Thank You for Banking with Us might sound like the title of a customer or product training video, but let me assure you, it’s anything but. This delightful film offers a refreshing blend of humour and heartfelt moments as it navigates the serious issues of gender inequality and patriarchal culture in the Middle Eastern context. Directed by Laila Abbas, this film is a witty yet sobering exploration of inheritance laws, and its consequences in a politically charged landscape. Despite the clever antics, it manages to deliver a compelling message about staying true to oneself.

At the heart of the story are Mariam and Noura, two sisters whose bond has seen better days. Initially, the sisters are estranged, burdened by past grievances and misunderstandings. However, as they face their common struggle, the dynamic evolves, revealing the strength and resilience of women coming together. They find themselves on a comical yet gripping journey to reclaim their inheritance before their absentee brother will be granted half of everything their recently-died father owns. As they navigate the labyrinth of cultural and financial bureaucracy, it becomes clear that this isn’t just a personal struggle, it’s a reflection on the societal structures that keep women at the losing end. It’s a clever juxtaposition that showcases Abbas’s ability to tackle tough topics while keeping the audience’s engagement. It’s a gentle reminder of the struggles faced by women in the Middle East and beyond. But rather than a somber exploration, the film strikes a balance between dark themes and a lighthearted tone. Whether it’s their frantic search for a male impersonator to mimic their deceased father’s voice or the knowing-look and exchanges with emphatetic female bank teller, the film precisely illustrates the strength that comes from female solidarity.

As Mariam and Noura grapple with the fact of their situation, they simultaneously shine a light on the complication of a system designed to keep them subordinate. It’s a clever twist that brings smiles yet insight reflecting on the serious implications of these laws while giggling at somewhat desperate solutions. As they navigate the depth of their prospect, the sisters learn to set aside their differences and unite for a common goal. This not only adds stars to their characters but also serves as an inspiration for viewers. Then there’s Mariam’s older son, whose character offers a refreshing counter-narrative to the typical portrayal of troubled youth. Instead of turning to crime, he channels his frustrations into activism, embodying a sense of duty. It adds an intriguing layer to the film, illustrating the complexities of familial relationships amidst broader societal issues. It’s refreshing to see determination in the most challenging circumstances. The film’s setting plays a role in its storytelling. The quiet, eerie atmosphere at night reflects the societal pressures and uncertainties faced by the characters, grounding the narrative in the realities of life. Abbas’s use of local talents and chosen settings contributes to the film’s overall authenticity, offering a glimpse into life that transcends typical narratives of conflict. The adult male characters embody and reinforce the patriarchal structures that benefit them. Mariam’s husband epitomises subservient culture that tend to dismiss genuine feelings while dutifully providing for family and children. Similarly, her brother embodies the authoritative male figure, insisting on maintaining traditional laws. Their thoughts and actions reflect societal norms in many regions worldwide, subtly highlighting the intersectionality of a region in conflict’s strife.

At the film’s premiere at the BFI London Film Festival, Abbas and the cast offered insightful commentary on the socio-political realities depicted in the film. They discussed the historical shift from secularism to stricter religious laws put in place due to external oppression, providing a sobering context that enriches the film’s narrative. This real-world revelation not only provides understanding of the backdrop of the storyline and its characters’ development but also opens up insights into the motivations behind making this film. Laila Abbas certainly crafts a narrative that is both entertaining and thought-provoking. Despite chaos and adversity, there is room for wit, cleverness, and the unwavering spirit of women supporting one another. The film encourages you to laugh, to empathise, and ultimately to think about the structures that govern many societies. With its unique blend and angle, it will leave you rooting for the sisters and reflecting on your own power and potential. It makes it clear that the more people are oppressed by external forces, the more they tend to marginalise a subsection of their own group for the sake of more control. Thank You for Banking with Us is an assured and emotive reminder of that fact.

With a haunting musical score that lingers in the mind long after the credits roll, Days of Happiness emerges as a meticulously crafted exploration of a remarkable artist. Set amidst the vibrant backdrop of Montreal, the film follows Emma, a talented conductor whose life is a symphony of complex relationships and personal struggles. Emma’s journey is multifaceted, intertwining her professional aspirations with the tumultuous dynamics of her familial and romantic life. As she navigates with a fractured relationship with her father, who also serves as her agent, Emma finds companionship in Naelle, a fellow musician and single mother. Against the setting of her role as a conductor, Emma navigates the intricate power dynamics of her world while striving to forge a new family away from the shadows of her parents.

While some may draw comparisons to similar narratives, Days of Happiness stands apart with its unique storytelling and nuanced character development. Director Chloe Robichaud masterfully leads viewers into an exploration of Emma’s psyche and experiences, encouraging a pique about the complexities of her character and journey. Sophie Desmarais delivers a compelling performance as Emma, capturing the character’s inner turmoil and resilience with finesse. Through Desmarais’ portrayal, Emma emerges as a somewhat complicated character with raw emotions and desires. As she’s journeying into the dynamics of her role as a rising-star conductor in Montreal, Naelle provides the solace Emma needs at the crucial point in her career. However, their budding relationship faces challenges as Naelle struggles with cultural expectations, family obligations, and the complexities of her recent separation from her ex-husband. Nevertheless, Emma swiftly forms a close bond with Naelle’s young son. Meanwhile, her relationships with both of her parents, particularly her strict and demanding father, remain unresolved, adding further layers of tension to her journey of self-discovery and fulfilment. The look in her eyes during their argument following a misinterpreted performance speak volumes. His admission of pushing her too hard, coupled with his acknowledgment that the market isn’t prepared for her prodigious talent, evokes a poignant mix of deception, anguish, and dismay in her. It’s a dramatic moment of realisation that she’s far ahead of her time, and the world isn’t quite ready to embrace her extraordinary abilities. Her mother’s tendency to readily side with her father in moments of conflict leaves her feeling both in the cold and perplexed at times.

At its core, Days of Happiness is a moving exploration of balance and self-discovery, using music as a metaphor to illuminate the dynamic of human connection and personal growth, reminding viewers of the importance of both self-love and self-actualisation. The film’s narrative unfolds with a graceful rhythm, mirroring the flow of a musical composition. From Emma’s orchestral solos to her intimate moments of reflection, each scene is infused with a profundity and sentiment, inviting viewers to immerse themselves in her world. As a rising star female conductor, Emma finds herself navigating the challenging terrain of a conventional-centric industry. Despite her undeniable talent and passion for music, she encounters numerous obstacles and preconception rooted in world-constructed bias. Relentlessly proving herself in a rather politically-charged industry, facing tests, scepticism and scrutiny from colleagues, agents, audiences, and even from her own lover and family.

In addition to mastering her craft and leading with authority, Emma must address the power dynamics and negotiate her place within orchestras and the industry. She faces the pressure to conform to established gender norms while challenging stereotypes and breaking barriers in pursuit of her dreams. Moreover, Emma navigates with the emotional toll of constant scrutiny and the weight of expectations placed upon her as a progressive woman in a highly sought-after position. She must strike a delicate balance between assertiveness and acceptability, facing criticism for being too monotonous in her conducting style. Despite the challenges, she perseveres with determination and resilience, carving out her space through sheer talent, hard work, dedication and unwavering passion for her work. Her journey serves as a testament to the strength and resilience of women in the face of systemic barriers, as well as societal, peer and family expectations. While Days of Happiness explores queer themes, its relevance extends to women and general public from diverse backgrounds and varying levels of mindset and progressiveness.

The film’s brilliance, particularly evident in its musical scoring choices featuring pieces by Mozart, and the more complicated Schönberg and Mahler. These selections add layers of complexity and richness to the storytelling, throwing viewers through the rollercoaster journey of the lead character while maintaining a certain distance that allows for contemplation and reflection. The interplay between the evocative music and the on-screen drama creates a refinement viewing experience, inviting audiences to engage more intellectually with the themes explored in the film, rather than with emotions, while appreciating the beauty of its musical accompaniment. Days of Happiness brings valuable insights into mixtures of resilience, agencies, commercial world, intricated romantic relationship, and the pursuit of career while maintaining happiness, impartiality and stay true to one self. In the end, it leaves a lasting impression, blending storytelling with captivating performances to create a cinematic experience that resonates after the credits roll. Although the film evokes various emotions and takes viewers on a ride through its narrative twists and turns, there’s still a sense of emotional distance or detachment that inhibits a fully immersive experience, which you will appreciate as it works hard to maintain the lighthearted tone and feel.

Within this year’s BFI Flare vibrant yet reflective themes, Days of Happiness stands out as a thought-provoking and evocative contribution offers a unique exploration of mere human emotion and connection. The film begins with Emma, unable to swim, unintentionally drifting on a pool float into the centre of a deep lake, with concerned spectators on the shore. It concludes with a more introspective Emma, peacefully floating on her back during her first swimming lesson, guided by an enchanting swimming instructor whose body language suggests a keen interest in her. An essential viewing.

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The European leg of Taylor Swift’s high-grossing Eras Tour has begun, following a two-month hiatus. This tour segment kicked off in Paris on May 9, with Swift performing the first of four shows at La Défense Arena. Swifties were thrilled with the refreshed setlist and the incorporation of songs from her latest album, The Tortured Poets Department (TTPD).

Throughout the three-hour concert, fans noted various updates, including new glittery outfits and significant setlist changes. The most notable addition was the inclusion of seven tracks from TTPD. Swift performed abbreviated versions of “But Daddy I Love Him,” “Who’s Afraid Of Little Old Me?”, “Fortnight,” “The Smallest Man Who Ever Lived,” and “I Can Do It With A Broken Heart,” along with samples from “So High School” and “Down Bad.” These changes required some fan favorites to be trimmed from the set, such as “The Archer,” “The Last Great American Dynasty,” “The 1,” “‘Tis the Damn Season,” and “Tolerate It.”

Swift also restructured the sequence of her eras, moving the Red era earlier and shifting the reputation era to a later slot. She combined the Folklore and evermore eras, referring to them as the “sister albums” and delighting the audience with this reunion. Another new feature was the transition during the Speak Now era, now featuring florals on the screen and a new dance routine before she sings “Enchanted.”

Taylor Swift’s Updated Eras Tour Setlist in Paris
“Miss Americana & the Heartbreak Prince”
“Cruel Summer”
“The Man”
“You Need to Calm Down”
“Lover”
“Fearless”
“You Belong With Me”
“Love Story”
“22”
“We Are Never Ever Getting Back Together”
“I Knew You Were Trouble”
“All Too Well (10-Minute Version)”
“Enchanted”
“Ready For It?”
“Delicate”
“Don’t Blame Me”
“Look What You Made Me Do”
“Cardigan”
“Betty”
“Champagne Problems”
“August”
“Illicit Affairs”
“My Tears Ricochet”
“Marjorie”
“Willow”
“Style”
“Blank Space”
“Shake it Off”
“Wildest Dreams”
“Bad Blood”
“But Daddy I Love Him”
“So High School”
“Who’s Afraid of Little Old Me”
“Down Bad”
“Fortnight”
“The Smallest Man Who Ever Lived”
“I Can Do It with a Broken Heart”
Surprise song #1
Surprise song #2
“Lavender Haze”
“Anti-Hero”
“Midnight Rain”
“Vigilante S—-“
“Bejeweled”
“Mastermind”
“Karma”

The Impact of The Tortured Poets Department
Swift described TTPD as “new works reflecting events, opinions and sentiments from a fleeting and fatalistic moment in time – one that was both sensational and sorrowful in equal measure.” She summed it up succinctly in Paris: “Female rage, the musical.”

This latest addition to her discography has solidified Swift’s status as a pop icon. The album has dominated global streaming services, with tracks occupying the top 14 spots on the US Billboard Hot 100 singles chart in its release week, breaking her own previous record with Midnights.

The Eras Tour: A Record-Breaking Phenomenon
Swift’s Eras Tour, which began in March 2023, is on track to be the highest-grossing tour of all time, projected to bring in $2 billion by its conclusion in December. This tour has already captivated audiences across the Americas, Asia, and Australia, and will continue to enthrall fans in 12 European countries before concluding with a final run in the US and Canada.

As the tour progresses through Europe and heads to the UK, Swift’s setlist and performances continue to evolve, offering fans a unique and unforgettable experience each night. The Eras Tour, with its intricate choreography, dazzling outfits, and dynamic setlist, has truly become the hottest ticket of the summer and a monumental event in pop music history.

The European Leg Begins in Paris
The European leg of Taylor Swift’s high-grossing Eras Tour is finally here. After a two-month hiatus, Swift kicked off with a refreshed setlist in Paris on May 9, following the release of her latest album, The Tortured Poets Department (TTPD).

Setlist Changes and Highlights
In her first of four Paris shows, Swift delighted fans with a revamped setlist. Notable changes included new glittery outfits and the addition of seven tracks from TTPD:

“But Daddy I Love Him”
“Who’s Afraid Of Little Old Me?”
“Fortnight”
“The Smallest Man Who Ever Lived”
“I Can Do It With A Broken Heart”
Samples from “So High School”
Samples from “Down Bad”
To accommodate these new songs, some tracks were trimmed from the setlist, including “The Archer,” “The Last Great American Dynasty,” “The 1,” “’Tis the Damn Season,” and “Tolerate It.”

Era Sequence Adjustments
Swift also restructured the sequence of her eras:

The Red era moved earlier in the setlist.
The Reputation era was shifted to a later slot.
The Folklore and Evermore eras were merged. “On The Eras Tour we have now reunited the sisters!” Swift told the audience. “You can call it Folklore, Evermore, or you can call it the sister albums!”
Visual and Performance Tweaks
During the Speak Now era, a new transition featured floral visuals on the screen and a new dance routine before Swift performed “Enchanted,” replacing “Long Live” which she added mid-tour last year.

Updated Setlist for Paris
Here’s the updated setlist Swift performed during night one in Paris. The two surprise songs change for each performance:

“Miss Americana & the Heartbreak Prince”
“Cruel Summer”
“The Man”
“You Need to Calm Down”
“Lover”
“Fearless”
“You Belong With Me”
“Love Story”
“22”
“We Are Never Ever Getting Back Together”
“I Knew You Were Trouble”
“All Too Well (10-Minute Version)”
“Enchanted”
“Ready For It?”
“Delicate”
“Don’t Blame Me”
“Look What You Made Me Do”
“Cardigan”
“Betty”
“Champagne Problems”
“August”
“Illicit Affairs”
“My Tears Ricochet”
“Marjorie”
“Willow”
“Style”
“Blank Space”
“Shake it Off”
“Wildest Dreams”
“Bad Blood”
“But Daddy I Love Him”
“So High School”
“Who’s Afraid of Little Old Me”
“Down Bad”
“Fortnight”
“The Smallest Man Who Ever Lived”
“I Can Do It with a Broken Heart”
Surprise song #1
Surprise song #2
“Lavender Haze”
“Anti-Hero”
“Midnight Rain”
“Vigilante S—-“
“Bejeweled”
“Mastermind”
“Karma”

Performance and Reception
Swift’s performance in Paris was met with enthusiastic praise, highlighting her ability to continually reinvent her live shows. The addition of TTPD tracks brought a fresh energy to the tour, resonating with both new and longtime fans.

Upcoming European Dates
The Eras Tour will continue across 12 European countries, including Spain, Germany, Ireland, and Portugal. After Europe, the tour returns to the US and Canada for a final run. Swift’s UK concerts begin on June 7 at Edinburgh’s Murrayfield Stadium, followed by shows in Liverpool, Cardiff, and London’s Wembley Stadium.

Taylor Swift Eras Tour: London Leg Kicks Off at Wembley Stadium
Taylor Swift is currently on the UK leg of her Eras Tour and performed the first of three shows (June 21-23) last night at London’s Wembley Stadium. The pop star will return to the capital in August, with five extra dates at Wembley on August 15-19.

An Epic Three-Hour Show
The show is over three hours long, featuring songs from nearly every era of Swift’s career, including:

Fearless
Speak Now
Red
1989
Reputation
Lover
Folklore
Evermore
Midnights
The Tortured Poets Department (TTPD)
Surprise Song Mashups
A highlight of the concert is the section where Swift plays a mashup of surprise songs on her guitar and piano. Swifties often theorize and predict what songs she will perform, adding an element of excitement and anticipation.

Many fans have taken to social media to share their reactions to the surprise songs—whether they are lucky enough to hear their favorites live or discover that Swift sang their favorite songs at a show they didn’t attend.

Surprise Songs So Far on the UK Leg
Here’s a rundown of all the surprise songs Swift has performed from her extensive catalog on the UK leg of The Eras Tour:

Edinburgh, Scotland
June 7: Mashup of “Would’ve Could’ve Should’ve/I Know Places” and mashup of “‘Tis the Damn Season/Daylight”
June 8: Mashup of “The Bolter/Getaway Car” and mashup of “All of the Girls You’ve Loved Before/Crazier”
June 9: Mashup of “It’s Nice to Have a Friend/Dorothea” and mashup of “Haunted/Exile”
Liverpool, England
June 13: Mashup of “I Can See You/Mine” and mashup of “Cornelia Street/Maroon”
June 14: Mashup of “This Is What You Came For/Gold Rush” and mashup of “The Great War/You’re Losing Me”
June 15: Mashup of “Carolina/No Body No Crime” and mashup of “The Manuscript/Red”
Cardiff, Wales
June 18: Mashup of “I Forgot That You Existed/This Is Why We Can’t Have Nice Things” and mashup of “I Hate It Here/The Lakes”
Speculations for the London Shows
With the London shows underway, speculation is rife as to which surprise songs Swift will choose. She has several songs specifically about London, including “London Boy” from her 2019 album Lover and “So Long, London” from The Tortured Poets Department. Additionally, London gets a mention in tracks like “Come Back, Be Here” from her 2012 album Red and the “From The Vault” track “Message In A Bottle.” There are also rumors that her song “The Black Dog” from TTPD is about a pub in South West London.

First Night in London: Setlist and Surprise Songs
Here’s what Swift performed on the first night of her London shows:

June 21
Mashup of “Hits Different/Death By a Thousand Cuts”
Mashup of “The Black Dog/Come Back Be Here”
Stay tuned for more updates as Taylor Swift continues her record-breaking Eras Tour across the UK.