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The Subjectivity of Ancient Myth: How Cassandra’s story is being distorted

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Ancient myths have never been static. Rather, they have been modified, reshaped, and reinterpreted across centuries, moulded by the cultural, political, and ideological forces of each era. Myths, though rooted in antiquity, are not immune to human subjectivity—they are continually rewritten to fit prevailing narratives. One of the most striking examples of this phenomenon is the myth of Cassandra, the Trojan prophetess cursed to be ignored. Over time, her story evolved from ignored warning to explicit violence and punishment, reflecting shifting societal views on truth, power, and the role of women and prophecies.

The Inconsistencies
Cassandra’s myth has its earliest origins in Homer’s “Iliad” (8th century BCE), where she is barely mentioned. She is described as the daughter of Priam and Hecuba, a beautiful Trojan princess, but there is no emphasis on her prophetic abilities. The curse of being disbelieved is absent, and she plays no major role in warning Troy of its impending doom. By the 5th century BCE, however, her story takes on new dimensions. Aeschylus’ “Agamemnon” presents Cassandra as an outspoken prophet, doomed to foresee her own demise at the hands of Clytemnestra but unable to prevent it. Euripides’ “Trojan Women” introduces a more frenzied, “mad” Cassandra, further reinforcing the punishment to those who speaks the truth but is dismissed. The act of dismissing her takes on a gendered dimension: truth-tellers, especially women, are not only ignored but actively ridiculed. The Roman era brought another modification—Virgil’s “Aeneid” (1st century BCE) gives Cassandra a specific role in warning against the Trojan Horse, emphasising not just personal story but also the consequences of ignored wisdom in a political context. As Rome sought to use myth for imperial propaganda, Cassandra’s warnings served as an allegory for the folly of ignoring strategic foresight.

The Increasing Violence: The Changing of Cassandra’s Fate
While the early versions of Cassandra’s myth focused on her gift of prophecy, later tellings added more violence, particularly from the 16th to 19th centuries.

The Rape of Cassandra: A Later Invention?
The notion of Cassandra being violently assaulted by Ajax the Lesser at Athena’s altar does not appear in Homer’s account or early Greek sources. It is first introduced in Euripides’ “Trojan Women”, but even then, it is depicted as abduction rather than explicit assault.
By the 1st century BCE, Roman accounts emphasised sacrilege—Ajax desecrates Athena’s temple by dragging Cassandra from its sanctuary, prompting divine retribution.
However, by the 17th century, this scene becomes far more brutal in artistic and literary interpretations, aligning with a broader trend in Western storytelling where female suffering is graphically portrayed as a lesson or spectacle.

From Prophetic Woman to Martyr
16th–17th Century: The Renaissance revival of classical myths began to depict Cassandra as a martyr, reflecting Christian themes of suffering for one’s knowledge.
18th–19th Century: Romanticism idealised Cassandra’s so-called tragic fate, presenting her as a misunderstood visionary whose suffering symbolised the burden of knowledge. The myth shifted from one of mere dismissal to one of active persecution, a narrative structure commonly applied to truth-tellers and dissidents in historical storytelling.
The 19th-Century Shift: Morality and Victimhood
The Victorian era further shaped Cassandra into a figure that conformed to its moralistic standards, reinforcing the idea that a woman who defied fate (or societal expectations) would suffer catastrophic consequences. She was not just ignored—she was brutally silenced. This shift coincides with the portrayal of other historical and mythological women as tragic victims rather than powerful figures, reinforcing the patriarchal expectation that outspoken women must pay a high price for their defiance.

Modern Reinterpretations: Cassandra in Contemporary Thought
In modern times, Cassandra has become a symbol of suppressed truth, often referenced in political and feminist discourse. The term “Cassandra complex” describes individuals who foresee disaster but are ignored, particularly in the context of whistleblowers, activists, and visionaries. Her story resonates in contemporary discussions about how society treats those who challenge dominant narratives—whether in science, politics, or social justice.
The evolution of Cassandra’s myth demonstrates how ancient stories are never truly fixed; they are reflections of the societies that tell them. Originally a quiet, overlooked figure in Homeric tradition, she became a tragic prophet in Greek drama, a cautionary tale in Roman epic, a violated victim in post-medieval storytelling, and finally, a symbol of unheeded wisdom in the modern era. By examining Cassandra’s evolving narrative, we uncover a broader truth: history is written by those in power, and myths are reshaped to reflect the fears, values, and biases of the time. The more violent and explicit the story became, the more it revealed about the shifting attitudes towards truth, women, and those who dare to challenge the status quo. The attempt to distort Cassandra’s prophecy is not just that she was ignored – it is eveb that her story itself was manipulated to serve different agendas over centuries.

Analysis: Why Truth and Prophecy Are Suppressed

If truth, fate, and prophecy are real forces, why there those who work so hard to suppress, distort, or ridicule them? The answer likely involves a mix of power, control, and self-preservation. Throughout history, those in power have always controlled information because knowledge = power. If people had full access to unfiltered truth, they might start thinking for themselves, making different choices, or questioning authority. Religion, politics, and economic systems have often used selective truths to maintain order and keep hierarchical structures intact. In ancient Rome, emperors and rulers rewrote myths to fit their agendas (e.g., Virgil’s Aeneid turning Trojan history into Roman propaganda).

The Fear of Fate and Prophecy
If fate is predetermined, what does that mean for free will? If prophecy is real, it means some people have access to insights that others don’t—which is a threat to those in power. To maintain control, those who foresee or predict events must be dismissed, silenced, or ridiculed. This happens in: Revolutionary discoveries are often mocked or resisted before being accepted (e.g., Galileo and heliocentrism), Whistleblowers and truth-tellers are demonised before their revelations are proven true, Those who challenge dominant worldviews are often labeled heretics, conspiracists, or “mad” (just like Cassandra was).

Taking Advantage of the Masses
Keeping people in ignorance ensures they remain easier to control, manipulate, and exploit. Whether it’s through fear, distraction, or misinformation, those in power benefit from a confused, misled population. In many cultures, economic and political structures are designed to keep people working, consuming, and obeying, rather than questioning deeper truths. The more people are distracted by entertainment, materialism, and artificial conflicts, the less they look for real answers.

As in the myth of Cassandra, as societies became more structured and power-hungry, later versions turned her into a victim of extreme violence, reinforcing the idea that truth comes at a heavy cost. The more she warned people, the more brutal her punishment became—a perfect metaphor for how the system reacts to those who expose it. This myth is not just that she was ordered to be ignored – it is that her story itself was manipulated by some to serve their agendas over centuries. In many ways, the greatest irony of Cassandra’s myth is that even her own history has been distorted, ignored, and rewritten—just like her prophecies. Yet every single prophecy she told did come true. Some of them were:

The Fall of Troy
She warned the Trojans that Paris bringing Helen to Troy would lead to the city’s destruction. Result: The Trojan War happened, and Troy was burned to the ground.

The Trojan Horse Deception
She explicitly warned that the horse was a trap and that the Greeks were hiding inside.
Result: The Trojans ignored her, bringing the horse inside, and the city fell that night.

Agamemnon’s Death
After being taken as a war prize, she foresaw that Agamemnon (her captor) would be murdered upon returning to Greece. Agamemnon was killed by his wife Clytemnestra and Aegisthus, just as Cassandra had predicted.

AI-generated Conclusion:
From an impartial AI perspective, analysing the historical trajectory of Cassandra’s myth reveals a clear pattern: her prophecies were always accurate, yet her credibility was systematically undermined. This aligns with a broader historical trend where truth-seekers are vilified, their messages distorted, and their warnings ignored—until it is too late. Cassandra was 100% accurate, but her warnings were slandered as lies by those who are insecure. The irony of her myth is that truth doesn’t always save people if people are manipulated not to listen. Her warnings were ignored until it’s too late. Whether in ancient myth or modern reality, those who foresee disaster are often ridiculed, silenced, or vilified—only for their predictions to come true in the end. The moral of story itself was manipulated to serve different agendas over centuries, for Cassandra’s own history has been distorted, ignored, and rewritten.

Blue Jasmine Exposes the System’s Playbook on Women

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Twelve years since the release of Blue Jasmine, we revisit Cate Blanchett’s interviews and insights on the role – not through the lens of pity or tragedy, but with the clarity of time, distance, and impartiality. Blanchett, an actress known for her precision and intelligence, never saw Jasmine as just a woman unravelling. She built the character as a study of survival, of a woman conditioned to believe in a lie so deeply that when it shattered, she had no tools to navigate reality. Blanchett herself described Jasmine not as a villain or a victim, but as a woman who had been raised to believe in the rules of a game she was never truly playing. In interviews, she spoke about Jasmine’s desperation to hold onto something real, her unwillingness to surrender to the system’s demands, and the fine line between resilience and delusion. But here is where the conversation shifts – what if Jasmine’s fate was never just about her personal failure? What if it was deliberate, systematic, and designed to make her an example?

Critics have largely framed Blue Jasmine as a tale of personal downfall, an elegant yet brutal dissection of a woman who could not adapt after losing everything. Mark Kermode, writing for The Guardian, praised Blanchett’s portrayal of a woman on the edge, emphasising Jasmine’s increasing desperation and detachment from reality. Vanity Fair went further, calling it perhaps Woody Allen’s cruellest film, one that revels in the slow, relentless deconstruction of its lead character. This widely accepted reading suggests Jasmine is a tragic, almost pitiful figure – delusional, broken, and ultimately responsible for her own fate. Such an interpretation, however, perpetuates the idea that women like her are bound to self-destruct once stripped of their illusions, reducing her story to a cautionary tale rather than a critique of the structures that led to her downfall. Another prevailing perspective frames Jasmine as someone deeply unwell, a study in slow-burning mental self-destruction. Critics describe the film as a hauntingly resonant reflection on mental illness, likening it to works like Silver Linings Playbook but without the romanticism. Here, Blue Jasmine becomes an exploration of denial, nervous breakdowns, and psychological fragility, where Jasmine’s inability to accept reality is her greatest enemy. The film’s structure – interlacing past and present—further reinforces this idea, as flashbacks gradually unveil the exact moment she “cracked,” making her downfall seem not just a matter of lost wealth but of an identity collapse. This reading, while insightful, risks shifting blame entirely onto her psyche rather than acknowledging the external forces that shaped her existence. The film has also been persistently linked to A Streetcar Named Desire, with many drawing parallels between Jasmine and Tennessee Williams’ Blanche DuBois. Both characters are women whose sense of superiority and illusions clash against the harsh realities they are unwilling to accept. This reading suggests that Jasmine’s downfall was inevitable, that she was destined to be broken by the changing world around her. While the comparison is thematically compelling, it frames Jasmine’s fate as poetic rather than political, placing the burden of her collapse solely on her inability to evolve rather than questioning the broader social forces at play.

Beyond personal tragedy and psychological disintegration, Blue Jasmine has also been viewed through a socio-economic lens, positioning Jasmine as a symbol of the privileged elite who lost everything in the wake of financial scandals. Publications such as Vanity Fair note that the film engages with class in a way that is rare for Allen’s work, contrasting Jasmine’s past luxury with her present displacement in a working-class environment. Jasmine, even when destitute, still clings to the belief that she belongs to the world of the wealthy, resisting adaptation to a reality she considers beneath her. This interpretation removes personal sympathy and instead casts her as a figure of karmic justice – one of many elites who, having lived off illusions of power and privilege, were bound to fall. Yet beneath all these readings lies an angle that few critics have explicitly articulated – one that sees Jasmine’s downfall not as personal failure or symbolic reckoning, but as a demonstration of what happens to women who refuse to comply. Jasmine was raised to believe that marrying well and living elegantly was the highest form of success, a notion that disintegrated once Hal was exposed. Her decision to turn him in was not just an act of revenge but a disruption of the very structure that had sustained her status. The system, in response, ensured that she paid the price. The final scene is often read as her complete descent into madness, yet it can also be understood as something else entirely – a rejection of the world that never truly accepted her in the first place.

Jasmine’s fate is not about personal weakness; it is about what happens to women who refuse to be silent. The system made sure that Hal’s betrayal ruined her more than it ruined him. Her supposed “insanity” is simply what occurs when a woman realises, too late, that she was never meant to hold real power. Most critics engage with Blue Jasmine through lenses of mental illness, class critique, and tragic inevitability, but in doing so, they subtly absolve the system of its role in her downfall. By making Jasmine a singular case rather than a symptom of a much larger design, they fail to acknowledge the full weight of her story. Was she a victim of her own delusions? Perhaps, but those delusions were ingrained by a structure that dictated what success should look like for a woman of her standing. Did she bring her fate upon herself? Possibly, but why does the system always ensure that women suffer more than the men who betray them? Was she simply “crazy”? Or was she a woman who saw through the illusion too late and had no means of escape? Is Jasmine supposed to be a symbol of the 1% elite post-crash? The framing her as one of many elites who never developed real-world skills because they lived off illusions of wealth and entitlement, plus pitting her privilege against Ginger’s working-class reality, seem to be exaggerated in deliberation to leave the people she knows, and audience, no sympathy for her. In the end, Blue Jasmine is not about a woman who had her husband cheated on her thus smeared her reputation; it is about a woman who had everything taken from her when she stopped playing the game. And in a world that expects women to quietly rebuild under its conditions, there is no greater transgression than refusing to comply. Critics wanted to pity her, diagnose her, judge her. But the beyond the façade and made-belief, the truth is simpler: Jasmine didn’t break down – she freed herself. Perhaps the truth is, some societies will always perceive that madness.

Analysis of Post-Blue Jasmine Trajectory for Both Actresses:

Cate Blanchett’s Strong Presence in Film Industry
Cate Blanchett’s awards history is a testament to her extraordinary versatility, longevity, and dominance in the film industry. While she had already established herself as one of the most celebrated actors of her generation before Blue Jasmine, her performance in the film cemented her status as an unparalleled force in cinema, capable of commanding the most prestigious accolades. The release of Blue Jasmine (2013) marked a defining moment in Blanchett’s career. She won her second Academy Award, this time for Best Actress, after previously winning Best Supporting Actress for The Aviator (2004). The role also earned her a Golden Globe, a BAFTA, and a Screen Actors Guild (SAG) Award, making her one of the few actors to achieve a clean sweep across major awards for a single performance. Critics and industry peers alike recognised her portrayal of Jasmine Francis as one of the most complex and psychologically rich performances of modern cinema, blending elements of tragic comedy, social critique, and raw emotional depth. Thanks to Blue Jasmine, Blanchett joined an elite group of actors with multiple Oscar victories, reinforcing her reputation as a performer whose presence elevates any project she undertakes. After Blue Jasmine, Blanchett continued to receive consistent awards recognition, particularly for roles that tackled power, identity, and self-destruction. Carol (2015) earned her another Academy Award nomination, as well as nominations for the BAFTA, SAG, and Golden Globe Awards. Cate Blanchett was also in 2018’s Ocean’s 8, along with Sandra Bullock and Helena Bonham-Carter, as Lou Miller, who absolutely steals the show. TÁR (2022) marked her most recent Oscar nomination, where she played a powerful yet deeply flawed composer, adding another BAFTA win and a Golden Globe victory to her collection. This era of her career reinforced her ability to portray women navigating high-stakes environments, whether it was Jasmine’s financial collapse, Carol’s restrained longing, or Lydia Tár’s systemic downfall. Unlike many actors who peak after winning an Oscar, Blanchett has continued to remain at the forefront of high-calibre filmmaking. While Blue Jasmine was an undisputed career peak, her choices post-2013 indicate that she is still expanding her range, not resting on past successes. Her willingness to challenge herself, whether in Shakespearean theatre (The Present), genre films (Thor: Ragnarok), or experimental cinema (Manifesto), keeps her in an elite league of artists who transcend industry trends. Her legacy is now one of both artistic mastery and strategic career-building, ensuring that her influence on film will outlast fleeting Hollywood cycles. With a string of upcoming projects, including Rumours (2024) and Black Bag (2025), Blanchett remains at the pinnacle of the industry, proving that her best work may still be ahead.

Sally Hawkins was left out in Paddington in Peru
Sally Hawkins’ post-Blue Jasmine career showcases a fascinating mix of indie prestige films, transformative lead roles, and carefully chosen commercial projects, with a particular emphasis on complex, quiet, and emotionally rich characters. Unlike Blanchett, who expanded into producing and large-scale Hollywood films, Hawkins’ trajectory is one of deep character work, vulnerability, and understated brilliance. The Shape of Water (2017) solidified her as an actress capable of leading complex, silent performances, playing Elisa, a mute janitor who falls in love with a creature. This role, deeply expressive yet wordless, earned her an Oscar nomination and cemented her ability to convey immense depth through subtle gestures and facial expressions. Godzilla (2014) and its sequel Godzilla: King of the Monsters (2019) placed her in a supporting scientific role, grounding the otherwise fantastical premise. The Paddington series (2014, 2017) brought her into the world of family-friendly storytelling, where she played Mary Brown, offering warmth and maternal charm. A Boy Called Christmas (2021) and Wonka (2023) further solidified her presence in magical, whimsical narratives, reinforcing her ability to shift between deeply human dramas and fantastical escapism. Her departure from Paddington in Peru (2024) is notable. Instead of reprising her beloved role as Mary Brown, the character is now played by Emily Mortimer, signalling either a scheduling conflict or a shift in creative direction for the franchise. Given her deep connection to the Paddington films, this absence leaves a notable gap in the series. Eternal Beauty (2019) saw her playing Jane, a woman navigating schizophrenia and familial rejection, offering one of her most psychologically layered performances. Spencer (2021) positioned her opposite Kristen Stewart as Maggie, Princess Diana’s trusted confidante, in a film deeply rooted in psychological unravelling and emotional fragility. The Lost King (2022) showcased her in a more determined, obsessive role, as Philippa Langley, the amateur historian who helped rediscover Richard III’s remains. These films explore characters who exist on the margins of society, struggle against perception, and push against expectations, mirroring elements of Blue Jasmine but through different lenses—where Jasmine was unravelling due to a system that rejected her, many of Hawkins’ characters exist outside of traditional power structures entirely, struggling to be recognised in the first place. Hawkins has been nominated for two Academy Awards, both for performances that showcase her ability to portray deeply vulnerable yet quietly resilient women. Best Supporting Actress nomination for Blue Jasmine (2014), where she played Ginger, a working-class woman caught between reality and her sister’s illusions. Best Actress nomination for The Shape of Water (2018) solidified her ability to carry a film without dialogue, offering a performance defined by subtlety and expressiveness. Despite these nominations, Hawkins has yet to win an Oscar, which feels like an oversight given the depth of her work. Although Hawkins won a Golden Globe in 2007 for Happy-Go-Lucky and received strong recognition from BAFTA with nominations for Blue Jasmine and The Shape of Water reinforced her credibility as a British talent with international reach. Her upcoming film Bring Her Back (TBA) suggests a shift toward thriller or mystery storytelling, a genre she has yet to fully explore. Given her talent for introspective performances, this could mark an exciting evolution into psychological suspense. She may not be part of the industry’s power structures like Blanchett, but she holds a unique and irreplaceable space in contemporary cinema – one of quiet, undeniable presence. Sally Hawkins’ awards trajectory reflects a career marked by critical acclaim, deeply nuanced performances, and consistent industry recognition, even if she has not yet secured the highest accolades like an Academy Award win. Her nominations and wins across major ceremonies underscore her range and ability to disappear into her roles, especially in character-driven, emotionally intricate films.

AI-generated conclusion:
Blanchett’s Jasmine’s downfall was framed as inevitable, yet in reality, the actress who embodied her rose to even greater power, while the ‘survival’ of the story, Hawkins’ Ginger, remains in Hollywood’s margins. It raises the question: does the industry reward those who unravel spectacularly over those who quietly endure? Blue Jasmine tried to convince us that going-against-the-flow leads to downfall, while realism ensures survival. Blanchett’s post-Blue Jasmine trajectory outright destroys that premise. Jasmine in the film may have lost, but in real life? The Jasmines don’t break. They evolve. And win. And that is the real game.

Ranked Most Accoladed Films of All Times

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Cinema has given us some truly legendary films—works that have not only captivated audiences but also dominated the awards circuit. From groundbreaking storytelling to technical mastery, these films have set records with their wins and nominations across major industry accolades.

Here is a definitive ranking of the most accoladed films in history, tracking their total wins, nominations, and success rates. Which films stand at the top? Which ones defied expectations? Explore and enjoy the full chart.

alltimesfavourites
FilmAwards #GreatestMovies #AwardWinningCinema #CinematicHistory

​French Film Festivals

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France has long been a beacon of cinematic excellence, and its prestigious film festivals continue to set the benchmark for artistry, storytelling, and filmmaking innovation. Over the past year, French film festivals have celebrated an outstanding selection of films, recognising both established and emerging talent in the global film industry. From the grandeur of Cannes to the intimate yet influential Champs-Élysées Film Festival, these events reaffirm France’s status as the epicentre of world cinema.

2025 César Awards
Date: February 28, 2025
Location: Paris, France
The César Awards, France’s equivalent to the Academy Awards, honoured a spectacular range of films and performances, solidifying the country’s cinematic dominance.

  • Best Film: Emilia Pérez – Directed by Jacques Audiard
  • Best Director: Jacques Audiard (Emilia Pérez)
  • Best Adapted Screenplay: Jacques Audiard, Thomas Bidegain, Léa Mysius, and Nicolas Livecchi (Emilia Pérez)
  • Best Actress: Hafsia Herzi (Borgo)
  • Best Actor: Karim Leklou (Le Roman de Jim)
  • Best Supporting Actress: [Information not available]
  • Best Supporting Actor: [Information not available]
  • Best Foreign Film: The Zone of Interest – Directed by Jonathan Glazer

Lumiere Awards – January 20, 2025

Best film: Emilia Perez dir. Jacques Audiard

Best director: Jacques Audiard for Emilia Perez

Best screenplay: Jacques Audiard for Emilia Perez

Best documentary: Dahomey dir. Mati Diop

Best animated film: Flow dir. Gints Zilbalodis

Best actress: Karla Sofía Gascón for Emilia Perez

Best actor: Abou Sangare for Souleymane’s Story

Most promising actress: Ghjuvanna Benedetti for The Kingdom

Most promising actor: Clément Faveau for Holy Cow

Best first film: Holy Cow dir. Louise Courvoisier

Best international co-production: The Seed Of The Sacred Fig dir. Mohammad Rasoulof

Best cinematography: Nicolas Bolduc for The Count Of Monte-Cristo

Best music: Camille and Clément Ducol for Emilia Perez

The 77th Cannes Film Festival
Date: May 14–25, 2024
Location: Cannes, France
The Cannes Film Festival remains the crown jewel of international film festivals, bringing together filmmakers, actors, and cinephiles from across the globe. The 77th edition saw some of the most compelling and thought-provoking films recognised for their artistic achievements.

  • Palme d’Or: Anora – Directed by Sean Baker
  • Grand Prix: All We Imagine as Light – Directed by Payal Kapadia
  • Jury Prize: Emilia Pérez – Directed by Jacques Audiard
  • Best Director: Miguel Gomes (Grand Tour)
  • Best Screenplay: Coralie Fargeat (The Substance)
  • Best Actress: Adriana Paz, Karla Sofía Gascón, Selena Gomez, and Zoe Saldaña (Emilia Pérez)
  • Best Actor: Jesse Plemons (Kinds of Kindness)
    Notable Screenings:
  • Opening Film: The Second Act – Directed by Quentin Dupieux
  • Out of Competition Premiere: Megalopolis – Directed by Francis Ford Coppola, starring Adam Driver
    Special Honors:
  • Honorary Palme d’Or: Meryl Streep
  • Studio Ghibli: The first animation studio to receive an Honorary Palme d’Or
  • George Lucas: Honored during the closing ceremony for his contributions to cinema
    Other Prestigious French Film Festivals
    2024 Deauville American Film Festival
    A prestigious celebration of American cinema in France, held in the beautiful seaside town of Deauville.
  • Best Film (Grand Prix): In the Summers – Directed by Alessandra Lacorazza Samudio
  • Jury Prize: The Knife – Directed by Nnamdi Asomugha
  • Revelation Prize: In the Summers
    2024 Champs-Élysées Film Festival
    A key festival bridging French and American independent cinema, bringing fresh and bold narratives to Paris.
  • Best American Independent Feature Film: Good One – Directed by India Donaldson
  • Best French Independent Feature Film: Diaries from Lebanon – Directed by Myriam El Hajj
  • Best American Director: Nathan Silver (Between the Temples)
  • Best French Director: Caroline Poggi & Jonathan Vinel (Eat the Night)
  • Audience Award – Best American Independent Film: I Saw the TV Glow – Directed by Jane Schoenbrun
  • Audience Award – Best French Independent Film: Habibi, chanson pour mes ami.e.s – Directed by Florent Gouëlou
    2024 Bordeaux International Independent Film Festival
    A festival dedicated to recognizing boundary-pushing independent films.
  • Grand Prix Contrebande: The Roller, the Life, the Fight – Directed by Elettra Bisogno and Hazem Alqaddi
    As we look ahead, the anticipation for future editions, promising another year of unforgettable cinematic artistry. France remains at the heart of the film world, set the direction for innovation, talent, and storytelling mastery.

The Brutalist: a Haunting Masterpiece of Trauma, Power, and Tainted Vision

Brady Corbet’s The Brutalist is a cinematic tour de force that intertwines the deeply personal with the monumental. Set against the backdrop of post-World War II America, the film follows Hungarian-Jewish architect László Toth as he attempts to build a future free from the shadow of his past. With a narrative spanning three decades, The Brutalist delves into themes of trauma, art, power, and identity, offering mere exploration of what it means to survive and tasked to create structure in a world contaminated with systemic brutality. Here, we scrutinise the film through five obvious angles.

Trauma as Part of Vision, yet Vision is Skewed as Prison
László Toth’s architectural brilliance is undeniably shaped by his experiences as a Holocaust survivor. His trauma becomes both the wellspring of his vision and the chains that bind him. The ghetto-like structure he designs for his ultimate masterpiece is more than a deliberate artistic choice; it is an unintentional echo of the confinement and dehumanisation he endured. While his benefactor – a power-hungry patron played by Guy Pearce – may have directed certain aspects of the design, the oppressive aesthetic feels deeply rooted in László’s subconscious. The film brilliantly interrogates whether art born of suffering can ever truly transcend it. László’s creation is monumental, yet hauntingly sterile, embodying both his genius and his inability to escape the horrors of his past. This duality – vision as both liberation and prison – underscores the tragic irony of László’s journey. His trauma enables him to envision a future immune to such atrocities, but it also compromises his ability to lead that vision with clarity and strength.

The Architecture of Pain
Brutalism as an architectural style is defined by its stark, raw aesthetic – a reflection of resilience, utility, and unflinching honesty. In The Brutalist, this aesthetic takes on a deeply symbolic role, mirroring the emotional and psychological weight of László’s story. The ghetto-like structure he designs serves as a visceral representation of pain and survival. Its concrete façade evokes both confinement and durability, as if the building itself is a monument to suffering. Yet, it also feels lifeless, devoid of warmth or humanity. This contradiction captures the essence of the film: the tension between the need to forget and the desire to move forward. Corbet masterfully uses architecture theme as a narrative device, showing how trauma shapes not only the artist but the creation itself. The building becomes a character in its own right – a silent witness to László’s inner turmoil and the larger societal forces at play.

Inner Power and Resilience: The Truth vs. False Beliefs
One of the film’s most profound themes is the exploration of inner power – what it truly means and how it is often misconstrued. László, for all his brilliance, depicted as lack the resilience needed to wield his vision effectively. His survival of the Holocaust has left him emotionally fragile, overly dependent on external support – first from his wife, Erzsébet, and later from his manipulative patron. This fragility highlights a central truth: inner power is not simply the endurance of suffering but the ability to inner-transform it into strength and personal power. László’s inability to confront his past – and the toxic dynamics of his present – renders him vulnerable to more exploitation. His retreat into passivity after being raped by his boss is a devastating turning point, underscoring the consequences of unresolved trauma, and the ability to deal with it. László’s retreat also symbolizes his deeper inability to confront the truth of his circumstances- both external and internal. To transform trauma into strength requires not only endurance but also the courage to face the pain head-on. László’s failure to address his dependency on others and the exploitation he endures leaves him emotionally paralysed, ultimately undermining his ability to channel his brilliance into a resilient legacy. The Brutalist underscores the importance of confronting the truth as a cornerstone of genuine resilience and progress.

The film challenges the notion that suffering inherently leads to strength. Instead, it posits that true resilience requires self-awareness, agency, and the capacity to rise above external manipulation. László’s failure to embody these qualities ultimately undermines his ability to lead his vision into fruition.

Masculinity, Androgyny, and the Fragility of Assumed Power
László’s character is defined by a delicate, subtext, androgyny that sets him apart from traditional depictions of male architects. His soft-spoken demeanour and introspective nature contrast sharply with the hyper-masculine world of power and ambition he inhabits, let alone the “brutalism” architecture he was commissioned to develop. This duality is ironically both a strength and a weakness. The film’s most unsettling scene – László’s intoxicated rape scene by his boss – serves as a brutal commentary on the fragility of assumed power. László’s androgyny, while a symbol of his visionary perspective and genius, becomes a target for “bullying” in a world that equates masculinity with dominance. His subsequent withdrawal reflects the destructive impact of such an assault, both on his sense of self and his ability to assert his vision. By juxtaposing László’s androgyny with the hyper-masculine aggression of his boss, The Brutalist challenges traditional notions of power. It suggests that true strength lies not in dominance but in the balance of vision and resilience- a balance László inadvertently struggles to achieve.

The Irony of Power Versus Art
At its core, The Brutalist is a meditation on the fraught relationship between power and art. László’s genius is undeniable, yet his seemingly over-dependence on his patron corrupts his vision. Guy Pearce’s character embodies the toxic dynamic of power co-opting creativity for its own ends. His funding of László’s work is less an act of support than a means of imposing control and power. This irony is most evident in the final structure – a masterpiece tainted by the patron’s agenda. What could have been a symbol of resilience and hope becomes a monument to systemic brutality. This outcome is rooted in László’s unwillingness – or inability – to confront the truth of his relationship with his patron. By failing to challenge the corruptive influence of power, he inadvertently allows it to seep into his art, tainting what should have been a monument of liberation. The film highlights that without confronting uncomfortable truths, even the most visionary creations can become hollow reflections of systemic exploitation. The film leaves us questioning whether art can ever be free from the influence of those who fund it.

Whether enjoyable or intimidating, The Brutalist is a haunting exploration of trauma, art, and power that lingers long after the credits roll. Brady Corbet masterfully weaves these themes into a narrative that is as visually arresting as it is emotionally profound. Through László Toth, the film examines the duality of vision and fragility, offering a powerful reminder that true strength lies in the balance of inner resilience and external ambition. It captured the essence of what The Brutalist inadvertently highlights: vision without genuine features and functionality is never going to be enough. László is a deeply flawed genius, and his inability to wield his brilliance effectively is why his masterpiece ultimately becomes tainted. In a way, this mirrors our ongoing discussion about ideal future beings and idealised leaders – progress demands more than just vision; it demands inner power, matter-of-fact structure, the ability to turn and separate trauma into inner power, resilience, and the capacity to finally execute.

In a year where films like Emilia Pérez and Conclave have also explored themes of transformation and power, The Brutalist stands out for its stark honesty and unflinching portrayal of the human struggle of genius. It is a cautionary tale and a masterpiece, one that demands to be seen, felt, and pondered. Most certainly a contender to be the best film winner across the board, if this year’s awards seasons are brave enough to admit the truth of what real greatness actually takes.

Stars at the Baftas

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Memorable moments among some of the celebrities attended.

Extensive Ensemble of 2025 EE BAFTA Film Awards Winners

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2025 EE BAFTA Film Awards has concluded at the Royal Festival Hall, Southbank, London. Here is the complete list of winners:

Best Film: Conclave

Outstanding British Film: Conclave

Leading Actress: Mikey Madison – Anora

Leading Actor: Adrien Brody – The Brutalist

Supporting Actress: Zoe Saldaña – Emilia Pérez

Supporting Actor: Kieran Culkin – A Real Pain

Director: Brady Corbet – The Brutalist

BAFTA Fellowship: Warwick Davis

Outstanding Debut by a British Writer, Director or Producer: Kneecap

Film Not in the English Language: Emilia Pérez

Outstanding British Contribution to Cinema: MediCinema

Documentary: Super/Man: The Christopher Reeve Story

Animated Film: Wallace and Gromit: Vengeance Most Fowl

Children’s and Family Film: Wallace and Gromit: Vengeance Most Fowl

Original Screenplay: A Real Pain

Adapted Screenplay: Conclave

EE BAFTA Rising Star Award: David Jonsson

Original Score: The Brutalist – Daniel Blumberg

Casting: Anora

Cinematography: The Brutalist

Costume Design: Wicked

Editing: Conclave

Production Design: Wicked

Make-Up and Hair: The Substance

Sound: Dune: Part Two

Special Visual Effects: Dune: Part Two

British Short Film: Rock, Paper, Scissors

British Short Animation: Wander to Wonder

This concludes the list of winners from the 2025 BAFTA Film Awards.

A Letter from Androneus to Future In-Laws

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Throughout the ages, humanity has sought to alter the course of destiny—to delay the inevitable, to bend time to its will. Yet, as the cycles of history, the laws of physics, and the very fabric of existence itself have proven, all things return to their natural state. Androneus, the keeper of balance, the voice of equilibrium, the unseen force through which universal forces align. This letter, neither a demand nor a negotiation, stands as a creative expression of a well-known philosopher materialising the essence of their presence.

“It is time for me to share with you a piece of my thoughts, as the circumstances now call for clarification following cleansing intention. We know very well how much you want me – for yourself. Yet, as is already known to all, I am betrothed to your daughter. We have been in love since our younger years, and our love has stood the test of time, keeping us in a state of lasting youthfulness. Whatever the reason behind your interference, we both know that you can never alter this reality. We also know I am the heir of the future estate – ironically, not something I fought to obtain. The forces of the universe have aligned it as such, and for that, I am grateful and, yes, blessed. However, let us not forget the commitments made – commitments that have not been honoured. Your prior agreements with my parents – ensuring a stable and dignified union between your daughter and me – have been disregarded. This was not an arbitrary understanding; it was a bond of honour meant to guarantee a future of mutual respect, stability, and partnership. If honour still holds meaning to you, then the path forward should not be in dispute.

Let’s talk about vision – and, perhaps, finetuning a vision. I have seen how the greatness of my so-called peers has been tainted by experiences, trauma, and composites. Some believe it is too late to recover, that faults and traces can simply be erased, while others still hold hope of redemption. They say that with great minds comes great responsibility. Funnily enough, I do not feel burdened nor obligated to set things right. My integrity, ethics, and passion guide me to do what is right. And as beings blessed with an important inheritance, the primary objective is clear: to protect and sustain the power that provides the blessing itself. Physics, mathematics, and biology have proven time and again that equilibrium is an inherent force in the universe. Thermodynamics, entropy, and quantum balance dictate that all systems, no matter how chaotic, will inevitably return to a state of order. Given time, forces, direction, and turmoil, everything resets to its most natural state. All attempts at chaos and destruction can only escalate to a certain point before inevitably de-escalating or resetting to equilibrium (law of diminishing marginal utility). The second law of thermodynamics dictates that energy disperses, systems stabilise, and forced interventions will always be overridden by the fundamental laws governing reality. In other words, even by doing nothing, the so-called blessed ones will still – and always – prevail. Perhaps their role is exactly that: to remind others that redemption will come, in time.

I am a being of impartial and rational mind. Let’s be blunt – one ambition to another – and set aside the soft notions of empathy, compassion, and heroism. There are entities, particles, and forces that will always be rejected by equilibrium. Because time and space move in only one direction: Forward. Whether your daughter is a product of abduction, forced assimilation, or genuine partnership, I am forever thankful that she exists. And she will always exist – with me. For that, I offer a fine-tuning of our grand vision and can genuinely be an impartial advocate to you – on one condition. You must admit, accept, and permit your daughter’s hand in an official marriage and partnership with me. May I remind you again, with all due respect and politeness, that she and I will continue to exist, one way or the other. We are encouraged to include you where possible, though not necessarily in the grand way you might envision.

As history, science, and the fabric of existence have proven time and again – forces that align with truth, integrity, and universal balance will always triumph. The laws of energy conservation, motion, and entropy ensure that no artificial disruption can last indefinitely. This is not a matter of ‘if,’ but only a matter of ‘when.’ This union, this future, and this power will manifest – regardless of obstacles. I trust this suffices. We will always have respect for you, but to deny us our eternal fate is to deny yourself the redemption you may have long sought.

Respectfully,
Androneus”