Dia Frampton Talks Her Career and Roles
Richard speaks with Dia Frampton about some of her experiences with acting and music.

Lebanese filmmaker Dima El-Horr moved to Paris several years ago. Among the friends who stayed at home is the artist Sirvat Fazlian, whom she regularly visits in Beirut until the failed revolution of 2019, the COVID lockdown, the devastating port explosion and finally the dramatic economic crisis put a temporary end to their meetings. So the director decides to give her conversations with Siro a cinematic form.
Richard speaks with Dia Frampton about some of her experiences with acting and music.
“To be universal, you have to get specific”: while the film does not attempt to provoke discussions about queerness or race, those watching closely may find something resonant in Sorrentino’s love letter to the Naples of his youth.
An analysis on how the Garfield movie fails to represent the characters it is adapting, especially the women, by removing their best characteristics.
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.
I highly recommend Dark Waters. It’s a highly engrossing picture, which lends itself to cautionary storytelling. The dark information continually grows, inspiring change and accountability altogether. Overall, Haynes’ picture will not be known for its inclusiveness--but it will be known for being a fantastic, engrossing film.
Most movies give you their point upfront, while others make you think it’s about a specific topic, then reveal that the story is about something else. Pink Lady belongs somewhere in the middle of those two categories.