Juliette Binoche steps behind the camera with her feature film debut In-Eye in Motion and reveals a powerful and emotional creative transformation. Read the inspiring journey.
When you think of Juliette Binoche, the Oscar-winning French actress known for some of the film industry’s most iconic roles immediately comes to mind. But the iconic actress told Sisters in Cinema at the Red Sea Film Festival in Jeddah récemment that transforming an already extraordinary career in a surprising new direction – she’s not just acting anymore. She is going behind the lens and the tales she is telling are very personal, emotionally raw and fascinating.
In-I In Motion is also Binoche’s first film as director, and it’s nothing like the standard debut film you’d expect. The French actress Charlotte Gainsbourg decided to film something almost too personal, her own story of learning dances. The film chronicles her tempestuous and terrifying 18 months of creating and performing a daring dance show with British dance legend Akram Khan in 2007.
The origin of this piece of work together is wonderfully serendipitous. Binoche remembers being rubbed down by Su-Man Hsu in London when In a completely spontaneous moment she said “yes” in response to a simple question:
“Do you want to dance?”
That took us to Akram Khan’s stunning show, and finally, for just two or three days, to jam as improvisers. But that brief meeting ignited a magical chemistry that would lead them on a mutually transforming creative journey.
What is extraordinary about “In-I In Motion” is not just that Binoche chose to dance professionally at an age when most people would consider such a leap foolhardy. It is that she had the guts to shoot the whole thing— all 170 hours of raw, occasionally chaotic footage and then cut it into a film that is intellectually provocative, politically aware and genuinely tearful. The film doesn’t hide from vulnerability. Binoche speaks candidly about her fears and even relives past traumas, revealing the physical and emotional cost of making art at such a high degree.
The road to finishing this movie was nearly as difficult as bringing the dance show to life. Converting old tapes, obtaining music licensing for each song run in rehearsals, and trying to manage the massive amounts of footage pushed Binoche to her breaking point. During the editing process, she cycled between bouts of intense happiness and hopelessness, at times believing that the whole thing was going nowhere. But she persisted, ultimately adding several editors and formulating a visual strategy, shooting each scene as a photograph to help conceptualize the abstract material that enabled her to pare down a nine-hour first cut into the final film.
“Every night I thought I wasn’t going to make it through this show – it was so exhausting physically and emotionally,”
—she recalls.
That was the feeling every night. Yet this openness is exactly what makes her work so powerful.
Though “In-I In Motion” establishes Binoche as a director, she has not given up acting by any means. At the Red Sea Festival she spoke about “Queen at Sea,” the next movie from director Lance Hammer (the Sundance darling “Ballast”).The film features an outstanding ensemble cast including Oscar-nominated Tom Courtenay, Emmy-winning Anna Calder-Marshall, and “Bridgerton” breakout Florence Hunt.
The story alone is enough to make you emotional. Binoche is a woman who moves to London with her adolescent daughter to look after her aging mother. But this is no mere family drama. Deftly handling one of the most challenging and deeply human topics — Alzheimer’s disease — the movie examines the profoundly emotional and ethical dilemmas of facing the boundaries of what we can (and whether we should) do for someone we love.
“It’s about Alzheimer’s, and about what you can and what you cannot do for a person who has that disease,” says Binoche cautiously,
As she does want to keep the emotional punch of the movie intact. So, the audience could feel deep during the moments. It’s one of the qualities which makes her an incredible performer.
“It asks important questions, especially when it comes to three different generations.”
This emphasis on multiple generations is said to provide a nuanced look at the obligations family members owe each other, love and harsh truths about growing old.
She also is working on an ultimate journey project, “Merci Charlotte,” a collaboration with a Turkish filmmaker that delves in similarly engaging human terrain.
The story focuses on the bond between Binoche and a young boy (under 10 years old) from Turkey.
What is especially extraordinary about Binoche’s first-time director and these continuing projects is how they show the path of her growth as an artist. She has never backed away from testing her limits,whether studying under demanding directors such as Kieslowski or Kiarostami or by challenging her body and emotions on the dance floor. Now, with real directing credits under her belt, she is ready to take that same fearless eye to the story telling form itself.
She received a special tribute at the Red Sea Festival and even met with celebrated director Sean Baker, director of “Anora.” The pair of Oscar winners have “exchanged numbers,” Binoche gushed about working with him. But if that team-up comes to fruition or not, one thing’s for certain: Juliette Binoche is not yet done surprising us.She’s become a full-fledged filmmaker — as a vulnerable person on screen and one who can make the camera tremble from behind it.
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The turn to directing for Juliette Binoche represents a daring and intimate new phase in her professional life. With In-I In Motion, she transposes her vulnerabilities into art and shows that she is as intrepid behind the camera as she is before it. Her upcoming projects, including Queen at Sea and Merci Charlotte, continue to reflect her dedication to truthful, emotionally driven narratives. If anything is clear, Binoche isn’t simply stretching out her talents; she’s reimagining them, and she has only just gotten started.
Fandomfans is focusing on celebrities’ journey from a simple acting role to a legendary directorial debut which makes them unstoppable, catching up with us on your favorite celebrity’s outlook.
AI star Tilly Norwood, created by Eline Van der Velden’s Xicoia studio, is drawing major Hollywood talent agencies—reshaping the future of acting.
Meet Tilly Norwood – Hollywood’s First “Fake Real” Star introduced by Dutch comedian-producer Eline van der Velden through her AI studio Xicoia. According to Variety, Norwood “has drawn the interest of several talent agents” after being debuted at industry-targeted Zurich Film Festival summit. Van der Velden informed the Zurich Summit panel that studios – early doubters of AI actors in early 2025 – are now “moving quietly ahead with AI projects,” and that she anticipates an imminent announcement of which agency will have Norwood as their client. And lo and behold, some talent agents are already swooping around her.
Her debut? An all-AI comedy sketch called AI Commissioner — from script to performance, it was all generated. Eline even went on to state that she wishes Tilly to become “the next Scarlett Johansson or Natalie Portman.” Daring, isn’t it?
News of Norwood’s agency buzz triggered swift backlash from working actors. Hollywood stars publicly criticised on social media, asking how a computer-generated “actress” would fill the role of actual actors. The Wrap covers –
Actress Melissa Barrera (In the Heights) took to Instagram: “Hope all actors repped by the agent that does this, drop their a$. How gross, read the room.”
Others sarcastically predicted that contracting an AI “actress” would be a PR debacle at best, a catastrophe at worst. The Independent’s report included similar zingers by stars such as White Lotus’s Lukas Gage: “She was a nightmare to work with!!!!”.
Van der Velden compares AI to previous technologies such as animation or CGI – “a new brush, a new paintbrush” – that enhance storytelling without doing away with live performance. She underlines that “nothing – certainly not an AI character – can take away the craft or joy of human performance”.
Overall, some people think that it can jeopardize the real talent of real performance and their careers too but some believe that this is an experimental creative tool of Norwood.
Tilly Norwood’s appearance has fueled controversy for the classic acting roles in the future. Critics caution that if studios or agencies start dealing with AI characters as commodities, human actors may see fewer opportunities, stated by Deadline. The 2023 SAG-AFTRA agreements already contain firm safeguards (negotiated under union pressure) to avoid unapproved AI use of actors’ likenesses. Union officials have maintained that any application of a performer’s digital double needs to be affirmatively approved and paid for. On the agency front, some reps may consider an AI actor to be a publicity stunt worthy of consideration — industry speculation about an agency inking Tilly to garner press attention has been out there – but most agents are cautious.
According to Hollywood Reporter, agencies that try to sign Norwood could destroy confidence: “If your agent does this, drop their a$.” Practically speaking, even if Norwood or other AI talent land the occasional job (commercials, voiceovers, background), big stars will continue to be required for bankable leads, and productions will need to work with union rules.
In the short term, Norwood’s case has placed agencies on notice that AI is a “hot” issue – agents can softly scout for AI talent or ignore the trend, but they risk blowback either way.
The Hollywood studios seem cautiously interested in generative AI. At the Zurich panel, Van der Velden saw a change in studio mindset from skepticism (“this is nothing”) early in 2025 to interest (“we need to do something”) mid-year. Industry analysts point out that studios might view AI tools as means to reduce costs and speed content production (e.g., automating background extras, pre-visualization, or editing). Experts have indicated that AI may allow even smaller studios to “make high-end content at a fraction of the expense,” possibly expanding competition.
The Deadline reports that the web’s leading “digital influencer,” Lu do Magalhães, boasts more than 8 million fans despite being a complete computer simulation. This pairing demonstrates that although mainstream cinema audiences first refuse to accept blatant deepfakes, younger or more computer-literate audiences occasionally accept or indeed prefer artificial celebrities on the web.
As van der Velden contends, if Norwood can provide compelling performances, audiences may be more concerned about story than she is machine. But at least for now, many industry observers believe AI actresses like Tilly will remain curiosities rather than genuine replacements for popular live performers.
Tilly Norwood is only one example of AI’s growing footprint in entertainment. Industry analysts are forecasting that AI tools will become widespread in production pipelines (storyboarding, visual effects, language dubbing, etc.), though leadership in creativity will still be human-driven in the near term. Some believe AI will unleash a deluge of cheap content (offering regulation or curation), while others envision it as fueling indie innovation. What is certain is that Hollywood will incorporate AI increasingly – though cautiously.
As the case of Tilly Norwood shows, studios and tech companies might chase “AI actors” as an experiment, but mass acceptance will depend on how audiences respond and union negotiations. If Norwood is successful at finding employment and garnering eyeballs, it will inspire more AI productions; if she crashes or incites consumer hostility, the market will tap the brakes.
As Variety and others point out, the controversy surrounding Tilly Norwood illustrates broader issues of whether AI is merely “another tool” for directors or a force that might disrupt conventional acting work. The long-term direction will depend on the degree to which Hollywood harmonizes progress with art and labor considerations – and a chapter that continues to be written.
Discover Anthony Mackie’s journey from theater to Hollywood, his rise in the MCU as Captain America, and his impact on film, TV, and stage.
Anthony Mackie was born on September 23, 1978. He is an American actor and producer. People love his work in movies and TV shows. He acts in both small films and big superhero movies.
Many fans know him as Sam Wilson, also called Falcon. He later became Captain America in the Marvel movies. He is talented and hardworking. His journey from stage to Hollywood is truly inspiring.
Anthony Mackie was born in New Orleans, Louisiana. He started acting at 14 at the New Orleans Center for Creative Arts. He later studied at New York University’s Tisch School of the Arts.
He performed in many plays, including Broadway and Off-Broadway productions. In 2002, he worked as an understudy for Don Cheadle in Topdog/Underdog. That same year, he won an Obie Award for his role in Talk, a play by Carl Hancock Rux.
Mackie made his film debut in 2002. He played Papa Doc, a rival to Eminem’s character in 8 Mile. In 2003, he got his first starring role in Brother to Brother. He played Perry, a young Black artist struggling with his identity.
His performance earned him a nomination for the Independent Spirit Award for Best Actor. In 2004, he starred in Million Dollar Baby, which won an Academy Award. That same year, he worked with Spike Lee in She Hate Me. His career kept growing from there.
Anthony Mackie kept building his career in the mid-2000s. He acted in Half Nelson (2006), Crossover, and We Are Marshall. In March 2008, he performed in three plays by August Wilson. These plays were Ma Rainey’s Black Bottom, Fences, and Jitney. The performances took place at the John F. Kennedy Center in Washington, D.C.
In 2009, Mackie played Tupac Shakur in Notorious. He later starred in Night Catches Us (2010). In 2011, he appeared in The Adjustment Bureau and Real Steel. His big break came in 2014 when he joined the Marvel Cinematic Universe.
He played Sam Wilson, also known as Falcon, in Captain America: The Winter Soldier. He returned for many MCU films, including Avengers: Endgame.
In 2021, Mackie officially became Captain America in The Falcon and the Winter Soldier. He will star as Captain America in Captain America: Brave New World. The movie is set to release in 2025.
Anthony Mackie got his first big role in Brother to Brother (2003). He played Perry, a young Black artist. Perry struggled with his identity as a gay man. Mackie’s performance impressed many people. He earned a nomination for the Independent Spirit Award for Best Actor. This was a big moment in his career.
In 2004, Mackie starred in major films. He appeared in Million Dollar Baby, directed by Clint Eastwood. The film won the Academy Award for Best Picture. Mackie also worked with Spike Lee in She Hate Me.
His role in Million Dollar Baby showed he could handle big studio films. His work with Spike Lee proved his passion for independent films. That same year, he starred in The Manchurian Candidate.
Mackie kept building his career in the mid-2000s. He starred in Half Nelson (2006), Crossover, and We Are Marshall. These films showed his versatility. He took on different roles. He proved himself as a talented and dependable actor.
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Anthony Mackie has always loved performing on stage. He has returned to theater many times in his career. Live performance is important to him. In March 2008, he starred in three plays by August Wilson. He performed at the John F. Kennedy Center in Washington, D.C.
The plays included Ma Rainey’s Black Bottom, Fences, and Jitney. These performances were part of “August Wilson’s 20th Century.” The event featured staged readings of Wilson’s Century Cycle.
In mid-2009, Mackie played Pentheus in The Bacchae. The play was part of Shakespeare in the Park in New York City. In February 2010, he starred on Broadway. He performed in A Behanding in Spokane with Christopher Walken.
Mackie has never left theater behind. He continues to explore different roles on stage. His love for acting drives him to return to live performances. His work in theater proves his passion for the craft.
Anthony Mackie’s career changed when he joined the Marvel Cinematic Universe (MCU). In 2014, he played Sam Wilson, also known as Falcon. He first appeared in Captain America: The Winter Soldier.
Audiences quickly loved his performance. His role in the MCU grew. He played Falcon in several Marvel films. He appeared in Avengers: Age of Ultron (2015) and Captain America: Civil War (2016). He continued in Avengers: Infinity War (2018) and Avengers: Endgame (2019).
In 2021, his character’s journey reached a major moment. He starred in The Falcon and the Winter Soldier on Disney+. In the show, Sam Wilson became the new Captain America. This moment was a big step in the MCU. It also made Mackie a top star in the superhero world.
Mackie will continue as Captain America. He will lead Captain America: Brave New World in 2025. Fans are excited to see his next adventure in the MCU.
As of February 2025, Anthony Mackie’s net worth is estimated at $8 million, though it’s expected to increase after his role in Captain America: Brave New World.
Mackie originally intended to become an engineer, but he was drawn to acting and attended the New Orleans Center for Creative Arts. He married his childhood sweetheart, Sheletta Chapital, in 2014, but they divorced in 2018.
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Anthony Mackie kept pushing himself after his success in the MCU. He took on many different and challenging roles. He starred in Detroit (2017), a period crime film. He played an important role in The Hate U Give (2018). In 2019, he appeared in the horror film Synchronic.
He also starred in The Banker (2020). These movies show his passion for meaningful stories and different genres. He also played Martin Luther King Jr. in All the Way (2016) on HBO.
Mackie also explored television. In 2020, he starred as Takeshi Kovacs in Altered Carbon on Netflix. In 2023, he took on a new role in the Peacock series Twisted Metal. He played the lead character, John Doe.
This role allowed him to mix action and comedy. His performance proved his versatility and charm. He continues to take on exciting projects and impress audiences with his talent.
Anthony Mackie is an American actor and producer known for roles in movies and TV shows, especially as Sam Wilson (Falcon) in the MCU.
He was born on September 23, 1978, in New Orleans, Louisiana.
His first major film role was in 8 Mile (2002), where he played Papa Doc.
Mackie joined the MCU in 2014, playing Sam Wilson (Falcon) in Captain America: The Winter Soldier.
