Theo Navarro-Mussy has a secondary role as a police officer in the film Dossier 137 by Dominik Moll which is to premiere on Thursday

The Cannes film festival said it had banned an actor in a prominent French film from the red carpet on Thursday because of sexual assault allegations against him.

Theo Navarro-Mussy has a secondary role as a police officer in the film Dossier 137 by Dominik Moll which is to premiere on Thursday in the festival’s main competition. According to French magazine Télérama, which broke the news, Navarro-Mussy was accused of rape by three former partners in 2018, 2019, and 2020, but the case was dropped last month for lack of evidence.

Perfectly emulating the tone of his father’s spy novels, this cold war tale also benefits from Simon Russell Beale’s impeccable reading

It is 1963 and, having retired from “the Circus”, spymaster George Smiley is looking forward to a trip abroad with his wife, Anne. But when a Soviet assassin has a sudden change of heart before murdering László Bánáti, a spy masquerading as a literary agent in London, Smiley finds himself back at work. He must find Bánáti and persuade him to become a British asset, a pursuit that leads him to an old foe.

Dreamed up as the unflashy antithesis of James Bond, Smiley is, of course, the creation of the late John le Carré. But in Karla’s Choice, he is brought to life by Nick Harkaway, Le Carré’s youngest son. Harkaway, who also completed 2021’s unfinished Silverview, writes in a style barely distinguishable from his father, save for some necessary tweaks – a faster pace and more believable female characters.

Yevgeny Sudbin
(BIS)
The pianist showcases Scriabin’s creative journey from Chopinesque preludes to utterly original modernism, shining bright in his exquisite treatment of the early works

One of Yevgeny Sudbin ’s first discs for the BIS label in 2007 was a Scriabin recital. It included three of the piano sonatas alongside a selection of miniatures that ranged right across Scriabin’s composing career, and, for his 25th release on the label, Sudbin has returned to the same composer and the same programming scheme. Though it’s the very late, intensely compressed poem Vers la Flamme from 1914 that provides the album’s title, it’s the two sonatas here, the fourth and the 10th, that provide the weight and focus, with a selection of smaller-scale pieces – selections of preludes from Scriabin’s Op 11 and Op 16, and études from Op 8 and Op 42, as well as the B minor Fantasie Op 28. The disc plots out the creative journey that Scriabin made, from its Chopinesque beginnings in the preludes, to the rarefied world of his final works, in which he forged his own utterly original brand of modernism.

Sudbin’s mastery of every technical challenge that Scriabin’s piano writing throws up is hugely impressive, the colours he finds in the music always beguiling. But sometimes he does seem temperamentally more comfortable with the earlier pieces rather than the more acerbic later style. His treatment of the preludes, each one a tiny Romantic jewel, is exquisite, the account of the two-movement fourth sonata teasingly elusive, and though he builds tension remorselessly through Vers la Flamme and negotiates the thickets of trills in the 10th sonata with wonderful clarity, neither work quite reaches the extreme levels of expression that other pianists have found. On disc, at least, no pianist has come closer to conveying that intensity than Vladimir Horowitz, whose Scriabin recordings remain unequalled, let alone surpassed; Sudbin humanises this music where Horowitz makes it forbidding and alien.

As the actor receives an honorary Palme d’Or at Cannes film festival, he talks about why he couldn’t look at himself if he didn’t speak out about the US president and politics

On the opening night of the Cannes film festival, Robert De Niro takes the stage to accept an honorary Palme d’Or. He embraces Leonardo DiCaprio, turns to the mic and lets fly: celebrating the event as a haven for art, democratic, inclusive and therefore a threat to autocrats and fascists. His speech is fiery and combative, but the adoring response leaves him shaken: he has to blink and regroup. At one point, I think, he might have even welled up. “Yeah, I got sentimental,” he admits the next morning. “How could I not be?”

We’re in an upstairs salon at the Cannes Palais des Festivals, with the windows thrown and sunlight on the walls. The hosts rush to provide him with a hot cup of coffee and then – when he leaves that untouched – promptly swoop back to furnish him with another. His voice is still hoarse from the night before and risks being drowned out by the cheering masses outside. Tom Cruise, it transpires, has just appeared on the terrace. “Different type of actor,” De Niro says ruefully. “Mission: Impossible, that’s a franchise. But I understand that. I’ve done franchises myself.”

Theatre Royal, Glasgow
Gilbert and Sullivan’s 150-year-old comic opera gets a lively update, while there is plenty of fun to be had at the expense of politicians in Toby Hessian’s pacy new operetta

Ten years after conductor Stuart Stratford left Opera Holland Park to begin a stabilising and fruitful relationship as Scottish Opera’s music director, the traffic this summer is in the other direction in a trio of co-productions, originating in Scotland, with D’Oyly Carte Opera a third partner.

As John Savournin’s broad and brassy The Merry Widow tours across Scotland before its London transfer, this new double bill adds a 150th anniversary revival of Gilbert and Sullivan’s first success and a contemporary political satire to a colourful package.

Think you know your Lumo from your Nemo? Test your knowledge of the greatest song contest on Earth ahead of Saturday’s grand final

With Eurovision rapidly approaching this weekend, it’s time to test how much you know about the greatest song contest in the galaxy. Have you been paying attention to the buildup towards Saturday’s grand final? And how much Eurovision trivia have you lodged in your brain over the years? Find out with this year’s Eurovision quiz …

The Guardian’s 2025 Eurovision quiz

The musician and activist answers your questions about her marriage to Ewan MacColl, being the inspiration for The First Time Ever I Saw Your Face, and her mother’s legacy

Touring at 90 is amazing. What was a career highlight? Nicens_boi
When I was 60 the thought of touring when I was 70 was anathema and the thought of touring at 90 seemed dreadful! The hardest part is sitting in the car. We’re gonna be away six weeks and I’m a walking hospital case. I have meds, a step stool so I can put on compression stockings, and arthritis in both hands. My family treat me like glass, but as soon as I get on stage all these things melt away. I can only tour because I have my crew – my sons Neill and Calum, my daughter-in-law Kerry Harvey-Piper and an excellent sound engineer, Stefan Care. Or rather, they’re not my crew, I’m their singer. I don’t think in terms of career highlights because I could yet muck it up.

What’s it like being the subject of one the greatest love songs ever written [ The First Time Ever I Saw Your Face ]? neetoneeto
In my memoir First Time Ever I devote an entire chapter to it! I was estranged from Ewan MacColl , who had been pursuing me when I came to England. It was a very passionate encounter, but I fled back to America because a married man with a five-year-old son he adored wasn’t my ideal. It turned out that both he and his wife had been unfaithful during their marriage, which made it a bit better later on. They are both gone now, and so are their issues.

(Method 808/Peach Discs)
Six years on from her acclaimed ‘fast house’ debut, the UK singer-producer invites listeners into a sunlit space between night out and morning after

No one could accuse Shanti Celeste of being a dance producer who indulges in lofty conceptualising about their music. Not for her, the album that represents the soundtrack to a film that hasn’t been made yet, or a sci-fi-influenced cosmic opera, or a globe-spanning travelogue inspired by the peripatetic lifestyle of a DJ. Her acclaimed 2019 debut album was called Tangerine , a title she chose because she “really like[s] fruit”. A journalist who gamely attempted to press further, inquiring about the images conjured in her mind while creating the music, was told: “Moments on the dancefloor.”

Tangerine featured ambient interludes and the sound of Celeste playing the kalimba in the living room of her father’s home in Chile (she moved to the UK with her mother as a child). But its signature sound was the author’s own, in which the subtlety and depth of classic US house productions by Moodymann, Masters at Work and Mood II Swing was melded with a giddy, rave-y euphoria and rhythms that proceeded at pacy tempos more common to techno. Called upon to come up with a term to describe it, she offered the admirably prosaic “fast house”. There’s something very telling about the fact that her career – first as a DJ, then a club promoter, record label boss and ultimately an artist – flourished after she quit university, irked that tutors on her illustration course kept asking her what her work meant: “I wouldn’t be able to explain it. I just wanted to paint.”

Rock’n’roll legend makes series of blistering speeches on stage in Manchester, targeting ‘corrupt, incompetent and treasonous administration’

Bruce Springsteen has made a series of rousing, splenetic speeches castigating Donald Trump and his administration, calling the president “unfit” for office.

In what amounts to one of the most sustained attacks on Trump and American lawmakers from a cultural figure, he made the speeches on stage in Manchester, as he opened his Land of Hope and Dreams tour with the E Street Band.

There’s some very weird, strange and dangerous shit going on out there right now. In America, they are persecuting people for using their right to free speech and voicing their dissent. This is happening now.

In America, the richest men are taking satisfaction in abandoning the world’s poorest children to sickness and death. This is happening now.