Slasher Thriller ‘No One Will Hear Your Scream' Nabbed by Black Mandala for Cannes Market (EXCLUSIVE)
Written and directed by Mariano Cattaneo, the Argentina-set horror film follows Micaela, a young woman who works at a record store making mixtapes, as she discovers that a killer is connected to her through a compilation she created and sold. With each Argentina World Cup match bringing a new victim, Micaela races to uncover the murderer's identity before she potentially becomes the final target.
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The film stars Sol Wainer ('A Silent Death,' 'Perdida'), Byron Barbieri ('El Eternauta,' 'Cielo Grande') and Germán Baudino ('What The Waters Left Behind,' 'Historia de lo Oculto').
Cattaneo, whose previous directorial credits include 'The Strangest Girl in the World' for Disney+, brings his horror expertise to the project. The filmmaker has described the production as 'a physical and emotionally charged film, with football [soccer] as a backdrop, music as a conduit for emotion, and a coming-of-age story intertwined with both classic and modern slasher elements.'
Black Mandala, which has established itself as a key player in the international genre film market, will be representing the title at the upcoming Cannes Film Market. The company's current slate includes several other horror and thriller titles aimed at global genre audiences.
The slate includes 'Play Dead,' starring Paula Brasca in a claustrophobic nightmare where she must lie motionless among corpses while mysterious rituals unfold above her; erotic thriller 'Traumnovelle'; supernatural horror 'Containment' that puts a fresh spin on possession tropes; and 'Lake Jesup,' where redemption meets reptilian terror.
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Hamilton Spectator
an hour ago
- Hamilton Spectator
What is the song of the summer? There's no obvious choice this year, but these 11 tracks are in the running
Selecting the 'song of the summer' will always be a subjective exercise, though typically there are a handful of artists who manage to capture the overarching vibe or mood of the season. Take last summer, which featured a battle royale between the pop girlies — Charli XCX , Sabrina Carpenter , Billie Eilish and Chappell Roan — plus a wild card contender in a newly invigorated Kendrick Lamar. This year feels markedly different. The pop girlies have mostly gone silent and, while Drake is attempting to stage a comeback, the charts are currently congested by a glut of bland bro-country and multiple hits that are over a year old. That's not to say there is a lack of interesting new music — just last week music fans were treated to a stellar release from elder hip-hop statesmen Clipse, plus a refreshingly unburdened surprise album from Justin Bieber . But music fans and the cultural zeitgeist seem to be remarkably siloed this year, preventing any obvious single song or artist from emerging as a monocultural force. That won't stop of us from giving it a go, though. Here are the songs of the summer, as chosen by the Star's cohort of music experts and contributing critics. As soon as the clock strikes end of May, so begins the parade of pop stars trying to stake their claim on the song of the summer. These efforts are often blatant — a paint-by-numbers repackaging of what's worked in the past. But if you pass me the aux at any point between now and Sept. 21, I'll be jumping the queue with 'Catching Feelings' by Christine and the Queens and French disco legend Cerrone — a pairing that skirts the artificial and heads straight for the visceral. Summer is the season for crushes. For DM slips, will-they-won't-they banter, day dates that stretch into night dates and meet cutes-turned-speed dials. 'Catching Feelings' translates this exact seasonal energy into an irresistibly danceable, '80s-coded banger. Set against our current apocalyptic political backdrop, the track offers a supercharged, synth-fuelled argument for seizing the day — and your crush — and heading straight for the dance floor. — Emilie Hanskamp, Toronto-based music journalist and producer 'The destruction of Palestine is breaking the world,' journalist Moustafa Bayoumi wrote in a recent essay detailing how the mechanisms of power and censorship have provided cover for atrocities and mass killing in Gaza, thus pushing our shared moral order to the verge of collapse. The essay captures a gnawing, uncomfortable sentiment that has been bubbling up for months, and which — at least within the world of music — seems to have erupted into a wave of frustration and fury during this red hot summer of 2025. Across the musical spectrum, popular artists have broken their silence, whether through written statements of solidarity with Palestine ( Olivia Rodrigo , Lana Del Rey ), or through contentious acts of protest on some of the world's biggest stages ( Fontaines D.C ., Bob Vylan ). But no musical group has raged harder against the machine this summer than Kneecap, the provocative, semisatirical Irish hip-hop trio from Belfast, whose explosive (and occasionally reckless) expressions of anti-colonial fury have reinvigorated the long tradition of protest music. And, as if to cement their anti-establishment bona fides , they've also become a frequent target of political campaigns and even police investigations. But the finger-wagging has only increased the popularity of the group, who in June capped off their raucous Glastonbury set with a new song called 'The Recap,' a scorching diss track that doubles down on their support for Palestinian liberation, while defiantly taunting the British officials who attempted to silence their dissent. Politics aside, 'The Recap' is also a reminder that Kneecap's music — like the very best protest music — is a ton of fun . The track opens with a rumbling bass line and driving punk drums, over which Mo Chara, Móglaí Bap and DJ Próvaí take turns rapping in a furious patois of Irish and English. Then the song quickly shifts gears, as a cacophony of blistering breakbeats and screeching synths explodes like a wayward blast of fireworks to the face. It's somehow both ridiculous and righteous — a song that evokes the sweaty chaos of the mosh pit and the communal power of a march through the streets. — Richie Assaly, culture reporter It's appropriate that following the debauchery of last year's ' Brat summer ,' for 2025 we're on the comedown with Haim's breakup album, 'I Quit.' It's the morning after, we're rethinking (or regretting) our choices and wondering how to move forward while nursing a big headache. The trio's lead single, 'Relationships,' is a 3:25-minute lament (summer bops are short 'n' sweet, after all) on modern dating, carried by Danielle Haim's breezy vocals and anchored by simple percussion and sobering piano chords. There's no time for euphemisms or wordplay, the song simply and repeatedly states the frustrations of 'f—kin' relationships.' When paired with the music video, reminiscent of a late '90s/early '00s Gap campaign (as someone who worked at one at the time, I can smell the Dream perfume wafting through the screen), the song is more subdued than last year's fist-pumping anthems but, considering everything happening right now, we could use a moment of clarity. — Karon Liu, Star food reporter I've been travelling a lot this year and discovering tons of new music along the way. But a recent trip to London has reignited my love for the city's garage and hip-hop scenes. I'm not alone — it seems like the world also rediscovered its appreciation for Skepta, arguably the most important U.K. hip-hop artist ever, after he jumped in last month to close Glastonbury with just a few hours' notice. That helps explain why Fred Again's 'Victory Lap' has been in constant rotation since it dropped in June. A cross-genre blitz of electronic, dubstep and grime, it's an infectious shot of adrenalin and an earworm, designed less for Grandpa's cottage barbecues and more for questionably sweaty, late-night warehouse raves after all the Sabrina Carpenter fans have gone to bed. It's an anthem for anyone having a summer lived out of a suitcase and on the move. — Vernon Ayiku, Toronto-based music journalist One of the more heartening developments in the rather disheartening summer of 2025 is that Wet Leg didn't succumb to the 'one great album then straight to the dustbin' curse that's befallen so many wonderful-out-of-the-gate U.K. bands before them — from the Sex Pistols to the La's to Elastica to Ikara Colt — when their second record, 'Moisturizer,' finally landed a week ago. No, the unfailingly saucy Isle of Wight duo of Rhian Teasdale and Hester Chambers — now a proper five-piece band featuring touring members Henry Holmes, Josh Mobaraki and Ellis Durand — has come back hard, and the first sign of just how hard arrived this past April in the form of 'Catch These Fists.' An altogether stinging middle finger to drunken creepos who insist on harassing women late at night in the clubs, this beefy banger features queer-identifying singer Teasdale staring her would-be suitor in the face while he ruins a ketamine-soaked night out on the dance floor, declaring, ' I just threw up in my mouth / When (you) just tried to ask me out / Yeah, don't approach me / I just wanna dance with my friends. ' And this after we've already been treated to one of the most riff-tastic and utterly satisfying choruses that Veruca Salt never got around to writing back in the day: ' I know all too well just what you're like / I don't want your love, I just wanna fight.' It really does make you wanna smash all your furniture and get in a fight, as all good punk rock should. More, please, Wet Leg. More, more, more. — Ben Rayner, Toronto journalist and contributor to the Star's Culture section. The phrase 'song of the summer' traditionally conjures blissful images of open-sunroof drives, rooftop dance parties and out-of-body experiences in festival fields. But when you consider the reality of summer 2025 — lethal air-quality readings, humidity that crushes your will to live like a dropped anvil, and the general unshakable feeling that civilization is teetering on the brink of political, ecological, technological disaster — the apocalyptic art-punk of Public Health feels like a more appropriate soundtrack. Public Health are four guys from Hamilton barely in their 20s, so they've never really known a world that wasn't perpetually on fire in both the figurative and literal senses, and their recently released debut album, ' Minamata ,' is their means of seeking catharsis through chaos. True to its namesake inspiration, the album's 10-minute centrepiece sludgefeast 'Kilimanjaro' effectively resembles a long-dormant volcano slowly erupting back to life, its ominous black-cloud buildup gradually giving way to a relentless surge of magma-spewing noise that's as hypnotic as it is horrifying. So long, 'Brat summer' — say hello to 'brute summer.' — Stuart Berman, Hamilton producer for CBC Radio One's 'Commotion' and Pitchfork writer If you ever wanted to dream while awake, Quebec City's Men I Trust have just the thing to cure what ails you. The trio continuously blossoms with an irresistibly warm, lush blend of lo-fi and synth-soaked electropop that goes down smooth. Though restrained, lead singer Emma Proulx's whispery vocals play brilliantly against the myriad arpeggiated guitars and blurry pads that adorn their every arrangement. Most tracks off the group's stellar sixth album, 'Equus Caballus,' could work as offbeat songs of the summer, but 'Husk' stands out as being particularly introspective and homely. Much like summer itself, it contains multitudes; it isn't gratuitously sunny, but rather an honest, provocative look at a less-than-ideal relationship that erodes as time passes. It yearns, it rolls and it grooves, all while keeping with the crystalline, gauzy patina of far more accessible pop. You don't need to think while listening to it, but you still will. — Hayden Godfrey, staff reporter If we have to bear going outside in Toronto's new normal scorching heat, let's at least do so with good tunes that capture the essence of summer. Tate McRae's 'Sports Car' ticks all the right boxes for me. The flirty, steamy song features a whispery earworm chorus and bass-heavy beat that take me back to the 2000s R&B-pop songs that dominated radio in the summertime (it's reminiscent of the Pussycat Dolls' racy R&B single 'Buttons' and Nelly Furtado's smash hit 'Promiscuous,' while embodying Britney Spears' signature breathy vocals). A good summer song allows you to feel carefree and 'Sports Car' feels like driving down the highway on a summer night 'with the windows rolled down' as the summer breeze blows through your hair, even if your whip in this economy isn't a sports car . Since releasing her third studio album, 'So Close to What,' and dominating the 2025 Juno Awards , the Calgary-born artist has secured her title as a main pop girl on the global stage, and she owns the summer anthem I anticipate to hear everywhere this season. — Asma Sahebzada, staff reporter I'm not a big fan of mgk (the artist formerly known as Machine Gun Kelly) by any definition, so colour me shocked concerning the immediate impact I experienced upon first hearing 'Cliché,' the on-again, off-again Mr. Megan Fox's rumination about bad boy desire. The reason it's so appealing is that simplicity rules the day: it starts off with an unadorned acoustic guitar lick and Kelly making a humble plea — ' Tell me, would you wait for me? ' — that turns out to be the first line of the chorus. At the 28-second mark, the drums kick in — and suddenly we're off to the races: the pop-rock anthem's irresistible hook barely changes and the vibe is one of getting into your car on a hot summer night and driving for hours with an overwhelming sense of urgency and no destination in mind. The momentum generated is of elation. Just heed this warning: this three-minute adrenalin rush will spew itself into your hippocampus when it's least expected and leave you humming it relentlessly — and that's no 'Cliché.' — Nick Krewen, Toronto contributor to the Star Aminé has morphed into the ultimate summer artist. Always a smooth and swaggering rapper, years spent alongside producer Kaytranada and now Lido have elevated his lyricism, which he adorns with ornate and bouncy production. Released in April, 'Arc De Triomphe' set the tone for summer with chopped chimes, booming drums and the pace of a U.K. garage song. It's a unique sample flip from the Streets' ' Has It Come To This ,' which reframes a British classic into a summer bop. But that's Aminé's gift — his ability to highlight things that few have the vision to see, allowing the Portland native to use Bart Simpson's signature 'ay caramba' to set up swaggering lines like ' Yeah, and her moisturizer turned my face to a merchandiser / They lips is looser, the money tied up / They face is screwed up when they see that I'm up.' That same clever connectivity sparks the idea to rhyme his name in a song about France, despite Aminé being an Ethiopian name . 'Arc De Triomphe' is a sophisticated track buoyed by production that charms you into dancing. — Démar Grant , staff reporter at the Hamilton Spectator This track by the Los Angeles-based, R&B/soul group King Pari is about summer vibes and deep reflections. Written in 2020 at the height of the pandemic and the Black Lives Matter movement, the funky guitar riffs and falsetto-soul vocals accompanied by lo-fi production reside in my head rent free. It gives off a live-in-the-moment vibe. 'Somethin' Somethin'' is the summer soundtrack for a hangout with friends or family, or solo adventures spent trying to understand deep, disruptive changes to the world around us. — Sanjeev Wignarajah, freelance music writer
Hamilton Spectator
an hour ago
- Hamilton Spectator
Brampton rap prodigy, 12, hits the stage with Wu-Tang Clan during Toronto farewell tour: ‘I was pumped'
' Wu-Tang is for the children,' Ol' Dirty Bastard famously declared at the 1998 Grammys. Over a quarter century later, the mighty Staten Island rap collective proved that they remain a potent cultural force — among both old heads and the kids — during their farewell tour stop at Toronto's Scotiabank Arena on Monday. Midway through the show, Wu-Tang Clan's de facto leader RZA was taking stock of the audience when he spotted Cairo Snow FPTO, a 12-year-old rapper from Brampton. Seeing his enthusiasm, RZA invited Cairo up to the stage, where he bounced along enthusiastically with Masta Killa, U-God and other members of the clan for three songs. 'I was feeling the music and I was pumped,' Cairo told the Star. 'Like, a level of pumped I haven't experienced in so, so long.' At one point, RZA and Cairo encouraged the sold-out audience of 19,000 to jump up and down in unison. 'I wasn't really nervous,' he said. 'I'm a performer, so when I'm on stage, it triggers my adrenaline and releases that dopamine ... it was crazy.' After the show, Cairo got to meet the entire Clan backstage, where he snapped pics with RZA, Ghostface Killah, Raekwon and others. 'To share the stage with legends in front of thousands in my hometown — this is something I'll never forget,' he said. Raekwon gives a hug to Cairo Snow FTPO after Wu-Tang Clan's performance at Scotiabank Arena. But the young artist's moment in the spotlight didn't come out of nowhere. Born and raised in Brampton, Cairo has been rapping since he was five — 'from the crib' he says. Growing up, he didn't have access to YouTube, and he learned about hip hop by listening to his dad's old CDs. 'Since birth, that's all I was listening to: Wu-Tang, Nas, Mobb Deep, Jay-Z — I was all listening to all of those guys.' By the age of seven, he started writing his own songs. A few years later, his lyrical flow caught the attention of MTStreets, a Los Angeles-based producer and beat-maker who has worked with industry heavy-weights like Dua Lipa and Lil Baby. In January, with an assist from producer B3, Cairo released his debut single, 'Cairo Snow FPTO,' a blistering track that showcased the young artist's remarkable charisma and confidence, and racked up thousands of streams on Spotify and other music platforms. When Wu-Tang Clan arrived in town this week, Cairo knew he wanted to try to meet his heroes, even though he didn't have tickets to the show. Just last summer, when he was just 11, Cairo had the chance to rap for Wu-Tang rapper Raekwon at a meet-and-greet prior to his solo show. 'Raekwon was so impressed by him, as many people who were there,' Cairo's father, Omar, recalled. Raekwon gave Cairo his contact information, and the new two stayed in (limited) contact for the next 11 months. A post shared by Cairo Snow | Prod.A3 (@ On Monday afternoon, Raekwon invited the young rapper to meet up before the show, where he also introduced the young artist to Inspectah Deck. 'The love and support that he was shown inside the meet-and-greet was surreal,' Omar recalled. Afterwards, someone from Wu-Tang's crew gave Cairo an extra ticket to the show. His mother bought a second ticket, and they headed into the arena Over the course of the show, Cairo managed to find his way to the front of the stage, where his enthusiasm caught the attention of RZA. 'I just remember RZA started asking (the audience) to shout out who is from different generations, and we he got to the 2000s, and I started waving and was like 'yo wassup!'' Cairo recalled. 'And he was like 'young man, please come up to the stage.' It was just crazy.' A post shared by Cairo Snow | Prod.A3 (@ Less than 24 hours later, Cairo said he feels super inspired to make more music. When asked if he had a message to share with his new fans, he said 'be unrelentingly yourself.' 'My message is to stay true to yourself no matter what anybody tells you. No matter what anyone wants you to do. Stay true to yourself. Stay true to your grind. Because if you stay true to your grind, you're going to get to the places that you want to be, that you strive to be.' Editor's note — July 16, 2025 This article has been updated.
San Francisco Chronicle
2 hours ago
- San Francisco Chronicle
K-pop band 1VERSE debuts with 2 North Korean defector members
SEOUL, South Korea (AP) — With two out of five of its members North Korean defectors, the K-pop group 1VERSE is breaking new ground as it debuts its single album Friday. The band represents an unusual convergence of backgrounds: North Korea-born rapper Hyuk and singer Seok join Nathan from Arkansas, Kenny from Los Angeles, and Aito from Japan. While not the first K-pop act to include North Korean defectors — BE BOYS' Hak Seong debuted earlier this year — the diversity of the group's members add a rare dimension to the genre's growing global diversity. The group debuts Friday with their single album 'The 1st Verse' under Seoul-based label Singing Beetle. Their title track 'Shattered' features lyrics co-written by Hyuk and Kenny. From the soccer field and a factory to stardom 'With members from different countries all coming together as 1VERSE, I just thought 'we can do this regardless of background' going forward,' said Aito, the group's youngest member from Chiba, Japan. Hyuk, who lived in North Korea's North Hamgyong Province until age 12, defected to the South in 2013. His journey to K-pop stardom began while working in a factory in South Korea, where a chance encounter with the CEO of a music label eventually led to weekend rap lessons in Seoul. 'I went to university but then things went bad. It was when COVID was pretty severe, and a bad incident happened, so I had no choice but to work at a factory,' he said. Initially skeptical, Hyuk thought the invitation to become a pop star might be a scam. He recalled thinking: 'I really have nothing right now, even if you rob me, not even dust would come out." After a year of meetings where the music executive consistently bought him meals and encouraged his training, Hyuk joined the agency in late 2021. Seok's path was similarly unconventional. A former soccer player who started playing at 8 years old in North Korea, he defected in 2019. He declined to provide additional details, citing safety concerns. After arriving in South Korea, he briefly played for a semi-professional team before pursuing physical education studies. During weekend soccer games he was approached about an idol training program. 'I was starting music for the first time, right? So I started with the mindset that if it doesn't work out, I can just stop and try something else,' Seok said. Limited exposure to K-pop growing up Both members' experiences reflect harsh realities they left behind. Hyuk described spending eight to 10 hours daily collecting firewood as a child just to survive. 'Where I lived, we had to collect firewood just to cook rice and survive day by day — it was essential,' he recalled. Hyuk didn't have much access to music growing up. 'Since I lived struggling every day, I lived so busily that I wonder if I even had time to listen to music — I didn't have that luxury,' he said. Seok had some exposure to K-pop in North Korea, listening occasionally to f(x)'s 'LA chA TA' and Super Junior songs despite it being illegal in North Korea to listen to South Korean music. 'I probably heard K-pop back in elementary school. But I couldn't listen often since it was illegal,' he said. Gaining international traction Experts and defectors say K-pop and other South Korean pop culture products have emerged as a challenge to North Korea's leadership as they steadily gained popularity among the public. North Korean leader Kim Jong Un has intensified campaigns since the pandemic to eliminate South Korean cultural influence. Nathan, from Arkansas, first encountered K-pop through his Texas-based cousins who were longtime fans. 'I would kind of just pretend to be a hater, like urgh, K-pop. And then I just so happened to come across EXO's 'Growl' music video on YouTube,' he recalled. The group's diverse backgrounds are reflected in their training, which includes courses on global citizenship. 'We want to be inclusive of everyone's history, everyone's current situations back home,' Kenny explained. Seok expressed excitement about connecting with international fans, particularly in America. 'Since I came from North Korea, it's hard to see foreigners there. So I really wanted to see people from other countries,' he said. The group has already gained traction online. Seok described filming emotional video diaries during difficult early training days, which fans responded to with supportive messages. 'I filmed that diary video with somewhat emotional, slightly teary feelings. And I uploaded it to TikTok or YouTube, and fans sent me comforting letters," he said. 'As soon as I saw the first line, tears came out and I was really touched.' Hyuk acknowledged the attention their North Korean background generates while emphasizing the group's collective identity. 'I'm very grateful that people are paying attention to us,' he said. 'I think it's okay as long as it doesn't lean too much to one side ... it's not just me but all our members are here too, it's a journey we're creating together.'
