Furniture choices reflected the cinematic elitism of the era. Inside private lounges, the aesthetic leaned heavily on classic French salon culture. Tufted velvet sofas in deep burgundy or navy anchored the rooms. Louis XV–style chairs with curved legs and floral upholstery formed small conversation clusters. Gilt-framed coffee tables held crystal ashtrays and champagne coupes. These weren’t spaces for quick interactions—they were designed for dramatic, theatrical lingering.

Furniture served as more than mere decoration. It sent signals. The seating had weight—both literally and metaphorically. These chairs weren’t made to be rearranged on a whim. They rooted people to a position of stillness and prestige. Designers and festival organizers were not concerned with mobility or practicality. What mattered was image.

Iconic photographs of the time show stars like Catherine Deneuve perched elegantly on ornate armchairs, surrounded by a décor that resembled the backdrop of a European palace more than a press area. These were moments carefully staged by their surroundings, with furniture playing a silent but vital role in the composition.

Cannes, during this decade, was still largely a French affair. International studios were present but hadn’t yet asserted control over the visual language of the festival. As a result, the aesthetic was less about global luxury and more about French cultural dominance. It was cinematic aristocracy in plush form.

Even in public-facing areas, the furniture maintained a formal tone. Outdoor seating, for example, consisted of wrought iron café sets with stiff cushions. They weren’t designed for comfort. They were props for an ongoing visual narrative of exclusivity. This was an era where a chair wasn't just a chair—it was a throne for temporary royalty.

By the 1980s, the Cannes Film Festival began to shimmer with the influence of global wealth and international branding. The arrival of American studios, corporate sponsors, and a growing obsession with celebrity changed the tone—and the furniture followed suit. Heavy baroque décor gave way to shinier, louder, and more photogenic materials.

Lucite chairs, chrome-framed lounge sets, and mirrored coffee tables became the norm in VIP areas. The once-muted palette of creams and reds exploded into high-contrast environments featuring metallic finishes, jet-black leather, and mirrored surfaces. The function of furniture started shifting toward spectacle.

Cocktail tables began carrying more than drinks. Many were branded—logo placements etched into glass or printed onto runners. Sponsored lounges introduced furniture designed to echo luxury but made for temporary installation. Faux-marble side tables, acrylic stools, and neon signage created a nightclub-like atmosphere within the Mediterranean sun.

Seating began to reflect hierarchy more visibly. VIP zones were not just roped off—they were furnished differently. Plush armchairs with angled backdrops created photo zones where celebrities would be encouraged (or required) to

What makes gambling so cinematic isn’t just the stakes—it’s the psychology. A raised eyebrow during a poker bluff. A trembling hand at the craps table. These moments reveal characters at their most honest and most desperate. Gambling movies are rarely just about games—they’re about people. The gambler archetype is often reckless, brilliant, flawed. They walk into rooms lit by neon and walk out with nothing, or everything, or something much harder to name.

Great gambling films dig into deeper themes: addiction, ambition, deception, and redemption. They explore the edge where control ends and chaos begins. They ask questions like: Can you win without losing part of yourself? What happens when you believe the next bet will fix everything?

And it’s not all about Vegas. Yes, Sin City owns much of the cinematic gambling space, but other locations bring different flavors. Parisian poker rooms, smoky Hong Kong mahjong dens, back-alley card games in Seoul—they carry their own histories, tensions, and styles. Each backdrop adds new shades to the gambler's journey. While Vegas symbolizes excess, other cities often focus on desperation, subtlety, or legacy.

What binds all great gambling stories is that blend of adrenaline and intimacy. The risk is never just on the table—it’s in the heart of the player.

Before Texas Hold’em was a household term, films like The Cincinnati Kid introduced audiences to the stoic poker face and the long con. Released in 1965, it pits a rising poker star against an old legend—not just for cash, but for respect. Its slow pace and simmering tension reflect a time when gambling was less about spectacle and more about control and character.

Then there’s The Sting (1973), starring Paul Newman and Robert Redford. While not strictly a gambling movie, it deals with con games and bets of a different kind. The charm lies in the elaborate deception and the way it turns the audience into accomplices. With jazz-era costumes and a razor-sharp script, it became a blueprint for countless heist and gambling-inspired films that followed.

California Split (1974), directed by Robert Altman, dives deeper. It's raw, messy, and surprisingly personal. It follows two men slowly dissolving into the betting life—not glamorously, but honestly. There’s no big score at the end, no clear moral, just a portrait of how gambling can consume. Elliott Gould and George Segal deliver performances that feel more lived-in than scripted.

These early films shaped the grammar of gambling cinema. They gave us slow-burn tension, the hero vs. the odds, and the idea that not all wins are victories. They also built the foundation for the antihero gambler—the charming rogue who’s always one bet away from destruction or salvation.

More importantly, these classics influenced every poker scene that came later. The close-ups, the eye flicks, the raise-calls-folds—filmmakers copied these moves again and again because they worked. They didn’t need flashy edits or special effects. They had the power of risk in every shot.

When directors want to showcase

What he needs the most now is to believe. 

This idea of knowing you can do it, and that you deserve to make it, is a central part of the story. Director Elan Milkes plays with these elements of character through mystical interludes that bring cosmic importance to the action on the ground. It is as if he is suggesting you need to be in harmony with the universe to reach your full potential and find your purpose in life. But how do you know when you're in sync with something so much more vast than yourself? The dramatic question in Finding the Zone is whether professional baseball is, in fact, the young man's calling. 

You can watch the trailer here: Finding the Zone

BENTONVILLE FILM FESTIVAL, LED BY GEENA DAVIS, ANNOUNCES WINNERS OF 11TH ANNUAL FESTIVAL

“Rosemead” Wins Best Narrative Award

“The Librarians” Wins Best Documentary Award

The Bentonville Film Foundation, in collaboration with founding partner, Walmart, and presenting sponsor, Coca-Cola, announced the winners of their narrative, documentary, homegrown, short film, and episodic categories from the 2025 Bentonville Film Festival’s competition program. The 11th anniversary of the festival ran from June 16-22 in Bentonville, AR. The annual Festival is a globally recognized platform that champions the transformative power of storytelling—creating space for a world where every voice matters and every story is seen, heard, and valued.

“Rosemead” from Eric Lin won the award for Best Narrative Award and “The Librarians” directed by Kim A. Snyder took home the prize for Best Documentary Award. Additionally, the Rising to the Challenge Award, was presented to Lucy Liu, producer and star of “Rosemead”. The Rising to the Challenge Award has been given to a select few artists in the history of Bentonville Film Festival and honoring those who represent the true impact of supporting independent film both in front of and behind the camera. The Rising to the Challenge Award celebrates artists who put their talent, passion and experience on the line in the service of empowering stories that are otherwise underrepresented.

“These awards reflect the passion and drive of storytellers, whose work will continue to broaden perspectives and engage audiences throughout the year,” said Bentonville Film Festival Chair Geena Davis. “We congratulate our BFF award winners and we’re so thankful to every filmmaker here for their contributions to the success of this year’s BFF!”

Additional winners are as follows:

Best Narrative

Jury: Marie Jamora (Director; Guest Artistic Director of AFI's Directing Workshop for Women), Bomani J. Story (Director, The Angry Black Girl and Her Monster)

Best Narrative: ROSEMEAD

(Director, Eric Lin; Writer, Marilyn Fu; Producers, Mynette Louie, Andrew Corkin, Lucy Liu)

Jury Statement: “Rosemead” captures the terrifying realities of motherhood in our contemporary era.  When culture, society, and healthcare break down, how can a mother protect her own child? With a powerhouse performance from the often underused Lucy Liu, you understand every choice she makes. Director Eric Lin sparks real world conversations about the society we’re living in through an intimate, unflinching film based on true events in the San Gabriel Valley. The very essence of what great cinema can do. 

Special Jury Mention for Directorial Vision: COLOR BOOK

(Director/Writer, David Fortune; Producers, Kiah Clingman, Kristen Uno, Autumn Bailey-Ford)

Jury Statement: David Fortune’s “Color Book” makes daring choices through form and subject matter.  In a stripped down tale of a father just trying to get his son to a baseball game, the film unearths profound themes about the world we live in with a consistent command of beautiful visuals, performances, and crisp storytelling. Fortune’s vision speaks through a confident hand like he’s done this many times before.

Special Jury Mention for Ensemble Cast: ADULT CHILDREN

(Director/Producer, Ric

Submit now to be a part of all the excitement and join our community of Filmmakers from around the world. See you this year in NYC and in 2026!!

SUBMIT I Website I Profile on filmfestivals.com I Facebook I Twitter I  I  

In a world divided by fear Independent Filmmakers from around the world join together in New York City for one week every year to share ideas, hopes and dreams. As the filmmaker's show their films, talk on panels and interact with fans, the world's similarities become obvious. Help the New York City Independent Film Festival provide a showcase for the best independent cinema, from New York City and around the world. The Festival offers the artisan filmmaker the potential for networking and distribution.

The New York City Independent Film Festival was just voted the second-best film festival in New York City by Secret New York https://secretnyc.co/best-nyc-film-festivals/. We are right behind the TriBeCa! With our budget being a fraction of TriBeCa’s this is a real honor. We are thrilled! We couldn’t do it without you and your films, so we thank you for your support.

New York City Independent Film Festival (NYCIndieFF) will celebrate the Independent Filmmaker, documentaries, short and feature-length films and animation. Whether a submission is comedic, dramatic, or something in between, The NYCIndieFF is eager to embrace fresh ideas and storytelling.

Home of the NYC Indie Awards the festival aims to discover the Artist Filmmaker, showcasing them to the entertainment industry and the NYC public. All NYCIndieFF screenings take place in the historic center of NYC, Time Square which is the perfect home for an event geared toward creating incredible opportunities for independent voices.

NYCIndieFF honors the Best in Category which includes Best Narrative Feature, Best Documentary, Best Short Documentary, Best Short Narrative, Best Super Short, Best Covid Diaries, as well as Best Director and Best Screenplay.

NYCIndieFF provides a showcase for the best in independent cinema, including short films, feature films, music videos, and animated works. With panels, parties and a week-long gathering of fellow indie filmmakers NYCIndieFF is the place to be June 2 to June 8, 2025 This dates may move to accommodate any and all government regulations.

Submit now to be a part of all the excitement and join our community of Filmmakers from around the world. See in this year in NYC and in 2026!!

By Jessica Herndon Hacks is more than just a show — it’s a masterclass in creative collaboration, both in front of and behind the camera. The hilarious and dramatic series thrives on the chemistry between its characters, which is a result of the dynamic partnership between the creators and writers, Jen Statsky, Lucia Aniello, and […]

The post How “Hacks” Writers Jen Statsky and Lucia Aniello Shape the Show’s Iconic Characters first appeared on sundance.org.

The Red Sea Film Foundation celebrates Elham Ali, Jacqueline Fernandez, Gaya Jiji, Amina Khalil, Rungano Nyoni, Sarah Taibah, and Engfa Waraha at the Red Sea IFF Women in Cinema Gala

The Red Sea Film Foundation (Red Sea FF) tonight hosted the Women in Cinema Gala, celebrating the achievements of emerging female talent in front of and behind the camera, who are redefining the film industry in the Arab World, Africa and Asia.

During the event held alongside the 78th Cannes Film Festival at the iconic Hotel du Cap-Eden-Roc in Cap d’Antibes, the Red Sea FF spotlit the careers of a cohort of seven women making waves in the film and entertainment industries.

The Women in Cinema spotlight honourees this edition are; Elham Ali, a Saudi actress who is considered one of the most prominent figures in Gulf and Saudi television and cinema. She began her career in theatre before making a successful transition to acting, and is known for her work in both dramatic and comedic roles including The Cello (2023), The Prisoner (2023) and Bilal The Sixth (2021). Elham Ali is a talent writer and has served on the jury for several film festivals, including the Emmys, Saudi Film Festival and the Bahrain Film Festival.

Jacqueline Fernandez is a South Asian actress. Former Miss Universe Sri Lanka, Jacqueline transitioned into Bollywood and has been part of the industry for 15 years. She quickly rose to fame for her performances in Murder 2 (2011) and Housefull 2 (2012). She has several commercial box-office successes like Race 2 (2013) and Kick (2014). In 2022, Jacqueliene starred in the international anthology film Tell It Like a Woman, portraying the character Divya. The film's song "Applause," was nominated for Best Original Song at the 95th Academy Awards. Jacqueliene also starred in her international debut dim Kill 'Em All 2, an action-packed sequel featuring Jean-Claude Van Damme. Beyond the screen, Jacqueline is a global ambassador for wellness and animal rights.

Gaya Jiji  is a Syrian filmmaker, born in Damascus who has directed three short films: The Haunted House (2003), created for a workshop at the University of Paris 8; The Father... too (2009), produced by the Damascus Arab Capital of Culture which received a Special Mention from the Jury at the FIFAK Festival - Tunisia 2009; and Morning, noon, evening... and morning (2011), which won the Best Short Film Award by Cinemag, and was selected for numerous festivals worldwide. Her first feature-length film, My Favorite Fabric, was selected in the Un Certain Regard section at the 2018 Festival de Cannes and was awarded the Women in Motion Young Talent Award at the 2016 Cannes Film Festival.

Amina Khalil is one of the Arab world’s most distinguished actresses, acclaimed for her bold artistic choices, depth of performance, and commitment to authentic storytelling. Over nearly 15 years, she has starred in celebrated works such as Grand Hotel, Layali Eugenie, Leh Laa, Curfew, Face2Face, A Nose and Three Eyes and Shamarikh. The latter two both premiered at the Red Sea International Film Festival in 2024, further solidifying her reputation for powerful, layered performances.

Rungano Nyoni is a Zambian-Welsh director, screenwriter and actress, who gained recognition with her early shorts, including&nb

Special Guests Include Spike Lee, Richard Linklater, Vicky Krieps, Michael Angelo Covino, and many more
Arab Film & Media Gold House, Easterseals, The Impact Lounge, Institute, United for Business and Visit California, to present panels

Legendary filmmakers, acclaimed actors, and headline-making journalists will be among those featured during the upcoming Industry In Focus Series and In Conversation programming at The American Pavilion (AmPav) at the 2025 Cannes International Film Festival, it was announced by Julie Sisk, Founder and President of The American Pavilion (www.ampav.com). 

Panels and conversations will take place in the Roger Ebert Conference Center and are open exclusively to AmPav members (https://www.ampav.com/cannes/). Programming begins Wednesday, May 14, and continues through Thursday, May 22, with a packed schedule of more than 25 sessions planned.

“We’re excited to welcome such an extraordinary group of filmmakers, talent, and industry leaders to The American Pavilion,” said Julie Sisk, Founder and President. “From icons like Spike Lee and Richard Linklater to visionary voices shaping the future of film, these conversations offer our members, students, and Emerging Filmmaker Showcase entrants a rare opportunity to engage with the people pushing cinema forward.”

This year’s prestigious In Conversation series features intimate discussions with filmmakers Spike Lee (Do the Right Thing) and Michael Angelo Covino (The Climb, Splitsville)as well as actor Vicky Krieps (Phantom Thread, Corsage). 

May 15 is California Day at The American Pavilion, presented by Visit California, California Film Commission, California Wine Commission, Love Beverly Hills, Marina Del Rey Tourism Board, Santa Monica Travel and Tourism, and Visit West Hollywood.   Conversations will center around Filming In California- The Opportunities and the Misconception, and Filming Across Decades- Insights from Seasoned Storytellers.  

Presented by United for Business, Indiewire hosts a series of Future of Filmmaking panels which include conversations about international production, film finance, distribution, documentaries, short films, AI, and other topics.  The series features a keynote chat with the contemplative and insightful filmmaker, Richard Linklater (Before Sunrise, Boyhood, Dazed and Confused)

On May 18 and 19, the American Pavilion presents House Party, a two-day summit featuring bold voices and global perspectives in film. Highlights include panels from the Arab Film & Media Institute, The Impact Lounge, and a conversation hosted by Easterseals on reimagining disability inclusion in entertainment, featuring actor and filmmaker Nic Novicki. Additional sessions—Global Storytelling and Why These Stories Matter: Representation in Hollywood—will explore the power and urgency of authentic, diverse narratives. Gold House will also host a Fireside Chat with Lucky Lu director Lloyd Lee Choi and producer Nina Yang Bongiovi