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Elvira Notari—Italy’s first and most prolific female filmmaker—crafted a vivid portrait of early‑20th‑century Naples through melodramas such as È piccerella (1922). The film opens with bustling pilgrimage scenes at the Candelora festival, juxtaposing flamboyant revelry with stark images of poverty, a visual strategy that challenged the sanitized narratives favored by the fascist regime.According to film scholar Giuliana Bruno, Notari’s work was driven by a desire to document reality, exposing class tensions and gendered oppression that Mussolini’s censors deemed unacceptable. A 1928 censorship law explicitly banned Neapolitan films featuring “stallholders, beggars, urchins, dirty alleyways,” effectively silencing Notari’s authentic street‑level storytelling.Despite directing around 60 feature films—many hand‑coloured—alongside her husband Nicola at Dora Film, only three titles (A Santanotte, È piccerella, Fantasia ‘e surdato) and fragments survive today, a loss directly attributable to fascist suppression and the prohibitive cost of sound‑film conversion.The newly released documentary Elvira Notari: Beyond Silence, produced by Antonella Di Nocera and directed by Valerio Ciriaci, reconstructs Notari’s fragmented career by collaborating with contemporary “artisans”—photographers, visual artists, novelists, and musicians who reinterpret her silent‑film aesthetics. Ciriaci notes that the absence of personal archives made the film’s investigative approach essential, turning Notari’s silence into a creative catalyst.Critics emphasize Notari’s lasting influence on Italian‑American auteurs such as Francis Ford Coppola and Martin Scorsese. Elements of her chaotic street festivals anticipate the wedding scenes in *The Godfather* and *Goodfellas*, while her raw urban tableaux echo the gritty New York sequences of *Taxi Driver*.Beyond cinematic technique, scholars like Cristina Jandelli argue that Notari’s intertitles reveal a pronounced class consciousness and a critique of women’s marginalisation in early 20th‑century Italy. Her use of Neapolitan dialect and unvarnished depictions of squalor directly opposed the regime’s propaganda‑driven vision of a unified, pristine Italy.After Dora Film collapsed in 1930, Notari retired to Cava de’ Tirreni and died in 1946, largely forgotten until recent scholarly revival. The documentary positions her as a “symbol of the right to memories,” underscoring the ongoing relevance of silenced female voices in cultural history.*Elvira Notari: Beyond Silence* will premiere at New York’s Film Forum on 6 April 2026 and tour the United Kingdom throughout April and May, offering audiences a chance to reconnect with a pioneering filmmaker whose work was once erased by fascism.

The transition from live piano accompaniment in silent cinemas to recorded soundtracks marked a turning point for movie‑goers; the Vitaphone disc system of 1926 and the optical Movietone process that followed gave films a reliable, repeatable musical identity.Sunrise: A Song of Two Humans (1927) was the first feature to have its music and sound effects printed directly onto the film strip, allowing audiences to hear orchestrated pieces by Chopin and Gounod in perfect sync with the picture.King Kong (1933) showcased Max Steiner’s pioneering use of the orchestra to drive narrative, mood and scene transitions, laying the groundwork for the symphonic Hollywood score that dominated the mid‑20th century.Citizen Kane (1941) gave Bernard Herrmann a platform to break from the lush, “Hollywood” sound, delivering a stark, atmospheric score that emphasized psychological tension and set a new standard for dramatic underscoring.Blackboard Jungle (1955) introduced Bill Haley’s Rock Around the Clock as the film’s musical spine, proving that popular rock could boost a movie’s commercial appeal and ushering in the era of song‑driven soundtracks.Forbidden Planet (1956) featured the first entirely electronic score, created by Louis and Bebe Barron using magnetic‑tape techniques; the pioneering use of the theremin and other electronic textures opened a fresh sonic frontier for sci‑fi cinema.Breakfast at Tiffany’s (1961) highlighted Henry Mancini’s “symphonic pop” style, marrying a timeless hit – Moon River – with a jazzy, contemporary score that demonstrated how pop sensibilities could coexist with traditional orchestration.2001: A Space Odyssey (1968) is remembered more for its curated classical pieces than Alex North’s original score, yet the film’s bold juxtaposition of Ligeti, Strauss and Khachaturian proved that pre‑existing music could become an integral narrative force.American Graffiti (1973) assembled over 40 period songs, weaving them into the story’s fabric and proving that a soundtrack could function as a cultural time‑capsule, influencing countless later productions.Star Wars: A New Hope (1977) revived the full‑orchestra tradition when John Williams delivered a heroic, leitmotif‑rich score that re‑ignited audience love for symphonic film music and set a template for blockbuster scoring.Crimson Tide (1995) marked Hans Zimmer’s breakthrough, blending aggressive electronic pulses with a powerful orchestral choir to create the modern, hybrid sound that now defines many high‑budget action films.These ten milestones illustrate how film music has continually evolved— from live accompaniment to electronic experimentation—while retaining a core purpose: to deepen storytelling and shape audience emotion. The legacy of these scores is celebrated each April at the London Soundtrack Festival, underscoring their lasting influence on both cinema and popular culture.

Iran’s only operational nuclear power station, the Bushehr plant, has endured a series of assaults amid the escalating Israel‑United States campaign against Tehran, sparking alarm over a possible regional nuclear incident.The most recent strike on Saturday resulted in the death of a security guard and damage to an auxiliary building, according to the state‑run Atomic Energy Organisation of Iran (AEOI).Foreign Minister Abbas Araghchi asserted that the facility has been "bombed" four times since the conflict erupted on 28 February, accusing the United States and Israel of a "lack of concern" for nuclear safety.Security analysts stress that any bombing of the reactor or its spent‑fuel pools would unleash the radioactive isotope Caesium‑137, a contaminant capable of traveling far via wind and water, rendering soil, food and drinking supplies hazardous for decades and increasing cancer risks for exposed populations.The Bushehr complex, built by Russia and completed in 2011, supplies roughly 1,000 MW to Iran’s grid. It is the Middle East’s first nuclear plant and is slated to host two additional reactors by 2029, with hundreds of Russian technicians on site.The International Atomic Energy Agency (IAEA) has repeatedly warned that a direct hit could trigger a “regional catastrophe.” Director‑General Rafael Grossi told the UN Security Council that striking the plant could cause a "very high release of radioactivity" and, if power to the cooling system were cut, could lead to a reactor melt. He called for "maximum restraint," noting that evacuation zones could extend several hundred kilometres, requiring iodine prophylaxis and food‑supply restrictions.Beyond terrestrial fallout, experts highlight the danger of contaminating the Gulf’s shallow waters. Radioactive pollution would devastate marine ecosystems and cripple desalination plants, which lack the technology to filter such material. Qatar’s prime minister, Sheikh Mohammed bin Abdulrahman bin Jassim Al Thani, warned that a simulated Bushehr attack would render the sea "entirely contaminated" and leave the country without water within three days.International law explicitly forbids targeting civilian nuclear installations. Article 56 of Protocol I to the Geneva Conventions bars attacks on "works and installations containing dangerous forces," and the IAEA’s own guidelines prohibit indiscriminate strikes on reactors, fuel storage, or power supplies.Araghchi also criticized the muted Western response, contrasting it with the outcry over Ukraine’s Zaporizhzhia plant, which prompted emergency UN sessions, NATO warnings, and statements from the EU, UK and US. In the Bushehr case, the EU has remained silent, while Russia, which maintains a sizable staff at the site, issued a condemnation of the attacks.Historical precedents such as the 2011 Fukushima disaster and the 1986 Chernobyl explosion illustrate the long‑term human and environmental toll of nuclear accidents, underscoring why the safety of Bushehr is viewed as a matter of regional, not merely national, security.

Oman and Iran convened deputy foreign minister‑level talks on Saturday to discuss measures that could guarantee the smooth passage of ships through the Strait of Hormuz, according to a statement from the Omani Foreign Ministry.The meeting, described as an "undersecretary‑level" dialogue, was attended by specialists from both ministries, underscoring the technical nature of the discussions.Officials said the parties examined possible options to ensure safe transit amid the volatile regional environment, with a series of proposals now slated for further study.Tracking data from the shipping journal Lloyd’s List showed that, on Sunday, three Omani vessels – two large oil supertankers and an LNG carrier – navigated the strait outside Iran’s "approved corridor" near Larak Island, sailing unusually close to the Omani coast.Earlier in the week, an Iranian official announced a draft protocol with Oman aimed at monitoring traffic through the strait, which carries roughly one‑fifth of global oil supplies and has been heavily restricted as retaliation for the ongoing US‑Israeli war on Iran.Since the conflict erupted on February 28, Iran’s Islamic Revolutionary Guard Corps (IRGC) has permitted limited transits for vessels from Pakistan, France and Turkey, while an estimated about 3,000 ships remain stranded in the region.The Strait of Hormuz is a critical energy chokepoint; any disruption fuels market volatility and compels oil‑importing nations to scramble for alternative supplies.U.S. President Donald Trump took to social media over the weekend, warning that he would unleash “all Hell” if the waterway is not reopened by Monday, highlighting the geopolitical pressure surrounding the passage.Egypt’s foreign minister, Badr Abdelatty, held separate calls with U.S. special envoy Steve Witkoff and regional counterparts, including Iran’s foreign minister Abbas Araghchi, to explore de‑escalation proposals.Professor Amin Saikal, an emeritus scholar at the Australian National University, cautioned that an expansion of the war would be “hell for the whole region” and stressed the urgent need for a negotiated settlement, though he noted that diplomatic avenues appear increasingly narrow.

Former Iranian Foreign Minister Mohammad Javad Zarif presented a comprehensive peace roadmap in Foreign Affairs on Friday, seeking to move beyond a temporary cease‑fire in the war that erupted on February 28 after coordinated US‑Israeli strikes on Iran. The plan urges Iran to place limits on its nuclear program under international monitoring, including a commitment to never pursue nuclear weapons and to blend its enriched uranium below 3.67 %. This would address the International Atomic Energy Agency’s estimate that Iran holds roughly 440 kg (970 lb) of uranium enriched to 60 %—a level close to the 90 % threshold needed for a bomb. Zarif also proposes a mutual non‑aggression pact with the United States, coupled with the immediate lifting of all US sanctions and United Nations Security Council resolutions against Tehran. To secure regional stability, he suggests forming a regional fuel‑enrichment consortium that would involve China, Russia and the United States alongside Iran and its Gulf neighbours, using West Asia’s sole enrichment facility. Additionally, a broader security framework could include Gulf states, UN Security Council powers and possibly Egypt, Pakistan and Turkey to guarantee freedom of navigation through the Strait of Hormuz, which Iran has largely blocked since the conflict began. Beyond security, Zarif calls for “mutually beneficial trade, economic and technological cooperation” between Iran and the United States, framing the roadmap as a “well‑timed off‑ramp” for President Donald Trump, who recently warned Iran it had 48 hours to negotiate a deal or face “all hell”. Gulf officials reacted sharply. UAE diplomatic adviser Anwar Gargash dismissed the proposal as ignoring Iran’s aggressive missile and drone attacks on Gulf infrastructure, calling the strategy “hubris & strategic failure.” Former Qatari Prime Minister Hamad bin Jassim Al Thani acknowledged the plan’s cleverness but warned that the war has “eroded the trust built over years” and increased regional danger. The United States has offered a 15‑point cease‑fire plan, while Pakistan, Turkey and Egypt continue to push for direct talks, yet no substantive progress has emerged. Should the roadmap gain traction, it could reopen the Strait of Hormuz—through which one‑fifth of global crude oil and natural gas normally flows—alleviate the economic shockwaves rippling through world markets, and reshape the geopolitical landscape of the Middle East.

The conflict between Iran, the US, and Israel has taken a severe turn with a series of coordinated attacks on Iranian universities and infrastructure. A research center at Shahid Beheshti University in Tehran was recently bombed, leaving it in ruins. This attack is part of a larger pattern of civilian sites being targeted by the US and Israel. Over 30 universities have been impacted since the start of the war on February 28, according to Hossein Simaei Saraf, the Iranian minister of science, research, and technology. The attacks have not only damaged educational facilities but also research centers, including those working on domestically made satellites and infectious diseases. The Pasteur Institute in Tehran, a renowned center for vaccine development and biological products, was also attacked, sustaining significant damage and disrupting health services. The World Health Organization (WHO) confirmed the damage and noted that no casualties were reported. In addition to educational and healthcare facilities, over 20 healthcare facilities have been targeted since March 1, according to WHO Director-General Tedros Adhanom Ghebreyesus. The attacks have also affected schools, houses, and businesses, resulting in over 2,000 deaths and widespread destruction. The economic sector has not been spared, with petrochemical and steel factories being destroyed in recent bombardments. The US and Israel have also targeted critical infrastructure, including power plants and water desalination plants, which are civilian targets protected under international law. The Iranian government and the Islamic Revolutionary Guard Corps (IRGC) have vowed to retaliate and escalate attacks across the region. The situation has drawn international condemnation, with over 100 US legal experts expressing concerns about potential war crimes and violations of international humanitarian law.

Satellite‑imaging firm Planet Labs confirmed it will indefinitely suspend the distribution of visuals covering Iran and the wider Middle East conflict zone, responding to a direct request from the United States government.The California‑based company communicated the decision to its customers via email on Saturday, stating that the administration had asked imagery providers to impose an “indefinite withhold of imagery.”This restriction builds on a 14‑day delay introduced last month, which itself extended an earlier 96‑hour hold. Those temporary measures were intended to prevent hostile actors from exploiting commercial satellite data to target U.S. and allied forces.Planet Labs will withhold all imagery captured since March 9 and expects the policy to stay in place until the end of the war, which began on Feb. 28 when the United States and Israel launched aerial strikes against Iran. Since then, the conflict has escalated, with Iran firing missiles and drones at Israeli and U.S. assets and striking civilian infrastructure throughout the Gulf region.Founded in 2010 by former NASA scientists, the company said it will shift to a “managed distribution” model, releasing images only on a case‑by‑case basis for urgent, mission‑critical needs or when deemed to serve the public interest.“These are extraordinary circumstances, and we are doing all we can to balance the needs of all our stakeholders,” Planet Labs said in its statement.Satellite technology remains vital for military operations—supporting target identification, weapons guidance, missile tracking, and communications. Some space analysts warn that Iran could still access commercial imagery through adversarial channels, while journalists and researchers rely on such data to monitor hard‑to‑reach areas.

Jeffrey Stephen Wigand, a biochemist who helped reveal how tobacco companies targeted children and hid the addictive nature of cigarettes, has been drawing parallels between the tobacco industry and social media companies. Wigand, who played a crucial role in the landmark tobacco trials of the 1990s, believes that social media companies have similarly designed their products to be addictive, particularly targeting children.The recent verdict in a major social media trial, which found Meta and YouTube liable for their role in creating addictive products, has strengthened comparisons to the legal crackdown on big tobacco. Wigand sees it as a similar situation, where companies prioritize profits over people's well-being. He notes that both industries use advertisements to target children, with social media companies using data to create addictive algorithms.Wigand's experience in the tobacco industry informs his perspective on social media. He was hired by Brown & Williamson (B&W;) in 1989 to develop a safer cigarette but was fired after raising concerns about carcinogenic substances in cigarettes. He then publicly declared that the tobacco industry was a 'nicotine delivery business' and helped the federal government in its investigations.Wigand believes that social media companies, like tobacco companies, intentionally addict people, especially children, to generate revenue. He emphasizes that brain development in children makes them vulnerable to addiction, and that social media companies exploit this vulnerability.The tobacco industry faced significant reforms and financial penalties following Wigand's whistleblowing. He hopes that similar actions will be taken against social media companies, including putting guardrails on access for children and holding companies accountable for their role in creating harm. Wigand's message to tech workers considering becoming whistleblowers is to carefully weigh the personal costs and prepare for the challenges that come with speaking out.

The film 'All the President's Men', directed by Alan Pakula and starring Robert Redford and Dustin Hoffman, premiered 50 years ago on Saturday at the John F Kennedy Center for the Performing Arts. The movie is based on the 1974 book of the same name by Washington Post reporters Bob Woodward and Carl Bernstein, which chronicled their investigation into the Watergate imbroglio that led to the downfall of President Richard Nixon. The film was a critical and commercial success, earning eight Oscar nominations and winning four, including best adapted screenplay for William Goldman and best supporting actor for Jason Robards as Ben Bradlee, the Post editor. The movie is widely regarded as a classic of American cinema and a landmark in the genre of journalism films. Jane Alexander, who played the role of Judy Hoback, the 'Bookkeeper' of the Committee to Re-elect the President, recalls her experience filming the iconic scene with Hoffman and Redford. She praises Pakula's direction and the attention to detail that went into recreating the Post's newsroom. The film's accuracy and attention to detail were indeed a hallmark of its production. Woodward and Bernstein worked closely with the filmmakers to ensure that the story was told accurately, and the production team went to great lengths to recreate the Post's office and the Washington D.C. of the 1970s. The article also touches on the impact of the film on the careers of its stars and the journalists it portrayed. Redford and Hoffman spent months researching and rehearsing their roles, and their performances are widely praised. Woodward reflects on the film's portrayal of him and its impact on his personal life. The anniversary of the film comes at a time when the media is under attack and the Washington Post, now owned by tech billionaire Jeff Bezos, has recently undergone significant changes. The film's themes of investigative journalism and the importance of a free press remain as relevant today as they were 50 years ago.