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Most people know about the legendary festival in Cannes where movie stars and directors flock to win the Palme d’Or. But there’s a second, equally massive festival in the exact same city, happening in the exact same building.
Cannes Lions belongs to the people shaping modern culture through brands, media, entertainment, design, and creative technology.
The house lights go down. The screen goes dark. And before a single actor shows up, before the plot moves an inch — the film has already told you exactly what it is.
That’s the title sequence. Ninety seconds. No dialogue. No story. Just type, motion, color, and intent. And somehow, it communicates an entire emotional universe.
It’s also, almost always, the work of a graphic designer.
Thirty years in, and Cine Gear Expo still earns it.
That’s not nothing. Most industry events peak around year four and spend the next two decades coasting on their own reputation. Cine Gear kept building. This year, members of The Los Angeles Film School production team made the trip to Universal Studios in Burbank for the 30th Anniversary — and walked away with gear calluses, a signed book, and a few conversations worth having.
“Marketing,” “advertising,” and “PR” get used interchangeably all the time, even by people who work in the industry. But they’re actually distinct disciplines with different goals, different mechanics, and different skill sets. These concepts form part of the professional vocabulary used throughout the media industry.
Here’s a clear-eyed breakdown.
Long before he became an in-demand Hollywood property master working on acclaimed productions like Everything Everywhere All at Once, Euphoria, Freakier Friday, and Blonde, he was a kid in Michigan, completely fascinated by movies like Hook and Jurassic Park, watching behind-the-scenes bonus content behind his favorite films, which he hoped would reveal how movie worlds were created.
Today, Joshua Bramer helps create those worlds himself—designing and sourcing the props that bring characters, stories, and entire universes to life onscreen.
There’s a specific kind of anxiety that shows up at student showcases, mixers, industry panels, and networking nights.
You walk into the room already feeling behind. Everyone seems confident. Someone asks, “So what do you do?” And suddenly, you’re trying to summarize your entire creative identity in one sentence without sounding awkward.
The boundary between Hollywood and the home console has reached a point of near-total evaporation. While the early history of the medium was defined by abstract shapes and mechanical loops, the modern cinematic game has shifted its priority toward the evocative power of the frame. By blending sophisticated direction with complex character studies, these titles have transformed gaming into a major venue for cinematic storytelling and character-driven drama.
We tend to celebrate great films: the ones that win awards, dominate box offices, and resonate with our deepest emotions. But there’s a strange, under-appreciated corner of cinema that deserves our attention too: truly bad films.
Not mediocre. Not forgettable. We’re talking about the gloriously misguided, bafflingly executed, “how did this even get made?” kind of bad.