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Tom's Guide
09-05-2025
- Entertainment
- Tom's Guide
How to watch 'One to One: John & Yoko' online from anywhere
"One to One: John & Yoko" is a powerful documentary that captures a defining moment in the lives of two of the 20th century's most iconic cultural figures. Centered around the 1972 "One to One" benefit concert at Madison Square Garden (the only full-length show he played after leaving The Beatles), the film offers an intimate look at John Lennon and Yoko Ono's partnership — both artistic and personal. Here's how you can watch "One to One: John & Yoko" online around the world and from anywhere with a VPN. 'One to One: John & Yoko' will be released on Friday, May 9, via Prime Video. The documentary is set to be available to stream via digital platforms from this date.• U.S. — HBO/Max• CAN — Crave• AUS — Max• Watch anywhere — try NordVPN risk-free Through rare archival footage, personal recordings, and remastered concert performances, the documentary reveals the behind-the-scenes intensity of their work and the social causes that motivated them. This is a must-watch for music lovers, Beatles fans, and anyone interested in how art and activism can intertwine. "One to One: John & Yoko" provides an intimate portrait of a couple who defied convention, using the stage not just for performance, but for purpose. Read on and discover how you can watch "One to One: John & Yoko" online with all the streaming details you need below. "One to One: John & Yoko" premieres in late 2025 on HBO's Max platform. Max prices start at $9.99/month if you don't mind ads, going to $16.99/month for ad-free and $20.99/month if you want the option to watch content on up to four devices and in 4K. For even better value, you can pay for a whole year upfront and effectively get 12 months for the price of 10 on any of its tiers. Max is also the place to watch "The Batman" online. HBO can also be added to OTT streaming services such as Hulu, Amazon Prime Video and Disney Plus. Traveling outside the States? You'll need to use a VPN to unblock Max when abroad. Max is no. 1 on our best streaming services list for its vast, high-quality library, including all of HBO's prestige series like "Game of Thrones", "The Last of Us" and "Succession", plus recent offerings among the best Max shows such as "House of the Dragon", "True Detective: Night Country" and "The White Lotus". If you're traveling overseas and "One to One: John & Yoko" isn't airing where you're currently located, that doesn't mean you have to miss the show while you're away from home. With a VPN (virtual private network), you can stream the show from wherever you are. We've evaluated many options, and the best VPN you can get right now is NordVPN. It meets the VPN needs of the vast majority of users, offering outstanding compatibility with most devices and impressive connection speeds. You can try it risk-free for 30 days if you take advantage of NordVPN's no-quibble money-back guarantee. There's a good reason you've heard of NordVPN. We specialize in testing and reviewing VPN services and NordVPN is the one we rate best. It's outstanding at unblocking streaming services, it's fast and it has top-level security features too. With over 6,000 servers across 110+ countries, and at a great price too, it's easy to recommend. Get over 70% off NordVPN with this deal Using a VPN is incredibly simple. 1. Install the VPN of your choice. As we've said, NordVPN is our favorite. 2. Choose the location you wish to connect to in the VPN app. For instance, if you're visiting the U.K. and want to view a U.S. service, you'd select a U.S. server from the location list. 3. Sit back and enjoy the show. Head to your streaming service app — so Max, for example — and watch "One to One: John & Yoko" online from wherever you are in the world. You can watch "One to One: John & Yoko" in Canada on the Crave streaming service. It lands late 2025 and you can see our full episode guide at the bottom of this page. Crave subscriptions start at $9.99/month for its Basic plan (720p video, includes ads) all the way up to $22/month for Premium (ad-free, 4K, downloadable shows). Those on vacation away from Canada will need one of the best VPNs to log in back home to use Crave. We recommend NordVPN. There is no release date for "One to One: John & Yoko" in the U.K. yet, but it is likely to end up on Sky Atlantic very soon and also available for Sky subscribers to watch via the Sky Go app, which is available on smartphones, computers, games consoles and a host of TV streaming devices. Not a Sky subscriber? Plans currently start from £31/month. Alternatively, Sky Atlantic content is also available to watch with a flexible Now Entertainment Membership. Prices usually start from £9.99/month, though a special offer is currently allowing new subscribers to sign up for £6.99/month. Americans on vacation in the U.K. who want to catch the show sooner will need a good streaming VPN to log in back home. We recommend NordVPN. Aussies can catch "One to One: John & Yoko" when it premieres on Max (now available Down Under) in late 2025. Plans start at $9.99/month. Not at home? Don't panic. You can still watch the show from your usual domestic streaming platform with a VPN. We recommend NordVPN. This documentary explores the creative and personal partnership between John Lennon and Yoko Ono, focusing on their 1972 "One to One" benefit concerts and the social activism that defined their collaboration. Yes, it includes remastered footage from the "One to One" concerts at Madison Square Garden, along with archival material and behind-the-scenes insights. The film features contributions from friends, collaborators, and music historians who provide context on the couple's influence on art, music, and political movements of the early 1970s. We test and review VPN services in the context of legal recreational uses. For example: 1. Accessing a service from another country (subject to the terms and conditions of that service). 2. Protecting your online security and strengthening your online privacy when abroad. We do not support or condone the illegal or malicious use of VPN services. Consuming pirated content that is paid-for is neither endorsed nor approved by Future Publishing.
New Statesman
07-05-2025
- Lifestyle
- New Statesman
I'm doing what I should have done all along: recuperating
Illustration by Charlotte Trounce I've been a bit cooped up at home this week with a bad back, and it's all my own fault. I'd recovered well from the slight injury I suffered just before our gigs at the start of April, and so over the Easter weekend I decided to have a spring-cleaning blitz on the upstairs landing. Yes, I know, I know – moving heavy furniture, and then hoovering in a ridiculous position, and arching my back to reach up into high corners – all extremely bad news for someone with a vulnerable back. And yet somehow in my enthusiasm I forgot. After a couple of days of this exertion Ben and I decided to go to the cinema, to see the new John and Yoko documentary One to One,co-directed by Kevin Macdonald and Sam Rice-Edwards. We paid extra for luxury seats at the Odeon, expecting, well, luxury. I can honestly say I have never sat in a more uncomfortable seat, both too squishy to offer any support, and too long for my feet to touch the ground. I spent two hours braced upright, with Ben's jacket wedged behind me to keep me from slumping. For the final ten minutes we stood at the back of the auditorium, and I realised I had probably made a terrible mistake. Anyway, now here I am, paying for it all and doing what I should have been doing all along: resting and recuperating. I have been Googling advice for my particular back issue, and it turns out that at least two of the stretches I thought were helpful are top of the forbidden list, so I have stopped doing them. Every website tells me to avoid too much sitting down and also too much standing up. I wonder whether I can learn to hover in mid-air. I decide to spend some time lying on my back with my knees bent on the yoga mat. That feels quite good, and reminds me of my old Alexander Technique lessons for improving posture. But it gets boring after a while, so I pick up my phone and hold it up above my face in order to scroll through Instagram as I lie there. Scrolling proves tricky though, and I drop the phone, which lands corner first, and hard, in my eye socket. Ben is out so I pick myself up off the mat, swearing enthusiastically, find an ice pack in the freezer and apply that to my new shiner. Once again I am struck by how ill-designed bodies seem to be. Miraculous in so many ways, but so beset with flaws, none of which improve as the basic machinery ages. During my online searches for help I learn that I am sitting on the wrong kind of sofa, so I move. I look at pages of special seat wedges. I read about lumbar-support cushions. Dear God, I start thinking about a Parker Knoll wing back chair, and then I close my laptop before I lose the will to live. Instead I pick up Kate Mossman's book, Men of a Certain Age, in which she writes about and interviews ageing male rockers. The book is at least partly about herself, and early on she writes about her solo trips across the US on Greyhound buses. 'I enjoyed the alienation. As a road-walker, or a bus-rider, you're immediately one of the castaways yourself, and I loved that feeling – loved the danger of some of the situations I put myself in.' From my safe armchair, I'm gripped, and I know I'm going to enjoy this book. Before that I'd been reading Ian Leslie's John & Paul: A Love Story in Songs, about Lennon and McCartney. Music aside, what shone through the book for me was the sheer strangeness of both John and Paul as people. They really were singular. Not just because of their musical talents, but because of their complex personalities – each of them a mixture of concealed pain, surface humour, arrogance, intelligence, superhuman levels of drive, and obsessiveness. You can see what they saw in each other, and it's very compelling. As I finished the book, I realised I missed being in their dazzling company. Subscribe to The New Statesman today from only £8.99 per month Subscribe Still, I haven't forgiven John for making me sit in that cinema seat, and I blame him for my back pain. [See also: David Attenborough at 99: 'Life will almost certainly find a way'] Related
Forbes
29-04-2025
- Entertainment
- Forbes
The Story Of How A Lost Box Of Tapes Changed John Lennon's New Documentary
It's not often that a forgotten box of tapes that haven't been touched in years – if not decades – changes the course of one of the most high-profile documentaries of the year. But that's exactly what happened during the making of One to One: John & Yoko, the powerful new film co-directed by Kevin Macdonald and Sam Rice-Edwards. The documentary focuses on John Lennon and Yoko Ono's brief-but-transformative time living in New York's Greenwich Village from 1971 to 1973, and it's built around the couple's One to One benefit concerts at Madison Square Garden. The shows, held in August 1972, were Lennon's only full-length live solo performances after the Beatles split. They took place during a moment of intense political activism in the U.S., as well as one of personal reinvention for the musicians, all as Nixon's second administration was just starting…and then unraveling. Thanks to newly uncovered archival audio recordings, including intimate phone conversations, the film offers a rare and unusually personal look at Lennon and Ono's private lives during one of their least understood periods. "Simon Hilton... found this box of tapes that no one had touched in decades," One to One: John & Yoko co-director Sam Rice-Edwards explained during a recent conversation. "It was really a special moment — it was exactly what we were after." The tapes, discovered deep within the Lennon Estate's archives in New York City, contained recordings of phone calls from when he and his wife lived in Greenwich Village for a time. They taped every conversation, and talks between Lennon and music industry professionals and journalists, as well as several between Ono and others, are used plainly in the film. Fans get to hear them just as they were decades ago. Lennon trying to set up a failed tour of America. Ono defending herself against attacks from the press. Combined with painstakingly restored footage from the One to One concerts, these recordings allowed the filmmakers to build a documentary that feels less like a conventional rock doc and more like an immersive experience. "We tried to make a film where you could hang around with John and Yoko in 1972 and see that time through their eyes," Rice-Edwards said. That approach turns everyday moments — answering phones, preparing art exhibitions, sitting in front of the TV — into revelatory insights about two artists that the world can't seem to get enough of. It's hard to find a new and interesting way to cover a musician who has already been the subject of countless pieces of media, and the accomplishment of that goal is one of the great successes of One to One: John & Yoko. The result has clearly resonated with audiences. One to One: John & Yoko has already grossed more than $600,000 at the global box office, which is an impressive number for an archival-heavy documentary. In our conversation, Rice-Edwards spoke about the archival discovery and how it completely changed the making of this movie, the challenges of piecing together decades-old material, and why he believes the "mundane" moments tell us more about John and Yoko than any polished biography ever could. Hugh McIntyre: Sam, I watch a lot of music documentaries, and I'm always thrilled when I get to the end of one and I've learned something and experienced something different. So I want to congratulate you on that. Rice-Edwards: That's lovely to hear. That's exactly what we set out to do really — something different in an area that's packed full of films that, while not all the same, tend to follow the beaten path and the normal narrative. We wanted to do something fresh and different. We wanted people to come out of the film and feel like they've had a fresh experience. McIntyre: Which is especially difficult when you're covering maybe the most covered musician of all time. Rice-Edwards: When Kevin [Macdonald, co-director] We really focused a lot on letting people spend time with John and Yoko as they were, away from the public eye. We felt that would allow people to get to know them in a way that hadn't really been done before. McIntyre: For Beatles fans, real John and Yoko fans, that's almost worth the price of admission alone. Getting that inside look at their daily, mundane routines. Gathering flies for the art exhibit.. just the daily humdrum of their lives. Rice-Edwards: The thing is, in a film we really want to connect to other humans, to learn about other people. And when someone is in the public eye, they have a sort of armor or defense — a barrier to being their true self. Sometimes it shines through, but actually the mundane, as you put it, can often be super interesting when it comes to really getting to know someone. Something that seems boring or unexceptional can actually show you a lot. We tried to make a film where you could just hang around with John and Yoko in 1972 and see that time through their eyes. McIntyre: The standout of this film and how you were able to make it was the footage and the audio recordings that no one's ever seen or heard. They're really incredible. Tell me the story — these must have come from Yoko, I assume? Rice-Edwards: They came from the Lennon estate. What actually happened was we were quite far into editing the film, and someone called Simon Hilton — who's part of the Lennon estate — was over at the archive in their own kind of lock-up in New York. I like to imagine him walking around and stumbling across this dusty shelf, a box no one had touched in decades. It was unlabeled. But he found these recordings that had been made in 1972, from the exact period we were covering. No one had really listened to them before. It was a special moment — it was exactly what we were after. Getting behind the scenes and spending time with John and Yoko in their everyday lives. McIntyre: The visual recordings or the audio? Rice-Edwards: Those were the audio recordings. They had a phone on Bank Street — Line 1, Phone 9 — and everyone called into that phone. They had a recorder hooked up to it. These were recordings made in 1972, and while they had been recorded, they'd never really been listened to. It was kind of crazy, being maybe the fourth or fifth person ever to hear those calls. Quite amazing. McIntyre: When you're going through both the visual and audio material, some really great stuff made it in. But there must have been so much that just didn't fit. Were there things that stood out, that maybe you wish had been included? Rice-Edwards: That's actually quite a tricky question to answer, because it wasn't like there was one cut that we had to change to fit in the audio. The cut was constantly evolving. And a big part of the film was presenting the world through John and Yoko's television — Kevin's idea. They watched a lot of TV and believed it could show what humanity was saying about itself. That meant there was a huge amount of archive material available, because it could be anything that was on American TV in 1972. We were constantly sifting through hours and hours, thousands of clips. Sometimes we didn't even know why something felt right, just that it did, on a gut level. Some clips lasted three days in the cut, some a week, some a month. What you see in the finished film is really a collection that stood the test of time. A body of material that we think shows the 1972 that John and Yoko experienced. McIntyre: These concerts were so important to Lennon — his only post-Beatles shows — and you highlight why he was doing them. Why do you think it took so long for there to be a film about these concerts, given how much interest there is in him and The Beatles? Rice-Edwards: A couple of reasons. First, they were really badly recorded and filmed. The story is that everyone was very high at the concert, and they filmed it poorly. Plus, the initial concert film that aired on TV fifty years ago, they had pulled the negative into tiny pieces to make that, and it had all been stuck back together in crazy sequences. There was a huge amount of work needed to piece it all back together. A lot of audio work too. We remastered and remixed the tracks. Sean Ono Lennon did that, actually. People knew the concert existed. They knew it was Lennon's only post-Beatles concert. But the state of the material meant no one really knew what to do with it. So over time, the estate and we together put it back together, remixed it, and now it can be seen in its full glory. McIntyre: I was about to ask if there was ever an interest in sharing it purely as a concert film, but it sounds like that's not really on the table. Rice-Edwards: Well, actually that might happen later. There's something in the works — a pure concert version, showing the performance without our film's framing. But the film we made, I don't think it's really a concert film. It's a film that has a concert in it. With a bit of careful work, you can make it work. There is a lot of great footage. I was kind of joking, but sometimes you'd go through it and there'd be strange camera moves, or the camera would go out of focus for ten minutes. That actually helped us, visually. We didn't want a classic concert film. We wanted the audience to connect to John and Yoko. So we let shots run very long. We didn't cut all over the place with a frenetic edit. We wanted it to feel like you were actually at the concert. We were sort of forced into that approach, but it ended up being a good place to be forced into. McIntyre: You've got a great long shot toward the end, when they're jamming and doing 'Give Peace a Chance.' That's a phenomenal ending moment. Rice-Edwards: Yeah, it felt like the right ending. The end of the concert, and the moment where John turns it back onto the audience. Nixon had won in a way — John had lost the battle, but maybe he won the war. It's a strange analogy when talking about 'Give Peace a Chance,' but that's what it felt like. It was their response: "Give us a chance, there's another way." That sentiment has echoed through time. McIntyre: As you dug through the thousands of hours of content, what did you learn about John and Yoko that your research prior didn't tell you, things you didn't know before? Rice-Edwards: It's funny. The whole process really was about getting to know them in a deeper way. Looking back, I don't think I really knew them at the start of the project. They were sort of two-dimensional figures to me, a little thin. But over time, they became three-dimensional, complex characters. There's a lot I could say. On Yoko's side, I came away thinking she's actually a very strong person. She'd been vilified by the British press, attacked constantly. She also had to fight her way through a very male-dominated avant-garde art scene. Her daughter had been kidnapped by her ex-husband. Despite all that, she still managed to thrive, to live an active and engaged life. That takes an enormous amount of strength. Another thing that stood out was that they were both always searching for something — especially John. He was always looking to become a better person. From the Maharishi to primal scream therapy, then moving into more political engagement during the timeframe of our film — he was constantly searching, trying to better himself. He had a very curious, searching mind. And I think Yoko was the same. One more thing I'd mention—they both had very difficult childhoods, for different reasons. John wasn't an orphan, but he never really knew his parents. They were cold with him. From that, I think both he and Yoko had the ability to step outside of social conditioning. They could look at society with a more childlike, wide-open viewpoint. You see that in John's music, in Yoko's artwork. They never just accepted society as it was. They were always kind of on the outside, looking in with an open mind. And I think that really connected them. McIntyre: Do you know if Yoko has seen the film? Have you heard her thoughts? Rice-Edwards: Well, just before the film's release, Sean took over running the Lennon estate. He's the person we dealt with directly. He came in for a screening, which was quite amazing. It's obviously so personal for him. It was an emotional experience. We've mainly dealt with him. I can't say categorically whether Yoko has seen it, but I'd like to think she has. Sean said it was the most truthful portrait of his mother that had ever been made. That meant a lot to him. So I hope that if she has seen it — or when she sees it — she'll feel the same way.
Yahoo
17-04-2025
- Entertainment
- Yahoo
Sean Ono Lennon Shares the Message He Hopes People Take Away From ‘One to One: John & Yoko' Documentary
Sean Ono Lennon is confident that the One to One: John & Yoko documentary 'is going to be very revelatory for everybody who sees it. For sure.' Present company excepted, however. 'I do think I know my parents pretty well,' says Ono Lennon, who co-executive produced the film (along with Brad Pitt and others) and served as its music producer. 'I knew about that time. It was only a couple years before I was born. My mother spoke about it a lot. I know a lot about their story, including (this time period), so I would not frame it that I learned something necessarily.' More from Billboard Actress Michelle Trachtenberg's Cause of Death Revealed Daryl Hannah Claims Neil Young's Citizenship Process Was Hindered by 'Every Trick in the Book' Tracy Chapman's Debut Album Hits Top 10 on Billboard's Album Sales Chart After Vinyl Reissue Other viewers, however, will get a thorough look into one of the most dramatic 18-month periods in the couple's lives — which, for anybody who knows about them, is saying something — from their move to New York City's Greenwich Village in 1971 to the One to One benefit concert at Madison Square Garden on Aug. 30, 1972, Lennon's only full-length performances after the Beatles' 1970 split. One to One premiered at the Venice Film Festival last August, also showing at the Telluride Film Festival and Sundance Film Festival before its IMAX rollout on April 11. One to One opens wide in theaters starting April 18 and will stream on Max later this year. Directed by Kevin Macdonald and distributed by Magnolia Pictures, One to One employs a montage-style collection of footage and sound recordings (some provided by the John Lennon Estate) to present Lennon and Ono primarily in their own words, without third-party narration. 'Certainly Kevin and myself were sitting around in a room for quite a few weeks, scratching our heads — not in a bad way — deciding what direction we wanted to go in,' says co-director and editor Sam Rice-Edwards. 'We didn't want to make just another Beatles or Lennon documentary; there's plenty out there, and this needed to be original and fresh. 'Kevin came up with the concept of presenting the world as John and Yoko would have seen it in 1972; we felt if you did that, and we also spent time with them, in a way, that was really what people hadn't done before. We found moments where we felt like the camera wasn't on them…which gave us a fresh look at John and Yoko and allowed (the viewer) to be with them in a way you hadn't before.' Ono Lennon — who acknowledges that left to his own devices 'I probably would've made a live concert film' — felt the approach was 'really effective in telling their story. It's not easy to maintain such a complex story, but (One to One) does it very beautifully. If it was narrated it would've been more of an op-ed. This is a true documentary in that it allows the subjects to tell their own story.' Using other period footage — snippets of TV shows, commercials, news footage, etc. — to provide a context for the time, One to One finds Lennon and Ono embroiled in strident political activism, including an association with Jerry Rubin, that made them targets for FBI surveillance and, ultimately, attempts to deport Lennon by the administration of then-President Richard Nixon. 'It's really a beautiful story because you realize they were willing to risk everything, their careers and even their personal safety, to fight for their political and moral beliefs,' Ono Lennon says. But, he adds, only to a point. 'I think an important message to glean from the film has to do with the way my parents reacted to the more extreme elements of the radical activists they were working with at the time,' he explains. 'At a certain point they realized the people they we working with, or some of them — Jerry Rubin specifically — were proposing to do things that were not necessarily aligned with my parents' philosophy of pacifism and peace and love. You witness the trajectory of my parents experimenting with the radical groups and then realizing that they'd sort of gone too far, and they had to pull back — not just because it became dangerous for them but because people who were arguing for potentially violent activism were basically becoming as bad as the people they were fighting, which is really an important message for today, too.' Ono Lennon says that as a youth his mother spoke frequently about that particular time, including being 'freaked out' about the FBI wiretaps on the couple's phones. 'My early childhood was chaotic, obviously, and a lot of stuff that was happening in the film, the echoes were still resounding throughout my childhood,' he recalls — which includes the FBI planting an agent with the family after Lennon's assassination in 1980. He adds that Ono 'never believed activism was worth losing your life over. She always felt like it's important to protect yourself so you can keep on doing good. If you're not alive, what's the point? Some people glamorized certain revolutionary kinds of characters willing to resort to violence. She never admired those people, and I don't, either.' The grail find for the One To One documentarians was an unlabeled box of reel-to-reel tapes that held recordings of Lennon and Ono's phone calls, which they began making when they discovered their lines were bugged. The conversations, with manager Allen Klein as well as a variety of employees and friends, were discovered by Simon Hilton, vice president of Multimedia Projects for the Lennon Estate, amidst the Lennon archives in New York. Rice-Edwards recalls that 'we knew pretty quickly this was really important. Listening to John and Yoko, or the people around them, when they thought they weren't being listened to was extremely revealing about who they were. And a lot of what they were talking about in the phone calls was relevant to events we were covering in the film.' Ono Lennon, meanwhile, considers the tapes 'a pot of gold,' for the film as well as for himself. The One to One concert materials have been released before, but Ono Lennon and the filmmakers went to great pains to correct shortcomings from the original source material, which was initially released as a TV special directed by Steve Gebhardt and featured appearances by some of the other acts, including Stevie Wonder, Roberta Flack and Sha Na Na. 'There was some really crazy camera work,' Rice-Edwards says. 'A lot of people working on the film, the camera people, were really high, so we had to work with that. But there was some really great stuff as well. That fact it was shot on film originally — in lovely 35mm — helped, and it was certainly good. We just treated it in the right way and made it the best we could.' On the audio side, Ono Lennon found that 'the recordings themselves were quite chaotic…. There were mics that were misplaced, and a lot of mics were moved between the matinee and evening shows. It seems like things were done in an improvised and last-minute manner. But we didn't mind because it was more fun to have the challenge. I don't want to give away too many of the tricks. I think there's a reasonable amount of movie magic in there, let's put it that way; it was a great time, technologically speaking, for us to reinvestigate the mixes. We have more tools than ever to bring out the best and turn down what's undesirable. It did take a lot of work to get it where it is now, but that was part of the joy of doing it.' He did come away with favorites among the performances, including sharpening the mixes of 'Cold Turkey' and 'Come Together' and hearing his father's performances of the song 'Mother.' 'To see him sing that song, which is a very different style from Beatles music…His voice is so incredible and so moving,' Ono Lennon says. 'It's kind of shocking, honestly, and it's very sweet as well…very vulnerable, but also powerful at the same time.' His mother's aggressive rendition of 'Don't Worry Kyoko' also resonated with him. 'She had several styles (of music), but 'Don't Worry Kyoko' is the more challenging, punk rock stuff…there wasn't even (punk rock) yet. Some people might not have liked listening to it on the stereo, but when you see the show and see the audience live, it really does translate. It's all about the energy, and the groove is there. It's undeniably rockin'.' He adds that Ono, retired at 92, was not deeply involved with One to One but is 'not unhappy with anything' about the film. Ono Lennon has finished work on a One to One soundtrack release slated for Oct. 9 in several formats and packages. The full two concerts will definitely be part of it, while additional performance content from the period — such as songs from Lennon and Ono's stint on The Dick Cavett Show during September 1971 — is currently being discussed and licensed. 'Whatever we can put on we're putting on,' says Ono Lennon, who's also finishing work on a new album of his own. 'I think we'll put on basically everything that would make sense to put on it…to satisfy the hardcore fans.' Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
CairoScene
15-04-2025
- Entertainment
- CairoScene
Egyptian Film ‘Darwish' Wraps Production Ahead of Summer 2025 Release
Set in 1940s Egypt, the film stars Amr Youssef, Dina El Sherbiny, and Tara Emad in a comedic action tale of mistaken identity. Apr 15, 2025 Upcoming Egyptian feature film 'Darwish' has wrapped filming and is set to hit cinemas on July 17th, 2025. Directed by Waleed El Halfawy and written by Wissam Sabry, the film is a period action-comedy that unfolds in Cairo during the 1940s. 'Darwish' follows the story of a con artist who becomes entangled in a case of mistaken identity after being falsely accused of murder. As the story progresses, the character's unexpected rise to public acclaim propels him into a complex web of fame, unresolved conflict with a former partner, and the stirrings of a new romantic relationship. Leading the cast is Amr Youssef, with co-stars Dina El Sherbiny, Tara Emad, Mohamed Shahin, and Moustafa Gharieb playing key roles. The film is a co-production between One to One, Film Clinic, Vox Studios, and Film Square. Darwish is scheduled to hit cinemas starting July 17, 2025, across the Arab world.
