Stille Freundin / Silent Friend

 

Ildikó Enyedi: Stille Freundin / Silent Friend (DE/FR/HU/CN 2025). Luna Wedler as Grete. 

Ildikó Enyedi and her team of Stille Freundin / Silent Friend at the Mostra de Venise, 5 Sep 2025. Photo: Luca Fazzaroli / Euronews.

Silent Friend [the film's title in the opening credits]

Titre original : Stille Freundin

Titre français : Silent Friend

    DE/FR/HU/CN © 2025 Pandora Film Produktion GmbH (Köln) / Galatée Films S.A. (Paris) / Inforg M&M Film (Budapest) / Rediance (CN). P: Reinhard Brundig, Mónika Mécs, Nicolas Elghozi, Meng Xie, Morgane Olivier.

    Réalisation et scénario : Ildikó Enyedi

Photographie : Gergely Pálos – the story set in 1972 was shot in 16 mm – b/n (the story of 1908) et couleurs – 1,85:1 – release format: DCP

PD : Imola Láng

Cost : Peri De Bragança

VFX : Béla Klingl

Musique : Gábor Keresztes et Kristóf Kelemen

Soundtrack : Gaby Moreno : " 'Til Waking Light " (2022, comp.+lyr. Gaby Moreno).

Son : Michael Schlömer – Dolby Digital 5.1

Montage : Károly Szalay

    Distribution

Tony Leung Chiu-wai / Tony

Luna Wedler / Grete

Enzo Brumm / Hannes

Sylvester Groth / Anton

Martin Wuttke / Herr Fuchs

Johannes Hegemann / Thomas

Rainer Bock / Prof. Winterhalter

Léa Seydoux / Alice

Marlene Burow / Gundula

Yun Huang / Jule

Luca Valentini / Hannes' Freund

Felix Burose / Max

Camillo Guthmann / Franz

Sky Hofmann / Peter

Johannes Scheidweiler / Udo

    The trees are singled out in the closing credits.

    Dreharbeiten : 9.4.–20.6.2024: Marburg (Lahn), Köln, Bonn, Düsseldorf, Budapest, Paris [Botanischer Garten der Philipps Universität Marburg]

    Langue originale : allemand (+ un peu de chinois, de français et d'anglais)

Genre : biographie, historique

Durée : 147 minutes

    The film was inspired by the studies of the American psychologist Alison Gopnik, the Australian ecologist Monika Gagliano and the British neuroscientist Anil Seth.

    In memoriam : Karl Baumgarten.

    Dates de sortie :

Uraufführung : Italie : 5 septembre 2025 (Mostra de Venise) : sélection officielle, en compétition – Prix Marcello Mastroianni du meilleur espoir pour Luna Wedler

Allemande : Kinostart 15 janvier 2026

France : 1er avril 2026 – société de distribution : KMBO (France) – sous-titres français : Mireille Onion.

    Viewed on Easter Monday, 6 April 2026 at 14h30, VOSTFR, Majestic Bastille, Salle 1, 4 Boulevard Richard-Lenoir, Paris 75011, M° Bastille, Lignes 1, 5, 8

MOSTRA DE VENISE 2025:

Synopsis

"In the heart of a botanical garden in a medieval university town in Germany stands a majestic ginkgo tree. This silent witness has observed over a century the quiet rhythms of transformation across three human lives."

    "2020, a neuroscientist from Hong Kong, exploring the mind of babies, begins an unexpected experiment with the old tree."

    "1972, a young student is profoundly changed by the simple act of observing and connecting with a geranium."

    "1908, the university’s first female student discovers, through the lens of photography, sacred patterns of the universe hidden within the humblest of plants."

    "We follow their clumsy, awkward attempts to connect — each one of them deeply rooted in their own present — as they are transformed by the quiet, enduring, and mysterious power of nature. The ancient ginkgo tree brings us closer to what it means to be human — to our longing to belong."

Director’s Statement

"It is a film made by humans (by an amazingly open minded, dedicated team) for fellow humans — the spectators. We humbly acknowledge and embrace our specific perceptual limits. This film speaks, with the help of light and sound waves available for the human eyes and ear, of world perceptions outside these limits. We acknowledge that we are not the default — our is one of the many, equally valid worlds. What is it like to be a tree? We don’t know. So, we won’t show it. Instead, we show human curiosity, touchingly imperfect attempts of connecting, of acknowledging the “other” and accepting that for them we are the mysterious “other”. We show glimpses through more than 100 years of the botanical garden of a university. A place that was always (“universitas”) the hub of free and limitless human curiosity, of science. In times when it is so dangerously questioned and attacked, we would also like to draw attention not only to the importance, but also the beauty and the naive, daring force of scientific research. It can help us walk down from the frighteningly dizzy spot on top of the pyramid to a place better deserved and more homey — to be part of this world."

AA: Ildikó Enyedi's Silent Friend is a multi-character study, a portmanteau film, a meditation and a journey in three time zones. 

The protagonist is a gingko biloba tree in the botanical garden of the Philipps University of Marburg. The gingko biloba is the last living species in the order of Ginkgoales which is 290 million years old. It survives in its natural habitat only in China. The Philipps University (founded in 1527 during the Reformation) is the oldest Protestant university.

Like the monolith in 2001: A Space Odyssey, the giant tree is a mysterious presence from beyond history. The more we know about it the less we seem to understand. The tree is the connection between the three stories.

We start in the 2020s, during the Covid lockdown. The neuroscientist Tony (Tony Leung), a guest professor from Hong Kong, is fascinated by the gingko tree when he visits the university garden for his daily tai chi exercise. He communicates in remote work and virtual meetings with a French colleague, Alice (Léa Seydoux). Tony starts to study the tree with sensors.

Half a century earlier, in 1972, Hannes, a student of literature (Enzo Brumm) is acquainted with Gundula (Marlene Burow), a student of botany, who asks him to take care of her meticulously sensor-monitored pelargonium while she is away. In her absence, Hannes discovers hidden dimensions of flower power.

In 1908, Grete (Luna Wedler) arrives at the university as the first woman, facing stale misogyny not only at the academia but in the city itself where she has trouble finding accommodation until she meets an old, self-taught photographer whose assistant she becomes. With photography, she explores the secrets of her own flesh. In extreme close-ups of plants she discovers the secret pattern of the universe.

Photographed by Gergely Pálos, Silent Friend is excellent as an achievement of purely visual art. The refined texture and gamut of nature is difficult to achieve in digital, but Silent Friend succeeds. Ildikó Enyedi is also a master of the mise-en-scène both in interiors and exteriors. The story about plants is marked by a touch of sensuality and sexuality in its Linnéan sense. In an unexpected way it is also about the joy of sex, explicitly (the genital in the vegetal), but way beyond the X-Rated. 

Ildikó Enyedi's movie is gentle and playful and never laborious although the themes are grand. Enyedi challenges us to rediscover our relationship with nature and our identity as creatures of nature. Of recent works of art I was thinking about Eija-Liisa Ahtila's A Reflection of the Forest (FI 2024). Goethe's Metamorphosis of Plants is evoked by Hannes in his clumsy attempts to approach Gundula. Carl von Linné is a major presence in the story of Grete. Of other early connections I was thinking about Rousseau, Thoreau and Emerson. 

The timeless presence of the gingko biloba can be compared with the Goethe Oak in Weimar, Prince Andrei's oak tree in War and Peace and the sequoia sempervirens in Vertigo.

A film of meditation, Silent Friend is never boring. A compelling current of intensity runs through the unique picture.

Luna Wedler won the Prix Marcello Mastroianni at the Venice Film Festival as the best young talent. Deservedly. Her Grete is a bright and intelligent force of light as the only woman in a world dominated by an all male panel. Thanks to her inner dignity she will never be brought down.

I don't understand why a German language film is shown in Germany and France with an English title.

...

FILMPORTAL: SILENT FRIEND 

Regie / Ildikó Enyedi

Regie-Assistenz / István Kolos

Script / Barbara Krieger (Script Supervisor)

Drehbuch / Ildikó Enyedi

Dramaturgie / Tina Kaiser (Dramaturgische Recherchen)

Kamera / Gergely Pálos

Farbkorrektur / Alexander Suer

Visuelle Effekte / Béla Klingl (Supervision)

Licht / Dennis Krombach

Kamera-Bühne / Rudi Kurth, Felix Stratmann (Assistenz)

Production Design / Imola Láng

Ausstattung / Vicky von Minckwitz

Außenrequisite / Ricci Becker, Saskia Grebenstein (Assistenz)

Innenrequisite / Jan Feil, Nimet Yilmaz

Maske / Aurélie Cerveau, Diana Badalova

Kostüme / Peri De Bragança, Martina Schall (Assistenz), Angelina Curilova (Assistenz)

Schnitt / Károly Szalay

Ton / Michael Schlömer, Ton-Assistenz / Andreas Fritsch

Recherche / Tatjana Bonnet (Archiv-Recherche)

Casting / Nina Haun, Patrick Dreikrauss

Musik / Gábor Keresztes, Kristóf Kelemen

    Darsteller:

Tony Leung Chiu-wai /  Tony

Luna Wedler / Grete

Enzo Brumm / Hannes

Sylvester Groth / Anton

Martin Wuttke / Herr Fuchs

Johannes Hegemann / Thomas

Rainer Bock / Prof. Winterhalter

Léa Seydoux / Alice

Marlene Burow / Gundula

Yun Huang / Jule

Luca Valentini / Hannes' Freund

Felix Burose / Max

Camillo Guthmann / Franz

Sky Hofmann / Peter

Johannes Scheidweiler / Udo

    Produktionsfirma:

Pandora Film Produktion GmbH (Köln)

Galatée Films S.A. (Paris)

Inforg M&M Film (Budapest)

Rediance (CN)

    in Co-Produktion mit:

Arte France Cinéma (Issy-les-Moulineaux)

Zweites Deutsches Fernsehen (ZDF)/Arte (Mainz)

    in Zusammenarbeit mit:

Arte Deutschland TV GmbH (Baden-Baden)

    Produzent / Reinhard Brundig, Mónika Mécs, Nicolas Elghozi, Meng Xie, Morgane Olivier

Herstellungsleitung / Orsi Kmetty, Stefaan Schieder, Rudi Teichmann, Erika Tarr

Produktionsleitung / Mathias Krämer, Elke Sasserath

Aufnahmeleitung / Lukas Helming, Nadine Ginzel (Motiv), Stephan Bechem (Set)

Produktions-Assistenz / Greta Niemann

Produktions-Koordination / Claudia Schindler

Erstverleih: Pandora Film GmbH & Co. Verleih KG (Aschaffenburg)

    Filmförderung:

Nemzeti Filmintézet (Budapest)

Deutscher Filmförderfonds (DFFF) (Berlin)

Film- und Medien Stiftung NRW (Düsseldorf)

Beauftragte/r der Bundesregierung für Kultur und Medien - Filmförderung (Berlin)

HessenFilm und Medien (Frankfurt am Main)

Filmförderungsanstalt (FFA) (Berlin)

Eurimages (Straßburg)

MOIN Filmförderung (Hamburg)

Media Programm der EU (Brüssel)

    Dreharbeiten: 9.4.2024 – 20.6.2024: Marburg (Lahn), Köln, Bonn, Düsseldorf, Budapest, Paris [Botanischer Garten der Philipps Universität Marburg]

    Länge: 147 min

    Format: DCP, 1:2,39 (Cinemascope)

    Bild/Ton: s/w + Farbe, 5.1

    Prüfung/Zensur: FSK-Prüfung (DE): 14.10.2025, 273801, ab 6 Jahre / feiertagsfrei

    Uraufführung (IT): 27.8.2025 - 6.9.2025, Venedig, IFF - Competition;

    Kinostart (DE): 15.1.2026

Sarı Zarflar / Gelbe Briefe / Yellow Letters

İlker Çatak: Sarı Zarflar / Gelbe Briefe / Yellow Letters (TK/FR/DE 2026). Özgü Namal (Derya Tufan) and Tansu Biçer (Aziz Tufan). 

İlker Çatak. The director and his team celebrate the highest prize of the Berlinale. Sarı Zarflar / Gelbe Briefe / Yellow Letters · Competition · Golden Bear for Best Film · 21 Feb, 2026. Photo: Berlinale: Gelbe Briefe.

TK/FR/DE © 2025 if… Productions / Haut et Court / ZDF. Year of release: 2026. Other production companies: Arte, Liman Film. Produced by Ingo Fliess.

    Directed by İlker Çatak

Written by İlker Çatak, Ayda Çatak, Enis Köstepen

Bildgestaltung: Judith Kaufmann – colour – scope – release format: DCP

Szenenbildnerin: Zazie Knepper

Music by Marvin Miller

Edited by Gesa Jäger

    Cast

Özgü Namal as Derya Tufan

Tansu Biçer as Aziz Tufan

Leyla Smyrna Cabas as Ezgi Tufan

İpek Bilgin as Güngör Tufan

Aydın Işık as Salih

Aziz Çapkurt as Baran

Yusuf Akgün as Fikret

Uygar Tamer as Kadriye

Jale Arıkan as Kübra

Seda Türkmen as Sema

Emre Bakar as Ismail Karacabaş

Elit İşcan as Cemre

Sultan Ulutaş Alopé as Rojda

Emine Meyrem as Gülin

İpek Seyalıoğlu as Zeynep

    Dreharbeiten: Berlin als Ankara, Hamburg und Umgebung als Istanbul – 24.5.–10.7.2024

    128 min

    Language: Turkish

    Release dates:

13 February 2026 (Berlinale) Ours d'Or

Kinostart: 5 March 2026 (Germany)

1 April 2026 (France) distributor: Haut et Court – sous-titres français: Emma Delfuano.

    Viewed on Easter Sunday, 5 April 2026 at 13h20, VOSTFR, MK2 Bastille (Côté Faubourg Saint-Antoine), Salle 1, 5 Faubourg Saint-Antoine, Paris 75011, M° Bastille, Lignes 1, 5, 8

The yellow letters of the title are letters of dismissal ("pink slips"?).

Premise from English Wikipedia: "The marriage of an artist couple begins to unravel after a state arbitration at their play's premiere."

Berlinale 2026: "Derya and Aziz, a celebrated artist couple from Ankara, lead a fulfilling life with their 13-year-old daughter Ezgi – until an incident at the premiere of their new play changes everything. Overnight, they find themselves targeted by the state and lose their jobs and their home. They move to Istanbul to temporarily stay with Aziz’s mother. While Aziz ekes out a living with odd jobs and holds on to his convictions, Derya searches for a way to become financially independent. An increasing distance grows between them and their daughter until they are forced to choose between their values ​​and their shared future as a family."

AA: İlker Çatak's Yellow Letters is a drama written by the artist couple İlker and Ayda Çatak about an artist couple in contemporary Turkey.

Derya (Özgü Namal) is a beloved actress and Aziz (Tansu Biçer) a playwright and a professor. They stage acclaimed experimental plays in Ankara during a period of huge demonstrations, closely patrolled by a heavily armoured police force. 

Derya fails to accept a photo opportunity with the governor, and Aziz supports his students who join demonstrations. Aziz exclaims that there could be no greater drama than such demonstrations. Things like this lead to the dismissal of the couple from their theatre, the firing of Aziz from his university and the termination of the lease of their apartment. They get in trouble even with their bank account. Their daughter Ezgi cannot continue her expensive music lessons.

The family moves to Istanbul to restart their life, staying with Aziz's mother. Derya's brother helps Aziz get a job as a taxi driver. Ezgi finds new friends passionate about music and does not long to return to an elite school anymore. Having previously resisted offers of a lucrative role in a television series, Derya now embraces it with great success.

Aziz finds himself in the biggest crisis. Derya deserts his new experimental play without forewarning. In a big family row Derya blames Aziz for his pseudo-feminist attitudes. "It is me who created you!" declares Aziz, and if that is indeed the case, Yellow Letters can be seen to belong to the A Star Is Born legacy about a veteran maestro whose star now rises on her own wings while the maestro falls to the bottom.

Yellow Letters is a stirring piece of social drama. It is not as immediately electrifying as Çatak's masterpiece The Teacher's Lounge, nor psychologically as compelling as the marvellous Es gilt tas gesprochene Wort (2019). But it is a rich and rewarding movie, a journey into the turbulence of contemporary Turkey, including setpieces such as a Friday prayer at a mosque and a trial in which the artist couple is accused of promoting terrorism.

The cast is excellent in leading and supporting roles. In today's screening the visual experience was on the dark side either because of the circumstances of projection or because of an artistic decision favouring available light in shadowy interiors. The difference was remarkable to Çatak's previous, well-lensed work.

Due to the decision to cast Hamburg as Istanbul we miss spectacular landscapes of the twin city and its ubiquitous sense of history. Aziz's taxi shift is always at night, and the Istanbul home is narrow and dimly lit. The maritime views of the Pearl of the Bosphorus are restricted to close-ups of water surging under the ferry.

Like Jafar Panahi's It Was Just an Accident and Kleber Mendonça Filho's The Secret Agent, Yellow Letters is a message to the liberal West about the perils of the creeping power of authoritarianism, the lure of collaboration and the difficulty of breaking free after a certain point.

As a family story, Yellow Letters is also a tale of liberation. The mother and the daughter break free from the domination of the father who has seen himself as a feminist and a nonconformist and who now has to face his unconscious patriarchal bias beyond the pretense.

I am disappointed that a German film in Turkish is released in France with an English title. 

...

After the screening we witnessed a demonstration gathering at the Place de la Bastille, around the Colonne de Juillet celebrating Les Trois Glorieuses, the three glorious days of the 1830 Revolution against tyranny, famous also from the story of Gavroche in Les Misérables. On top of the column since 1840 is the golden statue of Le Génie de la Liberté by Auguste Dumont.

The Sunday 5 April 2026 demonstration was a part of a Grande Marche 15h –19h at Place de la Bastille and Place des Pyramides, "NON à la république Islamique d'Iran, grande marche de soutien au peuple iranien". I was struck by the coexistence of the flags of Iran and Israel and the presence of the portrait of Reza Pahlevi. The demonstration proceeded from the square towards the continuity of rue Sainte-Antoine – Rue de Rivoli.

This is the week when the King Kong of the White House threatened to bomb Iran back to the Stone Age, the Pope condemned his inhuman rhetoric and key figures of the Republican Party started to seriously distance themselves from his brutal militarism.

...

FILMPORTAL: GELBE BRIEFE 

Regie / İlker Çatak

Regie-Assistenz / Shawn Bäumer

Script / Ipek Sertöz (Script Supervisor)

Drehbuch / İlker Çatak, Ayda Meryem Çatak, Enis Köstepen

Kamera / Judith Kaufmann

Kameraführung / Jan Schuberth

Kamera-Assistenz / Gero Neumann

Steadicam / Florian Klos

Farbkorrektur / Christian Kuss

Standfotos / Ella Knorz

Licht / Timm Brückner

Kamera-Bühne / Lukasz Wyszkowski, Ivain Adrian (Assistenz)

Szenenbild / Zazie Knepper, Luca Rossi (Assistenz)

Ausstattung / Jeannie Ulrich

Außenrequisite / Tim Meisner, Steffi Lehmkul

Innenrequisite / Susanne Lingens, Youssif Ibrahim (Assistenz), Isabel Lampe (Assistenz)

Maske / Nicola Faas, Anne Wenzel (Assistenz), Yasmin Iqbal (Assistenz)

Kostüme / Christian Röhrs, Emily Schumann (Assistenz), Johanna Schraut (Assistenz)

Schnitt / Gesa Jäger

Schnitt-Assistenz / Arzu Tuncel Rollenhagen

Ton-Design / Sebastian Tesch, Florian Holzner

Ton / Maarten van de Voort

Ton-Assistenz / Max Kober

Synchron-Ton / Anna Dorothee von Hammerstein

Casting /  Ceren Sena Akdeniz

Musik / Marvin Miller

    Darsteller

Özgü Namal / Derya

Tansu Biçer / Aziz

Leyla Smyrna Cabas / Ezgi

İpek Bilgin / Güngör Hanim

Aydın Işık / Salih

Aziz Çapkurt / Baran

Yusuf Akgün / Fikret

Uygar Tamer / Kadriye

Jale Arikan / Kübra

Seda Türkmen / Sema

Emre Bakar / Ismail Karacabraş

Elit İşcan / Cemre

Sultan Ulutaş Alopé / Rojda

Emine Meyrem / Gülin

Ipek Seyalioglu / Zeynep

Ela Cosen / Münise

Erdogan Koc / Zafer

Yasin Kalfa / Imam

Vedat Erincin / Zülfikar

Eray Egilmez / Üst

Uğur Taşbilek / Rechtsanwalt

Sezer Uzunoglu / Security

Tuba Görgün / Nachrichtensprecherin

Mustafa Cicek / Theaterschauspieler

Ferhat Keskin / Taxi-Fahrer

Şiir Eloğlu / Rektorin

Irem Gökçen / Havva

Ümran Algün / Assistentin

Hadyeh Khalaj / Schülerin

    Produktionsfirma

if... Productions (München)

    in Co-Produktion mit

Haut et Court (Paris)

Liman Film (Istanbul)

    in Zusammenarbeit mit

Zweites Deutsches Fernsehen (ZDF)/Arte (Mainz)

    Produzent / Ingo Fliess

Co-Produzent / Carole Scotta, Caroline Benjo, Eliott Khayat, Nadir Öperli, Enis Köstepen

    Redaktion

Alexandra Staib (ZDF)

Martin Gerhard (ZDF / Arte)

Barbara Häbe (Arte)

    Executive Producer / Ingo Fliess

Herstellungsleitung / Ingrid Holzapfel

Associate Producer / Seren Sahin

Aufnahmeleitung / Roland Kanamüller, John Kustendy (Motiv), Robert Seemann (Motiv), Romy Guttmann (Motiv), Leo Manow (Set)

    Erstverleih: Alamode Filmverleih (München)

    Filmförderung

Beauftragte/r der Bundesregierung für Kultur und Medien - Filmförderung (Berlin)

Filmförderungsanstalt (FFA) (Berlin)

Deutscher Filmförderfonds (DFFF) (Berlin)

MOIN Filmförderung (Hamburg)

Medienboard Berlin-Brandenburg GmbH (MBB) (Potsdam)

FilmFernsehFonds Bayern GmbH (FFFB) (München)

Deutsch-Türkischer Co-Production Development Fonds (DE)

    Dreharbeiten 24.5.2024 – 10.7.2024: Hamburg und Umgebung, Berlin

    Länge: 128 min

Format: DCP

Bild/Ton: Farbe, Ton

    Prüfung/Zensur:

FSK-Prüfung (DE): 12.1.2026, 276434, ab 12 Jahre / feiertagsfrei

    Uraufführung (DE): 13.2.2026, Berlin, IFF – Wettbewerb, Berlinale Palast;

    Kinostart (DE): 5.3.2026

Musée du Quai Branly – Jacques-Chirac

 

Tête sculptée Moaï. 11e -15e siècle. Amérique>Amérique du Sud>Chili>Valparaíso>Pâques (île) [Ahu Vaihu, Hanga Roa (baie de Cook)]. Culture : Pascuans. Tuf volcanique. 180 x 131 x 108 cm, 2350 kg. Acquisition indéterminée : Personne inconnue. Ancienne collection : Museum National d'Histoire Naturelle. Ancienne collection : Lapelin, François-Théodore de (1812 - 1888). Précédente collection : Musée de l'Homme (Océanie). N° inventaire : 71.1930.35.1. MH - Inventaire : 30.35.1, Objet exposé : MQB, Quai Branly, Hall d'accueil, emplacement hall d'accueil, Usage : Les sculptures moai étaient érigées sur des plates-formes de pierre, le visage face à l'intérieur des terres (celles du bord de mer). Elles commémoraient des ancêtres illustres ou divinisés. Provenance historique : Date et circonstances de collecte : Cette sculpture fut rapportée en 1872 par le contre-amiral Lapelín qui dirigeait l'expédition de « La Flore ››. Pierre Loti participa à cette collecte et réalisa plusieurs dessins de moai in situ. La Flore mouille à Hanga Roa le 3 janvier 1872 au moment où les missionnaires catholiques conduits par le Père Roussel avaient quitté l’île avec leurs ouailles, suite à un désaccord avec Jean-Baptiste Dutrou-Bornier (1834-1876) qui avait entrepris de faire reconnaître son épouse polynésienne en tant que reine de l’île de Pâques. Dans l’article qu’il publie dans la Revue maritime et coloniale, 1872, n°35, p.106, François-Théodore de Lapelin précise que Dutrou-Bornier étant également absent, c’est avec le concours de « M. Christian Smith, jeune marin danois, le seul blanc que nous ayons trouvé au milieu de cette population » qu’il conduit l’opération ; et « qu’à défaut d’une statue entière, en bon état de conservation, facilement transportable, nous avons dû nous contenter de détacher la tête d’une statue renversée sur la face, trop lourde pour être transportée entière et qui se trouvait dans un moraï (mieux [sic] marae) près du débarcadère de la mission. ». Enlèvement de la tête le 5 janvier 1872. Voir Loti, 1899, p. 243-245. Provenance historique mise à jour le 13/06/2025, en fonction des informations disponibles.

Musée du Quai Branly – Jacques-Chirac

37 Quai Branly, 75007 Paris

Visited on Sunday, 22 March 2026

AA: Already the first exhibits take my breath away. A 869 cm high Gitxsan totem pole from British Columbia (see photo below) reaches toward the ceiling. A huge Moaï head from Rapa Nui (Easter Island) sculpted from lava (see photo above) faces us in silent grandeur.

The keyword is awe.

I am instantly in an uncanny power field detached from the urban contemporary reality surrounding us. I am no longer able to focus and wander like a sleepwalker on the spiralling lanes of Musée du Quai Branly.

It becomes immediately my favourite museum in Paris. I had anticipated this, and therefore avoided a visit.

In fact, I knew this would happen. During the 1980s, as a student in West Berlin, living in Dahlem at the Freie Universität campus, I was a regular at the Dahlem Museum Complex, where the Museum für Völkerkunde (today's Ethnologisches Museum) was my favourite in Berlin. It emitted an uncanny radiation to the neighbouring Gemäldegalerie.

My dearest friend from my Berlin days had especially recommended Musée du Quai Branly for us. I have to keep returning if I dare. The visit raises a lot of questions.

The first is about colonialism and repatriation. These museums in Paris, Berlin and everywhere are, among other things, displays of colonial looting and appropriation, and dealing with it is a high priority in the work of cultural patrimony professionals. 

In the cinema, the classic of the field is Les Statues meurent aussi (FR 1953) directed by Chris Marker, Alain Resnais and Ghislain Cloquet. It is a pioneering masterpiece based on an anticolonialist philosophy of history, shot at le Musée de l'Homme, one of the predecessors of Musée du Quai Branly. A kind of a "sequel" is Mati Diop's Dahomey (SN/BJ/FR 2024), a documentary about the journey of repatriation from the Musée du Quai Branly to Benin.

The second question belongs to the category of "children's science questions", the simplest and greatest questions which may be impossible to answer. What are they? What are these objects? To me it is increasingly evident that these objects are not inevitably art. They are more. They are beyond art. Familiar aesthetic categories are meaningless here. These objects may have multiple functions, but often they might be holds, markers, devices, means and instruments of history, identity, culture and patrimony. Many belong to the sphere of the sacred, what we describe with words such as magic, animism and totemism.

I was not surprised to register in Dahomey the movie that there are people in Benin who are disturbed by the repatriation. These objects still cast a powerful spell. They are scary. Even I, who have no idea of their original context, can sense that.

Also a third question is a children's science question. Who are we? In the age of LLMs, superior machine learning and an incredible increase in the power of information technology, many now imagine that we may soon no longer be able to tell the man from the machine. But Joseph Weizenbaum, the creator of the first chatbot in 1966, already realized that that moment will never happen. Because we are a mystery to ourselves and each other. The Museum of Quai Branly is all about that mystery.

In the Cave of Forgotten Dreams (2010), Werner Herzog entered the Grotte Chauvet-Pont-d'Arc to encounter the oldest known cave drawings, engravings and paintings, dating to 35.000-27.000 BP. What is impressive is their timeless quality. We don't know the meaning and the function of these images, but in a general way we can relate to them and the people who made them.

The fourth question was posed already by the trio Marker & Resnais & Cloquet: if we see these works as art, why are they not in the Louvre, why are they segregated in a ghetto? And if we view them primarily as sacred objects, why are the religious masterpieces of the Quattrocento not here with them?

The questions may be the answers. The meaning of a place like this is to stimulate thought and dialogue on the most profound issues of consciousness and community. 

Associations are stirred. A wall full of masks resonates both with Picasso's Young Ladies of Avignon and Nick Park's Wallace & Gromit.

A time warp into eternity is welcome in our daily life in the instant attention economy.

Mât totem "Kaiget". Fin 19e siècle. Amérique>Amérique du Nord>Canada>British Columbia (province) Culture : Gitxsan. Cèdre rouge. 1451 x 75 x 60 cm, 736000 g. Partie supérieure : 582 cm, 253000 g. Partie inférieure : 869 cm, 4830000 g. Donateur : Seligmann, Kurt (1900 - 1962). Précédente collection : Musée de l'Homme (Amérique) N° inventaire : 71.1992.55.1. MH - Registre des dépôts : D.39.2.1. MH - Inventaire : 992.55.1. Objet exposé : MQB, Quai Branly, Hall d'accueil, emplacement hall d'accueil. Description : Monstre ou géant, Kaiget est l'emblème du clan de la "Maison aux yeux multiples". Ce mât se trouvait en face de la maison du chef (dont le nom était Gédem Skanish) et permettait d'identifier le rang et le clan auxquels il appartenait. Please click on the photo to enlarge it.

Musée du Quai Branly – Jacques-Chirac: Le guide du musée, Edition 2006, the first guide, still the best, 308 pages, superb on every page.

Musée du Quai Branly – Jacques-Chirac: Le guide du musée, Edition 2016, the second guide, the one currently for sale at the museum bookstore. 264 pages, smaller format. Keys to understanding The history of the collection, from the earliest ethnographic missions to the inauguration of the museum in 2006 ; the design of the building and the garden. And, from Gauguin to Apollinaire, painters and writers provide their insights on non-Western art. The collection area Discover the five themes featured at the Musée du Quai Branly - Oceania, Asia, Near East and North Africa, Africa, the Americas - through the major works, techniques and rituals of each civilization. Practical information All the essential information you need to prepare your visit and enjoy all the activities available in this "cultural city".

The Testament of Ann Lee

 

Mona Fastwold: The Testament of Ann Lee (US/GB 2025). Amanda Seyfried (Ann Lee).

Le Testament d'Ann Lee

US/GB 2025

    FICHE TECHNIQUE

Sociétés de production : Annapurna Pictures, Mid March Media, FirstGen, Mizzel Media, Yintai Entertainment, Kaplan Morrison et Intake Films

Producteurs : Andrew Morrison, Joshua Horsfield, Viktória Petrányi, Mona Fastvold, Brady Corbet, Mark Lampert, Klaudia Śmieja-Rostworowska, Gregory Jankilevitsch et Lillian LaSalle

    Réalisation : Mona Fastvold

Scénario : Brady Corbet et Mona Fastvold

Photographie : William Rexer

Format : 35 mm – couleur – 2.35:1 – released on 70 mm and digital

Décors : Sam Bade

Costumes : Malgorzata Karpiuk

Musique : Daniel Blumberg

Montage : Sofía Subercaseaux

    DISTRIBUTION

Amanda Seyfried (VF : Marie-Eugénie Maréchal) : Ann Lee

Lewis Pullman : William Lee

Thomasin McKenzie : Mary Partington

Stacy Martin : Jane Wardley (en)

Christopher Abbott (VF : Damien Ferrette) : Abraham Standerin

Tim Blake Nelson : le pasteur Reuben Wright

Scott Handy (VF : Alexis Victor) : James Wardley

Matthew Beard (VF : Cyril Descours) : James Whittaker

Jamie Bogyo : Richard Hocknell

Viola Prettejohn : Nancy Lee

David Cale (VF : Michel Dodane) : John Hocknell

Esmee Hewett et Millie Rose Crossley : Ann, jeune

Benjamin Bagota et Harry Conway : William, jeune

    Loc: Budapest (Hungary) and Göteborg (Sweden).

    Durée : 130 minutes

Budget : 10 000 000 $

Langue originale : anglais

Genre : drame, biographie, musical

Société de distribution : Searchlight Pictures

    DATES DE SORTIE :

Italie : 1er septembre 2025 (Mostra de Venise)

Canada : 9 septembre 2025 (festival de Toronto)

États-Unis :

25 décembre 2025 (sortie limitée en salles 70 mm)

23 janvier 2026 (sortie nationale)

Royaume-Uni : 20 février 2026

France : 11 mars 2026 – distributeur : The Walt Disney Company France

Finlande : 20 mars 2026 – distributeur : The Walt Disney Company Nordic

    Vu 21 mars 2026, Majestic Bastille, 4 bd Richard-Lenoir, Paris 75011, 11e, M° Bastille, Lignes 1, 5, 8

SYNOPSIS

Dans les années 1770, Ann Lee quitte l'Angleterre pour New York et fonde l'Organisation de la Société Unie des Croyants dans la Deuxième apparition du Christ (United Society of Believers in Christ's Second Appearing), encore appelée les Shakers. Prêchant l'égalité des sexes et l'égalité sociale, Ann Lee est vite vénérée par ses fidèles comme l'incarnation féminine du Christ. Sa quête pour construire une utopie va cependant connaitre de nombreux tourments.

AA: Mona Fastvold's The Testament of Ann Lee is a historical drama, a tale of a religious sect, a true story and a tale of unrest.

The canvas is magnificent. William Rexer shoots in glorious 35 mm in the scope format.  The passion in colour invites comparison with great oil paintings.

The Testament of Ann Lee rises to a select group of great films about religious movements. It is a tale of sound and fury, the eternal combat between the spirit and the flesh, the ordeal of being called into a higher existence while irrevocably chained to the earth.

Jacques Audiard turned his gangster picture Emilia Pérez into an opera, and Mona Fastvold turns her religious saga into a musical. It is a bold solution but justified by the insight of transcending the ordinary and reaching into the beyond.

Geographically, the voyage extends from Europe to an America before the Revolution. The range of human experience from the carnal to the sacred is equally amazing.

Amanda Seyfried gives a shattering performance as Ann Lee. She deserves to be mentioned among the great performers of religious revivalists, such as Barbara Stanwyck in The Miracle Woman (inspired by Aimee Semple McPherson) and Burt Lancaster in Elmer Gantry (based on the novel by Sinclair Lewis). In Nordic countries we have a cinematic legacy of our own in this subject which I discussed a month ago having seen Jon Blåhed's Raptures (SE/FI 2025).

As a sociologist and an Émile Durkheim devotee I am endlessly fascinated by the subject of religion and society. Religion is a grand mystery, for Durkheim the social fact. The Testament of Ann Lee is all about this mystery and that fact.

The film may also be a case of what I call "the pandemic phlegmatic syndrome". All ingredients are first class: the extraordinary performances, the visual experience and the religious soundtrack. There is nothing wrong. Only an irresistible conviction is missing. 

Jussi Awards 2026 (Finnish awards honoring films released in 2025)

 

Best Ensemble: Pirjo Lonka and Elina Knihtilä in 100 litraa sahtia (100 Litres of Gold). Photo: Heikki Saukkomaa / Lehtikuva / Yle.

Audience Favourite: Cancel, starring Henry Weckström (Weksi), Niko Meuronen (Niko) and Santeri Hänninen (Santtu), directed by Tuukka Temonen (on the right). Photo: Heikki Saukkomaa / Lehtikuva / Yle.

2026 JUSSI NOMINEES:

Jossain on valo joka ei sammu / A Light That Never Goes Out (10)

100 litraa sahtia / 100 Litres of Gold (6)

Valitut / Rörelser / Liikheitä / Raptures (5)

Orenda (4)

Sisu 2 / Sisu: Road to Revenge (4)

E (3)

The Helsinki Effect (3)

Elämä on juhla / Summer Is Crazy (2)

Huutamisen taito / How to Shout (2)

Teräsleidit – kuin viimeistä päivää (2)

Aurinko laskee Lemmenjoella / The Last Misfits by the Golden River (1)

Backwood Madness (1)

Ei koskaan yksin / Never Alone (1)

Fleak: Kekseliäs ystäväni (1)

Kapina elämän puolesta / Rebellion for Future (1)

Kesäkirja / The Summer Book (1)

Palava maa / Burnt Earth (1)

Tonttu / The Elf and the Christmas Wonder (1)

Uhma / Defiant (1)

SHORTS 

Huoneet

My Name is Hope

Underdog. 

WINNERS & NOMINEES

VUODEN ELOKUVA / BEST FILM

WINNER: Jossain on valo joka ei sammu – tuottaja Ilona Tolmunen / Elokuvatuotantoyhtiö Made

NOMINEES

100 litraa sahtia – tuottajat Jani Pösö / It’s Alive Films

Orenda – tuottajat Misha Jaari, Mark Lwoff / Bufo

Sisu 2 – tuottaja Petri Jokiranta / Subzero Film Entertainment Oy

Valitut – tuottajat Andreas Emanuelsson, Tony Österholm / Iris Film

VUODEN OHJAUS / BEST DIRECTOR

WINNER: Lauri-Matti Parppei – Jossain on valo joka ei sammu

NOMINEES

Teemu Nikki – 100 litraa sahtia

Jalmari Helander – Sisu 2

VUODEN ENSEMBLE / BEST ENSEMBLE

WINNER: Pirjo Lonka, Elina Knihtilä – 100 litraa sahtia

NOMINEES

Bruno Baer, Aamu Milonoff – Elämä on juhla

Glenn Close, Emily Matthews – Kesäkirja

VUODEN PÄÄOSA / BEST PERFORMANCE FOR AN ACTOR/ACTRESS IN A LEADING ROLE

WINNER: Samuel Kujala – Jossain on valo joka ei sammu

NOMINEES

Jonna Järnefelt – Huutamisen taito

Jessica Grabowsky – Valitut

VUODEN SIVUOSA / BEST PERFORMANCE FOR AN ACTOR/ACTRESS IN A SUPPORTING ROLE

WINNER: Ville Tiihonen – 100 litraa sahtia

NOMINEES

Pirjo Lonka – Teräsleidit – kuin viimeistä päivää

Sanna-Kaisa Palo – Teräsleidit – kuin viimeistä päivää

VUODEN LÄPIMURTOROOLI / BEST BREAKTHROUGH ROLE

WINNER: Anna Rosaliina Kauno – Jossain on valo joka ei sammu

NOMINEES

Bruno Baer – Elämä on juhla

Ona Huczkowski – Uhma

VUODEN KÄSIKIRJOITUS / BEST SCREENPLAY

WINNER: Lauri-Matti Parppei – Jossain on valo joka ei sammu

NOMINEES

Teemu Nikki – 100 litraa sahtia

Josefina Rautiainen – Huutamisen taito

VUODEN KUVAUS / BEST CINEMATOGRAPHY

WINNER: Max Smeds – Orenda

Matti Pyykkö – E

Jarkko T. Laine – Palava maa

VUODEN MUSIIKKI / BEST ORIGINAL SCORE

WINNER: Lauri-Matti Parppei – Jossain on valo joka ei sammu

NOMINEES

Anna Eriksson – E

Rebekka Karijord – Valitut

VUODEN ÄÄNISUUNNITTELU / BEST SOUND DESIGN

WINNER: Juuso Oksala, Yngve Leidulv Saetre – Jossain on valo joka ei sammu

NOMINEES

Yngve Leidulv Saetre – The Helsinki Effect

Jan Alvermark – Orenda

VUODEN LEIKKAUS / BEST FILM EDITING

WINNER: Markus Leppälä, Arthur Franck – The Helsinki Effect

NOMINEES

Anna Eriksson – E

Frida Eggum Michaelsen – Jossain on valo joka ei sammu

VUODEN LAVASTUSSUUNNITTELU / BEST PRODUCTION DESIGN

WINNER: Vilja Katramo, Okku Rahikainen – Valitut

NOMINEES

Maria Hahl – 100 litraa sahtia

Nanna Hirvonen – Jossain on valo joka ei sammu

VUODEN PUKUSUUNNITTELU / BEST COSTUME DESIGN

WINNER: Eugen Tamberg – Ei koskaan yksin

NOMINEES

Mimosa Kuusimäki – Jossain on valo joka ei sammu

Jaanus Vahtra – Orenda

VUODEN MASKEERAUSSUUNNITTELU / BEST MAKEUP

WINNER: Salla Yli-Luopa – Sisu 2

Aleksanteri Jaakkola, Ari Savonen – Backwood Madness

Saara Räisänen – Valitut

VUODEN VISUAALISET TEHOSTEET / BEST VISUAL EFFECTS

WINNER: Jussi Lehtiniemi – Sisu 2

NOMINEES

Jussi Ditmer – Fleak: Kekseliäs ystäväni

Tony Alamo – Tonttu

VUODEN DOKUMENTTIELOKUVA / BEST DOCUMENTARY FEATURE FILM

WINNER: The Helsinki Effect – ohjaaja Arthur Franck, tuottajat Sandra Enkvist, Oskar Forstén, Arthur Franck / Polygraf

NOMINEES

Aurinko laskee Lemmenjoella – ohjaaja Juho-Pekka Tanskanen, tuottaja Isabella Karhu / Danish Bear Productions

Kapina elämän puolesta – ohjaaja Saku Soukka, tuottaja Oona Saari / Illume Oy

VUODEN LYHYTELOKUVA / BEST SHORT FILM

WINNER: My Name is Hope – ohjaaja Sherwan Haji

NOMINEES

Huoneet – ohjaaja Antti Lempiäinen

Underdog – ohjaaja Marjo Levlin

BETONI-JUSSI / CONCRETE JUSSI (for life achievement)

Juha "Jussi" Mäkelä

KANSAINVÄLINEN LÄPIMURTO / INTERNATIONAL BREAKTHROUGH

Jalmari Helander

YLEISÖN SUOSIKKI -KUNNIAKIRJA / AUDIENCE FAVOURITE

Cancel

NORDISK FILM AWARD

Elina Knihtilä, Pirjo Lonka

The 98th Academy Awards | 2026 (honoring movies released in 2025)

 

The 98th Academy Awards | 2026. Dolby Theatre at Ovation Hollywood, Sunday, March 15, 2026. Photo © 2026 Academy of Motion Picture Arts and Sciences.

The 98th Academy Awards | 2026

Dolby Theatre at Ovation Hollywood

Sunday, March 15, 2026

Honoring movies released in 2025

WINNERS & NOMINEES

Actor in a Leading Role

Winner: Michael B. Jordan / Sinners

Nominees

Timothée Chalamet / Marty Supreme

Leonardo DiCaprio / One Battle after Another

Ethan Hawke / Blue Moon

Wagner Moura / The Secret Agent

Actor in a Supporting Role

Winner: Sean Penn / One Battle after Another

Nominees

Benicio Del Toro / One Battle after Another

Jacob Elordi / Frankenstein

Delroy Lindo / Sinners

Stellan Skarsgård / Sentimental Value

Actress in a Leading Role

Winner: Jessie Buckley / Hamnet

Nominees

Rose Byrne / If I Had Legs I'd Kick You

Kate Hudson / Song Sung Blue

Renate Reinsve / Sentimental Value

Emma Stone / Bugonia

Actress in a Supporting Role

Winner: Amy Madigan / Weapons

Nominees

Elle Fanning / Sentimental Value

Inga Ibsdotter Lilleaas / Sentimental Value

Wunmi Mosaku / Sinners

Teyana Taylor / One Battle after Another

Animated Feature Film

Winner: KPop Demon Hunters – Maggie Kang, Chris Appelhans and Michelle L.M. Wong

Nominees

Arco / Ugo Bienvenu, Félix de Givry, Sophie Mas and Natalie Portman

Elio / Madeline Sharafian, Domee Shi, Adrian Molina and Mary Alice Drumm

Little Amélie or the Character of Rain / Maïlys Vallade, Liane-Cho Han, Nidia Santiago and Henri Magalon

Zootopia 2 / Jared Bush, Byron Howard and Yvett Merino

Animated Short Film

Winner: The Girl Who Cried Pearls – Chris Lavis and Maciek Szczerbowski

Nominees

Butterfly / Florence Miailhe and Ron Dyens

Forevergreen / Nathan Engelhardt and Jeremy Spears

Retirement Plan / John Kelly and Andrew Freedman

The Three Sisters / Konstantin Bronzit

Casting

Winner: One Battle after Another – Cassandra Kulukundis

Nominees

Hamnet / Nina Gold

Marty Supreme / Jennifer Venditti

The Secret Agent / Gabriel Domingues

Sinners / Francine Maisler

Cinematography

Winner: Sinners – Autumn Durald Arkapaw

Nominees

Frankenstein / Dan Laustsen

Marty Supreme / Darius Khondji

One Battle after Another / Michael Bauman

Train Dreams / Adolpho Veloso

Costume Design

Winner: Frankenstein / Kate Hawley

Nominees

Avatar: Fire and Ash / Deborah L. Scott

Hamnet / Malgosia Turzanska

Marty Supreme / Miyako Bellizzi

Sinners / Ruth E. Carter

Directing

Winner: One Battle after Another / Paul Thomas Anderson

Nominees

Hamnet / Chloé Zhao

Marty Supreme / Josh Safdie

Sentimental Value / Joachim Trier

Sinners / Ryan Coogler

Documentary Feature Film

Winner: Mr. Nobody against Putin / David Borenstein, Pavel Talankin, Helle Faber and Alžběta Karásková

Nominees

The Alabama Solution / Andrew Jarecki and Charlotte Kaufman

Come See Me in the Good Light / Ryan White, Jessica Hargrave, Tig Notaro and Stef Willen

Cutting through Rocks / Sara Khaki and Mohammadreza Eyni

The Perfect Neighbor / Geeta Gandbhir, Alisa Payne, Nikon Kwantu and Sam Bisbee

Documentary Short Film

Winner: All the Empty Rooms / Joshua Seftel and Conall Jones

Nominees

Armed Only with a Camera: The Life and Death of Brent Renaud / Craig Renaud and Juan Arredondo

Children No More: "Were and Are Gone" / Hilla Medalia and Sheila Nevins

The Devil Is Busy / Christalyn Hampton and Geeta Gandbhir

Perfectly a Strangeness / Alison McAlpine

Film Editing

Winner: One Battle after Another / Andy Jurgensen

Nominees 

F1 / Stephen Mirrione

Marty Supreme / Ronald Bronstein and Josh Safdie

Sentimental Value / Olivier Bugge Coutté

Sinners / Michael P. Shawver

International Feature Film

Winner: Norway / Sentimental Value

Nominees

Brazil / The Secret Agent

France / It Was Just an Accident

Spain / Sirāt

Tunisia / The Voice of Hind Rajab

Live Action Short Film

Winner: The Singers / Sam A. Davis and Jack Piatt

Winner: Two People Exchanging Saliva / Alexandre Singh and Natalie Musteata

Nominees

Butcher's Stain / Meyer Levinson-Blount and Oron Caspi

A Friend of Dorothy / Lee Knight and James Dean

Jane Austen's Period Drama / Julia Aks and Steve Pinder

Makeup and Hairstyling

Winner: Frankenstein / Mike Hill, Jordan Samuel and Cliona Furey

Nominees

Kokuho / Kyoko Toyokawa, Naomi Hibino and Tadashi Nishimatsu

Sinners / Ken Diaz, Mike Fontaine and Shunika Terry

The Smashing Machine / Kazu Hiro, Glen Griffin and Bjoern Rehbein

The Ugly Stepsister / Thomas Foldberg and Anne Cathrine Sauerberg

Music (Original Score)

Winner: Sinners / Ludwig Goransson

Nominees

Bugonia / Jerskin Fendrix

Frankenstein / Alexandre Desplat

Hamnet / Max Richter

One Battle after Another / Jonny Greenwood

Music (Original Song)

Winner: Golden / from KPop Demon Hunters; Music and Lyric by EJAE, Mark Sonnenblick, Joong Gyu Kwak, Yu Han Lee, Hee Dong Nam, Jeong Hoon Seo and Teddy Park

Nominees

Dear Me / from Diane Warren: Relentless; Music and Lyric by Diane Warren

I Lied To You / from Sinners; Music and Lyric by Raphael Saadiq and Ludwig Goransson

Sweet Dreams Of Joy / from Viva Verdi!; Music and Lyric by Nicholas Pike

Train Dreams / from Train Dreams; Music by Nick Cave and Bryce Dessner; Lyric by Nick Cave

Best Picture

Winner: One Battle after Another / Adam Somner, Sara Murphy and Paul Thomas Anderson, Producers

Nominees

Bugonia / Ed Guiney & Andrew Lowe, Yorgos Lanthimos, Emma Stone and Lars Knudsen, Producers

F1 / Chad Oman, Brad Pitt, Dede Gardner, Jeremy Kleiner, Joseph Kosinski and Jerry Bruckheimer, Producers

Frankenstein / Guillermo del Toro, J. Miles Dale and Scott Stuber, Producers

Hamnet / Liza Marshall, Pippa Harris, Nicolas Gonda, Steven Spielberg and Sam Mendes, Producers

Marty Supreme / Eli Bush, Ronald Bronstein, Josh Safdie, Anthony Katagas and Timothée Chalamet, Producers

The Secret Agent / Emilie Lesclaux, Producer

Sentimental Value / Maria Ekerhovd and Andrea Berentsen Ottmar, Producers

Sinners / Zinzi Coogler, Sev Ohanian and Ryan Coogler, Producers

Train Dreams / Marissa McMahon, Teddy Schwarzman, Will Janowitz, Ashley Schlaifer and Michael Heimler, Producers

Production Design

Winner: Frankenstein / Production Design: Tamara Deverell; Set Decoration: Shane Vieau

Nominees

Hamnet / Production Design: Fiona Crombie; Set Decoration: Alice Felton

Marty Supreme / Production Design: Jack Fisk; Set Decoration: Adam Willis

One Battle after Another / Production Design: Florencia Martin; Set Decoration: Anthony Carlino

Sinners / Production Design: Hannah Beachler; Set Decoration: Monique Champagne

Sound

Winner: F1 / Gareth John, Al Nelson, Gwendolyn Yates Whittle, Gary A. Rizzo and Juan Peralta

Nominees

Frankenstein / Greg Chapman, Nathan Robitaille, Nelson Ferreira, Christian Cooke and Brad Zoern

One Battle after Another / José Antonio García, Christopher Scarabosio and Tony Villaflor

Sinners / Chris Welcker, Benjamin A. Burtt, Felipe Pacheco, Brandon Proctor and Steve Boeddeker

Sirāt / Amanda Villavieja, Laia Casanovas and Yasmina Praderas

Visual Effects

Winner: Avatar: Fire and Ash / Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett

Nominees

F1 / Ryan Tudhope, Nicolas Chevallier, Robert Harrington and Keith Dawson

Jurassic World Rebirth / David Vickery, Stephen Aplin, Charmaine Chan and Neil Corbould

The Lost Bus / Charlie Noble, David Zaretti, Russell Bowen and Brandon K. McLaughlin

Sinners / Michael Ralla, Espen Nordahl, Guido Wolter and Donnie Dean

Writing (Adapted Screenplay)

Winner: One Battle after Another / Written by Paul Thomas Anderson

Nominees

Bugonia / Screenplay by Will Tracy

Frankenstein / Written for the Screen by Guillermo del Toro

Hamnet / Screenplay by Chloé Zhao & Maggie O'Farrell

Train Dreams / Screenplay by Clint Bentley & Greg Kwedar

Writing (Original Screenplay)

Winner: Sinners / Written by Ryan Coogler

Nominees

Blue Moon / Written by Robert Kaplow

It Was Just an Accident / Written by Jafar Panahi; Script collaborators – Nader Saïvar, Shadmehr Rastin, Mehdi Mahmoudian

Marty Supreme / Written by Ronald Bronstein & Josh Safdie

Sentimental Value / Written by Eskil Vogt, Joachim Trier

Source: © 2026 Academy of Motion Picture Arts and Sciences

Simone Veil. Mes sœurs et moi / Simone Veil. My Sisters and I (2026 exhibition at le Mémorial de la Shoah)

 

The book to the exhibition. David Teboul (coordination éditoriale):  Simone Veil : Mes soeurs et moi : L'exposition. Éditions Les Arènes 380 pages, 5 février 2026. Publicity: "Ce livre propose une immersion visuelle exceptionnelle dans le plus vaste fonds d’archives jamais réuni sur Simone Veil. La mise en page, radicalement contemporaine et sensible, met en lumière plus de 1 400 documents : photographies d’archives, objets, albums de famille, lettres inédites, images personnelles jamais publiées… Grâce au concours exceptionnel du Mémorial de la Shoah, partenaire de l’ouvrage, ce trésor iconographique prend vie sous nos yeux."

Simone Veil. Mes sœurs et moi

Exposition mardi 10 février 2026 – jeudi 15 octobre 2026

Commissaire de l’exposition : David Teboul

Coordination générale :

Agence Eva Albaran : Tatiana Titli, Louise Riou

Mémorial de la Shoah: Clara Lainé, Sophie Nagiscarde

Scénographie : Cécile Degos

Graphisme : Eric Pillaut

Programmation autour de l’exposition : Julie Maeck, Pauline Dubuisson, Louise Gurman-Dessauce

    Mémorial de la Shoah, 17, rue Geoffroy l’Asnier, 75004 Paris. Le Mémorial de la Shoah est ouvert du dimanche au vendredi. L’accès au Mémorial est gratuit sans réservation.

    Visited on Sunday, 15 March 2026

OFFICIAL: " Simone Veil. Mes soeurs et moi plonge au coeur de l’intimité de la fratrie Jacob, dont le destin fut bouleversé par la guerre. On y découvre une Simone Veil souriante et insouciante, loin des représentations figées de la femme d’État. "

" Conçue par David Teboul et inspirée de l’ouvrage et du film éponymes qu’il a réalisés, l’exposition prolonge le travail de l’auteur autour de la mémoire et de la transmission. Elle repose sur des extraits de correspondances, journaux intimes et récits et dévoile des photographies issues des archives des familles Jacob et Vernay. "

" Les trois soeurs Jacob, Madeleine (dite Milou), Denise et Simone grandissent à Nice, dans les années 1920, au sein d’une famille juive française. Leur enfance heureuse est peu à peu bouleversée par les crises économiques et politiques des années 1930, puis par l’Occupation et les persécutions antisémites. "

" Denise s’engage dans la Résistance et sera déportée à Ravensbrück. Simone, Milou, Jean et leur mère Yvonne sont arrêtés. Les trois femmes sont déportées à Auschwitz au printemps 1944. Yvonne meurt à Bergen-Belsen ; Milou revient affaiblie, Simone survit. Leur père André et leur frère Jean, déportés en 1944 par le convoi 73, ne reviendront pas. "

" À travers les écrits et les photographies conservés par la famille, les entretiens réalisés par David Teboul, et les voix des comédiennes Isabelle Huppert, Marina Fois et Dominique Reymond, l’exposition restitue le parcours des sœurs Jacob, de l’insouciance niçoise à la reconstruction d’après-guerre. "

" Ces archives personnelles éclairent l’expérience de la Shoah à travers le regard de jeunes femmes et interrogent la manière dont se tissent mémoire intime et histoire collective. "

" Réalisateur et photographe, David Teboul est l’auteur du documentaire Simone Veil, une histoire française et du livre Simone Veil, Mes sœurs et moi. Son travail explore la mémoire et la transmission à travers des récits personnels. "

DENISE VERNAY (la sœur de Simone Veil, née Denise Jacob) :

" Tout a commencé lorsque Simone me dit un jour : " Mais, au fond, qu'est-ce que tu as fait, dans la Résistance ? " J'ai pensé que vous non plus, vous n'en saviez pas grand-chose, et qu'il était temps pour moi de vous raconter un peu de cette guerre, la vraie guerre, pas la " guerre des étoiles " à laquelle vous assistez aujourd'hui.

" Ma " guerre se déroula entre 1939 et 1945. "

Denise, Paris, 1988

AA: Simone Veil (1927–2017, born Simone Jacob) was a French national heroine. As Minister of Social Affairs, Health and Urban Issues, she championed women's rights and pursued the 1975 law legalising abortion, known as Loi Veil (the Veil Act). In 1979, she became the first woman elected President of the European Parliament. She also served at France's Constitutional Council, the highest legal authority of the country and as president of the Foundation pour la Mémoire de la Shoah. She was a member of the Académie Française, received the grand cross of the Légion d'honneur and was interred at the Panthéon together with her husband Antoine Veil.

The exhibition explores the story of the family Jacob, the happy days of the four siblings, Madeleine (Milou), Denise, Jean and Simone in Nice. The family Jacob was openly Jewish but atheist. They were proud of their identity as the people of the Book. During the Nazi occupation of France, the family stayed in Nice, which became a part of the Italian occupation zone. Gradually the Jacobs had to split up and live under assumed names. Denise joined the armed resistance in Lyon. In 1943, Germany took over the Italian occupation zone. Simone still managed to pass her baccalauréat under her real name in March 1944. The next day, the members of the family Jacob were arrested by the Gestapo. Simone's father and brother were deported to the Baltic states and never seen again. Denise was sent to the Ravensbrück concentration camp. Simone, Madeleine and their mother arrived at Auschwitz from where they were sent on the death march to Bergen-Belsen, after which the mother died but the sisters survived.

The exhibition tells an engrossing story about the twentieth century, a genocide survivor growing up to become a builder of modern France and a reborn Europe. The story of the Occupation and the experience of the concentration camps is horrible, but the most bitter moment for me is the homecoming. People are shocked that the sisters have returned. The remaining family is not warmly welcomed. Simone looks at herself in a broken mirror. 

Under the direction of David Teboul, the balance of the exhibition is dominated by love, not hate. The love, the joy and the happiness of the Jacob family give them the strength, the willpower and the life force to survive. Based on a rich trove of family correspondence, authentic words dominate the experience, much in the voice of Simone Veil, complemented by the actresses Isabelle Huppert, Marina Fois et Dominique Reymond reading the testimonies of Denise and Madeleine.