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Mike Leigh’s ‘Tender Loving Care’ & Pablo Larraín Series Join San Seb

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Mike Leigh’s latest feature Tender Loving Care and My Sad Dead, a new series from Chilean filmmaker Pablo Larraín, are among the titles that were announced this morning for the San Sebastian Film Festival. Scroll down for the full list of titles. 

My Sad Dead will screen at San Sebastian in its feature-length format. The series stars Mercedes Morán, Dolores Fonzi, and Carolina Álvarez. The project is based on four short stories by Mariana Enríquez, and tells the story of Ema, a woman with the ability to see and hear the dead. The San Sebastian screening will be a World Premiere. 

Leigh’s Tender Loving Care will arrive at San Sebastian after a world premiere at TIFF. Marion Bailey, Paul Jesson, Kate O’Flynn, and Alice Bailey Johnson star in the film. No synopsis for Tender Loving Care has been provided on either the San Sebastian or TIFF website. San Sebastian simply describes the film as an “insightful exploration of the contemporary world.”

Other titles added to San Sebastian today include 7:40 ce matin-là / Milo, the latest feature film from Nicole Garcia. Marion Cotillard and Théodore Pellerin star in the project, which tells the story of a woman fresh out of jail as she takes on a waitress job in a café to get closer to a young boy who works in the area.

Norwegian filmmaker Hans Petter Moland also returns to the San Sebastian Official Selection with Markens Grode /Growth of the Soil, a story set in northern Norway about a couple who must put their love to the test when faced with looming challenges. The film is based on the Nobel Prize-winning novel by Knut Hamsun. 

Today’s titles join the nine films already announced for the Official Selection. Those titles include El mal padre, from Roberto Bueso; Sants / Saints, from Mikel Gurrea; and 5 minutos más / 5 more minutes, from Javier Ruiz Caldera. 

The 2026 San Sebastian Film Festival runs from September 18 to 26. 

San Sebastian 2026:


7:40 ce matin-là / MILO
Nicole Garcia (Algeria)
Country(ies) of production: France. Cast: Marion Cotillard, Théodore Pellerin, Artus , Laure Calamy, Alexis Manenti, Anne Brochet, Eric Elmosnino, Charles Berling
Alice arrives in a quiet provincial town and takes a job at a local café, blending easily into a life that isn’t hers. Her presence is no coincidence. She is there because of Milo, a young mechanic who works at a nearby garage. To him, Alice is a stranger. To her, he is someone tied to a past she has never truly left behind. As buried tensions begin to surface and Milo drifts toward uncertain ground, both are pushed to a crossroads: is it possible to rebuild a bond that shattered decades ago?

Artakalan / What Remains
Yeşim Ustaoğlu (Turkey)
Country(ies) of production: Turkey – France – Luxembourg – Bulgaria. Cast: Öykü Karayel, Metin Akdülger, Ali Kayra Kul, İlyas Salman
A poetess breaks out of her suffocating life in order to get back in touch with her inner voice and conscience, questioning accustomed concepts of family and the meaning of life and paving a new path for her family members, as well.


Glaxo
Benjamín Naishtat (Argentina)
Country(ies) of production: Brazil – Argentina. Cast: Lali Espósito, Marcelo Subiotto, Esteban Bigliardi, Esteban Lamothe, Manu Fanego, Alan Sabbagh
Chivilcoy, 1957. In a quiet Argentinian town, the arrival of an ominous former police commissioner and his seductive wife fractures the bond between four inseparable young men. Decades later, the past resurfaces, forcing them to confront old wounds, guilt, and the possibility of revenge in a country which has lost its innocence.

Markens Grode / Growth of the Soil
Hans Petter Moland (Norway)
Country(ies) of production: Norway – Denmark – Germany. Cast: Herbert Nordrum, Asta Kamma August, Gard B. Eidsvold
A stranger appears over the mountain, carrying little more than his determination. Isak, a man without a past, seeks a place to settle and carve life from the earth. High above the tree line, he finds a barren stretch of land, as unforgiving as it is full of promise. The land tests him to his limits, until he meets Inger, a solitary woman shaped by resilience and quiet secrecy. Together, they endure the elements and build a life, cultivating both the soil and a growing family as the seasons turn. Yet as years pass and the world closes in, and time, hardship, and desire reshape them.

Mis muertos tristes / My Sad Dead
Pablo Larraín (Chile)
Country(ies) of production: Argentina – Chile. Cast: Mercedes Morán, Dolores Fonzi, Carolina Álvarez
Based on the work from Mariana Enriquez and directed by Pablo Larraín, My Sad Dead follows Ema, who can see and hear the dead. After her mother’s death, Ema receives an unexpected visit from her niece Julie, with whom she shares the same unsettling gift. With Julie’s return, family secrets and wounds that never fully healed will resurface —but so will a strange phenomenon from which no one will emerge unscathed. The entire neighborhood will sense presences and hear the distinctive sounds of their own dead.

Muyou no hito / In My Father’s Room
Maha Harada (Japan)
Country(ies) of production: Japan. Cast: Yu Aoi, Issey Ogata, Eita Nagayama, Eri Watanabe
Satomi works at an art museum until an envelope arrives, containing a mysterious key. It leads to an unknown room once belonging to her late father, who died alone a month earlier. Drawn by this small object, she retraces his final days: a man seemingly left behind by society, yet sustained by a quiet devotion to words, the art of tea, and subtle beauty. Through the traces of his solitude, Satomi slowly discovers the quiet grace of the world he inhabited.

Tender Loving Care
Mike Leigh (United Kingdom)
Country(ies) of production: United Kingdom – USA – Singapore. Cast: Marion Bailey, Paul Jesson, Kate O’Flynn, Alice Bailey Johnson
Cannes Festival’s Palme d’Or winner and Academy Award nominee Mike Leigh returns with his next feature film, continuing his insightful exploration of the contemporary world. 

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Diamond Diversity Report: Black Lives Matter Failed In TV Industry

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Commitments made following the Black Lives Matter movement of summer 2020 failed to generate “embedded, structural change” in the UK TV industry, according to the latest Diamond diversity report.

Paul Moore, chair of the Creative Diversity Network (CDN), which compiles the annual reports, said the recent decline in representation of Black, Asian and minority ethnic people both on and off screen shows progress has “stalled or drifted backward” since broadcasters made major promises more than five years ago.

According to the report, the percentage of on-screen roles taken by Black, Asian and minority ethnic actors and presenters has plateaued since 2022 at 23.2%, while off-screen it has fallen by 1 percentage point to 13%. The latter figure is comfortably below the 17.9% national workforce average.

Sparked by the murder of George Floyd, the Black Lives Matter movement initially felt as though it was having a long-lasting impact across the pond. All broadcasters unveiled lofty commitments to improve diversity on and off-screen, while the topic dominated chatter at that year’s Edinburgh TV Festival amid critiques of sluggish diversity gains in an industry dominated by gatekeepers from privileged backgrounds.

Diamond’s findings will therefore be a big disappointment to those at the coalface of improving representation for non-white people in the UK TV industry. They come a year after a weighty study found that Black professionals were experiencing systemic racism and faltering career progression, despite years of industry diversity initiatives.

Of all the major networks based in the UK, Paramount, which owns Channel 5 (now 5), had the lowest proportion of contributions from Black, Asian and minority ethnic people, with the BBC top for on-screen and Channel 4 off-screen.

The proportion of non-white people in senior roles has also fallen since 2022 to 12% and remains stubbornly at 2019 levels, the report found. Last year, this group took up only 10.9% of executive producer roles, for example.

There were some green shoots, such as lead actors from non-white backgrounds hitting 34.9% last year, almost double the national workforce average, while writers from non-white backgrounds was up at 21.3%.

But ultimately, Moore said Diamond’s tracking of UK TV industry diversity data over the past nine years shows flatlining progress.

“The real power of Diamond lies in its ability to look beyond headlines and track changes over time to expose where progress has stalled or drifted backward,” said Moore, who is communications and corporate affairs chief at ITV. “For example, the recent decline in Black representation suggests that initial commitments made following the Black Lives Matter movement did not lead to embedded, structural change.”

Earlier this year, the CDN revealed it was revamping Diamond, allowing for improved reporting, which will come into force later this year.

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Netflix Sets Theatrical Release For Venice Title ‘Possible Love’  

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Netflix has confirmed that Possible Love, directed by Korean auteur Lee Chang-dong, will receive a theatrical release in Korea, U.S. and other select territories following its premiere at the Venice and Toronto film festivals. 

The film will open in Korean theatres on September 23, followed by Australia on October 22, and the U.S., Canada, UK, Ireland and Japan on October 23. It will then be streamed worldwide on Netflix from November 6. 

The theatrical release dates suggest that Netflix will be giving the film, which was financed by the streamer as an original, an awards push as it will qualify for the Best International Feature category at next year’s Academy Awards, as well as for other categories. 

Lee’s first film in eight years, Possible Love follows two married couples – a laid-off worker and his wife, and a documentary filmmaker and her husband – whose paths cross when the filmmaker sets out to film them, bringing both marriages face to face with their different lives and hidden desires.

The strong ensemble cast is headed by Jeon Do-yeon, Sul Kyung-gu, Zo In-sung and Cho Yeo-jeong.

Possible Love will premiere in competition at this year’s Venice film festival and has also been selected for the Special Presentations section of Toronto International Film Festival.

More to follow…

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Canal+ Posts Big H1 Gains Thanks To MultiChoice Acquisition

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The $2B acquisition of Africa’s MultiChoice has helped Canal+ post higher half-year revenues and earnings.

Unaudited total group revenues saw revenues grow 40% to €4.29 billion ($4.88 billion), though without MultiChoice the growth shrinks to just 1.4% year-on-year compared to 2025’s €3.07B.

Similarly, adjusted EBIT (before exceptional items) was up 68% to €433M, from €257M, and had a 10.1% margin. Excluding MultiChoice, the number drops to 13% growth.

The market update comes just hours after London-listed Canal+ pledged more than €980M to French and European cinema over five years in a fresh deal with French entertainment bodies. The news was heralded as of unprecedented length for the Paris-based pay-TV giant. 

Canal+ this morning revealed it had hit its target of €250M in synergies resulting from its takeover of African pay-TV giant MultiChoice last year.

The company has sought to significantly reduce costs in Africa since the buyout, with streamer Showmax discontinued earlier this year in one move that shocked the local industry. The H1 figures reveal Showmax made a €52M loss in H1 of 2025 on revenues of €23M.

“Following the acquisition of MultiChoice, our increased scale is starting to deliver the benefits we expected,” said Canal+ CEO Maxime Saada. “We have achieved half of our €250M synergies target and remain well on track for the year, and we confirm our full-year and medium-term guidance.”

Studiocanal

Canal+’s production arm, Studiocanal, had an “excellent six months on and off screen,” according to Saada, who pointed theatrical successes such as Guru in France and Pressure in the US, and the biggest film deal at Cannes 2026, for The Midnight Library, which sold to Paramount for $36M.

The content production, distribution and other segment, which includes Studiocanal and streamer Dailymotion, posted revenues of €356M, up 9.9% YoY. This accounted for 7.8% of Canal+’s overall revenues, down from 9.3% last year. Adjusted EBIT was €28M, which was 3% lower than 2025.

“With a slate including Paddington 4, Zack Snyder’s remake of Escape From New York, our first major South African film production, The Road Home, and Danny Boyle’s Ink, Studiocanal’s momentum looks set to continue,” he added.

Back at group level, Saada pointed a systematic review of costs in France last year 2025 was benefitting finances, along with “strong D2C subscriber acquisition and lower churn, plus an ongoing shift to streaming in Poland.

In Africa, adjusted EBIT was up 9% excluding MultiChoice, driven by pay-TV growth among other factors.

Canal+ said its “turnaround” of MultiChoice was underway and pointed to a long-term rights deal for the Premier Soccer League in South Africa, the 2027 men’s and 2029 women’s rugby world cups across sub-Saharan Africa and a production slate including The Road Home, Heist of Benin and a screen adaptation of bestselling novel Americanah

Subscriber acquisition was up 40% in MultiChoice countries compared to H1 2025 in MultiChoice countries, with June the best month “in a decade.” Adjusted EBIT at MultiChoice was up 160% to €143M, from €55M a year ago. This was primarily put down to synergies of €120M, including the impact of Showmax’s discontinuation.

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