Latest news with #French Riviera
SBS Australia
16 hours ago
- Entertainment
- SBS Australia
Past and present crimes unfold in scorching drama 'The Embers'
Despite the name – which might suggest a slowly unfolding drama about events after the heat is over, after the big action is done – The Embers starts with a rapidly escalating scene in a hospital that will have you sitting bolt upright, shocked, pulse racing. It's not surprising then, to see Stéphane Demoustier ( L'Opera , The Girl with a Bracelet ), director of the first four episodes of this eight-part French series (Farid Bentoumi directs the final four), describe it as 'an utterly scorching thriller'. In 1995, Lidia Achour (Mouna Soualem, The Night of the 12 , You Resemble Me ), a young member of an anti-terrorism squad, is sent to the town of Péranne after the brutal murder of an imam. Also on the case is local gendarme Jean Benefro (Olivier Rabourdin, Taken , Benedetta ), a man scarred by his memories of the Algerian War. Almost 30 years later, Achour is drawn back to Péranne after another shocking murder there, and the disappearance of her former partner – now a suspect in the investigation led by Adrien Caron (Denis Eyriey, Sambre:Anatomy of a Crime ), the town's newly-appointed police lieutenant. Lidia (Mouna Soualem) returns to Péranne. Credit: Ulrich Lebeuf / Mintee Studio / CANAL+ Shocking murders aren't unusual in a crime drama. Nor is The Embers' dual timeline. But the setting is less common. It's neither a big-city police beat nor a chilly Noirish village. Instead, it's a fictional town on the edge of the French Riviera – a deliberate choice by the creative team. 'For this portrait of current-day France, we focused on a region that is seldom featured in fiction but is nonetheless omnipresent in our post-industrial societies. It is a France of roads and roundabouts, where industrial zones bleed into business districts, into rows of detached housing, and on and on in a stark yet grandiose sprawl. This is what gave rise to Péranne, our fictional town located somewhere in the Marseille suburbs, but far from the rocky creeks of the calanques or the city's disadvantaged northern projects,' says Thibault Vanhulle, series co-creator and co-writer, along with Thomas Bedegain. Demoustier describes the setting as 'a territory of trouble and passion alike … Choosing this territory as a living, evocative, deeply complex backdrop has been our way to provide space for stories that have been unfairly overlooked and listen to voices that are too often unheard.' Jean (Olivier Rabourdin). Credit: Ulrich Lebeuf / Mintee Studio / CANAL+ The Embers is in many ways about how we carry the scars of our past. Benefro is haunted by his memories of war. Achour has regrets about the events of 1995. Caron is a man of deep integrity but burdened by awful experiences. Marwan Oufella (Idir Azougli) lost his mother in an arson attack as a young boy and was raised by a racist, violent criminal. Years later, his paths cross with Caron and Achour in Péranne. Mehdi Meraouiis (Kamel Mahjoubi) is man trying to rebuild his life, but he, too, is caught up in current-day series of murders. The series also asks, does the passage of time fulfil hopes or dash them? The team wanted 'to spark a dialog between two eras,' says Vanhulle. 'Back in 1995, France's multiculturalism was described as black-blanc-beur ('Black-White-Arab'), a pun on the colors of the national flag. The Soviet Union had recently collapsed, and it was said that we were witnessing the end of history; that digital technology would replace our perishing industries; that the riches of globalisation would be distributed equally; that we would become interconnected, global citizens of a multiethnic, multicultural society; that permanent world peace was on the horizon. Perhaps it was the promises of this era that we wanted to weigh up against our current reality. What exactly happened over those three decades? "This is what inspired the French title of our series: Cimetière Indien ('Indian Cemetery'), based on the way Native American burial grounds were expropriated and desecrated in the quest to build the North America of today. 'The Indian cemetery is history repressed. It is the ghosts that we thought had long been banished for good. But ghosts cannot die; they just keep haunting us. Sometimes they resurface, ready to settle their score with the living.' This article includes edited extracts of material supplied by Mintee Productions / CANAL+. The Embers is streaming at SBS On Demand.
Travel Weekly
2 days ago
- Travel Weekly
Cruise industry navigates ship ban efforts on the French Riviera
On July 3, Christian Estrosi, the mayor of Nice, France, rode a dinghy up to the hull of Royal Caribbean International's 3,602-passenger Voyager of the Seas, which was docked in neighboring Villefranche-sur-Mer. Videos of the encounter in French news reports showed Estrosi approaching the ship and telling the crew, "You are not allowed to be there." The incident punctuated the efforts of multiple cities on the French Riviera attempting to impose new restrictions on the cruise industry and testing who in the region has the authority to regulate ports. First Nice, then Cannes and then Nice again have passed laws to restrict the size of cruise ships that can enter their ports. So far the attempts by Nice's municipal government have proven unsuccessful, with the first withdrawn and the second suspended. As such, the Voyager of the Seas did not leave, and Estrosi was also not permitted to board to converse with ship officers. A Royal Caribbean Group spokesperson said that as part of its protocols, any visit request must follow a formal process and a request made in advance. "While we are more than happy to welcome and engage with authorities at any time, we ask that all visitor requests follow the established procedure." Protests spark dialogue Estrosi's Instagram page, with images of the standoff, has a multiparagraph caption in French that ends with the promise to "strictly respect the decisions taken regarding the fight against maritime pollution, the preservation of air quality and the protection of residents' living environment." His efforts come amid a second summer of overtourism protests across Europe and as more destinations look to join the multiple ports that have moved to more tightly regulate cruise activity, including Barcelona, Amsterdam and Venice. But at least on the French Riviera, those destinations are finding that difficult to do. Nice's newest law was suspended after a judge said it was passed without proper jurisdiction and referred it to an administrative court, per a report by the French newspaper Le Figaro. The law would have blocked ships with more than 450 passengers from Nice and those with more than 2,500 passengers from Villefranche-sur-Mer. It followed a decree in late January that would have banned ships with more than 900 passengers from disembarking at either port. Estrosi backtracked from that move in March, according to the outlet France 24. Cannes' new law, designed to take effect Jan. 1, would limit calls by ships with more than 3,000 passengers from two calls per day to one and impose a daily cap of 6,000 cruise passengers. It was enacted without consulting with industry stakeholders, according to CLIA Europe. "We are particularly concerned by the unilateral and abrupt nature of this announcement, made without prior consultation or coordinated planning, which risks harming local businesses and service providers," said a CLIA spokesperson. The moves led to a coordinated effort to evaluate cruise access in the region by political, business and maritime stakeholders. The group gathered July 11 and plans to hold another meeting in September, which CLIA was invited to. The trade association applauded the effort. "What we welcome in this initiative is the start of a collective dialogue aimed at identifying practical solutions that will enable the sector to continue operating in the region with clarity and confidence -- while also safeguarding the fundamental principles of free trade and freedom of movement," CLIA said. As more size limitations are introduced, cruise lines with smaller vessels will develop a competitive edge in Europe, said Sandy Chen, a professor of hospitality and tourism at Ohio University. "The new regulations may actually present an opportunity to expand their market share," she said. Crystal Cruises, whose two ships each have capacities under 800 passengers, said it is not against size restrictions in some destinations. "Some of the most popular ones can be overcrowded and therefore not offer a positive experience for guests," said Mario Parodi, vice president of itinerary planning and port and fuel operations for the line. Carnival Cruise Line said one of the reasons it has only one ship in Europe, the Carnival Miracle, is because as its ships grow in size, it is aware that many ports in Europe can't handle them, said president Christine Duffy. It is one of the reasons she said cruise lines are putting more emphasis on their private islands. "We can bring our biggest ships to those destinations," she said. "We aren't overwhelming anyone." Explora Journeys, which only has smaller ships, considers it important to develop a trusting relationship with ports and port towns, said president Anna Nash. To do so, the company makes a point of visiting the ports multiple times to show commitment and build brand awareness and also collaborates with the destinations themselves. "We really want to show that we can bring the type of clientele that will enjoy and respect the culture," Nash said. Size limitations still won't completely deter larger cruise ships from the region, Chen said; they'll find alternative ports there. But it will become increasingly expensive and competitive to operate. "The old model of prioritizing volume over impact won't hold up under mounting environmental and social pressure," she said. "The message from European port cities is loud and clear: adapt or risk being shut out."
The Guardian
12-07-2025
- Lifestyle
- The Guardian
Ratatouille and le grand aïoli: Matthew Ryle's classic French dishes for Bastille Day
When writing recipes, it's good to get into the right headspace. The sky's clear, it's warm out (maybe not quite hot enough for my liking) and I'm sitting in the sun, possibly with a glass of rosé in hand. I'm transported to the French Riviera, and that glamorous, sun-drenched coastline, and it's the perfect setting for two of the most summery French classics: ratatouille and grand aïoli, especially in the run-up to Bastille Day on 14 July. Ratatouille is a glorious riot of stewed vegetables, and I like to serve it with a vibrant French take on pesto. Le grand aïoli, meanwhile, is a feast of seasonal veg, boiled eggs, anchovies and plenty of garlicky mayo for dipping. Both make brilliant centrepieces, or to serve alongside your next barbecue. Originating from the south of France, this is the sunny summer counterpart to a charcuterie board. It's a stunning spread centred around a rich, garlicky mayonnaise, as well as a celebration of vibrant seasonal vegetables, boiled eggs, salty anchovies and optional poached fish. Perfect for sharing, this Provençal classic brings bright flavours and a relaxed spirit to the table. Keep it simple or go all out; either way, a beautifully arranged platter is always impressive. Once you master the aïoli, you'll find endless excuses to enjoy it beyond this dish – it's truly addictive. Prep 10 minCook 30 min Serves 4 For the aïoli2 egg yolks 20ml white-wine vinegar 10g dijon mustard 1 garlic clove, peeled and finely grated10g confit garlic (optional)340ml rapeseed oil 10ml lemon juice Sea salt and black pepper For the salad2 baby gem lettuces1 fennel bulb, trimmed ½ cucumber 1 bunch radishes 50g green beans, blanched1 small handful young fresh pea pods (about 10 in total), split open but left unpodded 1 small handful baby carrots (about 10 in total), trimmed4 eggs 8 anchovy fillets – any good ready-to-eat ones will do First make the aïoli. Put the egg yolks, vinegar, mustard, grated garlic and confit garlic, if using, in a blender or stick-blender jug. Start blending to break down and combine, then, with the motor running, slowly drizzle in the oil until the mixture thickens to a mayo-like consistency. Add the lemon juice to loosen it slightly; if it's still too thick and you run out of lemon juice, add a splash of water. Continue blending until all the oil is incorporated and you have a thick, glossy aïoli. Taste, adjust the seasoning, if need be, then transfer to a bowl (if you're making the aïoli ahead of time, cover and refrigerate). Wash and dry all the raw vegetables, then cut the lettuce, fennel and cucumber into bite-sized pieces. Carefully drop the eggs into a pan of boiling water, cook for eight minutes, then lift out and drop into iced water to cool. Carefully peel the eggs, then cut them in half. Arrange all the vegetables neatly on a large platter, and place the halved eggs yolk side up in and around them. Drape an anchovy fillet over the top of each egg and serve with the bowl of aïoli alongside, ready for dipping. Ratatouille, the classic Provençal vegetable stew, is bursting with the flavours of summer. Traditionally from Nice, it's ideal for sharing at sunny gatherings, both as a colourful side or as a light lunch in itself with some good bread for company. My take on it has a little twist in that it also features a homemade pipérade, a rich pepper and tomato sauce, as a flavourful base and it's finished with a bright basil pistou, to create a dish that looks stunning and tastes even better. Every bite should take you straight to the south of France. Prep 30 minCook 40 min Serves 4 For the pipérade20ml olive oil 90g red onion (about ½ onion), peeled and thinly sliced15g garlic (about 3 cloves), peeled and thinly sliced220g red pepper (about 2), stalks, seeds and pith removed and discarded, flesh thinly sliced220g yellow pepper (about 2), stalks, seeds and pith removed and discarded, flesh thinly slicedSea salt and pepper2 tsp smoked paprika 400g tin chopped tomatoes 15ml red-wine vinegar 5g basil leaves (about 1 tbsp) For the ratatouille1 small aubergine (about 150g) 2 medium courgettes (about 100g each) 4 plum tomatoes25ml olive oil For the pistou70g basil leaves (from about 1 big bunch)50ml olive oil ½ garlic clove, finely grated Finely grated zest and juice of ½ lemon Start with the pipérade, which, if need be, can be made well in advance. Put the olive oil in a large wide saucepan on a medium heat. Once hot, add the onion and garlic, and cook gently, stirring, for five minutes, until softened. Turn up the heat, add the sliced peppers, season lightly and cook, still stirring, until they soften. Stir in the smoked paprika, cook, stirring, for two minutes, then add the chopped tomatoes and simmer for 10 minutes. Finish with the red-wine vinegar and basil, season to taste and set aside. Now start the ratatouille. Cut the aubergines, courgettes and tomatoes into 5mm-thick slices. Spread the pipérade in the base of a 25cm x 20cm baking dish, then neatly arrange the sliced vegetables on top, alternating the slices to create a pretty pattern. Drizzle the olive oilall over the top, season generously, then cover with foil or a lid and bake in a 220C (200C fan)/425F/gas 7 oven for 20 minutes. Remove the cover, bake for another 20 minutes, until the vegetables are tender and lightly caramelised, then remove and leave to cool. For the pistou, put the basil and olive oil in a blender and blitz smooth. Add the grated garlic and the lemon zest and juice, and blend again. Spoon the pistou generously over the baked ratatouille and serve while it's just-warm or at room temperature., Matthew Ryle is chef/partner at Maison François and Cafe François, both in London. His debut book, French Classics: Easy and Elevated Dishes to Cook at Home, is published next month by Bloomsbury at £26. To order a copy for £23.40, go to
