Entertainment
‘Billie Eilish – Hit Me Hard and Soft: The Tour’ Movie Review
For a certain generation, getting a front-row spot at Billie Eilish‘s 2025 Hit Me Hard and Soft Tour must approximate what it felt like to touch the Beatles’ hem. In “Billie Eilish — Hit Me Hard and Soft: The Tour (Live in 3D)” the movie, those young fans are seen trembling, weeping, screaming, nearly convulsing along to the words of doomy Eilish bops like “Chihiro” or the ultimately maximalist breakup anthem “The Greatest” (which truly has one of the greatest bridges ever put to song). This new film, co-directed by James Cameron and Billie Eilish, offers mostly superficial insight into why Eilish hits so hard for her fans; Cameron’s insight into her allure is about as deep as when he (unintendedly hilariously) tells her “eyeliner really reads from a distance” while she applies a pre-show cat eye.
But who cares? “Hit Me Hard and Soft: The Tour” is meant to be an immersive concert experience, one for those who probably couldn’t afford the tickets to her summer 2025 tour, or missed out on the four shows she played in Manchester that summer at Co-op Live. For a pop-charged adrenaline rush, you can’t beat the view: It was Cameron’s idea to film the tour with 17 3D cameras because, well, why not? At this point, it’s gauche to dive down to the Titanic, and it’s something to do between, or in spite of, the “Avatar” movies.
Cameron may not seem to know much about pop music or even the Eilish mythology, but he does know his way around a camera. In interstitial, “candid” conversations with Eilish sprinkled throughout her concert set, the Oscar-winning filmmaker holds the camera himself while making her a talking head. Meanwhile, Eilish appears to know her way around the camera, too, picking up a handheld throughout her show to turn a fisheye-lensed spotlight on her band.
“Hit Me Hard and Soft” is so committed to the idea of recreating the concert experience that for much of the film, you can hear the audience sing-screaming along with (and hanging onto) Eilish’s every word, but her consummate showmanship eventually drowns the noise out. Her fans are the obsessive, camp-out-overnight-or-for-days-outside-the-venue types, with one declaring, “Parents, therapy, nothing could compete” with her music. Eilish at one point seems to admire the scrapes on her hands from fans digging their nails in, while noting that at that age she would’ve been just as desperate to meet one of her idols, so she understands. She’s only minorly unsettled; we, a little more so.
Eilish’s setlist includes the entirety of her 2024 “Hit Me Hard and Soft,” full of breathtaking songs that range from a whisper of electronic noise to titanic, ocean-sized releases of emotion to catchy radio earworms (like lesbian anthem “Lunch”). Then, there are the greatest hits, like the fuck-off-and-die breakup epic “Happier Than Ever,” off her more acoustically tethered 2021 album. Alongside the setlist, Cameron checks in on Eilish throughout the 18 or so hours leading up to the show, as Eilish selects from her jersey-forward wardrobe, or gets special attention for her chronic ankle sprains. “Hit Me Hard and Soft” the movie isn’t interested in a psychological profile, though: We’re here for a day in the life, a day in a tour that feels like any other day for Eilish, and then we’re gone.
The layers of screens here — from every attending seemingly experiencing the concert through the back-facing camera on their phone to the LED projections flanking Eilish at all times — can be as headache-inducing as the reality of any concert. “Hit Me Hard and Soft” is largely shot like a typical concert movie except for the fact that it’s in 3D — but the 3D works exceptionally well to place you onstage with Eilish, who works without backup dancers and with an intimately scaled band (and, sorry, spoiler alert, an eventual cameo from brother and collaborator Finneas). She wants her concertgoers, her fans, to feel like “it’s me and them,” and this film does effectively capture that from the comfort of a heated AMC seat and in Dolby sound. And it captures Eilish in all her romantic grandeur.
Grade: B
Paramount Pictures opens “Billie Eilish – Hit Me Hard and Soft: The Tour (Live in 3D)” on Friday, May 8.
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Entertainment
Kimmel Rips Trump’s Push to Rename AI: OpenAI Must Be ‘Very Excited’
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movies
‘Final Payment’, ‘Congo Boy’ Win Top Awards At Pingyao Film Festival
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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Entertainment
Chad Lowe and Kim Painter’s Daughter Fiona Dies at 13
Actor Chad Lowe and producer Kim Painter’s 13-year-old daughter, Fiona, has died, according to a statement from the teen’s family.
“We are deeply heartbroken by the loss of our beloved Fiona,” the Lowe family said in a statement to media Tuesday evening. As the family went on, they remembered Fiona as “a loving young girl who was smart, creative, and loved to dance.”
“She was adored by her sisters and she was deeply loved by her parents,” the family’s statement added. “In fact, she was the light of our lives.”
While a cause of death was not immediately shared, the Lowes alluded to Fiona’s mental health struggles, writing, “Her passing is devastating for our entire family and we ask for prayers and privacy at this time. If you or someone you know is struggling with mental health, please reach out to the 988 Suicide & Crisis Lifeline by calling or texting 988.”
More to come…
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