Cinema in One Take

In this episode of Cinema in One Take, Emma Jones and Kaleem Aftab use The Devil Wears Prada 2 to ask what’s happened to journalism in the age of clicks, algorithms, and tech power? Arguing the film is often more about journalism than fashion, they explore how cultural journalism is being reshaped, from shrinking editorial budgets to influencers and platform-driven taste. Plus why style still matters on screen, from the original The Devil Wears Prada to La Dolce Vita (and even Zoolander.)  And as they prepare for the Cannes Film Festival, they also reflect on access, embargoes, and the realities of covering global cinema today.  

Critics hate it. Fans seem set to love it. Michael, the biopic of Michael Jackson, has been met with some of the harshest reviews in recent memory, but it could still become one of the biggest musical biopics ever made. In this episode of Cinema in One Take, Emma Jones and Kaleem Aftab are joined by journalist and critic Patrick Heidmann, to ask a simple question: if the reviews are so negative… why did they enjoy watching it? From tightly controlled press access to the film’s controversial omissions, they explore the gap between critics and audiences, and examine whether unconscious bias plays a role in the reception of films about Black artists, especially one who reshaped global pop culture. Sign up for our weekly updates: cinemainonetake.substack.com Follow us: @aftabamon @emmapjones1  

Are cinemas putting audiences off before the film even begins? This week on Cinema in One Take, Emma Jones and Kaleem Aftab respond to Sony’s Tom Rothman, who has urged cinemas to shorten the bloated pre-show of ads and trailers before films start, and ask whether the pre-cinema experience itself is part of the problem of getting audiences in? Then it’s to Cannes 2026, where the line up for other sidebars, Director's Fortnight and Critic's Week have been unveiled: can world cinema stars really replace Hollywood at this year's festival, and what does a less “sellable” lineup mean for film buzz and journalists on the ground? Especially when CinemaCon in the USA is generating headlines from Spielberg's Disclosure Day, Nolan's The Odyssey and Toy Story 5 - films that might have been at the festival. Plus, a lively debate over Christan Petzold's Miroirs No. 3, and Sundance winner  The New West, also known as East of Wall, a striking docu-fiction set on an American horse ranch. Connected to that story - watch the trailer for Riley Keough and Gina Gammell's War Pony  Our Substack on Cannes 2026 not chasing studio spectacle is here Sign up for our weekly updates: cinemainonetake.substack.com Follow us: @aftabamon @emmapjones1    

The Cannes Film Festival 2026 line-up is here, and it feels like something is shifting. Fewer Hollywood titles, a surge in war stories, and a Competition shaped by global auteurs, with Japanese and Spanish films featuring prominently this year. Emma Jones and Kaleem Aftab unpack the key themes, including a growing global crossover between Europe and Asia, both in casting and direction, and a notable contingent of emerging female directors in Competition. Plus early Palme d’Or contenders, and what this year’s selection says about where cinema is heading. From Almodóvar to Zvyagintsev, this your guide to films at Cannes. Full line-up: Festival de Cannes official website Sign up for weekly updates: cinemainonetake.substack.com Follow us: @aftabamon @emmapjones1    

On this week’s Cinema in One Take, Emma Jones and Kaleem Aftab explore what audiences really want from cinema — from AI-generated performances to timeless movie magic. They begin with the rise of AI in film, from the failure (for now) of virtual influencer Tilly Norwood to the ethics of recreating Val Kilmer on screen, and ask whether audiences are ready for artificial stars. Then, as French classic Amélie returns to cinemas for its 25th anniversary, they debate whether its romantic vision of Paris would still resonate today — or if modern audiences want something more real. Plus, Kaleem's deep dive into The Drama, starring Zendaya and Robert Pattinson, and whether spoilers and controversy are shaping how films are marketed. And finally, Emma reports from the British Film Institute on a centenary celebration dedicated to Marilyn Monroe, exploring how her legacy is being re-evaluated. A lively, unfiltered conversation on AI in film, classic cinema, film controversy, and Hollywood history — all in one take. Join us next on April 9 for immediate reaction to the Cannes 2026 line up announcement! Tilly Norwood music video:  https://www.youtube.com/watch?v=G7V2Biy3omw Kaleem's The Drama review in print is here Sign up for weekly updates: cinemainonetake.substack.com Follow us: @aftabamon @emmapjones1    

A film very few people have seen is already causing outrage. On this week’s Cinema in One Take, Emma Jones and Kaleem Aftab dive into the backlash surrounding The Drama after a leaked plot twist set the internet off. Is the twist genuinely in poor taste, and has it also provided exactly the kind of controversy modern film marketing thrives on? They also discuss the darker side of visibility, as actor Barry Keoghan opens up about the effects of online abuse about his appearance. Plus: are series festivals like Series Mania and Canneseries actually worth it — or is television best left on the sofa? And in what they’ve been watching: Orwell 2+2=5  and the North Macedonian coming-of-age gem, DJ Ahmet. Find us on Instagram/Facebook: @aftabamon @emmapjones1 Subscribe for free or weekly updates and written articles: https://cinemainonetake.substack.com/    

  Ryan Gosling heads into space (with exceptional knitwear) in Project Hail Mary — a rare original sci-fi that’s already shaping up to be one of 2026’s biggest hits.  Film experts Emma Jones and Kaleem Aftab ask whether Hollywood might finally be rediscovering its appetite for risk. Is this a genuine shift away from franchise dominance — or just a one-off? And they look beyond Hollywood to the global box office, from India’s record-breaking Dhurandhar: The Revenge to China’s post–Ne Zha 2 landscape, and why South Korea continues to set the cultural pace. Follow Kaleem and Emma on Instagram: @aftabamon @emmapjones1 Follow Cinema in One Take on Substack    

  In this Oscar special episode of Cinema in One Take, Emma Jones joins from Los Angeles hours after the ceremony while Kaleem Aftab watches from across the Atlantic — and together they unpack one of the more intriguing Academy Awards in recent years. From Paul Thomas Anderson finally winning Best Picture and Best Director for One Battle After Another to the electrifying reaction when Michael B. Jordan took home Best Actor for Sinners, the pair discuss the biggest wins, the surprise moments and the speeches that really landed. Emma reports back from a packed Hollywood viewing party near the site of the very first Oscars, where cheers for Sinners revealed the difference between what audiences love and what the Academy ultimately rewards. They also talk about the night’s standout speeches — including Autumn Durald Arkapaw’s historic cinematography win, Jessie Buckley’s emotional Best Actress moment, and the political undercurrents surrounding the documentary winner Mr. Nobody Against Putin. Plus: Korean cinema’s growing global influence, why the International Feature category remains one of the Oscars’ strongest line-ups — and the most important Hollywood tradition of the night… Michael B. Jordan celebrating at an In-N-Out Burger.  

With the Oscars fast approaching, Emma Jones and Kaleem Aftab dive into the strange theatre of awards-season campaigning — where one off-the-cuff comment can suddenly dominate the conversation. This week they unpack Timothée Chalamet’s opera and ballet gaffe, and ask whether Oscar races are increasingly decided by narrative, momentum and campaign drama rather than the performances themselves. Emma also brings a fascinating Oscars statistic into the discussion: the average age of Best Actress nominees and winners has risen from 27 in the 1940s to 47 today. What’s behind that shift — and does it really reflect progress for women in the film industry? In their weekly review segment, they also tackle Maggie Gyllenhaal’s The Bride starring Jessie Buckley and Christian Bale. While many critics have dismissed the film, they defend  the feminist retelling of the Frankenstein myth.  And they discuss why Barbra Streisand receiving an honorary Palme d’Or at Cannes feels long overdue. A one-take conversation about cinema, awards politics and the stories shaping world cinema right now.

Danish actor Claes Bang ( The Square, Dracula, Bad Sisters) joins Cinema in One Take to discuss his new French film The Great Arch, by Stephane Demoustier, playing the uncompromising architect behind one of Paris’s most striking landmarks. Speaking with hosts Emma Jones and Kaleem Aftab, Bang reflects on portraying a fiercely principled creative figure, what the AI future holds for cinema, and why he believes European cinema remains creatively vibrant. He also shares his thoughts on the turmoil surrounding this year’s Berlin Film Festival. The Great Arch is screening at the Institut français London from March 11 2026.

  With Oscars 2026 approaching, film critics Emma Jones and Kaleem Aftab ask whether awards season has simply become too long. From the Golden Globes to the Academy Awards, they debate whether audiences still watch the Oscars — and why this year’s race feels unusually unpredictable. They also head  to the César Awards, where American director Richard Linklater won Best Director for Nouvelle Vague, his tribute to Jean-Luc Godard and the French New Wave. What does it mean when an American filmmaker wins France’s biggest film prize? Plus: a Berlinale update as Tricia Tuttle receives strong backing from the film industry, and Emma champions the Welsh-language film Effie o Blaenau, which premiered at the Glasgow Film Festival, along with Gaelic language titles, sparking a wider conversation about minority-language cinema across Europe. Expect lively debate, thoughtful film chat, and a celebration of world cinema in all its languages.

In this week's Cinema in One Take, Kaleem Aftab and Emma Jones digest what happened at the BAFTA Film Awards, when a racial slur was aired by the BBC broadcast of the event. They also discuss the Berlin Film Festival winners, and that ceremony was overshadowed (as was the entire festival) by political controversy. Who'd want to run a film festival and what happened to these events being about the films? You can also find Kaleem's written feature about directing a film festival here  

On the latest Cinema in One Take. Emma Jones and Kaleem Aftab look back at the political controversy that dominated this year's Berlinale festival, over remarks Jury President Wim Wenders made during the opening press conference. Emma picks out 'Rose' starring Sandra Huller, as her favourite of the Berlin Competition films, and runs through a few more of her highlights, while the pair pay tribute to two giants of film, Frederick Wiseman and Robert Duvall, who both died that week. Plus Kaleem was sent to watch 'Wuthering Heights' by himself on Valentine's Day for the podcast and he gives his own verdict. You can also read Kaleem's written feature on the political storm at Berlin here, and subscribe for regular updates  to our substack.    

In this week's Cinema in One Take, It's the start of the Berlin International Film Festival and Emma and Kaleem raise the topic of a new levy on streaming profits in Germany that have to be reinvested in film and TV. A great idea for German culture, or just ignoring what audiences actually want? Afghan director Shahrbanoo Sadat opens the festival with a rom-com set in Kabul as the country falls again to the Taliban, 'No Good Men.' Which films has Germany given us that are unmissable? (And who gets to pick Fatih Akin's 'Head On'?)  That's Cinema in One Take, presented by Kaleem Aftab and Emma Jones. For more in depth analysis, see our Substack       

This week Kaleem and Emma explore Kristen Stewart's excellent directing debut The Chronology of Water, starring Imogen Poots, and her recent words to the press that at some point she might quit the USA, because she "can't work freely there." They ask why (Mark Ruffalo aside) there's a deafening silence from Hollywood in the middle of awards season during a turbulent time in the USA. They explore a recent report on so-called 'colour blind' casting been seen as 'tokenism' by audiences, and move on to Riz Ahmed's brilliant performance in Aneil Karia's 'Hamlet' which is out in the UK this week.  

Cinema in One Take's Kaleem Aftab and Emma Jones discuss what's behind the surge in Japan's box office. They also  disagree over Richard Linklater's new film 'Nouvelle Vague', about the making of Jean-Luc Godard's movie 'Breathless' And as Sundance comes to an end in Park City, Utah, they mark the end of an era with some of their best Sundance films and memories.  

Kaleem and Emma sit down to discuss the Oscar nominations right after they happened and to celebrate Sinners (16 nominations, Kaleem's favourite film) and Norway's Sentimental Value (9 nominations) - which also dominated this week's European Film Awards in Berlin. Plus, Matt Damon's words to Joe Rogan on how Netflix films are being watched (hint: with distraction!) and a recommendation for Greenland's best filmmaking. That's this week's Cinema In One Take! .        

It's 2026 ! And to kick off January, hosts Emma Jones and Kaleem Aftab dive into the the state of international cinema as they start the year. They discuss the surprising resilience of cinema and how optimistic they both are about the big screen, despite press claims of its decline, highlighting the impressive box office performance of 2025. They also wrangle over the Golden Globes... including Kaleem's lingering mixed feelings about them..and what it means for the upcoming Oscar nominations, and whether critics will pick their favourites or be swayed by box office success. And stay tuned till the end,  because they pick some of the films they most want to watch in 2026.. films which if Thierry Fremaux is listening, they're sure he wants to show at this year's Cannes Film Festival.    

Kaleem Aftab and Emma Jones dive into the great festive divide: Gurinder Chadha's Christmas Karma. While critics have gleefully sharpened their candy-cane daggers, Kaleem stands tall as the film’s most enthusiastic champion — and he’s ready to explain why this mocked musical deserves a second look. They also share their verdicts on potentially the biggest movie of 2025, Wicked for Good,  and explore the enduring reverence filmmakers have for The Beatles, sparked by Steven Soderbergh’s new comments on his new John Lennon documentary and the ongoing anticipation around Sam Mendes’ Beatles biopics. Why do directors approach the Fab Four with such cinematic awe?  

This week on Cinema in One Take, Emma Jones and Kaleem Aftab unpack the headline-grabbing trailer drops — Wuthering Heights, the MJ biopic and a new Devil Wears Prada — to first looks at Mario Bros. and SS Rajamouli’s much-anticipated Mandakini, the follow-up to RRR. The pair explore why trailers continue to shape the conversation long before a film hits cinemas. Plus, Left Handed Girl, directed by Shih-Ching Tsou and co-written by Sean Baker. And finally:  with Julia Ducournau’s Alpha arriving in UK cinemas after a bruising Cannes reception, they ask whether it’s time for a critical rethink.

Can we ever take a  film centred around real events  as actual history? Kaleem talks about Annemarie Jacir's 'Palestine 36' and whether it can be seen as a historical film. Emma reviews Kathryn Bigelow's A House of Dynamite and the start of Netflix's season of award contenders. And Kaleem reviews Asif Kapadia's film on renowned footballer Kenny Dalglish. Plus, a little gem of the week: Souleymane's Story by Boris Lojkine.  

In this episode of Cinema in One Take, Emma and Kaleem discuss the launch of Tilly Norwood, an AI actress. They also analyse why Leonardo Di Caprio's new film, One Battle After Another, isn't grabbing cinema goers as much as critics. Is this vindication for Kaleem's review? Finally, onto the release in North America, the UK and Ireland of The Smashing Machine, and an Oscar Campaign for Dwayne Johnson.