Latest news with #Rosetta
Yahoo
24-05-2025
- Entertainment
- Yahoo
‘Young Mothers' Review: Belgium's Dardenne Brothers Adopt a Wider Focus for Their Most Humane Drama in More Than a Decade
Before turning their attention to ripped-from-reality social justice stories, Belgian brothers Jean-Pierre and Luc Dardenne got their start making short documentaries set in working-class housing projects. They brought that same immersive, observational approach with them to their fiction features, reflected in the long-take handheld camerawork, gritty street-level locations and casting of nonprofessional actors that have become their signature. And yet, it's doubtful that anyone would have mistaken a Dardenne film for a documentary … until now. 'Young Mothers' is the duo's most convincing film yet, owing largely to the way they have widened the focus from one or two characters in crisis — the sort of urgency that drove everything from 'Rosetta' to 'Tori and Lokita' — to a loose choral form. Instead of presenting a single, nail-biting dramatic situation, the Dardennes' no-less-engaging ensemble drama dedicates quality time to a quartet of young women — girls, really — under the care of a maternal assistance home in Liège. Deeply moving but never manipulative, 'Young Mothers' is the brothers' best film in more than a decades, since they tried incorporating movie stars Cécile de France and Marion Cotillard into their world. More from Variety Rai Cinema Celebrates 'Heads or Tails?' at Cannes and Readies for More Hits: 'Cinema Without Audience Doesn't Exist' 'Romería' Director Carla Simón on the Importance of Gender Equity in Filmmaking: Women Are 'Half of the World, We Should Tell Half of the Stories' Cannes Awards Predictions: Who Could Take the Palme d'Or - and Everything Else? Nearly all the faces here are unfamiliar — and every one is entirely persuasive. Reteaming with DP Benoit Dervaux and longtime editor Marie-Hélène Dozo, the siblings structure this latest, slightly unwieldy narrative as a series of more or less equally weighted dramas, interweaving the four cases as best they can (with a fifth example, played by Samia Hilmi, whose farewell party offers a ray of hope toward which the others can strive). The outcome requires a certain amount of multitasking from the audience, as with Michael Apted's 'Up' series or one of Frederick Wiseman's epic institutional portraits, in which every moment matters, but it's hard to say where things are headed exactly: toward tragedy, success or the status quo. Pregnancy is the common thread between these four teens, who otherwise represent very different instances of children bringing children into the world. Jessica (Babette Verbeek) anxiously waits beside a bus stop, hoping to recognize the birth mother who put her up for adoption as an infant. It's not until the steps away from the camera that we see this immature young girl is pregnant herself. She's already picked out the name for her baby, Alba, and swears she'd never abandon her — a commitment to breaking the cycle by someone who desperately craves her own mother's embrace. Ariane (Janaina Halloy Fokan) has practically the opposite problem: Her welfare-dependent single parent Nathalie (Christelle Cornil) pressured her to deliver, promising to help raise the child, but Ariane wants a better life for her baby. Ironically, this girl's maternal instincts are better than her mom's, who dates abusive men and drinks to extreme, and that sense of responsibility is what drives her to seek out a well-to-do foster couple who swear to teach the child music, offering a potential she never had. In most cases, the babies' fathers are completely out of the picture, although two of the home's residents are still negotiating how committed their boyfriends are willing to be. It's implied that Perla (Lucie Laruelle) hoped that having a kid would strengthen her relationship with Robin (Gunter Duret), only to have the peach-fuzz delinquent blow her off as soon as he gets out of juvie, leaving Perla with only a half-sister (Joely Mbundu) to rely on. By contrast, runaways Julie (Elsa Houben) and Dylan (Jef Jacobs) seem relatively stable, but both are former drug users, which poses its own challenges. Spelling out all these challenges surely makes the film sound far more miserable than it is. In fact, compared to the Dardennes' previous few features — and their Palme d'Or-winning masterpiece, 'The Child' — 'Young Mothers' is positively upbeat. The script is full of setbacks, but it's even better stocked with a sense of community, as characters step in to uplift one another. At the group home, the teens take turns preparing meals, and when one of them is overwhelmed or incapable, someone else invariably steps in to help. That's just one small example of the countless ways 'Young Mothers' celebrates an institution where supportive yet firm social workers (played by Adrienne D'Anna, Mathilde Legrand and Hélène Cattelain) are available around the clock to serve as exactly the kind of role models its residents lacked in their own lives. Obviously, Belgium is fortunate to have such a place; most countries don't. A comparable assistance program would surely make a difference in the United States, where pregnant teens no longer have the choice these characters did over whether to abort. Any movie on the subject of teenage pregnancy carries a polemical dimension of some kind, with a number of impactful recent examples — most notably, 'Never Rarely Sometimes Always' and 'Happening' — adopting a distinctly Dardennian style to drive their messages home. It's interesting then to see the Dardennes themselves taking a far more neutral tack, keeping things as open-ended as possible for the maximum range of reactions. The subject of abortion is frequently discussed, but the focus is exclusively fixed on characters who have brought their pregnancies to term. If there's a political statement to be extrapolated here, it's that instead of thinking of young mothers as being responsible for their children, we should start thinking of society as being responsible for its young mothers. Best of Variety The Best Albums of the Decade
The Guardian
23-05-2025
- Entertainment
- The Guardian
The Young Mother's Home review – outstanding return to form for the Dardenne brothers
Gentleness, compassion and love are the keynotes of this quietly outstanding new movie from the Dardenne brothers, Jean-Pierre and Luc, for whom I think it is a return to form after some strained melodrama in their recent work. There is such simplicity and clarity here, an honest apportioning of dignity and intelligence to everyone on screen: every scene and every character portrait is unforced and unembellished. The straightforward assertion of hope through giving help and asking for help is very powerful. The Dardennes have again established their gold standard for social realist cinema at Cannes, and for regular attenders there is another poignant dimension – the memory of their Palme-winning film Rosetta presented at Cannes a quarter of a century ago, starring the then 17-year-old Émilie Dequenne in a very similar role to the characters here; her recent death from cancer was a great sadness. The location here is Liège in Belgium, at a state home for teen mothers or mothers-to-be, who are being helped and counselled in how to have their babies, how to bathe and feed them, how to make contact with prospective adoptive parents (if that is what they want), how to deal with existing issues of addiction and depression and how to find housing. The young mothers live together as a community, with a cooking rota. Perla (Lucie Laruelle) is a young woman of colour who has had her baby, Noé, but finds that the baby's father, who has just been released from a young offenders' institution and got a job in a garage, is testy and distant with Perla and his baby son. Jessica (Babette Verbeek) is pregnant, and – after her baby Alba is born – desperately seeking something like closure by trying to make contact with her own mother, Morgane (India Hair) who gave her up for fostering when she was Jessica's age. Julia (Elsa Houben) has been a homeless drug addict but with baby Mia is turning her life around in the home, with a traineeship at a hairdresser, and a caring boyfriend with whom she has some classic Dardenne scenes on a motor scooter, zooming down the street, that time-honoured movie realist trope for the freedom and vulnerability of the young. But perhaps the most complex figure is Ariane (Janaïna Halloy Fokan), a 15-year-old who wishes to give up baby Lili, to the rage of her own mum Nathalie (Christelle Cornil); in her anguish Nathalie wishes to be a grandma or even replacement mum, if Ariane doesn't want the baby – supposedly determined to quit her drinking and the abusive situations which made Ariane so determined not to go the same route. The babies-having-babies imagery is of course what makes this film so poignant – and also the realisation that the careworn older generation, still conflicted about the question of their own responsibility for all this and encumbered by their mistakes and the consequences of their choices, were in their teen daughters' situation so recently. Then there is the heart-wrenching sweetness of the babies themselves: baby Lili smiles tenderly at Ariane at a terribly ironic moment. What lies ahead for these children? The same thing, or something different? The film boils down to a fundamental question: having decided against abortion, is it more responsible, more loving, more heroically sacrificial in fact, to give up your baby for adoption? Or is it an existential failure of will, of courage, perpetuating a middle-class buyers' market in adoptive parenthood? There is of course no answer to be had, but there is faith in a better future here, and the final scene, involving the poem The Farewell by Apollinaire, is very moving. The Young Mother's Home screened at the Cannes film festival.
Entrepreneur
15-05-2025
- Business
- Entrepreneur
Culture Over Code
You're reading Entrepreneur United Kingdom, an international franchise of Entrepreneur Media. As CEO of REGnosys, a London-based regulatory technology startup, he believes that building a successful business isn't just about the tech – it's about culture, clarity, and conviction. "Running a tech startup is as much about mindset as it is about execution," says Labeis, speaking from the company's modest but sleek office in the City. REGnosys, which specialises in simplifying regulatory compliance through open-source solutions, is tackling one of the least glamorous yet most vital pain points in finance. But Labeis is quick to point out that the company's true foundation isn't code – it's principles. "At REGnosys, we operate under four guiding principles that keep us focused," he explains. "Do what's right. Startups often tackle complex problems. For us, it's about solving acute industry pain points while staying true to an ethos of integrity." That emphasis on doing the right thing isn't just window dressing. In a sector still grappling with trust issues in the wake of past scandals, REGnosys's clients – which include some of the world's largest financial institutions – are drawn to the company's transparent, partnership-first approach. "Treating clients, colleagues and stakeholders with fairness and respect is non-negotiable," says Labeis. Unlike many fintech founders who lean heavily on hierarchy or cult-of-personality leadership, Labeis is a quiet advocate for a decentralised approach. "Everyone's a leader," he says. "In a high-trust environment like ours, responsibility and decision-making aren't bound by seniority. The best ideas win, fostering innovation and accountability at all levels." This philosophy filters into everything from how teams collaborate to how products are built. REGnosys is behind Rosetta, an open-source platform designed to streamline regulatory reporting across jurisdictions – a tool praised for its elegant simplicity in an area known for bureaucratic sprawl. That's no accident. "Less is more," Labeis says. "Whether it's in product design, processes, or communication, clarity helps us cut through complexity and deliver value." But in a space as fast-moving as fintech, clarity also means knowing what not to do. Labeis is candid about the dangers of distraction. "No startup can excel at everything. By staying laser-focused on our strengths and partnering where necessary, we maximise our impact and efficiency." This strategy has helped REGnosys scale carefully but deliberately – expanding its client base while resisting the temptation to become a jack-of-all-trades. For Labeis, who spent years in senior roles at Goldman Sachs before founding REGnosys in 2019, the key lesson is one of alignment. "For any tech founder, identifying and then staying aligned with your core principles is the key to building not just a great product but a resilient, high-performing team culture." In a world where tech often equates speed with success, REGnosys is betting on something slower, deeper – and perhaps, longer-lasting.
Scoop
14-05-2025
- Entertainment
- Scoop
AMA 2025 Breakthrough Artist Finalists Announced
Fazerdaze, Aaradhna and Ladi6 to perform Recorded Music NZ, producer of the Aotearoa Music Awards, has announced the finalists for Te Iti Rearea o te Tau | Breakthrough Artist of the Year. The 2025 contenders are Pōneke R&B act A.R.T; the chart-topping lads from the same town – DARTZ; and Ōpōtiki artist and 2024 Tā Te Iwi | People's Choice Tūī winner Hori Shaw. The Tūī is determined based on data illustrating audience growth and commercial performance of recordings in terms of radio airplay and streaming/sales in Aotearoa during the AMA 2025 eligibility period (1 January–31 December 2024). Anastasia, Rosetta and Tiresa a.k.a A.R.T are a powerhouse trio on the climb, with roots in R&B and gospel. They have gone from singing in their bedrooms to releasing a series of singles and touring with Hawaiian star Josh Tatofi. The act's 2024 breakout single 'When He Was Mine (Pele Fo'i Mai)' hit A-rotate on urban radio in Aotearoa and together with a remix by DJ Noize has clocked up big numbers across streaming platforms. Hori Shaw 's introduction to AMA in 2024 was a beautiful thing – the artist walked away with the Tā Te Iwi | People's Choice Tūī. Proving this was no fluke, Hori's audience grew even further throughout the year. His single 'Back in My Arms' featured in the Official Top 40 Singles Chart and he dominated the local Aotearoa Top 20 Charts in 2024 with his hits 'Back In My Arms' and 'One Day'. 'Back In My Arms' held at #1 for 9 weeks and spent a total of 33 weeks on the Aotearoa Singles Chart in 2024. A full year on from its release, the track is still in the Aotearoa Singles Chart, at #3. The now Melbourne-based Pōneke band DARTZ made their mark on the Official Charts in 2024, joining L.A.B as the only NZ acts to reach #1 on the Top 40 Albums Chart, with their album Dangerous Day To Be A Cold One. The album also sees Crispy (guitar), Clark (bass), Rollyz (drums) and Danz (vox) up for for Te Tino Kāhui Manu Taki o te Tau | Best Group and Te Manu Taki Rakapioi o te Tau | Best Rock Artist at AMA 2025. In addition to announcing the contenders for Breakthrough Artist 2025, Recorded Music is also proud to reveal Fazerdaze and Aaradhna as the next finalists to perform at AMA 2025, joining CHAII and Anna Coddington. Fittingly, both have previously been nominated for Breakthrough Artist. Fazerdaze was a finalist in 2017 for the critically acclaimed Morningside, and Aaradhna in 2006 for her classic record I Love You. Run it back, and both artists made impressive returns in 2024 with highly anticipated new albums. A finalist in 2025 for NZ On Air Te Tino Pukaemi o te Tau | Album of the Year, Spotify Te Tino Waiata o te Tau | Single of the Year, and Spotify Te Tino Reo o te Tau | Best Solo Artist, Fazerdaze will perform her nominated single 'Cherry Pie' with her full band. Aaradhna will be joined by the inimitable Ladi6 to perform 'Love 2 Love' – the pair's collaboration that features on Aaradhna's AMA-nominated album Sweet Surrender. The 2024 Te Manu Taki Manako o te Tau | Best Soul/RnB Artist winner is a finalist in the same category this year as well as Album of the Year and Best Solo Artist. Viewing information AMA 2025 will take place on Thursday 29 May at the Viaduct Events Centre in Tāmaki Makaurau. The event will be livestreamed via AMA Official Media Partner RNZ via and across its social media channels. Viewers who don't catch the live broadcast will be able to stream the Awards on TVNZ+ from the evening of Friday 30 May. The live broadcast and on-demand stream are funded by Irirangi Te Motu | NZ On Air and Te Māngai Pāho. Notes: About Aotearoa Music Awards The Aotearoa Music Awards is the annual showcase event for the music industry, celebrating artists and music from Aotearoa. The event recognises the biggest musical successes of the year while also providing a platform to promote emerging artists. Grounded in 60 years of history, the Aotearoa Music Awards has evolved to reflect our unique cultural identity. It has launched music careers, told artists' stories and created memorable moments. Recorded Music NZ produces the Aotearoa Music Awards and acts as its kaitiaki – preserving our musical heritage, celebrating the hits of today and paving the way for the artists of tomorrow. For more, please visit
The Age
12-05-2025
- General
- The Age
Does this reborn Malaysian institution still deliver after six decades? Here's our verdict
The Harry Seidler-designed site (Neil Perry once ran Rosetta here) features floor-to-ceiling windows and a colour scheme marrying birch, black, red and blue. In the first of many nods to its history, the original Finnish-designed chairs for the 180-seat restaurant have been re-ordered. There are three dining spaces across two levels, with the main area in front of the kitchen led by head chef Siang Yeo and with David Ma on sous duties. (Ma started as a kitchen hand in 2010, and three of the wok chefs have collectively notched up almost 60 years with The Malaya team.) Chicken satay is a great litmus test at Malaysian restaurants, and this is one of the most tender versions in town. Otak otak – parcels of minced fish and spices wrapped in banana leaf before being grilled – are juicy and aromatic with lemongrass notes embracing barramundi. It's hard to imagine a laksa without coconut milk, but the ingredient was hard to come by in 1963 (even for a merchant sailor), so dairy milk was used as a substitute. Sydney is full of great laksas but many are guilty of skimping on that signature fiery spice paste. The Malaya's version certainly doesn't. It's a great bowl with perfectly cooked prawns, but I wonder how good it would eat with coconut milk instead. The XO pipis have sold out by 7.30pm on a Saturday, but this turns out to be a fruitful pivot to another seafood dish, the kam heong mud crab. Literally translated to 'golden fragrance' in Cantonese, the mud crab is tossed in spices and curry leaves, with dried shrimp boosting the umami of the sweet crustacean meat. Outstanding.
