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This map reveals what scientists care about—and what armed forces don’t want to share

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The second episode in our live series from the Regent Street Cinema explores Louis Malle’s My Dinner with Andre (1981), in which two men discuss the meaning of theatre, capitalism, love, science, faith and freedom over a meal. David talks to playwright and screenwriter Lee Hall (Billy Elliot, Rocketman) about how a great film can be made out of a single conversation. Who was the real Andre? How scripted was the dialogue? Who won the argument? And why has this film had such an extraordinary afterlife?

Out tomorrow on PPF+: a bonus episode to accompany this series in which David and film historian Harrison Whitaker discuss the greatest Christmas film of ideas: Frank Capra’s It’s A Wonderful Life, which is much more than just a seasonal tearjerker. To get this and all our bonus episodes plus ad-free listening sign up to PPF+ now https://www.ppfideas.com/join-ppf-plus

If you are looking for last minute Christmas presents we have 6- and 12-month gift subscriptions to PPF+ giving access to all our bonus episodes, ad-free listening and automatic sign-up to our fortnightly newsletter – which can be delivered to the recipient of your choice on Christmas Day! ⁠https://ppf.supportingcast.fm/gifts⁠

Next time: Rosa Luxemburg w/Lea Ypi

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Este é o primeiro episódio de férias do Pauta Pública, que durante quatro semanas irá relembrar os momentos mais marcantes da temporada de 2025. Neste episódio você confere as diferentes formações das milícias ao longo do tempo e entende  porque especialistas defendem que tecnologias de reconhecimento facial em redes de videomonitoramento, como o projeto Smart Sampa, reproduzem padrões racistas. Também vamos relembrar a operação policial nas comunidades da Penha e do Alemão ocorrida em 28 de outubro, que resultou numa chacina com dezenas de mortos. 

Para isso, o episódio reúne trechos das entrevistas realizadas com a jornalista Cecília Oliveira, durante o episódio Milícias: caneta na mão e bolso cheio; com o integrante da campanha Tire Meu Rosto da Sua Mira, Pedro Diogo Carvalho, durante o episódio o Reconhecimento Facial e Vigilância Racista; e das entrevistas com o sociólogo Daniel Hirata, no episódio Por que tanta gente apoia uma chacina? e com o cofundador do Instituto Raízes em Movimento, David Amen, no episódio A mobilização que desafia a violência, a favela pela favela.

Ouça agora e deixe sua opinião nos comentários.

Saiba que você pode ser aliado da Agência Pública e colaborar com esse trabalho. Saiba mais em apoie.apublica.org ou faça um pix de qualquer valor para contato@apublica.org.
Contamos com seu apoio!

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Este episódio do 451 MHz homenageia o poeta, tradutor e ensaísta Leonardo Fróes (1941–2025), morto em novembro, com duas conversas gravadas n'A Feira do Livro 2025. Ao longo do programa, Fróes reflete sobre o impulso da escrita, a poesia como uma fraqueza necessária, sua trajetória como tradutor e ensaísta e a decisão de deixar a vida urbana para morar em um sítio no interior do Rio de Janeiro. O episódio ainda percorre sua relação com a natureza, tema central da coletânea Natureza: A Arte De Plantar (Cepe, 2021), e revisita a obra e o pensamento de um dos grandes nomes da literatura brasileira contemporânea.

Apoio: Lei Rouanet - Incentivo a Projetos Culturais.

Assine a Quatro Cinco Um por R$ 10/mês: https://bit.ly/Assine451

Seja um Ouvinte Entusiasta e apoie o 451 MHz: https://bit.ly/Assine451

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If you’re wondering why the camera industry churns out so many homogeneous black cameras with the same specs and price, look no further than the reception the different ones get in the camera dweeb community.

We should all be encouraging the Japanese manufacturers to try different things and think outside the box.

Invariably these more ‘experimental’ cameras are more fun to shoot with.

Take for example the Fujifilm GFX 100, the original one. Yes the smaller and cheaper GFX 100S was more popular but the original broke the mould of what a medium format camera could do especially for cinema.

Take the Fujifilm X-Pro3 as well, another example of a special design that encourages a more creative approach to getting the shot.

Those weirdos who only own one camera probably wouldn’t brave it out with an GFX 100 and Leica M lens adapter. Manual focus isn’t for everyone, and the native GFX mount medium format lenses are slow, sterile and expensive. But the results I get with a cheap Minolta 50mm lens on the GFX 100 are 10x more artistic than the ‘default option’ of a high-end full frame mirrorless camera and brand new 24-70mm F2.8 that the average rich brat has just spent $6000+ on.

Granted the 3 cameras Chris and Jordan mention are not without issues. The Sigma Bf has an absolutely baffling UI when you first pick it up and some unsettlingly sharp edges. The Fuji X-Half has a rather soft JPEG-only output that you don’t want to pixel peep and a cheap lens that isn’t as fast (or even as sharp) as what you’d find on a smartphone costing the same price. But this camera is simply not about pixel peeping or specs.

The Sony FX2 meanwhile – I get it. It would have been nice if Sony had waited a year and put the newer sensor of the a7v in it. I know it’s neither an FX3 or an a7v and therefore appeals to nobody that are interested in the latter two, which is most people.

But the FX2 is criticised as if no camera has ever been followed-up by a faster one later. It’s completely normal, and the price of the FX2 reflects it as well.

You can quantify the specs all day long but with these cameras it’s the intangibles that matter. The X-Half is a pure creative tool to bring out the pleasure of shooting.

And that experience of walking the streets with it is made even more enjoyable by the fact it’s a trendy fashion item which brings out the pleasure of using it even more. I know it seems shallow to say, but you do look less like a dork with a camera that looks like a camera, rather than something that looks like a cross between a leaf blower and an office photocopier.

It’s the same with the Sigma Bf except that’s a full frame image quality powerhouse, one of the smallest full frame cameras, that in many ways is better than the $4800 Sony RX1R III but half the price and with the benefits of a choice of small primes rather than only one Zeiss 35mm F2 with dodgy AF that hasn’t been updated for 11 years.

And as for the Sony FX2, it doesn’t in fact have the same sensor as the a7 IV, but the newer a7c II and all the latest class leading AI and image processing that Sony is currently leading the market with, plus a pimped out video monitoring feature-set that the Sony Alpha cameras don’t have.

It’s cheaper than the FX3 yet has a proper EVF (it’s even articulating) which is rare for a cinema camera and unlike the Nikon Zr it has a proper mechanical shutter as well. That makes the FX2 completely unique and different to all the other hybrid cameras in that it’s a cinema-first design but doesn’t throw the baby out of the bathwater when it comes to key stills features like a lot of the other hybrid cinema cameras.

Yet the signals the average customer, and by extension the ultimate Canadian camera store salesmen are sending to Japan has me a bit worried.

The concept of a true stills-cinema hybrid camera has been rejected. The conclusion from the Sony FX2’s low sales is that nobody gives a damn about having a lovely EVF and mechanical shutter in a filmmaker focused camera. What a shame! For me, I really value that.

The idea of a film-compact shooting experience fairs far better with the general audience of camera buyers. The Fuji X-Half is not designed to replace your EOS R6 Mark III for sports and fucking bird photography. Worst camera of the year it is, then?

And the Sigma Bf is the affordable full frame alternative to a Contax T2, made in small quantities by a family owned business in Aizu, Japan.

I just don’t accept that you can throw so much shade so publicly at such creatively brave concepts as these.

Save the shade for the broadest shoulders, the boring mainstream cameras that you can’t tell one from another.

The post Chris and Jordan select Sigma Bf, Fuji X-Half and Sony FX2 as worst cameras of the year, just goes to show that some people don’t have a single creative brain cell appeared first on EOSHD.com - Filmmaking Gear and Camera Reviews.

Generation Z is becoming less invested in university and more interested in skilled trades

This week, Lily Herd heads for outer space in the company of a prodigious imagination; and Andrew Motion joins us with a wonderful new poem.

'Collected Stories' by Cixin Liu, translated by John Chu, Andy Dudak et al

'All that We See or Seem', by Ken Liu

'Snow', by Andrew Motion 

Produced by Charlotte Pardy

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Today it’s the first in our series of live episodes recorded at the Regent Street Cinema in London: David talks to the crime writers Nicci Gerrard and Sean French (aka Nicci French) about Alfred Hitchcock’s Rope (1948), based on Patrick Hamilton’s play of the same name, itself based on the real-life case of Leopold and Loeb. What is the true subject of this film: murder, sex, morality or something else? Why is James Stewart so hopelessly miscast? And how does all this connect to Nietzsche?

If you are still looking for Christmas presents we have 6- and 12-month gift subscriptions to PPF+ giving access to all our bonus episodes, ad-free listening and automatic sign-up to our fortnightly newsletter – which can be delivered to the recipient of your choice on Christmas Day! ⁠https://ppf.supportingcast.fm/gifts⁠

Next time: My Dinner with Andre w/Lee Hall

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