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  • Annecy Unveils 2026 Line-Up

    Annecy Unveils 2026 Line-Up

    The Annecy International Animation Film Festival has unveiled the lineup for its 2026 edition (see full lineup below), setting the stage for another wide-ranging showcase that highlights the rapid global expansion of feature animation, and the surprising strength of European production.

    Announced Tuesday, the official feature competition includes 11 films, with France again playing an outsized role — six of the titles are French productions or co-productions — even as the selection stretches across Asia and the Americas. In total, 26 countries are represented across the feature slate.

    “If you look at the entire selection for official competition, a large majority of the films are from European producers,” artistic director Marcel Jean said. “French producers, but also Spanish, Belgian, Italy. The Scandinavian countries, Eastern European countries. We heard about a crisis in European animation production, but when you look at the quality of these films, and the amount of films, this doesn’t look like an industry in crisis.”

    Among the headline titles in competition is Viva Carmen! from Sébastien Laudenbach, returning to Annecy after winning the Cristal in 2023 for Chicken for Linda!, co-directed with Chiara Malta. The new feature, an animated take on the classic opera, will premiere in Cannes’ Directors’ Fortnight.

    Also in the lineup is In Waves from Phuong Mai Nguyen, an adaptation of A. J. Dungo’s acclaimed graphic novel, which will open Cannes Critics’ Week. Both films underscore Annecy’s role as a long-term incubator for projects, having previously been presented at the festival as works-in-progress.

    “We want to follow a project from the very beginning,” Jean said. “[2025 Oscar winner] Flow was a work in progress in Annecy, [2026 Oscar nominee] Little Amelie was a work in progress. This year in competition, you have Viva Carmen! which was a WIP. In Waves was a WIP.”

    Other competition highlights include Decorado from Alberto Vázquez, The Sunrise File from Rupert Wyatt and Émilie Phuong, and Tangles from Leah Nelson, alongside entries from China, Japan and Singapore.

    Running parallel, the Contrechamp sidebar — Annecy’s platform for more formally adventurous features — will open with Welcome to Dolly’s House, a Taiwanese film from directors Seven Ych, Rady Fu and Tree MutaIt, blending the world of YouTube creators with fantasy elements.

    “There’s a great diversity of film, of features, and countries represented, but all of great quality,” Jean said of the section. “The films in the non-competitive sections would have found a place in competition 10 years ago.”

    Beyond the competition, Annecy will honor two pillars of animation with its Honorary Cristal Awards.

    Prolific animator, writer and producer Mike Judge, co-creator of King of the Hill and creator of Beavis and Butt-Head, will be recognized for a career spanning more than three decades and his role in shaping adult animation. Judge will also give a masterclass and present a preview of the upcoming 15th season of King of the Hill, alongside co-creator Greg Daniels and showrunner Saladin K. Patterson.

    “Mike Judge was a target for me for a long time,” said Jean. “We almost had him in 2020, when the pandemic hit. I think now, because of the general political situation, it was important to have somebody like Mike Judge, such a strong advocate for free speech and free thinking — the guy who made
    Idiocracy, a prophetic classic — it was important to have him in Annecy, to discuss with him the role that adult animation can play in the discourse about the world we live in.”

    Annecy will also fete the Brothers Quay, the stop-motion auteurs whose work has influenced generations of filmmakers, including Peter Greenaway and Christopher Nolan. The duo will each receive an Honorary Cristal and deliver a masterclass.

    “We noticed there is a kind of revival of stop motion animation and the Brothers Quay basically revolutionized the world of stop motion animation in the 1980s,” said Jean. Their influence was absolutely incredible on hundreds of young animators and young filmmakers. So we’re really 40 years late in honoring them.” He added that, for Annecy, “honoring the Brothers Quay is a way of preserving the balance between the major studios, industry giants and die-hard independent filmmakers. The day Annecy stops celebrating this type of artist, we will have lost touch with our origins.”

    Stop-motion will be a major focus across the 2026 edition, with a tribute to Aardman Animations, creators of Wallace & Gromit and Shaun The Sheep, marking its 50th anniversary, and Travis Knight set to attend for the first time to present footage from his upcoming feature Wildwood. The Incredibles director Brad Bird will also appear to discuss his long-gestating project Ray Gunn, while Ricky Gervais will host a masterclass on his upcoming Netflix adult animation Alley Cats.

    Alongside the festival, Annecy’s Mifa animation market will once again serve as a key engine for development and dealmaking, awarding its Animation Industry Prize to seven French producers behind recent international successes Little Amélie, Butterfly and Arco — films that have traveled from Annecy to the César Awards, the Golden Globes, and the Oscars.

    “We are here to help artists, to promote and to put a spotlight on project or on completed movies,” said Annecy Festival CEO Mickaël Marin. “Not just at Annecy, but at other festivals and markets. Because the production process for animation is a long process. We can have a project coming from a pitch at Mifa, then going to Annecy for a WIP session, then the next year in competition and then we support them through to the Oscars.”

    Mifa will also launch a series of closed-door workshops on artificial intelligence and private investment, aimed at fostering open discussion among industry professionals.

    “We see that there are a lot of fears, questions and everything at all levels,” said Véronique Encrenaz, head of the Mifa market. “The idea is that professionals gather and discuss and can give their approach of AI and private investment [and] how we can work together on that.”

    The sessions, which will run over a three-year period, are designed to generate practical outcomes for the industry, including recommendations for future regulation and collaboration.

    For Jean, the breadth of both the festival lineup and the market activity reflects a medium that has matured rapidly in recent years.

    “Globally, most countries now have experience in doing animation features, experience that did not exist 10 years ago,” he said. “The evolution of production around the world means now the quality is there everywhere.”

    Full 2026 Annecy Lineup

    Competition

    Viva Carmen!, dir. Sébastien Laudenbach, (France)
    Iron Boy, dir. Louis Clichy, (France, Belgium)
    Decorado, dir. Alberto Vázquez, (Spain)
    The Sunrise File, dir. Rupert Wyatt, Émilie Phuong, (France, Luxembourg)
    In Waves, dir. Phuong Mai Nguyen, (France, Belgium)
    Lucy Lost, dir. Olivier Clert, (France)
    Nobody, dir. Shui Yu, (China)
    Tana, dir. Ji Zhao, Ke Er Zhu, (China)
    Tangles, dir. Leah Nelson, (Canada, USA)
    The Violonist, dir. Ervin Han, Raúl García, (Singapore, Spain, Italy)
    We Are Aliens, dir. Kohei Kadowaki, (Japan, France)

    Contrechamp

    58th, dir. Carl Joseph Papa, (Philippines)
    A New Dawn, dir. Yoshitoshi Shinomiya, (Japan, France)
    Blaise, dir. Dimitri Planchon, Jean-Paul Guigue, (France)
    O filho da puta, dir. Érica Maradona, Otto Guerra, Tania Anaya, Sávio Leite, (Brazil)
    Muyi, dir. Julien Chheng, (France)
    Pelelui: Guernica of Paradise, dir. Goro Kuji, (Japan)
    The Orbit of Minor Satellites, dir. Christopher Sullivan, (Japan)
    Spacetime Chronicles, dir. Stefano Bertelli, (Italy)
    The Obsessed, dir. Wataru Takahashi, (Japan)
    Winnipeg, Seeds of Hope, dir. Beñat Beitia, Elio Quiroga, (Spain, Chile, Argentina)
    Welcome to Dolly’s House, dir. Seven Ych, Rady Fu, Tree Muta, (Taiwan)

    Works in Progress

    A Gwei, dir. Hui Yi, (China)
    Baahubali: The Eternal War, dir. Ishan Shukla, (India)
    Desechable, dir. Carlos Gómez Salamanca, (Colombia, Spain)
    Igi, dir. Natia Nikolashvili, (Georgia, Greece)
    Killtube, dir. Kazuaki Kuribayashi, (Japan)
    The Wolf, dir. Benjamin Massoubre, Fursy Teyssier, (France, Luxembourg)
    Le Projet Shiatsung, dir. Brigitte Archambault, (Canada)
    Monkey Quest, dir. David N. Weiss, (Japan, USA)
    Ogresse, dir. Cécile McLorin Salvant, (Belgium, Canada, Switzerland, USA)
    Snoopy Unleashed, dir. Steve Martino, (Canada, United Kingdom)
    Steps, dir. Alyce Tzue, John Ripa, (USA)
    Séraphine, dir. Sarah Van Den Boom, (France, Luxembourg, Switzerland)
    Astro Boy Reboot, dir. Nicolas Hess, (France, Germany, Japan)
    Cars: Lightening Racers, dir. Nathan Chew, Travis Braun, Frank Montagna, (USA)
    Common Side Effects, dir. Benjy Brooke, (USA)
    Hide and Seek, dir. Fabienne Giezendanner, (Switzerland, France)

    Midnight Specials

    Company Sports Day, dir. Yong-Seon Lee, (South Korea)
    Gregor, dir. Manu Gomez, (Belgium, France)
    Sekiro: No Defeat, dir. Kenichi Kutsuna, (Japan)
    Soul Shift, dir. Christian Franz Schmidt, (Germany)
    Zsazsa Zaturnnah, dir. Avid Liongoren, (Philippines, France)

    Annecy Presents

    Brave Cat, dir. Gabriel Osorio, (Chile)
    Julián, dir. Louise Bagnall, (Ireland)
    Born in the Jungle, dir. Edmunds Jansons, (Latvia, Poland, Czech Republic)
    Dante, dir. Linda Hambäck, (Sweden, Denmark, Norway)
    The Promise of the Clock Tower, dir. Yusuke Hirota, (Japan)
    Dudley & the Invasion of the Space Slugs , dir. Cherifa Bakhti, (Luxembourg, Belgium, France, India)
    The Ribbon Hero, dir. Yuki Igarashi, (Japan)
    La Fille dans les nuages, dir. Philippe Riche, (France, Belgium)
    Little Trang Quynh: The Legend of the Golden Buffalo, dir. Tranh Lam Tung, (Vietnam)
    The Last Whale Singer, dir. Reza Memari, (Germany, Czech Republic, Canada)
    Monster Mia, dir. Verena Fels, (Austria, Spain, Germany)
    Samurai Ballerina – L’Étoile de Paris en fleur, dir. Goro Tanigushi, (Japan)
    The Keeper of the Camphor Tree, dir. Tomohiko Ito, (Japan)
    Yugly, dir. Yanis Belaid, Jérémie Degruson, (Belgium)

    WTF

    Babyface, (United Kingdom)
    Broc!, (Hong Kong)
    I’m Glad I Know That Now Thank You: Phones, (United Kingdom)
    I Have an I Have a, (United Kingdom)
    I’d Rather Be a Concorde, (Belgium, Finland, Portugal)
    King Kong vs. Pinocchio, (Canada)
    We’re Kinda Different, (Canada)
    Pigeon Businessman, (United States)
    Six Finger Satellite “Simian Fever”, (United States)
    Skin Flick, (France)
    Smokedog, (Australia)
    You Are Not Part of the Cake, (Taiwan, United Kingdom)
    What Is, Is Now?, (The Netherlands)
    cour.com, (United Kingdom)

    Perspectives

    Acid City, (United States)
    Bucketman, (Japan)
    That Night, (Iran, United States)
    Chance, (Iran)
    Decaer’s Downfall, (Colombia)
    Entelechia, (Chile)
    Paper Daughter, (United States)
    The Comet, (Canada)
    The Boa Woman, (Peru)
    The Tribulations of Ajadi, (Nigeria)
    Misophonia, (Malta)
    Because Today Is Saturday., (Portugal, France, Spain)
    Rest, (Japan)
    Sundruð, (Iceland, France, Belgium)
    Three Pariah Cats, (Colombia)
    Once in a Body, (Colombia, United States)
    City of Roses, (Brazil)

    Off-Limits

    Adage, (United Kingdom)
    Core Dump, (Germany)
    From Apple to Egg, (Estonia)
    The Stars Have Been Watching Us for a Long Time, (United States)
    Merrimundi, (Chile)
    Symbionts, (Switzerland)
    XYZ, (Portugal)
    Evacuations, (United States)

    Young Audience

    A Dog’s Life, (The Netherlands)
    Round Trip, (Italy)
    Cosmonaut, (Switzerland)
    En, Ten, Týky!, (Slovakia, Czech Republic)
    Night Owls, (Switzerland)
    Piccolo Piccolo, (France, Switzerland)
    Cloudfish, (France, Belgium)
    On the Doormat in Front of My Door, (Germany)
    Towards the Forest, (Switzerland)
    Being Distanced, (Unknown)

  • FIFA urged to push US for ‘ICE Truce’ at World Cup by Human Rights Watch

    FIFA urged to push US for ‘ICE Truce’ at World Cup by Human Rights Watch

    Published On 28 Apr 2026

    FIFA should press the United States government to establish an “ICE Truce” for this year’s World Cup, including a public guarantee from federal authorities to refrain from immigration enforcement operations at games and venues, Human Rights Watch (HRW) have said in ⁠a report.

    The 2026 World Cup – the first edition of the global showpiece tournament to feature 48 teams – will be cohosted by the US, Canada and Mexico from June 11 to July 19.

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    US Immigration and Customs Enforcement (ICE) has been the face of a hardline immigration crackdown and deportation drive pursued by the administration of President Donald Trump.

    Rights ⁠groups have condemned the crackdown, saying it has led to violations of free speech and due process rights and created an unsafe environment, particularly for minorities. Trump casts his actions as necessary to improve domestic security and curb undocumented immigration.

    “FIFA needs to act urgently to address the risks of human rights abuses for athletes, fans, and workers,” HRW said. “One concrete thing it should do is work to persuade the Trump administration to establish an ‘ICE Truce’…

    “Gianni Infantino (FIFA president) and his FIFA colleagues should use their leverage to demand that the Trump administration do ‌what’s right for the games,” it added.

    “Roll back discriminatory travel bans, refrain from abusive immigration enforcement operations in and around World Cup venues, protect children’s rights and commit to uphold freedom of assembly and speech.”

    The idea is drawn from the “Olympic Truce”, a tradition dating back to ancient Greece, when warring city-states paused hostilities so athletes and spectators could travel safely to the Games.

    “The FIFA 2026 World Cup will no doubt be one of the greatest and most spectacular events in the history of mankind, attracting millions of fans from around the world to 11 host cities across America,” White House spokesman Davis Ingle told the Reuters news agency.

    “This will be a monumental event that requires close coordination between the Trump Administration, FIFA, and all of our great federal, state, and local partners.

    “President Trump is focused on ensuring that this is not ⁠only an incredible experience for all fans and visitors, but also the safest and most secure in history – and no amount of ⁠ridiculous scare tactics driven by liberal activist groups and the left-wing media will change that.”

    Concerns intensified on Thursday when advocacy groups issued a travel advisory warning that visitors travelling to the US for the World Cup may face arbitrary detention or deportation, among other human rights abuses.

    Fans, players, journalists and other visitors may face racial profiling, searches of electronic devices, or risk of cruel or inhumane treatment if they end ⁠up in immigration detention facilities, according to the advisory.

    Thursday’s warnings followed a March statement from Amnesty International that the tournament is drifting far from the “safe, free and inclusive” event promised by FIFA.

    “DHS (US Department of Homeland Security) will work with our local and federal partners ⁠to secure 2026 FIFA World Cup – in line with federal law and the US Constitution – as we do with every ⁠major sporting event, while showcasing American greatness to the entire world,” a DHS spokesperson told Reuters.

    “Our mission is simple: ensure every fan – Americans and visitors alike – has a safe and unforgettable experience.

    “International visitors who legally come to the United States for the World Cup have nothing to worry about. What makes someone a target for immigration enforcement is whether or not they are illegally in the US – full stop. Speculation to the contrary ‌is ill-informed.

    “At the same time, foreign visitors MUST be proactive and should start working on their travel plans and documents well ahead of time to ensure a smooth travel experience.”

    HRW also said it had written to Infantino requesting details about the nominees, judges, terms of reference and selection process for FIFA’s inaugural peace prize.

    Trump was awarded the prize in ‌December ‌for what the world football’s global governing body said were his efforts to promote dialogue and de-escalation in troubled hotspots around the world.

    “By concocting this award, Infantino risks turning the 2026 FIFA World Cup … into yet another sportswashing event in a world that already has far too many,” HRW added.

    Al Jazeera has contacted FIFA for comment.

  • Before World Cup, FIFA slammed for politicising sport with Trump prize

    Before World Cup, FIFA slammed for politicising sport with Trump prize

    Football officials and players question FIFA’s decision to award its inaugural Peace Prize to US President Donald Trump.

    Published On 28 Apr 2026

    With six weeks to go until the World Cup, FIFA has drawn criticism for politicising football and undermining the sport’s credibility as a force for good.

    Norwegian Football Association (NFF) President Lise Klaveness has called on FIFA to scrap its peace prize to avoid getting drawn into politics, suggesting that the awarding of such prizes be left to the Nobel Institute in Oslo.

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    Led by Gianni Infantino, the sport’s global governing body came under fire for awarding its inaugural peace prize to United States President Donald Trump at the World Cup draw in December.

    The FIFA peace award was seen by many as a consolation prize for Trump, who has said on numerous occasions that he should be awarded the Nobel Peace Prize and whose country will co-host this year’s World Cup with Canada and Mexico.

    “We [the NFF] want to see it [the FIFA peace prize] abolished. We don’t think it’s part of FIFA’s mandate to give such a prize; we think we have a Nobel Institute that does that job independently already,” Klaveness told an online news briefing.

    “We think it’s important for football federations, confederations and also FIFA to try to avoid situations where this arm’s-length distance to state leaders is challenged, and these prizes will typically be very political if you don’t have really good instruments and experience to make them independent, with juries and criteria, et cetera.

    “That is full-time work; it’s so sensitive. I think from a resource angle, from a mandate angle, but most importantly from a governance angle, I think it should be avoided also in the future,” she said.

    The 45-year-old lawyer said the NFF board would be writing a letter saying it supported calls for an investigation into the awarding of the prize by nonprofit organisation FairSquare, which has alleged that Infantino and FIFA may have breached their own ethical guidelines regarding political impartiality in awarding the prize.

    “There should be checks and balances on these issues, and this complaint from FairSquare should be treated with a transparent timeline, and the reasoning and the conclusion should be transparent,” Klaveness said.

    FIFA did not respond to Al Jazeera’s request for comment.

    ‘Mockery of human rights charter’

    Meanwhile, Australian footballer Jackson Irvine said football’s credibility as a force for good has been undermined by FIFA, accusing it of making a mockery of its own Human Rights Policy.

    Irvine also took aim at FIFA’s decision to give the Peace Prize to US President Trump.

    The US launched a military strike on Venezuela a month after the draw and began joint air attacks with Israel on Iran on February 28.

    “As an organisation, you would have to say decisions like the one that we saw awarding this peace prize make a mockery of what they’re trying to do with the human rights charter and trying to use football as a global driving force for good and positive change in the world,” Irvine told the Reuters news agency.

    “Decisions like that feel like they just set us back in the perceived market of what football currently is, especially at the top level, where it’s becoming so disconnected from society and the grassroots of what the game actually is and means in our communities and in the world.”

    FIFA published its first Human Rights Policy in 2017. Its Human Rights Framework for the 2026 World Cup includes provisions for host cities to promote inclusion, protect freedom of expression and prohibit discrimination during the June 11 to July 19 tournament.

    However, rights groups have said FIFA needs to do more to press the US to address the risks of human rights abuses for athletes, fans and workers, pointing to a hardline immigration crackdown and deportation drive pursued by the Trump administration.

  • House Republicans Warn That the America’s Bitcoin Weakness Will Benefit China

    House Republicans Warn That the America’s Bitcoin Weakness Will Benefit China

    Three members of Congress positioned digital asset regulation as a matter of national security and economic competition during a panel discussion at The Bitcoin 2026 Conference in Las Vegas on Monday.

    Reps. Mariannette Miller-Meeks (R-Iowa), Zach Nunn (R-Iowa), and Mike Lawler (R-N.Y.) spoke on “The Bitcoin Bloc: A New Force in American Politics,” moderated by Faryar Shirzad, Chief Policy Officer at Coinbase.

    Miller-Meeks described Bitcoin as “financial democracy” and linked cryptocurrency adoption to America’s 250th anniversary, framing support for digital assets as patriotic. She cited the Chinese Communist Party as a threat and characterized crypto policy as a national security issue.

    The Iowa congresswoman shared her background working through medical school and highlighted Bitcoin’s potential to protect women experiencing domestic abuse or violence.

    She said digital assets can provide women with resources beyond government reach, citing Canada’s trucker protest as an example of government intervention in financial accounts. Miller-Meeks acknowledged that older Americans express concerns about digital asset safety.

    Chinese is driving bitcoin policy urgency

    Both Miller-Meeks and Nunn emphasized competition with China as a driver for U.S. crypto policy. Miller-Meeks stated that China continues to pursue leadership in the digital asset sector but said the United States remains the best environment for innovation.

    Nunn warned that failing to advance American leadership in Bitcoin and digital assets creates national security risks. He called for holding China accountable and said losing the November midterm elections could reverse 18 months of legislative progress, allowing adversaries to gain ground while the U.S. falls behind.

    “Decisions and elections have consequences,” Nunn said, pointing to specific anti-crypto Democrats as he discussed the stakes of the upcoming midterm elections.

    Nunn highlighted progress in Congress and the crypto sector, noting that the SEC under former Chair Gary Gensler imposed fines in the millions of dollars for violations involving concepts Gensler did not understand. Gensler was fired earlier in the Trump administration.

    Lawler referenced the GENIUS Act as a positive step but said Congress must establish a comprehensive federal regulatory framework.

    He cited Treasury Secretary Scott Bessent’s op-ed in The Wall Street Journal and stated that passing regulatory clarity will position America at the forefront of the digital asset space. Lawler said SEC regulations should serve the crypto industry’s best interests.

    As a New Yorker, Lawler said he wants the crypto industry to remain in New York and feel secure operating in the state.

    The ‘double taxation’ of bitcoin mining

    Nunn criticized double taxation on Bitcoin mining operations, questioning why the U.S. taxes Bitcoin mining differently than other forms of asset extraction. He said excessive taxation drives innovation to other countries and emphasized the need to avoid making it difficult to conduct business in the United States.

    The panel discussion reflected a broader shift in congressional Republican attitudes toward digital assets, with lawmakers framing crypto policy through the lens of geopolitical competition and individual financial freedom rather than consumer protection or financial stability concerns that dominated earlier regulatory debates.

    This post House Republicans Warn That the America’s Bitcoin Weakness Will Benefit China first appeared on Bitcoin Magazine and is written by Micah Zimmerman.

  • Magic: The Gathering Arena developers intend to form a union with the CWA

    Magic: The Gathering Arena developers at Hasbro subsidiary Wizards of the Coast are set to join the Communications Workers of America (CWA), the union announced. The CWA says it has secured a “supermajority” among workers in favor of unionization for the chapter, called United Wizards of the Coast (UWOTC-CWA). The CWA has filed for a formal election with the National Labor Relations Board (NLRB), but that will be withdrawn if Hasbro voluntarily recognizes the union by May 1st.

    “At Wizards, we’re organizing for a say in layoffs, accountability that runs up and down the chain, and a living wage that actually lets people build a life,” said UWOTC-CWA member and senior software engineer Damien Wilson. “I’m hopeful about what we can build here and being clear-eyed about why it’s necessary.”

    Workers have outlined several areas of concern including protections over layoffs and remote work, generative AI guardrails and mandatory crunch time, along with “increased transparency and equity” in the workplace. “This isn’t just something that affects Wizards of the Coast; it’s how most American workplaces are set up,” Wilson added. “Unions are the missing counterweight to protect our craft.”

    The push to unionize was triggered back in 2023 following mass Hasbro layoffs that affected nearly 2,000 workers, software engineers told Kotaku. Developers were also concerned about issues like remote work, saying that Hasbro and Wizards of the Coast decisions “have not aligned with the values of their employees.”

    The CWA has been involved in recent unionization drives across the games industry, with workers from Blizzard and ID Software, along with indie devs from publishers including Heart Machine recently joining. Over 4,000 workers have organized across the industry as part of CWA’s CODE (Campaign to Organize Digital Employees), according to the union. “Every worker deserves job security, fair compensation, and a seat at the table,” said CWA District 7 VP Susie McAllister.

  • Ethereum is Trading -10.90% Below Our Price Prediction for May 02, 2026

    Disclaimer: This is not investment advice. The information provided is for general purposes only. No information, materials, services and other content provided on this page constitute a solicitation, recommendation, endorsement, or any financial, investment, or other advice. Seek independent professional consultation in the form of legal, financial, and fiscal advice before making any investment decision.

    • Ethereum is down -3.34% today against the US Dollar
    • Ethereum is currently trading 10.90% below our prediction on May 02, 2026
    • Ethereum gained 13.11% in the last month and is up 26.85% since 1 year ago

    $ETH price is expected to rise by 11.10% in the next 5 days according to our Ethereum price prediction

    Ethereum price today is trading at $ 2,287.11 after losing -3.34% in the last 24 hours. The coin underperformed the cryptocurrency market, as the total crypto market cap decreased by -2.21% in the same time period. $ETH performed poorly against BTC today and recorded a -1.34% loss against the world’s largest cryptocurrency.

    According to our Ethereum price prediction, $ETH is expected to reach a price of $ 2,566.90 by May 02, 2026. This would represent a 11.10% price increase for $ETH in the next 5 days.

    $ETH Price Prediction Chart

    Buy/Sell Ethereum

    What has been going on with Ethereum in the last 30 days

    Ethereum has been displaying a positive trend recently, as the coin gained 13.11% in the last 30-days. The medium-term trend for Ethereum has been bearish, with $ETH dropping by -23.76% in the last 3 months. The long-term picture for Ethereum has been positive, as $ETH is currently displaying a 26.85% 1-year price change. On this day last year, $ETH was trading at $ 1,803.06.

    Ethereum reached its all-time high price on Aug 24, 2025, when the price of $ETH peaked at $ 4,946.50. The current $ETH cycle high is $ 2,462.38, while the cycle low is at $ 1,764.23. $ETH has been displaying low volatility recently – the 1-month volatility of the coin is at 5.89. Ethereum recorded 18 green days in the last 30 days.

    Ethereum technical analysis for today – Apr 27, 2026

    The sentiment in the Ethereum markets is currently Bearish, and the Fear & Greed index is reading Neutral. The most important support levels to watch are $ 2,327.35, $ 2,284.27 and $ 2,259.86, while $ 2,394.84, $ 2,419.25 and $ 2,462.33 are the key resistance levels.

    Bearish sentiment for Ethereum

    6 indicators are currently signaling a bullish prediction for Ethereum, while 23 indicators are showing a bearish forecast. With 79% of indicators favoring a negative prediction. This results in an overall Bearish sentiment for Ethereum.

    Crypto market is currently experiencing Neutral

    Currently, the Fear & Greed index is at 47 (Neutral), which signals that investors have a neutral outlook on the market. The Fear & Greed index is a measure of sentiment among cryptocurrency investors. A “Greed” reading suggests that investors are currently optimistic about the cryptocurrency market, but can also be an indication that the market is overvalued. A “Fear” reading, on the other hand, signals that investors are currently hesitant about the cryptocurrency market, which potentially represents a buying opportunity.

    Ethereum moving averages & oscillators

    Let’s take a look at what some of the most important technical indicators are signaling. We’ll be going through key moving averages and oscillators that will allow us to get a better idea of how Ethereum is positioned in the market right now.

    The Relative Strength Index (RSI 14) is a widely used indicator that helps inform investors whether an asset is currently overbought or oversold. The RSI 14 for Ethereum is at 58.15, suggesting that $ETH is currently neutral.

    The 50-day Simple Moving Average (SMA 50) takes into account the closing price of Ethereum over the last 50 days. Currently, Ethereum is trading below the SMA 50 trendline, which is a bearish signal.

    Meanwhile, the 200-day Simple Moving Average (SMA 200) is a long-term trendline that’s calculated by taking an average of the $ETH closing price for the last 200 days. $ETH is now trading above the SMA 200, signaling that the market is currently bullish.

    The bottom line about this Ethereum prediction

    After considering the above factors, we can conclude that the current forecast for Ethereum price prediction is Bearish. $ETH would have to increase by 11.10% to hit our $ 2,566.90 target within the next five days. Moving forward, it will be important to monitor the $ETH market sentiment, the key support and resistance levels, and other metrics. However, we have to keep in mind that the cryptocurrency markets are unpredictable, and even the largest crypto assets display a lot of price volatility. For long-term Ethereum price predictions click here.

    Disclaimer: This is not investment advice. The information provided is for general purposes only. No information, materials, services and other content provided on this page constitute a solicitation, recommendation, endorsement, or any financial, investment, or other advice. Seek independent professional consultation in the form of legal, financial, and fiscal advice before making any investment decision.

  • ‘The Devil Wears Prada 2’: First Reactions

    ‘The Devil Wears Prada 2’: First Reactions

    The fashionably late sequel to The Devil Wears Prada held a series of press screenings over the last week or so, ahead of the film hitting theaters worldwide on May 1.

    The social media reactions to The Devil Wears Prada 2 started appearing after those press screenings, with many appearing on Monday evening. Full reviews of the film from professional critics are embargoed until April 29. The film has had a drawn out, and global, promo campaign and held its world premiere at the Lincoln Center in New York City on April 20, with the event being live-streamed on Disney+ and Hulu. The European premiere was held on April 22 in London and there have also been events in Tokyo, Seoul, Shanghai and Milan.

    Prada 2 is the sequel to the 2006 dramedy film, an adaptation of the 2003 novel by Lauren Weisberger which made a mammoth $327 million at the global box office and became something of a pop culture phenomenon.

    Famously, the long delay in making a sequel to such a financially successful and culturally impactful film came down to the lead actors’ hesistance in returning. Meryl Streep, who plays the demanding fashion magazine editor Miranda Priestly in the-now franchise, and Anne Hathaway, who plays the young aspiring journalist Andy Sachs, both publicly demured on a sequel for years.

    Both Streep and Hathaway return as does Emily Blunt, who played Miranda’s first assistant Emily Charlton in the original film and Stanley Tucci, who played Miranda’s fashion director and Andy’s mentor.

    The plot to the sequel focuses on Miranda and Andy’s attempts to bring the august Runway Magazine back to relevance in the new, digital media age. They must seek out the help of Emily, who has become something of a power broker and works at a deep pocketed luxury fashion house.

    As well as the core cast of Streep, Hathaway, Blunt and Tucci, Justin Theroux and Oscar-winner Kenneth Branagh are the major new additions, with Theroux playing Emily’s boyfriend and Branagh in as Miranda’s new husband. Patrick Brammall, Caleb Hearon, Helen J. Shen, Pauline Chalamet, B. J. Novak, Conrad Ricamora and Rachel Bloom also join the cast. Donatella Versace, Lady Gaga, Ciara, Calum Harper and Ashley Graham make cameos.

    David Frankel, who directed the first film, returns to helm the second as does screenwriter Aline Brosh McKenna.

    See a selection of social media reaction to the film from the various screenings below.

  • All New York boroughs to host free World Cup fan events, Mamdani says

    All New York boroughs to host free World Cup fan events, Mamdani says

    Amid exorbitant fares and match tickets, fan events in New York will be free during the World Cup.

    Published On 28 Apr 2026

    New York City will hold a series of free events for football fans who hope to experience the excitement of the World Cup but cannot afford the hefty ticket prices to the matches, Mayor Zohran Mamdani said in an announcement.

    Mamdani, a noted football devotee, announced the free events alongside New York Governor Kathy Hochul on Monday.

    “Every fan should be able to watch the greatest tournament on earth without dipping into their savings,” Mamdani said.

    The events – one in each of the city’s five boroughs – will include watch parties for the matches and other festivities. They will be staged at Rockefeller Center in Manhattan, the Billie Jean King National Tennis Center in Queens, Brooklyn Bridge Park in Brooklyn, a shopping centre near Yankee Stadium in the Bronx, and a minor league baseball stadium in Staten Island.

    A separate fan event planned for Sports Illustrated Stadium in Harrison, New Jersey, where the New York Red Bulls play, will cost $10.

    World Cup matches will be played at MetLife Stadium in New Jersey.

    Fans trying to get to MetLife Stadium from New York City can expect to shell out $150 for a round-trip train fare for each match, transport officials said earlier this month.

    That’s nearly 12 times the regular $12.90 fare for the roughly 15-minute, 14km (9-mile) ride from Manhattan’s Penn Station to the stadium in East Rutherford, New Jersey. On-site parking will not be available for most fans, so New Jersey officials anticipate that about 40,000 fans will use mass transit for each match.

    The home stadium for both the NFL’s New York Giants and New York Jets is set to host eight World Cup matches, including the tournament final on July 19. Group-stage matches for football powerhouses Brazil, France, Germany, and England, along with other nations, begin on June 13.

  • Congressmen call for National Guard to address drone threat at World Cup

    Congressmen call for National Guard to address drone threat at World Cup

    Congressmen call for immediate interagency action to secure airspace over ‌the 11 US ​World Cup 2026 host cities.

    Published On 28 Apr 2026

    ‌Two Republican members of Congress are calling on the Trump ⁠administration to ⁠empower the National Guard to address potential drone-related threats and ensure a “unified federal security posture” at the upcoming World ⁠Cup games.

    The letter by US Representatives Michael McCaul and Elijah Crane, who both sit on the House of Representatives’ Committee on Homeland ⁠Security, was sent to US Homeland Security Secretary Markwayne Mullin, Acting US Attorney General Todd Blanche and Pentagon chief Pete Hegseth on Friday.

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    McCaul and Crane called for immediate interagency action to secure the airspace over ‌the 11 US cities hosting World Cup matches this year.

    Potential personnel shortages and complex jurisdictional divides between event organisers and host cities risk creating a fragmented environment, they said, adding that the situation requires a unified federal security posture.

    “With its rapid deployability, nationwide scalability, and extensive experience responding to domestic emergencies, the National ⁠Guard is uniquely positioned to assist federal and ⁠state authorities with C-UAS mitigation and unified coordination for World Cup security,” they wrote.

    The Department of Homeland Security, Department of Justice and the Pentagon did not immediately respond to requests ⁠for comment. The call to deputise troops to respond to drone threats came a day before ⁠a gunman opened fire at the White ⁠House Correspondents’ Dinner in Washington, raising new security concerns about this year’s World Cup games.

    The White House said on Monday that the matches will be safe following Saturday’s ‌shooting.

    “President Trump is focused on ensuring that this is not only an incredible experience for all fans and visitors, but also the ‌safest ‌and most secure in history,” White House spokesman Davis Ingle said in a statement.

  • Ariane Labed Joins Ena Sendijarevic’s English-Language Witch Hunt Drama ‘The Possessed’ (EXCLUSIVE)

    Ariane Labed Joins Ena Sendijarevic’s English-Language Witch Hunt Drama ‘The Possessed’ (EXCLUSIVE)

    French actress Ariane Labed, who won the best actress award at Venice for Athina Rachel Tsangari’s “Attenberg,” has boarded “The Possessed,” the third feature from Bosnian-Dutch writer-director Ena Sendijarević. The film will mark Sendijarević’s English-language debut and is expected to round out its international cast in the coming months.

    Since breaking out with “Attenberg,” Labed has carved out a reputation as one of Europe’s most distinctive screen presences. Her credits include collaborations with Yorgos Lanthimos on “Alps” and “The Lobster,” Philippe Grandrieux on “Malgré la nuit,” Justin Kurzel on “Assassin’s Creed,” and Lucie Borleteau on “Fidelio l’odyssée d’Alice,” for which she won the best actress award at the Locarno Film Festival and was nominated for a best upcoming César Award. Other film credits include Richard Linklater’s “Before Midnight,” Garth Davis’ “Mary Magdalene,” and “The Souvenir” and “The Souvenir Part II,” directed by Joanna Hogg.

    “The Possessed” is set in 17th-century Europe, where two women fleeing the witch hunts create a refuge at the edge of the world, until a man becomes their unwilling captive and sparks a dangerous love triangle.

    Sendijarević broke out internationally with her idiosyncratic feature debut “Take Me Somewhere Nice” (2019), which was selected for ACID Cannes and won the Special Jury Prize at the International Film Festival Rotterdam. She previously attracted attention with her short “Import” (2016), which premiered in Cannes’ Directors’ Fortnight and was the Dutch entry to the Oscars.

    Her second feature film, “Sweet Dreams” (2023), premiered in Locarno’s main competition and won the Pardo for best performance, and was once more the Netherlands official submission to the Oscars. In 2024 she was selected as one of Variety’s 10 Directors to Watch and one of IndieWire’s 17 Female Directors to Watch.

    “I have followed and been inspired by Ariane Labed’s work for more than a decade, and I consider her one of Europe’s most daring and singular actresses. This project has a bold concept that will demand fearless performances, and so it is both an honor and a great excitement to bring Ariane into the fold for ‘The Possessed,’” said Sendijarević.

    The film is produced by Layla Meijman and Maarten van der Ven (Studio Ruba), in co-production with Sendijarević (Eklips), Miriam Porté (Distinto Film) and Martien Vlietman (VPRO). Amra Bakšić Čamo (SCCA/pro.ba) serves as associate producer. Financing comes from the Netherlands Film Fund, COBO, ICEC, Creative Europe MEDIA and Uniqa.

    The project was previously presented at Les Arcs and CineMart.

    Labed is represented by United Agents and Agence Adequat.