As the film that caused havoc at its Paris premiere resurfaces, the great French actor looks back on an extraordinary career, from the furore of Meetings With Anna to the meltdown of Apocalypse Now

‘People stood up and started to yell,” says Aurore Clément, remembering the day Les Rendez-vous d’Anna premiered at the Paris film festival and caused havoc. This glacial, disquieting film, which appeared in English as Meetings With Anna, follows the titular director on an odyssey around Europe that climaxes with her singing an Edith Piaf song to her lover. And that, apparently, was the final straw. “They wanted to attack me,” says Clément, who played Anna. “The journalist sitting next to me put his trenchcoat over me and got me out of there.”

The film was the third feature from Chantal Akerman, who loosely based Anna on herself. It was undoubtedly a challenging, elusive film – a series of haunted confessions heard by this film-maker protagonist from lovers, family and wayfarers while on her travels promoting an unknown work. Anna’s existential solitude, her refusal to remake herself for her lovers, was quietly radical. “People weren’t ready to accept it at the time, its feminism,” says Clément of the film, which was released in 1978. “Society was still very closed, women didn’t have much say.”

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Who are the stars? What plotlines from previous seasons will you need to remember? And whose bum did Arnie love seeing on TV?

It’s won 15 Emmy awards. It turned Jennifer Coolidge into a TV idol at 59. It somehow depicted a character pooping into a suitcase – and didn’t instantly lose all of its viewers. In terms of astonishing television, The White Lotus is right up there, and now it’s back for a third season.

It’s also a show where having watched previous outings is really going to pay off, with former characters making a comeback. This, of course, means only one thing: hours spent combing the internet trying to remember what on earth happened all those years ago, right? Not if you read on – we’ve prepared a primer of all the key info you need to be ready to dive right in.

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The Colombian star went to the emergency room in Peru’s capital on Saturday night, days after launching her first worldwide tour in seven years

Shakira cancelled her concert in the Peruvian capital on Sunday after being hospitalised with abdominal pain, a setback that comes days after she launched her first worldwide tour in seven years.

The 48-year-old Colombian star posted on her social media accounts that she had gone to the emergency room on Saturday night and remained in hospital.

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Backstage and party highlights from 2025’s Baftas ceremony at the Royal Festival Hall on London’s Southbank

• Conclave beats The Brutalist to best picture
• Peter Bradshaw’s verdict: Mikey Madison gets star-is-born moment
• Full list of winners
• Stars sport black at goth-tinged Baftas in London
• Baftas 2025 red carpet: sequins, satin and a ski mask – in pictures

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Mikey Madison’s best actress victory, Emilia Pérez staying in the race, Bob Dylan getting no love: we round up the top marmalade-droppers from British film’s biggest evening

• Conclave beats The Brutalist to best picture
• Peter Bradshaw’s verdict: Mikey Madison gets star-is-born moment
• Full list of winners
• Stars sport black at goth-tinged Baftas in London
• Baftas 2025 red carpet: sequins, satin and a ski mask – in pictures

Everyone expected Edward Berger’s classy thriller to win outstanding British film; in a slightly mediocre year for that prize, it was the clear frontrunner. But few tipped it for the best picture award. The Brutalist seemed to have too much chewy critical adoration; A Complete Unknown is well-loved, especially amongst the boomer demographic which still makes up a considerable portion of the Bafta votership; Anora (see below) was the dark horse emerging into the limelight. But Conclave? Isn’t it a bit … middlebrow? A bit too … enjoyable? And wasn’t that mic-drop ending slightly polarising?

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Escapers from the Gloriavale sect open up about living in constant fear of damnation, its abuse of women – and a landmark court case brought by ex-female members

Hello and welcome to another entrant in the popular television genre Do Try to Be Born a White Christian Man If You Can. This one is entitled Escaping Utopia, a three-part documentary series on Gloriavale, a secretive sect founded in 1969 by preacher Neville Cooper, after he was vouchsafed at the age of 22 a vision of heaven on Earth by God. This vision involved establishing an isolated community in a remote part of New Zealand that would be run along wholly egalitarian lines, and men would live in absolute parity to women to secure their place in feminist heaven.

I jest, of course. Gloriavale ran – and, in reduced form, still runs – on the principles of women’s absolute subservience to men, men’s absolute subservience to the leaders above them (the dozen or so “shepherds”), and the shepherds’ absolute allegiance to Cooper (who renamed himself Hopeful Christian) – until he died in 2018 and was replaced by shepherd Howard Temple. No conversation is allowed between young people of different sexes after puberty. Women, who must wear uniform dresses and expose no skin but for the hands and face lest they inflame men’s uncontrollable lusts, are married off as young as possible – generally to the men Cooper/Christian deemed most suitable – and expected to devote themselves to having as many babies as possible. Everyone lives under the threat of eternal damnation. You get the picture, I’m sure.

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This intriguing noir mystery with a twist in its tale sees a couple befriend a tennis coach at a holiday resort with unnerving results

German film-maker Jan-Ole Gerster has created an intriguing noir mystery starring Sam Riley and Stacy Martin. It has very good performances and witty visual ideas, but the dramatic shape and emotional focus could have been tightened and sharpened. Yet this is a smart film which pays its audience the compliment of assuming they are intelligent enough to work things out on their own in a drama of sexual tension and dangerously polite encounters, something like Jacques Deray’s The Swimming Pool or Paul Schrader’s The Comfort of Strangers.

Riley plays Tom, a tennis coach at a middling hotel resort in Fuerteventura in the Canary Islands. He has been here for almost a decade, increasingly unhappy with his aimless, pointless life of no worries, no responsibilities, spending nights just boozing, doing drugs and having endless one-night stands with women. Tragically, he is nicknamed “Ace” because he once got to play briefly on the hotel court with Rafael Nadal and gossip has embellished that anecdote into a (fictional) glorious victory over the tennis legend in front of hundreds of onlookers. But Tom is now descending into alcoholism, always waking up hungover in his car, or on the beach, or by the pool with no memory of the night before.

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The Brutalist was the night’s almost-joint winner, with prizes for director Brady Corbet and Adrien Brody, while A Real Pain and Kneecap provided heartening victories
• Conclave beats The Brutalist to best picture
• Full list of winners
• Sequins, satin and a ski mask – red carpet in pictures

Whatever else happened at this year’s Bafta ceremony, it provided us with a very exciting star-is-born moment. Mikey Madison broke ahead of a densely packed crowd of best-actress contenders (in which only the hapless Karla Sofía Gascón was really lagging behind) to win the Bafta for her wonderfully smart, funny, charismatic and vulnerable performance in Sean Baker’s Anora , playing a New York table dancer who gets a Vegas wedding to a Russian oligarch’s son. Her final closeup scene in that film is a thrilling masterclass in complexity. I admit that I myself had been rooting for Marianne Jean-Baptiste for her performance in Mike Leigh’s Hard Truths, but who could possibly begrudge Madison her night of triumph?

Otherwise, the night’s big winner was Edward Berger’s superbly classy and sleek Vatican conspiracy drama Conclave , based on the Robert Harris bestseller; it was level pegging in terms of numbers with The Brutalist, but carried off the evening’s top prize. Conclave is the movie whose blue-chip excellence all round made it a firm favourite with Bafta voters, who were thrilled by Ralph Fiennes’s lead performance as the troubled cardinal; they were diverted by its visual flourishes, amused by its intelligent but approachable dialogue on religious issues and vastly entertained by its twist ending. Strict anti-spoiler rules dictate that we can’t fully discuss how this film in fact is part of a contemporary debate exhaustively analysed elsewhere.

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Film awards fashion choices part of a revival of goth-inspired fashion

• Live blog: Red carpet, ceremony and winners – live!
• Full list of winners
• Sequins, satin and a ski mask – red carpet in pictures

Timothée Chalamet might be playing Bob Dylan in A Complete Unknown but he took inspiration from another rock icon – Mick Jagger – when it came to his outfit for the Baftas red carpet. He chose to paint it black.

In contrast to recent appearances where the actor rode a Lime bike on the red carpet in London and wore a pink tracksuit in Berlin, this appearance was much more low-key. It saw him wear a black Bottega Veneta cropped jacket matched with trousers and shoes in the same colour.

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