Sebastiao Salgado, photographer of the extraordinary, has died at 81
With the death of Salgado on Friday, May 23, from leukemia, one of the last heirs to humanist photography passed away. Throughout his life, he sought to condemn social and environmental injustices, while celebrating faith in humanity through sweeping global photographic narratives. "I simply want those who look at my photos to feel that people are noble everywhere," he told Le Monde.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
LeMonde
4 days ago
- LeMonde
'The Fantastic Four: First steps': The arrival of Moses in the Marvel universe
Le Monde's opinion – worth seeing With this new cinematic reboot of the Fantastic Four – superheroes created in 1961 by the talented duo Jack Kirby and Stan Lee for Atlas Comics (the future Marvel) – Disney has once again shown its perseverance. The three previous attempts, produced by Fox in 2005, 2007 and 2015, proved to be of little interest. After the 2019 acquisition of Fox, Disney has now unveiled a new take on the saga, directed by Matt Shakman. Shakman had only one unsuccessful attempt at feature films (Hell Town, 2015) before turning to television, particularly for Disney. The studio brought him on board after Jon Watts, initially slated to direct, stepped away to take a break following his recent three-part reboot of Spider-Man. As for the characters, here is a brief summary: a team of explorers exposed to cosmic rays during a space trip end up with superhuman abilities and become protectors of Earth. There is scientist Reed Richards, also known as Mister Fantastic (with limitless elasticity); his wife Sue Storm, the Invisible Woman (expert in force fields); her brother John Storm, the Human Torch (who can ignite himself at will); and Ben Grimm, the Thing (a human being covered in granite). Pedro Pascal, Vanessa Kirby, Joseph Quinn and Ebon Moss Bachrach (even for a glimpse) take on these roles, respectively.
LeMonde
5 days ago
- LeMonde
Avignon Festival 2025: An edition marked by emotion and fragility
The image was sublime: a red satin high heel rising into the night, disappearing into skies as vast as those in Le Soulier de satin ("The Satin Slipper"), by Paul Claudel. There were many similarly powerful emotions during the 2025 edition of the Avignon Festival, the 79 th, which closes on Saturday, July 26. A biblical downpour on the Cour d'Honneur of the Palais des Papes. A Brazilian song that wrung the heart, "Sonhos" by Caetano Veloso, to express a father's love for his daughter. The words of Mahmoud Darwish or those of Gisèle Pelicot, both delivered with the same dignity, ringing out in the night, speaking to the endless disasters of the Israel-Palestine conflict and the culture of sexual violence. These emotions experienced under the Avignon stars in southern France emerged from a festival that, overall, leaves a slight feeling of disappointment, especially regarding the dance program, which accounted for around a third of this year's schedule, and the shows presented in the context of the festival's featured language, Arabic. That did not stop the 2025 edition from breaking attendance records, with an unprecedented fill rate exceeding 98%.
LeMonde
7 days ago
- LeMonde
In 'Sorry, Baby,' actor and director Eva Victor puts herself center stage with a fragmented portrait of a young woman grappling with trauma
Le Monde's verdict – Must See Sorry, Baby, Eva Victor's first feature-length film, is told in fragments, with Victor also in the lead role. The pivotal scene unfolds at the heart of the second half, with Agnes entering a house during the day, framed in a wide shot. The viewer, however, remains at the door as hours pass on screen until night falls. The literature student finally emerges, slightly disoriented, as the camera follows her from behind across the campus. Haggard, she returns to her car. We follow her entire drive face-on, with Agnes's panicked face partially obscured in the shadows. Something happened in that house, though the film neither shows nor names it explicitly; instead, it delves deeply into the repercussions. By the time Sorry, Baby begins, this traumatic event has already occurred years before. Addressing the complex subject of trauma, the film moves through a chronology divided into sections, where past, present and future appear out of order. How does one depict an upheaval that alters the most intimate parts of oneself beneath the surface? Victor chooses to stick closely to her character's perceptions and sensations. For Agnes, everything becomes both near and far at once; some scenes stretch out, while others end abruptly with sharp ellipses. In places, the film takes on a circular quality, playing with echoes, as if trauma intensified the sense of repetition.
