Fatih Akin is no stranger to the festival circuit, having wowed Berlin with his Golden Bear-winning Head-On in 2004 and nabbing best screenplay in Cannes for The Edge of Heaven in 2007.
The German-Turkish filmmaker, also a Golden Globe winner for 2017’s In the Fade, has sent a couple of movies to San Sebastian over the years. “I don’t remember which films it was,” he tells The Hollywood Reporter on Zoom. “But I always wanted to go.”
Akin is getting his chance and then some with this year’s haunting opener Ghost Song, following two students who meet in a Berlin nightclub and immediately fall head over heels in love. Farasha (Mariam Dawoud) and Faris (Eren M. Güvercin) are struck by a deep-rooted connection that they can’t wait to untangle, but the cord is abruptly cut short when Farasha is killed. For the next 40 nights, she visits Faris in his dreams, where their mutual infatuation slowly drives him to the brink of insanity.
The Warner Bros. film, co-written with Ruth Toma and set for release in Germany Nov. 5, is actually inspired by Akin’s own discovery of anime and manga, and bolstered by his desire to make Ghost Song for a younger audience. “I’m not a boomer, but I’m Generation X, and Gen Z is very different,” he says. “They work with very different tools and worlds, and you have this influence [that] is not coming from Hollywood. You have this influence coming from Asia, from Japan, China, Korea.”
The black-and-white feature is both tender and harrowing, the anime influence palpable in the beautifully illustrated title cards marking the remaining nights Farasha and Faris have together. The story also deftly draws on spirituality rooted in the Islamic tradition — a nod to Akin’s religious upbringing. “It’s my form of dealing with that,” he tells THR, “or using it as storytelling.”
Below, ahead of its glitzy red carpet premiere on Friday as Spain’s most prestigious film festival officially gets underway, Akin unpacks the making of Ghost Song. He talks about its depiction of teen suicides — “everybody knows somebody in the generation of my kids who [took their own life] or who tried to” — as well as his decision to keep the film in black-and-white, its similarity to Demi Moore and Patrick Swayze’s Ghost, and why he’s vowed to never relive this particular process again: “This is the very last time I do it this way.”
When did this journey start, and why this story?
It all started about 10 years ago. It was basically an idea [from] my son. He had this idea of me doing a film for kids, and it was a story about two friends, and one is a ghost — two boys and they’re best friends. I liked the idea of doing something for children, which was very different than what I did before. And I gave it to this writer, Ruth Toma, who I had worked with before. And she wrote the screenplay for this children’s movie. But then I turned to doing In the Fade and other stuff. We never stopped developing the screenplay in the meantime. And what happened was, with the growing up of my children, the age of the characters had changed. That happened [naturally], and so the focus shifted as well and it became a romantic [film]. My kids really taught me or showed me the world of anime. I was very much in manga and graphic novels before… But I was wondering, can I combine it with my take on cinema?
So there’s an anime influence on this film?
Very much. Anime films often have this romantic touch. They are in this fantasy world, you know? Like parallel universes, rebirth, dying and coming back — this is very popular in the anime world. But also social matters. A Silent Voice is a film about mobbing and suicide in the teenage world or in the young adult world, and so anime is a tool or a window for a younger generation than I am. I’m not a boomer, but I’m Generation X, and Gen Z is very different. They work with very different tools and worlds, and you have this influence [that] is not coming from Hollywood. You have this influence coming from Asia, from Japan, China, Korea. I was very much influenced by Western cinema, by American cinema.
Filmmaker Fatih Akin at the 2025 Cannes Film Festival.
Courtesy of Getty
Are there any particular directors from that region that you’re a fan of?
Hayao Miyazaki, the guy who won the Academy Award with Spirited Away. All his work is pretty influential, and of course, the guys who made Suzume, Your Name and Belle, these are incredible pieces of work, in a very visual way. I had the opportunity to do [that] with this film: combine it with that world [and make] a spiritual film. When you think about spiritual films, you end up with Kundun or The Last Temptation of Christ stuff, but I see more the desire and need of doing such a film for a director. Spirituality, the supernatural… I’m interested in this stuff in a private way, but how can you make a film about it that’s still for a wider audience? Ghost Song gave me the opportunity to do that — to do a spiritual film, but to do it as much [for]… I don’t know. Pop culture.
It’s interesting that this started as a children’s film because it really is quite morbid.
It’s not a children’s film anymore. It started as a children’s film, but then it became […] [for] young adults. And what we found out when we worked on this is that suicide is the highest reason for dying between 15 to 25-year-olds in the whole world. I didn’t know that, and it was scary. Suicide is a theme which has always popped up in my work.
I don’t know why these things pop up in my work, but it’s here [in Ghost Song] again. And everybody knows somebody in the generation of my kids who [took their own life] or who tried to. COVID was a very depressing period for this generation. So I observe that, in a way. I deal with that. I think the film is for everybody in a way — not too young — but sometimes I can understand that people of 60 years, if they don’t have kids or if their kids are grown up, that they cannot connect with such a film. But a younger audience can. And I’m 53 now. I’m thinking about getting old, and to do such a film and to connect with a younger audience… It keeps me young. (Laughs.)
This film tackles so much: suicide, mental health, young love. I want to ask about the mythology of this film, if that’s the right word. The lore, and Farasha haunting Faris for 40 nights. Is that rooted in a certain tradition?
Yes, the Islamic tradition. But we discovered that Orthodox Christianity has that too. […] I have this Islamic background. I grew up in an Islamic family, a very faithful, religious family. It’s my form of dealing with that, or using it as storytelling.
It was beautiful. I don’t know if I saw the final version of the film — I saw a black and white version?
That is the final version. I have two versions. That happened because the anime world was influencing this film, so when you do a film, you have reference films. The only reference films I had for this one, which I gave to my DP, were the anime films. Your Name, A Silent Voice, maybe Ghost, the Patrick Swayze film. (Laughs.) But nothing else on a visual level comes to mind. So this was the influence, and the colors and the color grading was very important. For the first time, I really, really, really worked with strong colors. It starts with the costume and goes through the set design and the lighting, but very much the grading as well. And the grading is a process in filmmaking that comes at the end, after the film is edited and done.
[But] with the fast rush and to not get distracted by it or not lose the faith in the visuality of the material, what did I do? I switched off the colors in the editing process. And what happened is we got used to it. The whole film was a long journey and very difficult to edit. I was in the editing room [for] almost six months. What do you do when you edit six months in black and white? You get used to it, and that’s like a relationship. You fall in love with it. So [we were] like, “Okay, let’s keep it in black and white.” It’s beautiful in black and white, and it’s existential in black and white. And this film is about existentialism, and it’s manga, and manga and anime are in black and white because the colors are too expensive to print. It became this art form. It’s so strong and so unique.
So which one will you screen in San Sebastian?
The black and white. I’m asking that they also show a color version of the film. I’m not sure if I have convinced the festival committee yet. But we have the opening in black and white, and I hope that I can get a second screening in color because you have to see both versions of the film to have the complete picture.
This is also very much an immigrant story. And we see glimpses of Farasha’s journey to Europe. I wanted to ask whether that’s rooted in anything personal for you?
I am always looking for heroines and heroes who are not that common in Western cinema, but [are] part of the Western world when you go out on the street. I’ve always done that since my very first film. I don’t know if it’s just personal. It’s something I observe on the street in daily life. Syrian migration in Germany since 2015 has become very visible in Germany, and these people somehow adapted to so much and so fast, as well. I mean, they’re in the medical sector and the care sector. They’re in all sectors, and they changed this country. The Turks have been here since the ’60s of the last century, but the Syrians came 10 years ago. It was an opportunity to put that in the story as well. To give more texture.
I don’t have these typical rock-and-roll kids [as] heroes. Faith is important for [Farasha] in a way. Maybe her faith, her religion, makes her otherworldly. You have to believe in that… If you deal with life and death and past life, you automatically end up in a spiritual film, and so it was a way or an opportunity to use my personal biography in this spirituality of the film.
How do you hope the audience reacts after watching Ghost Song?
I’ve seen some reactions [already]. Some reactions really shocked me — some people, they’re very much emotionally shaken by the film. I had never seen that before, or in other works I did. Usually, it’s not so much a young audience who’s like that. It’s more like 30 and up, you know? For them, this is a roller coaster, and I always try to give the audience a physical experience as well. I think if a film reaches a physical level — laughing, crying, whatever it is… If this two-dimensional medium can create that, can create goosebumps, but on the other hand, console. […] I hope this film could be a friend for a lot of young people. It deals with life and death, but in a life-positive way. It’s a tragic love story — we don’t have that too much these days in the cinema, especially a lot in German cinema.
It’s catharsis. It’s a troubled world. Everybody has a lot of issues all over the world, and you get sidetracked from that escapism. If a film can give you catharsis, it can be very helpful.
It’s my first time at San Sebastian [Film Festival]. I think in the past, I sent films there and they passed [on them]. I don’t remember which films it was. But I always wanted to go to San Sebastian. It has that great name and good food and [it’s a] sophisticated festival in a way. I was very, very curious always about that because I have a lot of friends in Spain, and I think I have an audience in Spain, so I have a good relationship [with] that country. To get to that festival with this film and opening it, it means a lot to me.
It’s also good to know that there aren’t just the usual suspects to present a film. I mean, Cannes is great, and it did a lot for me. And so did Venice and Berlin. But there are other parts of the world, other festivals in the world. It’s not just that I want to support them, but they also support you. I feel very humble and and very honored that they picked up the film for opening. You know, in [the World Cup], I wanted Spain to win. (Laughs.)
How were you able to get Ghost Song funded?
We got government funding. But our biggest supporter, and I’m very thankful that I have them, was Warner Brothers. [Around] half of the budget is coming from Warner Brothers., I’m not sure. My producers know it better. (Laughs.) It was very difficult to finance this film. Very, very, very difficult. On the one hand, films have become more and more and more expensive, especially in Germany. That’s why a lot of German filmmakers move somewhere else to do their films. The cost, everything gets so high here. And you never get the full budget for any film.
Here, and also for [my] last two films, [including Cannes-premierer] Amrum, we went into the risk. We said, “Okay, we are not [at] full budget,” but we still greenlit the film. This is becoming more and more dangerous. This is the very last time I do it this way. Life is too short. It’s heart attacks and cortisol and sleepless nights! It’s not like when I started doing films. I was this young filmmaker in another time, in another country. You had some kids, you had some employees and a company and you’d do a film and fulfill that. It doesn’t work like that anymore.
As someone who has been working with Warner Bros.recently, and with a lot of European creatives speaking about the proposed Paramount takeover, can I ask: do you have an opinion?
Nobody knows. As a rule in filmmaking, nobody knows shit. And I don’t know about tomorrow. […] I don’t have an opinion about that. I can just say I work with the team in Germany and the U.K., and they’re very supportive. I have to say, a brilliant, professional, great team, and a lot of fun to work with.
This interview has been shortened and edited for clarity.The 2026 San Sebastian International Film Festival runs Sep. 18-26.
Photograph a receipt, and Argo Books Accounting Software Premium can extract the vendor, date, total, and individual line items automatically. It’s now on sale for $59.99 for lifetime access (MSRP $399).
For small businesses that have outgrown manual spreadsheets, that’s a straightforward way to cut down on bookkeeping data entry.
Existing records can come along, too. Argo Books imports CSV, Excel, PDF, and downloaded bank statement files, automatically organizing the information and learning your preferences as you use it. Importantly, you don’t need to provide your bank login.
The software also handles income and expense tracking, invoicing and online payments, customer and supplier records, inventory, purchase orders, returns, rental management, and Canadian payroll, including T4S. Predictive analytics provide revenue and cash flow forecasts, while reports and an analytics dashboard help you review business performance.
Prices subject to change. PCMag editors select and review products independently. If you buy through StackSocial affiliate links, we may earn commissions, which help support our testing.
About Our Expert
StackCommerce Team (Sponsored)
Experience
Products featured in these stories are selected by our partners at StackCommerce. If you buy something through links on our site, PCMag may earn an affiliate commission.
MGA Entertainment has debuted a new music video and single tied to a new line of dolls dubbed Mirror Mi.
MIrror Mi features six fashion dolls, each of which embodies “a signature emotion and brought to life through a distinct personality, point of view and style.” The dolls feature fashionable clothing, long rooted hair and collective accessories, among other features, that represent their particular emotion. They are: Blaze Maxx (electric), Amora Valentina (love), Luna Skye (dreamy), kiko Kittyama (crazy), Shai Meadows (sheepish) and Suki Goldpetal (fragile).
The cinematic music video “takes those personalities and emotions beyond the dollhouse and into an elite performing arts academy, where the characters (live-action) pursue their creative passions while navigating friendship, self-expression and change, ultimately discovering the power within every emotion,” the company said, adding that the launch “reflects MGA’s broader vision for Mirror Mi: using dolls as the first point of connection, then deepening character development and emotional relatability through music and storytelling.”
The video was produced in partnership with London Alley Entertainment and directed by Grammy-nominated filmmaker Colin Tilley.
MGA said that additional projects in the works for the Mirror Mi line include stop-motion films and an animated short-form series launching later in 2026.
“With Mirror Mi, we set out to create a world as layered and expressive as the fans it was created for,” said Josh Hackbarth, chief marketing officer at MGA Entertainment. “The dolls are the first point of connection, but music and storytelling allow us to reveal so much more about who these characters are and the emotions that shape them. Every look, lyric and storyline uncovers another side of their personalities, giving fans another opportunity to connect and see themselves reflected in these characters.”
The Mirror Mi dolls
Mirror Mi dolls are currently available at retailers. The product line will expand with four-inch Mini Mis that can be customized, posed and displayed.
“We didn’t begin Mirror Mi with a trend, a color palette or a silhouette. We began with emotion and feelings,” said Paula Garcia, chief design officer at MGA Entertainment. “That idea guided every creative decision, from the sculpt, expression and articulation to the hair, fashion and accessories, allowing each character’s personality and the emotion she embodies to shine through. To us, great character design does more than create something beautiful; it is about creating an immediate and meaningful connection. Every detail is intentional and every element has purpose, revealing something about each character’s identity, perspective and unique way of expressing herself. Mirror Mi represents our vision for the future of doll design: emotionally resonant, creatively fearless and unmistakably original. Watching these characters evolve from an initial idea into fully realized dolls and now seeing the world we imagined expand beyond the product and come alive through music and cinematic storytelling has been truly breathtaking.”
Barcelona’s soccer players packed out Spain’s FIFA World Cup winning team. Now Catalonia, the northeast region of Spain counting on Barcelona as its capital, accounts for a very significant chunk of the Spanish films playing this year’s San Sebastián Festival, one of its principal draws. Some 150 Catalan companies, no less, will be in San Sebastián.
The bullish Catalan presence can be put down to an exciting new generation of Catalan directors and producers exploding on the scene over the last decade, since Carla Simón’s “Summer 1993.”
Key, also is Catalonia’s drive into pan-regional co-production, as many movies tap funding from around Spain. Also at play is a step-up in ambition among Catalan films at large and far larger mobility on the part of talent. So “Saints,” one of the big new Catalan films, is directed by Basque but Barcelona-based Mikel Gurrea, and one of the standout films by a Catalan director at San Sebastián, Carla Simón’s short feature “Flamenco,” is produced by Madrid’s Mamma Team.
“5 More Minutes” (Javier Ruiz Caldera, Movistar Plus, El Terrat, Ikiru Films, Spain)
‘Five More Minutes’
Courtesy of San Sebastián Film Festival
An on-the-rocks couple is caught in a time loop at a rural getaway. Part sometimes excruciating dark comedy, part sci-fi mindwarp and part suspense thriller whose grip bids fair to surprise at San Sebastián. Written and starring Berto Romero, one of Spain’s top stand-ups, playing opposite Belen Cuesta (The Endless Trench”) and an ineffable Javier Camara (“Talk to Her”). Spanish pay TV/SVOD colossus Movistar Plus, El Terrat, a Mediapro Studio company, and Ikiru Films, produce a typical genre cocktail for Romero, much directed with virtuosity by Javier Ruiz Caldera as a series of millimetrically calculated five-minute sequence shots. Filmax handles world sales. JH
“Saints,” (“Sants,” Mikel Gurrea, Lastor Media, Nocturna Pictures, Deloris Films, Kino Produzioni, Spain, Italy)
Courtesy of M-Appeal
Played by Victoria Luengo, who starred opposite Javier Bardem in “The Beloved,” Lali cares for her dying mother Glòria, as she falls in with a gang who steals statues of saints, giving much of the proceeds to the needy and forsaken. Gurrea’ second feature, a step-up in style, shot with a continuous visual pulse, varying in tone from scene to scene. Produced by Barcelona’s Nocturna Pictures, Deloris Films and Lastor Media and Kino Produzioni, the latter two both behind Berlin Golden Bear winner “Alcarràs,” another exploration of an alternative economy. JH
Special Screenings
“Pray for Us,” (“Ruega for nosotras,” Daniel Monzón, Arcadia Motion Pictures, Ikiru Films, Spain)
The latest from the still underrated Monzón, director of the breakout blockbuster “Cell 211” and the memorable “The Laws of the Frontier,” a five-time Goya winner that played out of competition at 2021’s San Sebastián. Set in 1974, after a night on the tiles, Ana, 19, is dispatched by her wealthy family to Spain’s Women’s Protection Board, a Francoist state-backed institution confining young women in the guise of moral “reform.” Arcadia Motion Pictures, behind the Oscar-nominated “Robot Dreams” and Sorogoyen’s “The Beasts,” produces. Picked up by Film Factory Entertainment for international, Elastica for Spanish distribution. JH
Horizontes Latinos
“Ashes,” (Diego Luna, La Corriente del Golfo, Animal de Luz Films, Inicia Films, Perro Azul)
Lauded actor Diego Luna (“Y tu mamá también,” “Andor”) steps behind the camera to helm the adaptation of Brenda Navarro’s critically acclaimed feminist novel “Eating Ashes.” The film stars Anna Diaz (“La Cocina”) and Adriana Paz, who shared the Cannes best actress award with Zoe Saldaña, Selena Gomez and Karla Sofía Gascón for “Emilia Pérez.” The heartfelt drama trails Lucila, a young woman who leaves Mexico with her young brother to reunite with their distant mother in Madrid. Luna also produces via his La Corriente del Golfo label, founded alongside Gael García Bernal. Luxbox handles sales. RSR
Paraguay’s submission to the Oscars, the eight-country co-production “Narciso” began its lauded festival journey at the Berlinale, where it won the Fipresci Award at the Panorama section. Martinessi’s sophomore feature is set in 1959, where the charismatic titular performer returns to Buenos Aires at the height of a strict military regime. When the popular young man is found dead after a show, the culprit becomes even harder to find within this regime built on silence and fear. Luxbox handles world sales. RSR
Zabaltegi – Tabakalera
“Far From the Trees,” (Meritxell Colell, Allegra Films, EXIT Media, Animalita Cine, Spain)
A Locarno 2026 Fipresci Prize winner. Adela, a sound artist recording endangered languages travels to the Peruvian highlands in a film which weaves present and past – collective and personal memory and archive footage of the Catalan diaspora after the Spanish Civil War – speaking about family, forced exile, roots, memory and hybrid identity. “A richly contemplative journey of physical and mental meanderings, beautifully combining 4K digital with Super 16,” says Variety. “Ambitious in scope yet intimate in focus,” Far From the Trees” “could well become an arthouse sleeper,” it adds. JH
“Flamenco Sketches,” (“Jaleos,” Isaki Lacuesta, Lastor Media, Goroka Contents, with La Termita Films, Spain)
Courtesy of San Sebastián Film Festival
Sharing with Francis Ford Coppola the rare honour of two San Sebastián Golden Shells, Isaki Lacuesta returns to the festival fresh from co-directing HBO Max’s acclaimed series “Ravalear.” “Flamenco Sketches” is a restless ride through cinema, machines, Nazism, Civil War, and avant-garde art. The film shows how flamenco has often swallowed disruption whole only to morph itself anew. “Always dying, never dead.” one of the many contributing voices in the doc tells us. CM
The latest by the Silver Bear winner of “The Empire” premiered at Directors’ Fortnight in Cannes and tells the tale of two gangs of kids who compete in the dangerous game of cliff jumping in the French Riviera. Dumont worked with a cast of non-professional actors, adopting a documentary-like approach to the film, shot against the cliffs and open waters of the Mediterranean. The lauded director won two Grand Prix awards at Cannes for “Humanity” and “Flanders.” Luxbox handles world sales. RSR
Made in Spain
“Alive” (“Viva” Aina Clotet, Ikiru Films, Funicular Films, La Terraza Films)
In the intimate “Viva,” which earned its director-star Clotet the Louis Roederer Foundation Rising Star Award, follows 40-something Nora as she finds a new lease of life following cancer treatment. The heartfelt drama explores relationships, as well as the dilemmas brought in by climate change, with a standout performance by the established Clotet, whose 2024 series “This is Not Sweden” racked up several awards and found great success with audiences. The director produces under her Funicular Films label, alongside veteran Edmon Roch of Ikiru Films. Loco Films handles sales, while Caramel Films distributes in Spain. RSR
“The Good Daughter,” (Astra Pictures, Avalon, Krater, Spain, Belgium)
The sophomore feature of Julia de Paz Solvas, also a co-writer on Alauda Ruiz de Azúa’s “Querer,” plumbing gender violence from the untutored perspective of Carmela, the daughter of a direct victim. A trenchant portrait of self pitying, violent male narcissism and an uplifting take on teen female friendship which swept the Tallinn Black Nights Festival in November, sweeping its Grand Prix, actress (Kiara Arancibia) and Audience Awards. JH
“Sixteen Moments of My Life” (Albert Serra, Idéale Audience, Andergraun Films, Weltfilm, Spain, France, Germany)
The latest by irreverent Catalan maverick Albert Serra (“Pacifiction,” “Afternoons of Solitude”) premiered at Locarno. It documents a one-off performance by legendary German film actress and singer Ingrid Caven – known for her collaborations with then-husband Rainer Werner Fassbinder – at the Théâtre des Bouffes du Nord in Paris. Neither a biopic nor a concert movie, “Sixteen Moments of My Life” puts forward a fascinating portrayal of creatives on creatives. Serra’s Andergraun Films label produces and handles sales. RSR
Bowing at least year’s Toronto, a home-run from Isabel Coixet, Adapting a short story collection by Italy’s Michela Murgia, who died of cancer at 51. Alba Rohrwacher “dazzles in a humane, heartfelt drama” as the “luminous center of a charmingly bittersweet and life-affirming movie,” Variety wrote. “In other hands, this would cue a standard disease-of-the-week weepie, but Coixet keeps the tone lightly wistful and wise,” it added. JH
You may know the story — Matthew McConaughey‘s mother once told him that she knew Woody Harrelson‘s father right around the time McConaughey was conceived, creating a possible scenario where the two may be half-brothers.
The rumor is now being taken to the next level with Brothers, an Apple TV comedy where McConaughey and Harrelson play versions of themselves who uncover a family secret that they may be related. There is, of course, an actual way that the two could find out the truth, as The Hollywood Reporter asked at the show’s L.A. premiere on Thursday if they would ever take a DNA test.
“I’ve been wanting to but he refuses,” Harrelson explained, as McConaughey replied, “I’ll probably come around to it” but added, “If it’s true, I got a lot to unpack. If it’s not true, he’s not gonna be near as fun to hang out with.”
Harrelson admitted, “I’m going to be really sad for a while if it’s not true,” which seems to be McConaughey’s main deterrent to the test, as the Interstellar star joked, “Let’s just keep floating this idea, because I don’t want him being all upset.” Harrelson was quick to reply, “I don’t think that’s going to be a problem because I think we’re brothers;” McConaughey confirmed, “He’s fully convinced, I’m not. There we go.”
The two stars — who previously shared the screen on season one of True Detective — also mused on playing themselves on camera for the first time. McConaughey said it was “More of an adjustment than I expected” and Harrelson explained it was “much harder than you would think, really. I was doing some weird, giggly, stupid performance and then I saw it and I was like ‘Oh my god, I hope we do reshoots.’ We did, so that was good,” teasing he told the director, “I don’t like that me, can we do it again?”
Lee Eisenberg, who was behind Jury Duty and Lessons in Chemistry, serves as showrunner for the series, which sees Holland Taylor playing McConaughey’s mother and the pair’s wives and children also recast.
“Their families would be there on the set, just hanging out at Video Village, watching versions of themselves. The whole thing was very surreal,” Eisenberg recalled, while also emphasizing that “I never wanted this to feel like a documentary” and the actors took some liberties to play up their personas. As for if he believes the two are actually brothers after working on the show, Eisenberg admitted, “I go back and forth. When you see the pictures of the two of them [from growing up] side-by-side, it feels a little uncanny.”
Ten major Japanese broadcasters are joining forces for the first time to send a joint delegation to MipCancun, marking the country’s first coordinated television market presence outside Asia.
The “All-Japan” initiative is organized under the Japan Commercial Broadcasters Association (JBA) in collaboration with Japan’s Ministry of Internal Affairs and Communications (MIC) and the Broadcast Program Export Association of Japan (BEAJ). JBA represents commercial broadcasters operating television and/or radio services across the country, and the initiative is designed to promote Japanese IP and expand business opportunities across the Latin American content market. MIP Cancun is marking its 13th edition this year.
The delegation includes Tokyo-based key stations TBS Television, Nippon TV, TV Asahi, Fuji Television Network, Inc. and TV Tokyo, along with Wowow Inc., BS Asahi, Tokai TV, MBS, Inc. and Yomiuri Telecasting Corp. A dedicated Japan Pavilion will be set up within the market’s matchmaking zone, giving each company its own table for meetings with Latin American buyers.
While Japan remains best known internationally for anime, the delegation will emphasize live-action content, particularly television drama, a category the Japanese government is now specifically targeting for overseas growth.
“As IP development and co-productions become increasingly vital in the entertainment market, the industry is reaching a major turning point,” said Maria Perez Bellière, director of MipCancun. “We have high expectations for this initiative to introduce the appeal of Japan’s new content and firmly establish the ‘Japan brand’ in Latin American countries, with whom Japan shares a long history. We are deeply honored that Japan has united to leverage the unique Latin American market opportunities that MipCancun has spent 13 years building here in Cancun.”
A “Japan Content Showcase” screening event will run Nov. 18 in the Cancun Theater Room, spotlighting programming from the participating broadcasters with a focus on Japanese drama for Latin American industry professionals. A networking cocktail reception will follow, giving the visiting companies and local buyers additional time to talk business.
The push into Latin America comes as the Japanese government has named the content industry one of the country’s core growth sectors. Tokyo has set a target of expanding the overseas market for Japanese-origin content from JPY5.8 trillion ($37 billion) in 2023 to JPY20 trillion ($129 billion) by 2033, with a specific target of JPY0.5 trillion ($3.2 billion) for live-action content overseas by 2033.
Latin America brings its own long history of serialized television drama, rooted in telenovelas that have been produced across the region since the 1950s and have traveled widely across borders. The continued growth of streaming in the region is also opening new pathways for international scripted content to reach audiences.
Organizers frame the delegation as a way for Japanese networks to strike deals with Latin American buyers, distributors and producers when the market runs in November.
MipCancun is a content market and conference serving Latin American and U.S. Hispanic television, bringing together acquisition, distribution and production companies to close content deals in the region’s growing TV markets.
Fans yearning to drive like Dominic Toretto or Letty can finally strap into a Dodge Charger or a Toyota Supra at Universal Studios Hollywood, as the long-awaited “Fast & Furious: Hollywood Drift” ride officially opened Sept. 16 at the park.
The much-anticipated outdoor roller coaster features four iconic cars from the $7 billion franchise — the Dodge Charger, Mazda RX-7, Nissan Skyline GT-R and the Toyota Supra — that propel riders on a “unique dual-launching, split-ride track,” according to Universal Studios Hollywood. The cars spiral over and under portions of the park’s multilevel escalator, and include four launches, an inverted dive loop, twisted pretzel loop, an inverted stall and other thrills, reaching speed of 72 mph. Riders experience force of up to 3.6 Gs along 4,100 feet of aerial track constructed with sound-reduction technology while drifting at 360-degrees in their individual ride vehicles, according to Universal Studios Hollywood.
“Fast & Furious: Hollywood Drift’ is officially open, and we are so excited to be able to put guests in the driver’s seat of one of the most celebrated film franchises in history,” said Scott Strobl, executive VP and general manager, Universal Studios Hollywood. “The debut of this first-of-it-kind roller coaster is a literal game changer for Universal Studios Hollywood, and we look forward to sharing this thrilling experience with fans of the ‘Fast’ saga and our guests visiting from around the world.”
The ride is anchored by an original mural created by artist Tristan Eaton, which depicts the finale street racing action scene in 2001’s “The Fast and the Furious,” the film that kicked off the franchise, which is celebrating its 25th anniversary this year.
While Bitcoin has been fluctuating between $76,000 and $79,000 in recent days, on-chain analyst Willy Woo analyzed $BTC’s monthly chart using the Fisher Transform indicator.
Woo noted that the Fisher Transform indicator on Bitcoin’s monthly chart has formed a golden cross. According to Woo, this development stands out as the fourth bottom signal seen in Bitcoin’s history.
Not a Signal of a Sudden Rise!
Woo stated that the Fisher Transform indicator, published in 2002, identifies turning points in Bitcoin price movements, and that the current golden cross in this indicator is the 4th bottom signal in history, while the previous 3 did not lead to false breakouts.
However, Woo noted that this indicator alone is not a sudden trend reversal or a direct buy signal. He stated that the Bitcoin price may move sideways for a while before continuing its current upward trend.
Woo also noted that in the past, the Fisher Transform indicator has been seen to cross bearish and then bullish again during bull markets, but this did not necessarily mean the main trend had ended. Therefore, while the current signal points to a possible bottom, it does not, by itself, definitively mean a trend reversal.
Interest Rate Hikes Alone Are Not a Bearish Signal for Bitcoin!
Crypto analyst Murphy stated that the interest rate hikes by the US and Japanese central banks alone do not indicate that Bitcoin will re-enter a bear market. According to Murphy, the pace of monetary tightening, market structure, and investor positioning will be more decisive than the interest rate hike decisions in determining the direction of $BTC.
A Comparison of 2022 and 2023!
The analyst noted that in 2022, the Fed implemented a total of 425 basis points of interest rate increases, including four consecutive 75 basis point hikes from June to November. Despite this, the analyst pointed out that Bitcoin fell from approximately $41,000 to $15,800.
In contrast, despite the Fed raising interest rates four times by 25 basis points in 2023, Bitcoin rose from approximately $16,500 to $42,000.
The analyst also noted that when the FED increased interest rates five times between December 2015 and December 2017, each time by 25 basis points, Bitcoin surged from approximately $454 to $16,515.
At this point, the analyst, while comparing these periods, pointed out that interest rate hike decisions alone do not necessarily mean a decline in Bitcoin.
Finally, the analyst added that the current structure of the Bitcoin market resembles the conditions at the beginning of 2023 more than those during the first interest rate hike period in 2022. The analyst noted that during that period, inflation fell, the size of each interest rate hike decreased from 75 to 25 basis points, and the market priced in the end of interest rate hikes.
According to the analyst, if interest rate hikes remain limited to around 25 basis points and the market does not expect a new, prolonged tightening cycle, interest rate policy alone may not be enough to trigger a new bear market in Bitcoin. At this point, the pace and scale of future Fed interest rate hikes will be critical for Bitcoin’s trajectory.
The company said it still intended to pursue a license.
“We are actively working toward becoming MiCA-authorised and view this as an important step in providing users with a consistent, regulated, and trusted service across the European market,” the spokesperson said.
Binance withdrew its Greek application in mid-June and began winding down operations after officials at the Hellenic Capital Market Commission (HCMC) decided not to approve Binance’s MiCA license request at the last minute. The company vowed it would remain in Europe.
Gillian Lynch, Binance’s head of Europe, told CoinDesk in early July that the exchange had met all of the HCMC’s requirements.
“We were deemed to have a complete application,” Lynch said. “Nothing was missing, nothing material was outstanding.”
The WSJ also reported ESMA privately advised national financial regulators to reject Binance’s MiCA applications over concerns with the exchange’s past compliance issues.
An ECB spokesperson declined to comment when contacted by CoinDesk. However, the source shared information that states that the ECB has no institutional role with regards to the authorising of Crypto-Asset Service Providers (CASPs). That remains the competence of national competent authorities, in this case the Hellenic Capital Market Commission (HCMC).
Changpeng “CZ” Zhao, the founder of Binance, pleaded guilty in the U.S. in 2023 to violating the Bank Secrecy Act (BSA) and agreed to pay $4.3 billion in fines. He served a four-month prison sentence in California in 2024 and was pardoned by President Donald Trump in October 2025.
