Fujifilm revient avec un drôle d’appareil photo : viseur, molettes et numérique dans un format minuscule

16 September 2026 at 11:41

L’Instax Pal avait surpris par son format pour le moins inhabituel. Pour sa deuxième génération, Fujifilm change de formule et mise cette fois sur un design plus proche des appareils photo traditionnels, tout en conservant un format compact.

The Route to Cappyness review – capybara boosterism is an ode to the internet’s favourite rodent

The Guardian - Technology

By: Leslie Felperin

14 September 2026 at 11:00

From a cappy-cafe owner in Japan to an escaped capybara in the UK, this homespun film takes the temperature of an international obsession

One of Midlands-based film-maker Sharon Walia’s previous works was The Keepers of the Pigs, proudly described on her production company’s website as “the first ever documentary about guinea pigs”. So it makes zoological sense that her latest film takes on capybaras, guinea pigs’ ridiculously cute semi-aquatic cousins that are indigenous to Latin America, and relatively recently became ubiquitous on social media in memes and short films alike. As glimpsed here, there was even a capybara in the recent Academy Award-winning animated feature Flow, some pro-cappy boosterism that captured the creatures’ chill vibe and snuffly sweetness.

Walia’s celebration of the species stays on script, rejoicing in the animals’ natural geniality, friendliness to other species in their natural habitat, and their compelling, remunerative charm that seems to have bolstered the fortunes of several animal attractions around the world.

Lenore review – incel’s obsession with online influencer turns into anatomy of dislocated digital-age mindset

The Guardian - Technology

By: Phil Hoad

14 September 2026 at 07:00

Digital-age Australian psychodrama tracks the shut-in mania of dangerously disaffected male fan, but doesn’t get inside his mind

If the parasocial phenomenon is a kind of hell, then Max Wren, protagonist of this Australian digital-age psychodrama, resides in the ninth circle. Self-barricading in a basement room surrounded by screens, working on a documentary about the object of his disaffection (an enigmatic influencer called Lenore), this obsessive shut-in makes Eminem’s Stan look like the Dalai Lama. Touching on subjects including the attention economy, the male gaze, and incel isolation and misogyny, director David Ward feels both Max and Lenore’s pain. But his ungainly debut film doesn’t fully transcend its stage origins to capture the splintered headspace of the terminally online.

Like films about fictional pop stars that feature unconvincing music, it doesn’t help that the quickfire résumé of Lenore’s career only half-conveys her magnetism. A one-time beauty influencer called Veronica Brand, she later graduates to more extreme performance art-type stunts, such as livestreaming her miscarriage; a move that, spliced without her knowledge into a children’s TV broadcast, forced her into hiding. But this performative vulnerability, including hints of her abusive dad, apparently won her legions of OnlyFans-style acolytes. Not just Max, but also his colleague Sam (Sam Macdonald), a brash interloper outraged to find he was nothing special to Lenore and who turns up at Max’s door offering exclusive footage of her.

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