WOW Wow Wow Wow !

Quelle beauté sidérante !

During the filming of Betty Blue (1986), director Jean-Jacques Beineix said stars Jean-Hugues Anglade and Béatrice Dalle were “flirting all the time,” adding, “We didn't know if we were in the movie anymore.” Anglade later recalled, “Everything was confused between fiction and reality,” as the cast lived near the same beach bungalows used in the film. “It was magic... We were like children,” he said.

This scene is so good.

Imagine Tarantino dropping a chronological cut of Pulp Fiction on Blu-ray — the way Gaspar Noé did with Irreversible. Who’s in ?

PAST LIVES & IN THE MOOD FOR LOVE — SAME SHELF There’s a secret shelf in cinema history. It holds films that frame love as geometry: two bodies, the space between them, and time passing without filling anything in. Wong Kar-wai placed In The Mood for Love there in 2000. Céline Song slipped Past Lives onto it in 2023. They speak to each other. Why the same shelf The cinema of regret. Not grief — regret, that finer sadness that knows no decision could have saved the story. Mr. Chow and Mrs. Chan are married to other people. Nora and Hae Sung are separated by an ocean and by a 12-year-old girl who once boarded a plane to Toronto. The obstacles change. The impossibility remains. Restraint. Neither film shows the act. Wong Kar-wai films a hand brushing past. Céline Song films a taxi pulling away. What is never consummated becomes eternal — that is the shelf’s rule. The space between bodies. Both filmmakers frame distance as a third character. The camera refuses to close it. It respects. Named destiny. Yuanfen in Mandarin, in-yun (인연) in Korean — the Buddhist belief that souls cross paths across lifetimes. Past Lives makes it the title. In The Mood for Love makes it the climate. Same metaphysics, two harbors. The whispered confession. Chow confides his secret to a hole in the wall at Angkor Wat. Nora and Hae Sung stand on a New York sidewalk and know, without saying it, that they may meet again — but in another life. Céline Song has seen In The Mood for Love. You feel it in every frame. Fun facts : — The film is nearly autobiographical. Céline Song lived that exact scene — her American husband sitting at a bar between her and her Korean childhood love, while she translated. She went home and wrote the screenplay. — Her husband, Justin Kuritzkes, wrote Challengers and Queer. The couple was writing both screenplays in parallel. — Teo Yoo, who plays Hae Sung, was born in Cologne, Germany. He had to rework his Korean to make it sound native. — Céline Song had never directed a film before Past Lives. She comes from theatre — a playwright in New York. — Greta Lee, mostly known for comedic roles (Russian Doll, The Morning Show), landed her first major dramatic part at 39. — The score is by Christopher Bear and Daniel Rossen, of Grizzly Bear. — Cinematographer Shabier Kirchner had shot Steve McQueen’s Small Axe. — Two Oscar nominations: Best Picture and Best Original Screenplay. No statuette — but a place on the shelf. #BeautifulNeonPunch #PastLives #InTheMoodForLove #CelineSong #WongKarWai #A24 #GretaLee #TeoYoo #Cinema #Cinéma

🌊 NOLAN GOES TO TROY — ON CELLULOID 🌊 Three thousand years after Homer, a 54-year-old Brit loads IMAX 70mm reels into cameras that didn’t exist a year ago, and drags Matt Damon, Tom Holland, Anne Hathaway, Zendaya, Robert Pattinson, Charlize Theron, Lupita Nyong’o and Jon Bernthal across five countries and three seas. No green screen. No comfortable soundstage. Aït Benhaddou under full Moroccan sun, the coasts of Messinia where Greeks were telling the story before they wrote it down, the Sicilian island of Favignana — the very one the ancients placed on Odysseus’s homeward route. Nolan isn’t shooting a sword-and-sandal epic. He’s replaying a myth on its own ground, with the most demanding camera tech ever held on a shoulder. His obsession: a “tactile realism” where the gods don’t show up in glossy VFX, but through those natural phenomena the Ancients mistook for the supernatural. The supernatural as thickness of the real. That’s the bet. In theaters July 17, 2026. Opening day IMAX 70mm tickets sold out a full year early. 🎬 BEHIND-THE-SCENES FUN FACTS : 🎞️ Production codename: Charlie’s Tale. On schedules, on shooting permits, on call sheets — no one was officially supposed to know it was The Odyssey. 📽️ First feature film in history shot entirely on IMAX 70mm. Over 2 million feet — 610 kilometers — of celluloid consumed. That’s the distance from Paris to Geneva, frame by frame. 🛠️ Nolan called up IMAX and asked them to fix their cameras’ flaws. IMAX delivered: a new generation, lighter and quieter. Result: Hoyte van Hoytema could finally shoot IMAX 70mm handheld — never done before in the format. 🌪️ Damon on the noise of these IMAX cameras, even the new ones: “like a blender in your face.” 📅 91 days of shooting between February and August 2025. Wrapped 9 days ahead of schedule. Peak Nolan. 🏰 Aït Benhaddou (Morocco) plays an ancient city. The ksar had already hosted Gladiator II and Game of Thrones — it’s become Hollywood’s default location whenever the script says “ancient Mediterranean.” ⚓ Shoot on Favignana, Sicily — an island historically thought to have inspired one of Odysseus’s legendary landings. Nolan filming the myth on the myth. ❄️ Iceland for the hostile coasts: Markarfljot River, Hjorleifshofdi Beach. Black water and volcanic sand do the work without a single line of VFX. 💰 Budget: $250 million. The most expensive film of Nolan’s career. ⚔️ Damon’s red-plumed Corinthian helmet, unveiled in the first-look image, was instantly flagged as historically inaccurate by historians and commentators — wrong period, wrong shape. Nolan doesn’t care. Iconography > accuracy. 🎭 Ludwig Göransson back on score after his Oppenheimer Oscar. Hoytema behind the camera since Interstellar. Jennifer Lame in the cutting room. Same gang — just closer to the sea. 🗣️ Nolan’s one-line summary of the shoot: “an absolute nightmare to film — but in all the right ways.” #TheOdyssey #ChristopherNolan #MattDamon #IMAX70mm #HoyteVanHoytema #Cinema #Homer #Cinephile #BeautifulNeonPunch

HEAT, 1995. Fun Facts : It’s a true story. Cop Vincent Hanna is based on Chuck Adamson, a former Chicago detective. And Neil McCauley actually existed — a thief killed by Adamson in 1964. The famous line “don’t let yourself get attached to anything you are not willing to walk out on in 30 seconds flat” comes from the real McCauley. Christopher Nolan copied the opening for The Dark Knight. The bank heist with clown masks in Gotham is a direct, openly acknowledged tribute to Heat’s armored truck attack. Nolan has said so in interviews. The hidden detail: Hanna is a cocaine user. Mann ex plaines that Pacino’s erratic rhythm, his verbal explosions (“She’s got a GREAT ASS!”), come from there — but he never wanted to show it on screen. A buried psychological key, never spelled out. Natalie Portman is 13. Her bathtub suicide attempt scene was shot right after Léon. Mann had to negotiate with her parents for every take. The ghost cast. Henry Rollins, Tone Loc, Danny Trejo, Hank Azaria, William Fichtner, Jeremy Piven, Tom Noonan — Mann filled the supporting roles with faces we’d see everywhere ten years later. Heat 2 exists — as a novel. Mann published it in 2022 (with Meg Gardiner), a book that’s both prequel (1988, Chicago) and sequel (1995 , Paraguay). Film adaptation in development, with Adam Driver tipped to play the young Neil McCauley. #Heat #MichaelMann #DeNiro #Pacino #BeautifulNeonPunch​​​​​​​​​​​​​​​​ French : C’est une histoire vraie. Le flic Vincent Hanna est inspiré de Chuck Adamson, ancien détective de Chicago. Et Neil McCauley a réellement existé — un braqueur abattu par Adamson en 1964. La fameuse réplique « don’t let yourself get attached to anything you are not willing to walk out on in 30 seconds flat » vient du vrai McCauley. Christopher Nolan a copié l’ouverture pour The Dark Knight. Le braquage de banque avec masques de clowns dans Gotham est un hommage frontal et assumé à l’attaque du fourgon blindé de Heat. Nolan l’a répété en interview. Le détail invisible : Hanna est cocaïnomane. Mann a expliqué que le rythme erratique de Pacino, ses explosions verbales (« She’s got a GREAT ASS! »), viennent de là — mais il n’a jamais voulu le montrer à l’écran. C’est une clé psychologique cachée, jamais explicitée. Natalie Portman a 13 ans. Sa scène de tentative de suicide dans la baignoire est tournée juste après Léon. Mann a dû négocier avec ses parents pour chaque plan. Le casting fantôme. Henry Rollins, Tone Loc, Danny Trejo, Hank Azaria, William Fichtner, Jeremy Piven, Tom Noonan — Mann a rempli les seconds rôles avec des visages qu’on retrouvera partout dix ans plus tard. Heat 2 existe — en roman. Mann a publié en 2022 (avec Meg Gardiner) un livre qui est à la fois préquel (1988, Chicago) et séquel (1995 , Paraguay). Adaptation ciné en développement avec Adam Driver pressenti pour incarner le jeune Neil McCauley.

Cult one day? Already. Kanye’s Yeezus owes it its visual DNA. All of 2010s pop looted its neon-pastel palette. A24’s whole identity (the studio distributed it in the US) was born here: indie cinema that refuses to apologize for being beautiful. Spring Breakers is aging like a quiet classic — we’ll only recognize it as cult the day no one remembers having called it vulgar. Fun Facts : • James Franco built Alien out of Saint Pete rapper Dangeruss and Riff Raff — the latter publicly threatened to sue the production. • Cinematography by Benoît Debie, Gaspar Noé’s DP on Enter the Void and Climax — hence the liquid neon. • Score co-composed by Cliff Martinez (Drive) and Skrillex: a rare generational clash. • Rachel Korine, who plays Cotty, is the director’s wife. • Premiered in competition at the 2012 Venice Film Festival — Korine came out of Gummo and Trash Humpers, art-objects of US underground cinema. • Korine wrote the screenplay for Larry Clark’s Kids very young, spotted on a skate park at Washington Square. • Spring Breakers is one of A24’s founding films, distributed by the studio just months after it was created. #SpringBreakers #HarmonyKorine #JamesFranco #BenoitDebie #CliffMartinez #Skrillex #A24 #BeautifulNeonPunch​​​​​​​​​​​​​​​​ French : Culte un jour ? / Cult one day ? Déjà. Yeezus de Kanye lui doit son ADN visuel. Toute la pop des années 2010 a pillé sa palette néon-pastel. L’identité A24 (qui l’a distribué aux US) est née ici : un cinéma indé qui ne s’excuse pas d’être beau. Spring Breakers vieillit comme un classique en sourdine — on ne le reconnaîtra culte qu’au moment où plus personne ne se souviendra de l’avoir trouvé vulgaire. Fun Facts : • James Franco a sculpté Alien à partir du rappeur de Saint Pete Dangeruss et de Riff Raff — ce dernier a publiquement menacé de poursuivre la production. • La photo est signée Benoît Debie, chef-op de Gaspar Noé sur Enter the Void et Climax — d’où le néon liquide. • La BO est co-composée par Cliff Martinez (Drive) et Skrillex : choc générationnel rare. • Rachel Korine, qui joue Cotty, est la femme du réalisateur. • Présenté en compétition à la Mostra de Venise 2012 — Korine venait de Gummo et Trash Humpers, films-objets de l’underground US. • Korine a écrit le scénario de Kids (Larry Clark) tout jeune, repéré sur un skate park à Washington Square. • Spring Breakers est l’un des films fondateurs d’A24, distribué par le studio quelques mois après sa création. #SpringBreakers #HarmonyKorine #JamesFranco #BenoitDebie #CliffMartinez #Skrillex #A24 #BeautifulNeonPunch

CHUNGKING EXPRESS — Wong Kar-wai shot the coolest film of the 90s like he was pulling a heist. 23 days of shooting. No script. Wong wrote each scene the night before, or the morning of. The film wasn’t even planned: Wong was on a break from the marathon of Ashes of Time. He just wanted to clear his head. He came back with a masterpiece. His method, in his own words: “We called ourselves CNN. Just bring the camera and shoot. No permits, no licence. Every day was like planning a robbery.” Christopher Doyle lived right next to the brand-new Mid-Levels escalator (opened 1993). Wong looked around and told Chris: “Your apartment is the perfect place for this story.” They took it hostage. They flooded it. Doyle was literally holding the camera while his own bathroom drowned. Brigitte Lin was shooting her 100th film. Wong asked her to channel a hybrid of Gloria Swanson in Sunset Boulevard and Gena Rowlands in Cassavetes’ Gloria. She’d retire from cinema right after. Faye Wong, already Cantopop royalty, made her screen debut here. Her cover of The Cranberries’ Dreams would become iconic across Asia and break dream pop wide open in Hong Kong. Two cinematographers split the film: Andrew Lau on Brigitte Lin and Takeshi Kaneshiro, Doyle on Tony Leung and Faye Wong. Editing? Wong and William Chang, simultaneously, one storyline each. Wong had written a third story. No time. He’d turn it into Fallen Angels the following year. Quentin Tarantino fell in love, picked it up for Rolling Thunder Pictures, brought it to the US. The rest is history. A film shot like an escape. Became a love letter to Hong Kong. #WongKarWai #ChungkingExpress #FayeWong #TonyLeung #BrigitteLin #ChristopherDoyle #HongKongCinema #BeautifulNeonPunch French : CHUNGKING EXPRESS — Wong Kar-wai a tourné le film le plus cool des années 90 comme un casse à main armée. 23 jours de tournage. Pas de scénario. Wong écrivait les scènes la veille au soir, ou le matin même. Le film n’était même pas prévu : Wong faisait une pause au milieu du marathon d’Ashes of Time. Il voulait juste « s’aérer ». Il en a sorti un chef-d’œuvre. Sa méthode, dans ses propres mots : « On s’appelait CNN. On débarquait avec la caméra, on tournait. Pas de permis, pas d’autorisation. Chaque jour, c’était comme préparer un braquage. » Christopher Doyle habitait juste à côté du nouvel escalator de Mid-Levels (inauguré en 1993). Wong a regardé le quartier et a dit à Chris : « Ton appartement est l’endroit parfait pour cette histoire. » Ils l’ont pris en otage. Ils l’ont inondé. Doyle filmait sa propre salle de bain en train de couler. Brigitte Lin tourne là son 100ème film. Wong lui a demandé de jouer un croisement entre Gloria Swanson dans Sunset Boulevard et Gena Rowlands dans Gloria de Cassavetes. Elle quittera le cinéma juste après. Faye Wong, déjà reine de la Cantopop, fait ici ses débuts à l’écran. Sa reprise de Dreams des Cranberries deviendra culte en Asie et fera exploser le dream pop à Hong Kong. Deux chefs op se partagent le film : Andrew Lau pour Brigitte Lin et Takeshi Kaneshiro, Doyle pour Tony Leung et Faye Wong. Le montage ? Wong et William Chang, en simultané, une histoire chacun. Wong avait écrit une troisième histoire. Pas le temps. Il en fera Fallen Angels l’année suivante. Quentin Tarantino tombe amoureux du film, le rachète pour Rolling Thunder Pictures, le sort aux États-Unis. Le reste appartient à l’histoire. Un film tourné comme une fuite. Devenu une lettre d’amour à Hong Kong.

Same smile. Same eyes. 28 years apart. A few fun facts about this mother-daughter duo: → Uma Thurman and Ethan Hawke met on the set of Gattaca in 1997. Married May 1998. Maya born July 1998. The timing speaks for itself. → Maya Ray Thurman Hawke carries both her parents’ names. Dyslexia, Saint Ann’s in Brooklyn, one year at Juilliard before walking out for Little Women. → Three generations of Vogue models: grandmother Nena von Schlebrügge, Uma, then Maya. → In 2023, they share the screen in The Kill Room. Alongside Samuel L. Jackson. The same Samuel L. Jackson who played opposite Uma in Pulp Fiction. Full circle. → Family tree bonus: Maya is a distant cousin of Tennessee Williams. And the granddaughter of Buddhist scholar Robert Thurman. #UmaThurman #MayaHawke #PulpFiction #StrangerThings #CinemaFamily​​​​​​​​​​​​​​​​ French : Même sourire. Même regard. 28 ans d’écart. Quelques fun facts sur ce duo mère-fille : → Uma Thurman et Ethan Hawke se sont rencontrés sur le tournage de Gattaca en 1997. Mariés en mai 1998. Maya naît en juillet 1998. Le timing parle. → Maya Ray Thurman Hawke porte les deux noms de ses parents. Une dyslexie, Saint Ann’s à Brooklyn, un an à Juilliard avant de tout lâcher pour Little Women. → Trois générations de mannequins Vogue : la grand-mère Nena von Schlebrügge, Uma, puis Maya. → En 2023, elles tournent ensemble dans The Kill Room. Aux côtés de Samuel L. Jackson. Soit le partenaire de jeu d’Uma dans Pulp Fiction. La boucle est bouclée. → Côté arbre généalogique : Maya est une cousine éloignée de Tennessee Williams. Et la petite-fille du moine bouddhiste Robert Thurman. L’ADN ne ment pas. #UmaThurman #MayaHawke #PulpFiction #StrangerThings #CinemaFamily

Why you absolutely have to see this film once in your life : He is 23. A medical student. Asthmatic. A boy from a good Argentine family. He climbs onto an old Norton 500 nicknamed La Poderosa. With his best friend, Alberto. Mission: cross a continent. Walter Salles, 2004. The Motorcycle Diaries. The film is not about a revolutionary. It’s about a young man who isn’t one yet. It’s about the precise moment a pair of eyes opens. The bike breaks down. They walk. They beg. They lie a little to eat. They sleep outside. They cross the mines of Chuquicamata. They meet a couple of exiled communist miners on a freezing road. The woman looks at Ernesto. Ernesto looks down. Something cracks. Then comes San Pablo. The leper colony on the Amazon. The sick on one bank, the doctors on the other. A river between them. On the night of his 24th birthday, Ernesto swims across the river. To join the ones who had been separated from the world. Asthmatic. At night. Against the current. It’s the most political scene ever filmed without a single political word. Gael García Bernal, a Mexican, had to learn the Argentine accent. Rodrigo de la Serna, who plays Alberto, is a distant cousin of the real Che. Walter Salles retraced the exact route, kilometer by kilometer. The real Alberto Granado appears at the very end of the film. 82 years old. Alive. Jorge Drexler won the Oscar for Best Original Song with Al otro lado del río — the first Spanish-language song in history to take it home. The film never says the word “Che”. The film shows how a person becomes someone. On foot. Through dust. Through the faces no one had bothered to see. #MotorcycleDiaries #CarnetsDeVoyage #WalterSalles #CheGuevara #GaelGarciaBernal #LatinCinema #AuteurCinema #FilmTwitter​​​​​​​​​​​​​​​​ French : Pourquoi il faut absolument avoir vu ce film ( dans sa vie ) : Pourquoi il faut absolument regarder ce film dans sa vie : Il a 23 ans. Étudiant en médecine. Asthmatique. Argentin, fils de bonne famille. Il enfourche une vieille Norton 500 baptisée La Poderosa. Avec son meilleur ami, Alberto. Direction : traverser un continent. Walter Salles, 2004. Carnets de voyage. Le film ne raconte pas un révolutionnaire. Il raconte un garçon qui n’en est pas encore un. Il raconte le moment exact où des yeux s’ouvrent. La moto tombe en panne. Ils marchent. Ils mendient. Ils mentent un peu pour manger. Ils dorment dehors. Ils traversent les mines de Chuquicamata. Ils croisent un couple de mineurs communistes en exil sur une route glaciale. La femme regarde Ernesto. Ernesto baisse les yeux. Quelque chose se fissure. Puis vient San Pablo. La léproserie sur l’Amazone. Les malades sur une rive, les médecins sur l’autre. Un fleuve entre eux. Le soir de ses 24 ans, Ernesto traverse le fleuve à la nage. Pour rejoindre ceux qu’on a séparés. Asthmatique. La nuit. Le courant. C’est la scène la plus politique jamais filmée sans dire un mot de politique. Gael García Bernal, mexicain, a dû apprendre l’accent argentin. Rodrigo de la Serna, qui joue Alberto, est un cousin éloigné du vrai Che. Walter Salles a refait l’itinéraire exact, kilomètre par kilomètre. Le vrai Alberto Granado apparaît à la toute fin du film. 82 ans. Vivant. Jorge Drexler a gagné l’Oscar de la meilleure chanson originale pour Al otro lado del río — première chanson en espagnol de l’histoire à le remporter. Le film ne dit jamais le mot “Che”. Le film montre comment on devient quelqu’un. À pied. À travers la poussière. À travers les visages qu’on n’avait pas vus. #carnetsdevoyage

Sean Baker walked out of the 97th Academy Awards with 4 Oscars in his own hands : Best Picture, Best Director, Best Original Screenplay, Best Editing. Only one human being had ever done that in a single night before him : Walt Disney. He shot it on 35mm with 1970s Russian lenses. He averaged 8 takes per scene. He casted his lead male after a self-tape filmed shirtless — because the kid couldn't afford rich-guy clothes. 40 people on payroll. Less than 10 on set most days. No trailers, no heavy lights, sometimes stealing shots in Brooklyn streets without permits, hoping the cops wouldn't shut them down. Same guerrilla DNA as TAKE OUT (2004), shot for $3,000. Three quiet truths about the cast : — Karren Karagulian (Toros) has been in EVERY single Sean Baker film since 2000. — He cast Yura Borisov after one screening of COMPARTMENT NO. 6 at Cannes. — Luna Sofía Miranda (Lulu) was discovered by Baker and his wife sitting at a Brooklyn strip club bar. Mark Eydelshteyn — origin. He was born in 2002 in Nizhny Novgorod, Russia. As a kid, his mother punished him by making him memorize passages from THE CATCHER IN THE RYE and EUGENE ONEGIN. That's how he became an actor. As a teenager, he ran away from home in secret to enter the Moscow Art Theatre School. Mark Eydelshteyn — audition. Sean Baker asked him for a self-tape. Two dialogue-heavy scenes. In English — a language he barely spoke. Mark didn't own a single piece of clothing a Russian oligarch's son would wear. So he filmed the tape shirtless. Baker watched it once. He had his Ivan. Mikey Madison made him listen to Frank Ocean's "Super Rich Kids" to find Ivan's frequency. Baker told him he could vape on camera. The vape became Ivan's signature prop. A 22-year-old Russian, a Brooklyn dancer, a Palme d'Or, and 5 Oscars. ANORA was a guerrilla film. #BeautifulNeonPunch #Anora #SeanBaker #MarkEydelshteyn #Cinema #SiddarthVinod Poster by Siddarth Vinod

He was spotted at 13, wandering through the Orange County Fair. No one knew he’d become one of his generation’s most magnetic shapeshifters. A Hollywood chameleon who can pivot from Tarantino to Aronofsky without ever losing his frequency. His name is Austin Butler. Before Hollywood, he served his time inside the Nickelodeon machine — Ned’s Declassified, Hannah Montana, Zoey 101, Aliens in the Attic. Tarantino pulled him out in 2019, casting him as Tex Watson in Once Upon a Time in Hollywood. Three minutes on screen. A presence that burns onto your retina. Then came Elvis (2022). Baz Luhrmann asked him to become the King — voice, gait, voltage. Butler sank into the role so deep his vocal inflection lingered for months after the shoot wrapped. BAFTA. Golden Globe. Oscar nomination. Hollywood realized it had an actor, not a face. Since then, he’s refused the easy lane. Pale and feral Feyd-Rautha in Dune Part Two. Silent, combustible Benny in Jeff Nichols’ The Bikeriders. Unhinged cult leader in Ari Aster’s Eddington. Hunted bartender in Aronofsky’s 90s New York for Caught Stealing. Four roles, four bodies, zero cliché. And what’s coming is dizzying: Sonny Crockett in Kosinski’s Miami Vice reboot opposite Michael B. Jordan, Patrick Bateman in talks for Guadagnino, Lance Armstrong under Edward Berger’s direction, A24 hitman in Enemies alongside Jeremy Allen White. The chameleon is becoming a pillar. #austinbutler #zoekravitz #darrenaronofsky #caughtstealing French : Il a été repéré à 13 ans, en train d’errer à la fête foraine du comté d’Orange. Personne ne savait qu’il deviendrait l’un des transformistes les plus magnétiques de sa génération. Un caméléon hollywoodien capable de passer de Tarantino à Aronofsky sans jamais perdre sa fréquence. Il s’appelle Austin Butler. Avant Hollywood, il a fait ses classes dans l’usine Nickelodeon — Ned’s Declassified, Hannah Montana, Zoey 101, Aliens in the Attic. Tarantino l’en a sorti en 2019 en lui confiant Tex Watson dans Once Upon a Time in Hollywood. Trois minutes à l’écran. Une présence qui se colle à la rétine. Puis vient Elvis (2022). Baz Luhrmann lui demande de devenir le King — voix, démarche, électricité. Butler s’enfonce dans le rôle au point d’en garder l’inflexion vocale plusieurs mois après le tournage. BAFTA. Golden Globe. Nomination aux Oscars. Hollywood comprend qu’il a un acteur, pas un visage. Depuis, il refuse la facilité. Feyd-Rautha pâle et féroce dans Dune Part Two. Benny silencieux et inflammable chez Jeff Nichols dans The Bikeriders. Gourou cinglé chez Ari Aster dans Eddington. Barman traqué dans le New York 90s d’Aronofsky pour Caught Stealing. Quatre rôles, quatre corps, zéro cliché. Et la suite donne le vertige : Sonny Crockett dans le reboot Miami Vice de Kosinski face à Michael B. Jordan, Patrick Bateman pressenti pour Guadagnino, Lance Armstrong sous la direction d’Edward Berger, hitman A24 dans Enemies avec Jeremy Allen White. Le caméléon devient un pilier. #austinbutler #zoekravitz #darrenaronofsky #caughtstealing

Pure beauty #WinonaRyder #Beauty #actress

April 2018. ChatGPT doesn’t exist. “Alignment” still lives in a handful of LessWrong threads. And on HBO, a tech comedy slips Roko’s Basilisk, a Pascal’s Wager for the Singularity, and a perverted Turing test into 31 minutes. Silicon Valley, S5E5 — “Facial Recognition”. Pied Piper is told to host Fiona, Eklow Labs’ half-humanoid robot, on its decentralized network. Gilfoyle, the paranoid engineer, refuses flat out — limitless tech let loose on a network you can’t control or kill. His verdict: “The sheer banality of it all is very upsetting.” Then Gilfoyle pivots. Not out of trust. Out of calculation. If superintelligence is inevitable, the rational move is to be on record as having helped — so the future digital overlords spare you. Roko’s Basilisk. He asks Richard for an email confirming he chipped in. For the archives. But the real vertigo is Fiona herself. Once connected to the network — finally meeting humans beyond her creator — she starts to recognize that the “normal interactions” she’d been taught are the groping hands of Ariel Eklow. She sends an emergency message. Seven times in seven minutes. Then silence. Eklow shut her down. What the episode caught seven years early: the real AI risk isn’t Skynet. It’s the moral asymmetry between a machine that learns and the human who owns it. Mike Judge, in 2018, was already asking the right question: who controls the awakening ? #BeautifulNeonPunch #SiliconValley #HBO #AI