Très attendu par les fans, non sans certaines craintes, le film live action The Legend of Zelda doit arriver au cinéma dans moins de deux ans. Le long-métrage de Nintendo, qui a été confié à Wes Ball, réunit un casting d'inconnus, mais qui ressemblent beaucoup aux héros Zelda et Link. Voici ce que l'on sait, alors que le tournage est en cours.

Le thriller addictif The Beast in Me, porté par Claire Danes et Matthew Rhys, squatte le top 10 de Netflix depuis sa sortie, le 13 novembre 2025. Mais reviendra-t-il pour une saison 2 ?

‘Did John not also step down from the show?’ asked one perplexed viewer

‘Hope things are OK,’ wrote one worried fan on social media

Contestant left ‘devastated’ after withdrawing from this weekend’s competition

You don’t need to be a fright flick aficionado to enjoy this smart and witty tale of a romantic weekend break going gruesomely wrong

It is certainly unusual to see in closeup an arrow fired into a naked scrotum before the title of a film has even been shown, but this is that rare film. The scrotum in question belongs to a man fleeing unclothed through the woods from an unseen assailant, together with an equally naked female companion who also comes swiftly to a sticky end. As opening salvoes go, it hits the spot, as it were.

Then the film proper begins. A couple arrive at a bougie rental home only to find themselves facing the ultimate millennial nightmare: you’ve shelled out your hand-earned cash on a place for the weekend but find another couple have also booked it. This is the problem of listings on multiple platforms! Or is something more sinister going on? (If the ballsack shish kebab didn’t tip you off, another clue lies in the fact that the movie is called Bone Lake, not Airbnb Clash.) Imagine the social boundary-pushing of recent horror Speak No Evil with characters from White Lotus season 2 using the set-up from Barbarian, and you’ll have a pretty good idea of how much fun this will all prove to be.

The Beast in Me, la dernière série du showrunner de Homeland, cartonne actuellement sur Netflix depuis sa sortie le 13 novembre 2025. Il faut dire que le thriller nous sert une intrigue pleine de rebondissements, menée par un casting en pleine forme, bien connu des sériephiles.

As Gore Verbinski’s AI-apocalypse film Good Luck, Have Fun, Don’t Die hurtles towards us, it’s clear from the over-caffeinated trailer that we won’t be getting another ponderous parable about robot souls, digital enlightenment or the hubris of man

It’s easy to forget, given the current glut of robot-uprising doom flicks, that Hollywood has been doing the artificial intelligence thing for decades – long before anything resembling true AI existed in the real world. And now we live in an era in which a chatbot can write a passable sonnet, it is perhaps surprising that there hasn’t been a huge shift in how film-makers approach this particular corner of sci-fi.

Gareth Edwards’ The Creator (2023) is essentially the same story about AIs being the newly persecuted underclass as 1962’s The Creation of the Humanoids, except that the former has an $80m VFX budget and robot monks while the latter has community-theatre production values. Moon (2009) and 1968’s 2001: A Space Odyssey are both about the anxiety of being trapped with a soft-voiced machine that knows more than you. Her (2013) is basically Electric Dreams (1984) with fewer synth-pop arpeggios.

La franchise Horizon, inaugurée en 2017 avec Horizon Zero Dawn sur PlayStation 4, puis Horizon Forbidden West en 2022, aurait récemment franchi le cap des 40 millions d’exemplaires vendus à travers le monde.

Gen Z actors such as Millie Bobby Brown and Jenna Ortega are refusing to do what is expected of ‘the talent’

Last week, I saw a clip that made me want to stand up and cheer. It was of the actor Millie Bobby Brown talking back to a photographer on a red carpet. The paparazzi had been yelling at her to smile, and Brown retorted: “Smile? You smile,” before walking off. She refused to do what was expected of her.

It’s a similar story with the star of the recent TV series Alien: Earth, Sydney Chandler. The actor did not appear on the cover of Variety magazine alongside the show’s creator and one of her co-stars, after she said she didn’t want to take part in a video interview for a regular series called How Well Do They Know Each Other?. The interviewer spent the first half of the resulting cover story explaining the situation in a bemused, tut-tutting tone, noting all the stars who had been willing to take part in the franchise.

Priya Elan writes about the arts, music and fashion

Lobbyists representing industry responsible for a quarter to a third of global emissions participated in key talks at the UN climate summit

More than 300 industrial agriculture lobbyists have participated at this year’s UN climate talks taking place in the Brazilian Amazon, where the industry is the leading cause of deforestation, a new investigation has found.

The number of lobbyists representing the interests of industrial cattle farming, commodity grains and pesticides is up 14% on last year’s summit in Baku – and larger than the delegation of the world’s 10th largest economy, Canada, which brought 220 delegates to Cop30 in Belém, according to the joint investigation by DeSmog and the Guardian.

Edna O’Brien on her sofa, Joseph O’Connor in his garden, Seamus Heaney surrounded by books … British photographer Steve Pyke on capturing the greats of Irish literature

A photographer’s road trip into the Californian desert takes an unexpected turn in director Joshua Erkman’s interesting feature debut

Director Joshua Erkman’s feature debut manages to deliver an impressively creepy horror exercise that’s also a bit of a send-up of horror conventions. At the same time, it feels like a weird dodge into borderline-abstraction and unknowable mystery that drains all the realism away, making this a mannered film-making exercise. But there’s no denying the level of craft on show, or the original way Erkman throws together practitioners of highfalutin art-world discourse and skeevy low-lifes, with bloody results. In generic terms, it definitely feels of a piece with other recent highbrow-meets-lowbrow scare-’em-ups, the kind of grad-school horror you might see in the queer-eyed I Saw the TV Glow, David Lowery’s stripped-down A Ghost Story, or director Ari Aster’s Hereditary. In other words: interesting for sure, but perhaps a bit pretentious for hardcore gorehounds.

In A Desert, we first meet photographer Alex (Kai Lennox) as he drives around the desiccated terrain of California’s Yucca Valley, listening to smooth contemporary jazz on his fancy SUV’s sound system and pulling over to take pictures of abandoned buildings. He shoots his images on a fancy 8x10 inch apparatus that uses photographic plates that need to be exposed for 10 second intervals. His subjects include disused cinemas and the ghost town remains of abandoned military bases – although in a voicemail he leaves for his wife Sam (Sarah Lind) he suggests he might shift over into portraits for a while. Clearly, he’s not especially interested in the people who live here, although when the trailer-trash-style couple (Zachary Ray Sherman and Ashley Smith) in the motel room next door come a-knocking, offering turpentine-tasting hooch and a chance to party, Alex is too polite/weak to resist.