After a series of interviews and plugging in all of his writings, we were able to generate a version of data scientist Chris Mattman who is the inaugural Chief Data and AI Officer (CDAIO) at the University of California Los Angeles (UCLA).

Before UCLA, Mattmann was the Division Manager of the Artificial Intelligence, Analytics and Innovative Development Organization at NASA’s Jet Propulsion Lab. He recently finished a nearly 24 year career at JPL where he conceived, realized and delivered the architecture for the next generation of reusable science data processing systems for NASA. He was also behind the leaking of the now mythical Panama Papers.

We have since lost our executive producer, a studio that cannot be named here, but felt it had to be cautious regarding its relationships with unions/guilds in the industry.

As a result its legal department pulled the production.

Chez Woolf+Lapin, on aime bien la relève. En voici un exemple, assez parlant. C’est un tout nouveau clip. 

Celui de l’artiste mieux connu sous le nom de Komedza.

La direction photo est celle de Mathis Martin. 

La réalisation est assurée par Éloïse Lavictoire.  

Prix du meilleur film :

The Russian Experiment, Nicolas Pomet (un film de genre très bien réussi)
L’Espace tombe sur la Terre, Nicolas Russeil
Thiaroye 44, Hussein Dumbel Sow

Voici un peu plus d’info sur ce nouveau festival, on ne peut plus pertinent :

“En 2025, nous avons posé les bases : faire dialoguer cinéma, séries et intelligence artificielle. En 2026, on entre dans une nouvelle phase. Car une révolution est en marche, discrète mais massive : celle des nouveaux formats.

“Sur TikTok, YouTube ou Instagram, une génération invente sans demander la permission. Elle utilise l’IA comme moteur narratif. Elle passe du contenu au récit, du post à la série, des formats courts au cinéma. Les nouveaux genres explosent, les frontières tombent. Des nouveaux talents racontent des histoires— ailleurs, autrement, plus vite. Une nouvelle grammaire est en train de naître — rapide, hybride, fluide.

“Le WAIFF 2026 prend cette vague de face. Il connecte deux mondes qui se regardaient de loin : l’industrie audiovisuelle et les créateurs natifs du numérique. Le Festival devient un laboratoire : on teste, on prototype, on fabrique.”

Expanding your world with this Toyota 4Runner spot from director Caleb Slain.

In Hambrock’s wickedly funny tale (after Other People’s Secrets), a theatre usher deludes herself into thinking she can be a star. Jessamyn St. Germain, 26, an aspiring actor and singer who’s floundered as an usher at a regional theatre in Vancouver for three years, assumes she’s a shoe-in for Maria in the company’s production of The Sound of Music, but the part goes to her frenemy, Samantha Nguyen. Instead, Jess is offered a backstage babysitting gig, wrangling the actors playing the Von Trapp children.

Her vocal coach, an unscrupulous woman who takes her money and fuels her irrational dreams, convinces her to take the job so she’ll be ready to join the production if needed. As rehearsals get underway, Jess, impatient to show off her talent, pushes Samantha into the city’s harbour. Samantha sustains only minor injury, but as Jessamyn goes to greater lengths to get what she wants, the tabloid-esque plot turns deliciously lurid.

Hambrock keeps the reader on edge via Jessamyn’s unreliable narration (she describes the seemingly kind Samantha as the “king bitch” of the stage), even manages to evoke sympathy for Jessamyn by exploring in flashbacks the roots of bottomless depths of wanting”. It’s a show-stopping performance. ECW, 19.95 trade paper (312p).