Adrian Pennington

The cinematic adaptation of a Martin Amis novel juxtaposes mundane everyday life with the horror of Auschwitz using thermal vision and audio, among other narrative devices, reports Adrian Pennington.

The convergence of AV with traditional broadcast explains why more visitors and exhibitors at ISE 2024 are spanning both worlds, reports Adrian Pennington.

Steve McQueen’s new documentary juxtaposes the past with the present and breaks the traditional narrative style to bring the facts of the holocaust into the light, writes Adrian Pennington.

If you think ISE is about the convergence of AV with broadcast think again. Show organisers say this has already happened. Even the IABM has a speaking slot, writes Adrian Pennington

The fourth instalment of HBO’s crime drama True Detective is set in a remote outpost of Alaska but the show was filmed almost entirely in Iceland, where cinematographer Florian Hoffmeister BSC used an innovative Infrared technique to capture the perma-dark snowbound landscape, reports Adrian Pennington.

A story about re-activating a dead woman with her unborn baby’s brain was always going to make for a strange film but if weird is what you want, Poor Things will not disappoint, writes Adrian Pennington.

Michael Mann’s new film contrasts the frenetic action of racing sports cars with the more formal staging of Enzo Ferrari’s interpersonal rivalries and driving ambition, writes Adrian Pennington.

It’s no surprise that uses of AI are top of the agenda for media organisations in the next 12 months but so too is a drive to enhanced monetisation over Connected TV, mining niche sports, warnings of job ‘replacements’ and, notably, fewer calls for sustainability. Here are a selection of vendor responses for what to look for in 2024.

Soccer leads women’s sports into bidding wars, AI driven by the market, an Olympics in front of crowds and opportunities for the neurodiverse – all trends to spot in the new year, predicts Adrian Pennington.

With streamers under pressure from investors to slash costs and turn a profit the decade of rampant content spend is over. Appetite for new shows remains high however if producers can find the right project to sell them, reports Adrian Pennington.