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Chicago Med returns for its tenth season with familiar faces both in front of and behind the camera. The medical drama, set in the emergency department of Gaffney Chicago Medical Center, remains a core player in NBC’s prestigious “One Chicago” universe. Veteran actress S. Epatha Merkerson continues her steadying role as Chief Administrator Sharon Goodwin. And characters like Dean Archer, Hannah Asher, and Daniel Charles provide a sense of stability for frequent viewers.

Yet change is also in the air. Allen MacDonald now takes over as showrunner, taking over from the original creators. And the season premiere wastes no time introducing new talent to the cast. Dr. Caitlin Lenox, played by Sarah Ramos, arrives with a forceful bedside manner that immediately clashes with the established Dr. Archer. Darren Barnet also joins as the charming but potentially troublesome Dr. John Frost.

MacDonald frames their debut as part of a massive...

**Editor’s Note: This episode of Scene 2 Seen was taped before the July 14th start of the actor’s strike.

Hello and Welcome to the Scene 2 Seen Podcast I am your host Valerie Complex, Associate Editor at Deadline Hollywood. In this episode, I chat with French actor and screenwriter Salif Cissé.

Cissé began his acting and screenwriting career while still in high school, where he discovered his passion for the stage. He attended local conservatories before being admitted to the prestigious Conservatoire Nationale Supérieure d’Art Dramatique de Paris (National Academy of Dramatic Arts) in 2017.

During that time, he staged his first project, High Sign (Lewis John Carlino) at the Cartes Blanches Festival. From there he went on to be cast in 2019 by Guillaume Brac in his film, All Hands on Deck. Salif starred in his own original mini-series, Couronnes (Crowns), directed by Julien Carpentier and produced by Golden Network.

It’s February morning in Berlin. “I’m a little out of consciousness,” Christian Petzold explains, a tad frazzled but keen to talk––and Petzold likes to talk. His latest film Afire had premiered the night before and the party had slipped into the wee hours. “There’s Thomas, he was at the party till 6 a.m.,” Petzold explains as his leading man shuffles by, fresh from a round of junkets and looking just a little shellshocked.

That look is one that viewers will soon be familiar with when Afire is released this week. Taking place in a secluded house by the Baltic Sea, it shows Petzold at his most sultry and melodramatic. The drama stars Thomas Schubert as Leon, a writer struggling to follow up on the success of his first novel. He travels with a friend for a summer getaway but becomes infatuated with a woman who shares the house with them.

After six seasons on the air, the lights have officially gone out at Chastain Memorial Hospital as The Resident has been canceled at Fox.

The 20th Television series saw a significant decrease in ratings as the seasons went on. Season 6 averaged about 6.9M viewers per episode after seven days of delayed viewing, which was down 12% vs Season 5 and 35% vs. Season 1. In the 18-49 demographic, Season 6 episodes averaged about a 0.5 rating in L7. That’s down a significant 69% from the first season’s demo rating. Compared to the previous season, Season 6 was down 27% in the demo.

The series concluded on January 16 with the 107th episode of the series titled, “All Hands On Deck.” It was wrapped up with Conrad Hawkins (Matt Czuchry) finally getting his happy ending by declaring his love for Billie Sutton (Jessica Lucas). Ian Sullivan (Andrew McCarthy) came clean about his drug addiction and got to keep his...

Smoky casinos, ceaselessly chiming slot machines, and drinking that happens so early it almost perverts the concept of day-drunk — Las Vegas has it all. This year, it also had the Grammys. Outside the main event, the 2022 edition of “Music’s Biggest Night” didn’t draw as many parties as it has in the past, but it turned out less was more this time around — a phrase surely never before uttered in the land of buffets and 8 a.m. cocktails.

Joni Mitchell Returns

A musical “this is your life” for the one and only Joni Mitchell,...

12th edition of online festival showcases 30 French-language features and shorts on 70 VoD services.

David Dufresne’s documentary The Monopoly Of Violence has clinched the Grand Prix and the international press jury award at the 12th edition of Unifrance’s online festival MyFrenchFilmFestival.

The hard-hitting work, exploring police violence during the yellow vest protests, is produced Le Bureau and sold internationally by The Bureau Sales.

Running from January 14 to February 22, the festival is showcasing 30 French-language features and shorts on 70 VoD services worldwide. Past editions have registered in excess of 12 million views.

The international jury composed of Mexican-us music engineer Michelle Couttolenc and directors Joachim Lafosse,...

Running Jan. 14-Feb. 14, this year’s MyFrenchFilmFestival, an online fest organized by France’s film-tv promotional body UniFrance, will mark its 12th edition with a more diversified slate and a greater international push.

Showcasing festival gems, animated crowd-pleasers and outré genre fare – all subtitled in 15 languages – the 13 features and 17 shorts of this year’s selection will reach home viewers via 70 partner platforms as well on MyFrenchFilmFestival.com, where all the shorts will be available to screen free of charge.

Though ranging in presentational style from horror-comedy to bittersweet drama, the 10 films in this year’s feature competition often share similar thematic through lines, with nearly half of them looking at youth struggles from one angle or another. While Ludovic and Zoran Boukherma’s werewolf thriller “Teddy” tackles late teen growing pains through a more genre prism, Kamir Aïnouz’s “Honey Cigar” does so as a semi-autobiographical coming-of-age tale; when exploring young adult malaise,...

Established in the 1950s by André Bazin, Joseph-Marie Lo Duca, and Jacques Doniol-Valcroze, France’s Cahiers du cinéma has recently gone through major changes this year, with their staff quitting en masse to protest new ownership. The heralded magazine, however, has soldiered on and returned last year. They are now back with their favorite films of 2021.

Topping the list is Kelly Reichardt’s First Cow, a film that premiered in 2019, came out in the U.S. in 2020, and finally arrived in France this year. Over half the list features Cannes selections, including Leos Carax’s Annette, Apichatpong Weerasethakul’s Memoria, and Ryusuke Hamaguchi’s Memoria.

There’s also the requisite entry that hasn’t traveled far beyond France, Guillaume Brac’s À l’abordage aka All Hands on Deck, as well as my personal favorite 2022 U.S. release thus far: Silvan and Ramon Zürcher’s The Girl and the Spider.

See the full list below.

Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSAbove: Cinemateca Brasileira. (WikiCommons)A devastating fire hit the Cinemateca Brasileira on July 29 and has left significant damage to the longest-running cinema institution in Brazil. In response, the workers of Cinemateca Brasileira have shared a statement regarding the continual mistreatment of facilities and staff by the government: "Without workers archives can not be preserved!" After facing unexpected budget cuts, microcinema No Evil Eye Cinema has announced a fundraising call for action and is seeking grants, foundational support, and other funding opportunities to sustain their programming and educational programs. On the Score podcast last week, composer Carter Burwell stated that "[Ethan Coen] just didn’t want to make movies anymore," in response to a question about Joel Coen's The Tragedy of Macbeth. This may mean the Coens are done working as a directing duo,...

Guillaume Brac's film All Hands on Deck is exclusively showing on Mubi in most countries in the series The New Auteurs, as well as the retrospective Summer Light: Films by Guillaume Brac.Just over a year ago, the director of the Cnsad (Conservatoire National Supérieur d’Art Dramatique—the Higher National Conservatoire for Dramatic Art), Claire Lasne-Darcueil, asked me to write a feature-length fiction film for a dozen young actors from the class of 2020. With one proviso: I had to shoot between summer and autumn 2019, so that the film would be finished by the time they graduated.I immediately saw this as an opportunity to paint the fictional portrait of a generation, just like Pascale Ferran did twenty-five years ago with L’âge des possibles, written for a class at the Théâtre National de Strasbourg. Or the filmmakers of two collections, Tous les garçons et les filles de leur âge and Les années lycée,...

Closing out the summer, Mubi has unveiled their August 2021 lineup, kicking off most fittingly with Brett Story’s acclaimed recent documentary The Hottest August. Also among the lineup is Akira Kurosawa’s epic Ran, Fritz Lang’s hugely entertaining two-parter The Tiger of Eschnapur and The Indian Tomb. As his latest films arrive, Pablo Larraín’s The Club is also part of the lineup.

Xinyuan Zheng Lu’s Rotterdam winner The Cloud in Her Room is coming to Mubi in August, plus a “late film” special featuring Manoel de Olviera’s Gebo and the Shadow and The Last Sentence by Jan Troell. There will also be a canine double feature of Heddy Honigmann’s Buddy and Los Reyes by Bettina Perut and Ivan Osnovikoff.

See the lineup below and get 30 days of Mubi free here.

August 1 | The Hottest August | Brett Story

August 2 | Gebo and the Shadow | Manoel de Oliveria | Twilight...

, Guillaume Brac’s wise, witty “À l’abordage” is an optimistic portrait of gentle disappointment, the kind a youthful generation has to experience before growing up a little bit. It’s also a delightful showcase for the talents of its diverse, fresh-faced cast, whose own stories and experiences contributed to Brac and co-screenwriter Catherine Paillé’s loose-limbed narrative. That improvisational approach lends “À l’abordage” an amiably meandering rhythm while still bringing its breezy journey to a close with everyone in a subtly but profoundly different place to where they started.

The title, which translates somewhere between “All aboard!” and “Attack!”, was supposedly the battle-cry of French pirates when they drew up alongside an enemy ship. Not that there’s any bloodthirstiness here; instead the words conjure up a kids’ game of make-believe, as though these attractive, benignly muddled twentysomethings are play-acting their bravado as surely as kids sporting plastic eyepatches waving cardboard cutlasses around.