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Léa Seydoux, When Again, Rules the Cannes Film Festival.

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The Cannes Film Festival, just as before, belongs to Léa Seydoux.

The French actor has already discussed in a Palme d’Or at the event in 2013 for “Orange May be the Hottest Shade,” which produced her and Adèle Exarchopoulos, the first actors to gain Cannes’ prime prize, that they shared with manager Abdellatif Kechiche.

A year ago, she had four shows at the event but missed them since she tried good for COVID-19. But this year, Seydoux provides two of the most acceptable efficiency of her career in a couple of shows unveiled at Cannes: Mia Hansen-Love’s “One Fine Morning” and Brian Cronenberg’s “Crimes of the Future.” Together, they have only reinforced the view that Seydoux is the premier French actor of her generation.

On a recent morning, several prevents from Cannes’ Palais des Festivals, Seydoux greeted a writer cheerfully. How was she? “Great!” she answered. “Must I not be great?”

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The 36-year-old Seydoux has already produced a significant mark in Hollywood, most notably by getting the stereotypical role of “Bond Girl” and stretching the type — a “Bond Woman” she expanded — across several shows, putting a new dimension of level to the franchise. Seydoux was so excellent that actually, David Bond desired to negotiate down.

But it’s pronounced as of this year’s Cannes that Hollywood was just one stop of many in the fast-evolving, exceptionally varied career of Seydoux, who has been able to be among Europe’s many famous people while exuding a strange melancholy on screen. She’s ubiquitous and mysterious at the same time.

“I carry a disappointment,” Seydoux says, searching it to a timid childhood. “Theatre, for me, is something playful. It’s a real consolation since, in a way, I changed my disappointment into an object of beauty. Or I tried to, anyway. It’s in contrast to it works every time.”

“If I didn’t have theatre, I could have been depressed,” she adds. “That’s why I function all the time. It’s a method to be connected.”

In “One Fine Day,” among the standouts of Cannes, Seydoux represents a new widow increasing a girl in Paris while looking after her aged dad, whose storage is slipping. Following reconnecting and having an old buddy, a passionate affair follows. “One Fine Day,” a semi-autobiographical film Hansen-Love wrote fleetingly before her dad died of COVID-19, throbs with the irreconcilable coexistence of grief and enjoyment, demise and restoration, and life’s vexing impermanence. The “Bergman Island” filmmaker, Hansen-Love, wrote it with Seydoux in mind.

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“She was perhaps the best actor with this technology,” describes Hansen-Love. “She’s enigmatic in a way that very few actresses are. She’s not trying to show things. She’s not affected.”

“There’s a disappointment and melancholy about her that contrasts with her status as a superstar that techniques me,” gives the writer-director. “On usually the one hand, she is a gorgeous figure in the landscape of cinema. She’s sexy. She’s in shows where she is seen from the standpoint of a strong imagination, and she loves that a lot, I think. But there’s a purity and simplicity about her that gives me the same emotion when I movie unknown actors.”

Sony Photographs Classics obtained the movie Saturday for U.S. theatrical distribution, stating it as Seydoux’s “best efficiency to date.”

Before this moment, Seydoux has skilled a number of the worst edges of the film business. In 2017 she claimed Harvey Weinstein when forcibly tried to hug her in a hotel room during a conference that was ostensibly about a possible role. The recording technique of the lesbian romance “Orange May be the Hottest Shade,” in which Kechiche could shoot as much as 100 requires of an individual shot, has already been questioned.

But Seydoux, who later closed as much as adapt the erotic story “Emmanuelle” with “Happening” filmmaker Audrey Diwan, says she’s never hesitated to state her sexuality on screen. “One Fine Day,” with the benefit of Hansen-Love’s perspective, is one of the very sensual shows at Cannes.

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“I believed that film was about passion,” says Seydoux. “I do not suffer from nudity. It’s something I like to see as a spectator, as a viewer. I do believe it’s beautiful. I like intercourse views in films.”

In Cronenberg’s “Crimes of the Potential,” which starts July 3 in theatres, Seydoux stars alongside Viggo Mortensen in a film yet more centred on the body. In a future where people and pockets have attracted sooner, she represents a physician who works procedures to eliminate tumours and organs with the sparkle of an artist.

“To be honest, I didn’t realize everything about the movie,” Seydoux says, smiling. “For me, it’s such a metaphor about what it is to be an artist.”

“Crimes of the Future” may provide normal science-fiction earth, but Seydoux is excessively seated in it. Anxious for more open-ended cinematic journeys, Seydoux says doing many different shows “is how I’m free. I do not desire to be caught in one single place.”

“I am not mad about shows that are ‘entertaining,’” says Seydoux. “I do not genuinely believe that I head to the theatre to be entertained. I know it’s a big thing in America. I like to question my issues more. I do not like to be provided with answers. I do not need to stop thinking. I do believe particular shows are to supply you with images.”

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Chanel is celebrating the cinema industry to close Paris Fashion Week.

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Massive light-bulb-encrusted letters that spell CHANEL shimmered across an esplanade at Grand Palais on the last day of Paris Fashion Week prefacing a collection that honoured the cinema industry.

Paris — Stunning lightbulb-covered letters that spell CHANEL glittered on an esplanade at Grand Palais on the last day of Paris Fashion Week prefacing a collection of films that honoured the industry. It brought a sense of nostalgia for simpler times in this less-virus-hit season that is notable for its absence of stars.

Like Milan, Paris has undertaken an unusual fashion season in Spring-Summer 2021 due to this coronavirus-related pandemic. The nine-day calendar featured an assortment of runway shows with guests masked sitting in rows, live presentations and digital shows that were streamed online and accompanied by promotional videos.

Here are the highlights of Tuesday’s news:

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CHANEL’S CINEMA

A few American actors who normally go to Chanel, the main event in Paris Fashion Week, stayed at home. However, fashion designer Virginie Viard envisioned the glamour of earlier times. Her festive collection reflected the glamour of the Hollywood or Cannes film star machine and its media circus, aptly including the Oscar-winning French actor Marion Cotillard on the front row.

“I was thinking about actresses at the photocall, coming off the red carpet: their faces a little distracted, their attitude a little out of sync with the outfits they’re wearing … this very lively side to cinema that happens beyond cinema,” Viard stated.

It was a mix of high-end glamour mixed with casual chic in a collection known for its shoulder silhouettes that were exaggeratedly wide and round or flat and diagonal.

For the affluent, the upscale, there were ecru and black tweed skirts -the house’s signature. The most stylish was a tough knit black suit with round shoulders, an incredibly cinched waist, massive tubular arms and big white shirt cuffs that were visible and collar. It made a gorgeous silhouette against the white-list runway.

Some of the casual styles did let the collection fall. Prints that were large and vibrant, like a turtleneck and cross-over dress balloon letters that spell out the brand’s name to invoke neon lighting. However, the colours were not harmonious, and sometimes it appeared like the designer was trying to be trendy.

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However, there were many stand-out moments. A shoulderless black mini dress was the epitome of elegance and had a silky black skirt that fluttered gently towards the ankles to reveal the legs. An untidy black silk top featured stunning white feathers swooshes that hung like leashes.

As a touch of nostalgia, This could be the last Chanel performance in the Grand Palais for years. The venue has announced that it will close between December 2020 and March 2023 to undergo renovations, to be reopened before the Paris Olympics of 2024.

LOUIS VUITTON

This season’s goal for the powerhouse Louis Vuitton was to dissolve fashion’s masculine and feminine aspects.

“(To investigate) an area of sensitive which erases gender and promises endless possibilities for creativity. What would an in-between dress appear to be like?” the house asked.

The designer Nicolas Ghesquiere used that as an inspiration for a varied and vibrant collection of models with hairstyles and looks that were androgynous. Fashion is an industry that is shifting towards co-ed fashions in recent seasons, and it’s an important moment when a brand as strong as Louis Vuitton decides to look at this theme with such a clear approach to clothes.

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The collection was a mix of the sporty look with hints of masculinity. Although a wool coat that was cross-over with a peach-yellow hue and an angular, T-shaped silhouette was likely a piece for a woman, a variety of other clothes for spring-summer were able to fulfil the unisex (and highly fashionable) task.

The belt buckled on the trench coat for men symbolised leitmotif. It appeared as an oversized version in black, striped, tan, white and green. Its loose edge was designed to be hung down the leg.

The biker’s jacket was large and cropped to resemble an oversized Bolero. One of the most memorable pieces was a V-neck, sleeveless, check knit sweater with elegant sage leather shoulders, which were so lavish it featured a band to fasten the lower half to make it fit the figure. It was probably a humorous allusion to the women that wear boyfriend’s clothes, and it was stylish.

Stars Alicia Vikander and Lea Seydoux were cheered on from the front row.

VUITTON’S PENCHANT FOR THE CAMERAS

Fashion is described to be an industry which is always evolving. This is usually a good aspect since moving on towards new concepts and methods for displaying fashion can be the way trends are created and the industry’s lifeblood.

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Currently, many houses are streaming their fashion collections via Instagram and other sites to allow their brands to be more accessible to the public, which is admirable and in the future. It can help make fashion more accessible by allowing it to be seen by more than the 200 people who attend the show in person.

However, Louis Vuitton is one house that appears to be slightly trigger-happy in its efforts to record and show its shows digitally. This could distract viewers from watching the show by the editors, who are among the program’s primary purposes.

This is a phenomenon that predates the coronavirus pandemic many years.

The show on Tuesday was a bit crowded. Guests could not view the entire collection due to the over 100 camera obstacles placed on poles along the Louis Vuitton runway. Two camera poles were set in front of almost all guests within the hall of the main runway.

The collection began when it first started. massive cameras mounted on rollers were moved up and down

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MIU MIU DAZZLES WITH COLOR

Miuccia Prada’s teen sister house Miu Miu is known for its unique designs that can think deeply. In the current season, Prada looked at the fashions of the 1980s and added a splash of colour.

The collection appeared to have weaved every bright hue into the 53 designs. It could be seen as a sign of hope within one of the dark seasons of fashion.

Blood orange sparkled in a vintage tracksuit and sweatpants. Persian blue sparkled on a slouchy turtle neck. Satin sheen gold was an elegant touch to the vintage jacket and the sporty split skirt. Elderberry was the main part of a halterneck that was geometrically striped with a dark, sporty sienna skirt that looked Piet Mondrian and part Wimbledon.

One dress was in one of the most vibrant colours that had previously been on the Paris runway: a bright, pure citrine so powerful that the silhouette could not be distinguished.

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Beyond Frames Entertainment (FRA:8WP) Is In A Good Position To Deliver On Growth Plans.

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We can see why investors seek out businesses that aren’t profitable. For example, although software-as-a-service business Salesforce.com lost money for years while it grew recurring revenue, if you held shares since 2005, you’d have done very well. However, no fool would overlook the danger that a company with poor financial performance will burn through its money in a way that is too fast.

The genuine concern that is asked by Beyond Frames Entertainment (FRA:8WP) shareholders is whether they should be worried about the cash burn rate. In this article, the term “cash burn” is the annual percentage that a company that is not profitable uses the money to finance its expansion; it’s zero free cash flow. The first step is to establish the company’s cash runway by the ratio of its cash burn and the cash reserve.

When Might Beyond Frames Entertainment Run Out Of Money?

A company’s cash runway can be calculated as a result of dividing the cash pile by the amount of cash burned. As of March 20, 2022, Beyond Frames Entertainment had $ 38 million in cash and was debt-free. The most important thing is its cash burn was around kr25m over twelve months. So, as of March 2022, it would have approximately one year of runway for cash. Although this cash runway isn’t all that important, intelligent investors will be looking out in the distance and pondering what would happen when the business has to run out of cash. You can see how the cash balance has fluctuated over time by looking at the picture below.

How Well Is Beyond Frames Entertainment Growing?

One thing shareholders should remember is that Beyond Frames Entertainment increased its cash burn by 1,304% during the last 12 months. Although that may give us pause, we find great comfort in the strong growth in revenue of 94 percent. Based on the information above, we’re confident about the company’s growth path. The truth is that this article is only a brief review of the company’s overall growth statistics. You can look at how Beyond Frames Entertainment is growing revenue over time by looking at this graph of revenue growth.

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How Hard Would It Be For Beyond Frames Entertainment To Raise More Cash For Growth?

Beyond Frames Entertainment seems to be in a pretty good position regarding cash burning. However, we think it’s worth considering how easy it is to raise more funds if needed. The issue of shares and taking loans are among the most popular ways for a publicly-traded company to raise funds for its operations. One significant advantage of publicly traded businesses is that they can offer shares to investors to gain cash and help fund expansion. You can look at the ratio of a company’s cash flow against its market capitalization to determine how many shares the company will need to issue to fund one year’s operation.

Beyond Frames Entertainment has a market capitalization of KR428m. It also burned through kr25m last year, which amounts to 5.8 percent of the market value. As it is a small amount, it would be pretty simple for the business to finance next year’s growth by issuing new shares to its investors or through loans.

So, Should We Worry About Beyond Frames Entertainment’s Cash Burn?

While its ever-growing cash burn can make us feel a bit anxious, we have to say that we believed Beyond Frames Entertainment’s increase in revenue was pretty positive. We’re not the type of investors who are worried about the risk associated when dealing with companies that burn cash; however, the numbers we’ve reviewed in this piece make us feel pretty confident about Beyond Frames Entertainment’s current situation. Investors must be aware of the risks associated with business before deciding to invest in a stock. We’ve found four warning indicators concerning Beyond Frames Entertainment that potential investors should consider before investing money in an investment

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Is Circle an exciting future for entertainment for sports?

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Will Hawkins came up with the idea of distracting his fellow students at university while they were watching a 1-1 match between Southampton and Crystal Palace.

The founder of a betting app believes that his venture could change the world of sports entertainment forever.

Will Hawkins came up with the concept for Circle to entertain his college friends as they watched a dull 1-1 draw between his favorite Southampton and Crystal Palace.

The Circle was founded in 2020 and already has more than 2,000 users on the platform. It has raised PS1m.

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It is reported that the Manchester company is working on raising PS400k via Crowdcube. With less than three weeks remaining, the total amount is less than PS340k.

Hawkins admitted that he might not think of the business if the match of 2019 was more intriguing.

“Anyone who’s been to a football game knows the feeling you get when you realize that you’re about to witness the awful game ever,” he recalled.

“I removed my hat and looked around at my group of friends and said, ‘lads, all put five dollars in the hat. Every time the ball goes beyond the field, put the hat to you right’.

“15 minutes into the game, everyone was completely absorbed into it because we’d changed slightly the way we watch it.

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“I began receiving groups of fans surrounding me and asking me why we ran around in a frenzy every time the ball was kicked off the field.

“The winners were the person who held the hat when the final whistle. There was a half-time ceremony and one at full-time.”

When the game was over, Hawkins started considering ways to turn his idea into a company, which he began the following year with Mark Quinn and Eddie Ross.

Hawkins declared it crucial to tackle the ‘elephant of the room’ by speaking about gambling.

Betting

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“Betting tax is the second-largest source of income for the government under PAYE,” he explained. “It’s a PS180bn market worldwide with an 8.3 percent annual compound growth rate. It’s not going away.

“However, the rules are evolving, and new players have an opportunity to create socially inclusive concepts and not focus on the addictive nature of exclusion. This is something we’re genuinely thriving on.

“We are playing with you and your friends, and the worst case is that your buddy is the winner.

“It’s an entire game of luck. We’ve learned to be more innovative by using our platform. I’ve just told you how one game. How often the ball is removed from play. Various measures allow the pot to move one way to the right for an edge and two places to the left to get the yellow card.

“By adding these values, you’re beginning to observe the game differently. The last time I checked, someone was able to win a jackpot of PS1,000 due to a late-minute substitution!

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“We’re making micro-moments of the game and making an experience out of them built on it.

“It’s super-scalable and is suitable in any sport. We’ll continue to expand our product to include various sports.”

Acquisition of customers

Will Hawkins, CEO, Circl

Hawkins claimed that the current Crowdcube campaign was not only about raising funds.

“I’m more interested in the investments made by Crowdcube and more focused on the evangelists who come out through this platform,” the evangelist said.

“A few days ago, I was given a PS190k ticket in the angel syndicate. Happily, I can say that. But another investor, whom I will not name, and a frequent customer of Circle, placed the colossal sum of PS25.60.

“He’s the one I am committed to because I’m confident he’ll tell his buddies about his investment.

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“Cost for acquisition” is an essential factor for us. I believe that the convergence of sports media, betting on sports as well as a consumer brand is the next phase of entertainment on the internet.”

Hawkins stated that Circle could turn the entire world of customer acquisition upside down.

“One of the most challenging issues in the betting on sports is the expense of the acquisition of the sports betting market,” he explained.

“In the UK, the cost per acquisition is PS150 for each customer. In the US, it’s $900 for each customer. This is the reason you’ll see a lot of marketing.

“One thing we’re trying to prove and the reason we’re making use of Crowdcube as a tool for this, and different ways, is that we believe we can attract customers at 30% of the average cost of acquisition. That is precisely what we’re doing currently.

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“If we keep doing that, we could save firms hundreds of millions of dollars in advertising costs and acquisition expenses.”

Circle has increased to six staff members and is currently looking to expand into new sports and nations.

“We’re currently in the market fit,” he said. “There’s an old saying, ‘ if you’re not ashamed of the initial edition of your service, you’ve launched it too late. This is a fact.

“We’ve gained a lot of new experiences. We’ve got eliminated. These are devices that may let yellow cards can remove your name from the circles.

The goal we have for the UK is that we’ll try to develop in different sports. However, we’ve already started conversations with VCs across the US to raise our next round, which will create a concept for The NBA and the NFL.”

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But the most exciting development could see it expand into areas that are not gambling.

“I’m talking to many B2C brands, and we’re looking to create a gaming experience in which players could receive 50% of their merchandise, for example,” he said.

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