so, Moore said the technology has its limits. “There are beautiful aspects of being able to utilize it, but the truth is, there really isn’t anything to fear, because what it can never replace is what true art comes from, which is not the physical. It comes from the soul. It comes from the spirit of each and every one of us sitting here.”
Laverty was by far the most outspoken among the Cannes jurors on the festival’s opening day, offering a sharper critique of the industry’s embrace of AI. The Scottish screenwriter argued that the industry and society at large should be deeply skeptical of the companies and tech billionaires who own and control the world’s most popular AI services, “because they decide on the algorithms that affect our lives in the deepest way.”
“And what seems to me to be absolutely incredible,” he went on, “is that they assume the rest of the world will follow and swallow it, no matter what the consequences are. Look at the whole crisis now in data [centers] — affecting sustainability, water and populations. I think people are beginning to realize that we should not let these tech bros — billionaires who are, mostly, right-wing libertarians — dictate how we live our lives.”
He went on: “What’s the effect on workers — beyond artists, ordinary workers — in our society and for our children? So we have to examine who owns it, and we must demand, I think, that it’s made transparent and more democratic. It’s far too important to leave it to these guys.”
Laverty also shared his view on the value of cultural events like Cannes in a world increasingly riven by war and conflict. “When you see so much systematic violence — genocide in Gaza and all these terrible disputes — the idea of coming to a festival, which is a celebration, you know, of diversity, imagination, tenderness, nuance, beauty and inspiration — it knocks me out, to be honest,” he said, adding: “I can’t wait to begin the adventure with these wonderful characters beside me.”
Park’s jury will hand out the Palme d’Or to one of the 22 features in this year’s competition at the festival’s closing ceremony on Saturday, May 23. The 79th edition of Cannes opens Tuesday evening with the world premiere of Pierre Salvadori’s Roaring Twenties rom-com La Vénus électrique.
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Chinese director Niu Niu’s Final Payment scooped the Best Film Award in the Fei Mu Awards of this year’s Pingyao International Film Festival (PYIFF), while Rafiki Fariala’s Congo Boy won Best Film in the festival’s Roberto Rossellini Awards.
Final Payment, which also won Best Actor for Niu Jianrong’s performance, revolves around a homeowner clashing with a contractor over the final payment following a set of renovations on his home. PYIFF’s competition jury stated: “Tearing through a very small rip, the film leads us into a reality and emotional landscape so expansive, where we sigh, lament, and reflect. The director’s approach is concise, unpretentious, and masterful, earning the wholehearted recognition of the entire jury.”
The Best Film award came with a cash prize of $150,000 (RMB1m) with half given to the director for the development of their next film, and half given to the distributor in China. Niu Niu previously directed Mr Junjun, which was awarded with the Jury Award and Youth Jury Award at PYIFF in 2023.
Also in the Fei Mu Awards, Xu Zao won Best Director for Light Pillar, while Best Actress went to Sun Yi for Wang Xiaozhen’s A Joke. The Jury Award was presented to Dong Jie’s Zoom In, Zoom Out, which had its world premiere in Venice Critics Week, while a special mention went to Cai Chengjie’s Suzhou Quartet.
The Fei Mu awards are focused on the festival’s Hidden Dragons section, which selects first, second and third films from emerging directors making Chinese-language films, while the Roberto Rossellini Awards focus on the Crouching Tigers section for emerging international directors.
Congo Boy, which took Best Film in the Roberto Rossellini Awards, also won Best Actor when it premiered in Un Certain Regard at this year’s Cannes film festival. The PYIFF award came with a cash prize of $20,000, with half given to the director for the development of their next film, and half given to the distributor in China.
The PYIFF jury stated: “The Jury unanimously has been moved by this autobiographical story, told in a simple style that echoes the great tradition of neorealism. For a film focusing on a character that confronts his world with optimism despite dark times and takes on his shoulders the destiny of his entire family.”
Also in this section, the Philippines’ Rafael Manuel won Best Director for Filipiñana, while the Jury Award went to Ben’imana, directed by Marie-Clémentine Dusabejambo, which won the Camera d’Or at this year’s Cannes. The jury also awarded Rakan Mayasi’s Yesterday The Eye Didn’t Sleep a Special Mention.
Hong Kong filmmaker Ann Hui received the Crouching Tiger Hidden Dragon East-West Award, shortly before she receives the Camellia Award at Busan International Film Festival next week.
Pingyao’s International Contribution To Chinese Cinema Award went to Marco Müller, who founded the festival with Chinese auteur Jia Zhangke and currently serves as Artistic Director of the Film Art Research Centre at Shanghai University, and veteran producer, director and former chairman of China Film Group Han Sanping. Hello Group chairman Tang Yan was presented with a 10th Anniversary Award.
This year’s PYIFF opened on September 24 with a screening of the 4K restoration of Fei Mu’s Spring In A Small Town; closed with Good Trip, co-directed by Hong Kong filmmakers Norris Wong and Hoi Wong, and also screened Jia’s short film Torino Shadow, which premiered at this year’s Cannes.
PINGYAO INTERNATIONAL FILM FESTIVAL 2026 AWARDS:
FEI MU AWARDS:
Best Film: Final Payment, dir: Niu Niu
Best Director: Xu Zao, Light Pillar
Best Actress: Sun Yi, A Joke, dir: Wang Xiaozhen
Best Actor: Niu Jianrong, Final Payment, dir: Niu Niu
Jury Award: Zoom In, Zoom Out, dir: Dong Jie
Special Mention: Suzhou Quartet, dir: Cai Chengjie
ROBERTO ROSSELLINI AWARDS:
Best Film: Congo Boy, dir: Rafiki Fariala
Best Director: Filipiñana, dir: Rafael Manuel
Jury Award: Ben’imana, dir: Marie-Clémentine Dusabejambo
Special Mention: Yesterday The Eye Didn’t Sleep, dir: Rakan Mayasi
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SPOILER ALERT! This post contains details from Tuesday night’s episode of Dancing with the Stars.
It’s another exciting night in the ballroom as 13 contestants are still eyeing the Len Goodman Mirrorball Trophy during Week 3 of Dancing with the Stars.
Last week, the judges reinforced just how tough they are going to be this season, once again declining to score anyone above a 7. Still, three couples — Jenna and Val, Ezra and Daniella, and Amber and Pasha — walked away tied for the top of the leaderboard with 21 points. We also said goodbye to Alan Bersten and chef Giada De Laurentiis.
Week 3 is Yacht Rock night, so the remaining couples are performing to hits from artists including Fleetwood Mac, The Doobie Brothers, and Luther Vandross.
Here is how the night went.
Olympian Amber Glenn with Pasha Pashkov danced a Foxtrot to “Hold the Line” by Toto. SCORE: 24
Actress Julia Stiles with Ezra Sosa danced a salsa to “I Can’t Go for That (No Can Do)” by Daryl Hall & John Oates. SCORE: 19
Late-night sidekick Guillermo Rodriguez with Whitney Carson danced a Foxtrot to “Escape (The Piña Colada Song)” by Rupert Holmes. SCORE: 15
Actress Tatyana Ali with Jan Ravnik performed a Quickstep to “Maneater” by Daryl Hall & John Oates. SCORE: 21
Actor Harry Shum Jr. with Jenna Johnson performed a jive to “You Make My Dreams Come True” by Daryl Hall & John Oates. SCORE: 24
Musician Taylor Hanson with Britt Stewart danced a Foxtrot to “What a Fool Believes” by The Doobie Brothers. SCORE: 18
Reality star Maura Higgins with Mark Ballas danced a Quickstep to “Turn Your Love Around” by George Benson. SCORE: 22
Reality star Ciara Miller with Brandon Armstrong performed a Cha Cha to “Never Too Much” by Luther Vandross. SCORE: 18
Savannah Bananas midfielder Jackson Olson with Emma Slater performed a paso doble to “Easy Lover” by Philip Bailey and Phil Collins. SCORE: 18
Comedian and podcaster Connor Wood with Rylee Arnold danced a Foxtrot to “Everywhere” by Fleetwood Mac. SCORE: 20
Actress Jenna Dewan with Val Chmerkovskiy danced a samba to “Africa” by Toto. SCORE: 21
Reality star Tyler Cameron with Sharna Burgess danced a jive to “Still the One” by Orleans. SCORE: 17
Paralympian Ezra Frech with Daniella Karagach danced a Foxtrot to “Just the Two of Us” by Grover Washington Jr. featuring Bill Withers. SCORE: 21
Who goes home?
The competition is now down to 12 as Taylor Hanson and Britt Stewart were sent home. Next week is all about Mariah Carey, so the couples will perform a variety of the pop superstar’s biggest hits.
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Another hockey book adaptation has entered the chat.
Netflix is currently building out its cast for the series adaptation of Hannah Grace’s Icebreaker book that kicks off the Maple Hill series. This in addition to their show The Sticks that is also currently in the works.
For everything we know about Netflix’s Icebreaker book adaptation so far, read on.
When will Netflix’s Icebreaker series adaptation come out?
A release date has not yet been set. The show has begun to assemble its cast.
Who will lead the Icebreaker show at Netflix?
Daisy Jelley (Poser, How To Have Sex) will portray Anastasia “Stassie” Allen, and Connor Simos (Subversion) will portray Nate Hawkins in the college hockey drama series.
Who else is in the cast of Netflix’s Icebreaker adaptation?
Gabriel Tierney (Rivals, Enola Holmes 2), Auliʻi Cravalho (Moana), newcomer and professional athlete Peter Berry, Chaneil Kular (Best of the Best, Sex Education), Devin Craig (Sex Lives of College Girls, Maize) and Aidan Shaw (We Were Liars, Heated Rivalry, Finding Her Edge) have joined the ensemble cast.
Tierney will play Aaron; Cravalho will portray Lola; Berry is Robbie; Kular will play JJ; Craig will portray Henry and Shaw is Russ.
What is Hannah Grace’s Icebreaker book about?
Stassie is a transfer athlete gunning for Olympic gold. Nate is the campus star chasing the NHL. When an accident forces their teams to share one rink, Anastasia Allen and Nate Hawkins collide—and discipline gives way to obsession, because the only thing more dangerous than wanting to win is wanting each other.
Who else is behind Netflix’s Icebreaker series?
Jade Halley Bartlett (Road House, Doctor Strange in the Multiverse of Madness, Miller’s Girl) created and executive produced the series. Amanda Lasher (Gossip Girl, The Bold Type, Togetherness) serves as showrunner, writer and excutive producer. Grace also executive produces along with Alex Cooper, Matt Kaplan and Mina Lefevre for Cooper’s Unwell Productions.
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