Cinema in One Take – Détails, épisodes et analyse

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.

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

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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

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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.