ReportWire

Tag: todd phillips

  • Poker’s NBA-and-Mafia betting scandal echoes movie games, and cheats, from ‘Ocean’s’ to ‘Rounders’

    [ad_1]

    LOS ANGELES (AP) — The stakes. The famous faces. The posh private rooms. The clever cheating schemes.

    The federal indictment of a big-money poker ring involving NBA figures on Thursday, in which unsuspecting rich players were allegedly enticed to join then cheated of their money, echoed decades of movies and television, and not just because of the alleged Mafia involvement.

    Fictional and actual poker have long been in sort of a pop-cultural feedback loop. When authorities described the supposed circumstances of the games, they might’ve evoked a run of screen moments from recent decades.

    Poker in ‘Ocean’s Eleven,’ ‘Molly’s Game’ and ‘The Sopranos’

    A 2004 episode of “ The Sopranos ” showed a very similar mix of celebrities and mobsters in a New York game whose players included Van Halen singer David Lee Roth and football Hall-of-Famer Lawrence Taylor, both playing themselves.

    In 2001’s “Ocean’s Eleven,” George Clooney finds his old heist buddy Brad Pitt running a poker game for “Teen Beat” cover boys including Topher Grace and Joshua Jackson, also playing themselves. Clooney spontaneously teams with Pitt to con them. And the plot of the 2007 sequel “Ocean’s Thirteen” centers on the high-tech rigging of casino games.

    Asked about the relevance of the films to the NBA scandal, which came soon after a story out of Paris that could’ve come straight out of “Ocean’s Twelve,” Clooney told The Associated Press with a laugh that “we get blamed for everything now.”

    “‘Cause we also got compared to the Louvre heist. Which, I think, you gotta CGI me into that basket coming out of the Louvre,” Clooney said Thursday night at the Los Angeles premiere of his new film, “Jay Kelly.” He was referring to thieves using a basket lift to steal priceless Napoleonic jewels from the museum.

    2017’s “Molly’s Game,” and the real-life memoir from Molly Bloom that it was based on, could almost serve as manuals for how to build a poker game’s allure for desirable “fish” in the same ways and with the same terminology that the organizers indicted Thursday allegedly used.

    The draw of Bloom’s games at hip Los Angeles club The Viper Room were not NBA players, but Hollywood players like Leonardo DiCaprio, Tobey Maguire and “The Hangover” director Todd Phillips. (None of them were accused of any wrongdoing.)

    In the movie written and directed by Aaron Sorkin, Bloom, played by Jessica Chastain, describes the way a famous actor acts as an attractor for other players, the same way officials said Thursday that NBA “face cards” did for the newly indicted organizers.

    The unnamed actor, played by Michael Cera, was at least partly based on the “Spider-Man” star Maguire.

    “People wanted to say they played with him,” Chastain says. “The same way they wanted to say they rode on Air Force One. My job security was gonna depend on bringing him his fish.”

    In her book, Bloom described the allure for the players she drew.

    “The formula of keeping pros out, inviting in celebrities and other interesting and important people, and even the mystique of playing in the private room of the Viper Room added up to one of the most coveted invitations in town,” she writes, later adding that “I just needed to continue feeding it new, rich blood; and to be strategic about how to fill those ten precious seats.”

    Bloom would get caught up in a broad 2013 nationwide crackdown on high-stakes private poker games, probably the highest profile poker bust in years before this week. She got a year’s probation, a $1,000 fine, and community service.

    There were no accusations of rigging at her game, but that didn’t make it legal.

    The legality of private-space poker games has been disputed for decades and widely varies among U.S. states. But in general, they tend to bring attention and prosecution when the host is profiting the way that a casino would.

    A brief history of movies making poker cool

    Poker — and cheating at it — has run through movies, especially Westerns, from their silent beginnings.

    Prominent poker scenes feature in 1944’s “Tall in the Saddle” with John Wayne and 1950’s “The Gunfighter” with Gregory Peck.

    “The Cincinnati Kid” in 1965 was dedicated entirely to poker — with Steve McQueen bringing his unmatched cool to the title character.

    A pair of movies co-starring Robert Redford and Paul Newman really raised the game’s profile, though.

    In the opening scene of 1969’s “Butch Cassidy and the Sundance Kid,’ a hyper-cool Redford is playing poker and refuses to leave until another player takes back a cheating accusation.

    In 1973’s Best Picture Oscar winner “The Sting,” 1930s con-men Newman and Redford seek revenge against a big fish and run a series of increasingly bold gambling scams that could’ve come from Thursday’s indictments. Newman out-cheats the man at poker to set him up for the big con, a phony radio horse race.

    The 1980s saw a dip in screen poker, with the subject largely relegated to the TV “Gambler” movies, starring Kenny Rogers, based on his hit song.

    But the end of the decade brought a poker boomlet from the increased legalization of commercial games.

    Then, at possibly the perfect moment, came “Rounders.” The 1998 Matt Damon film did for Texas Hold ’em what “Sideways” did for pinot noir and “Pitch Perfect” did for a cappella: it took an old and popular phenomenon and made them widespread crazes.

    Soon after came explosive growth in online poker, whose players often sought out big face-to-face games. And the development of cameras that showed players’ cards — very similar to the tech allegedly used to cheat players, according to the new indictments — made poker a TV spectator sport.

    The “Ocean’s” films and the general mystique they brought piled on too.

    Clooney, talking about the broader set of busts Thursday that included alleged gambling on basketball itself, pointed out that his Cincinnati Reds were the beneficiaries of sport’s most infamous gambling scandal, the 1919 “Black Sox” and the fixing of the World Series, “so I have great guilt for that.”

    “But you know there — we’ve never had a moment in our history that we didn’t have some dumb scandal or something crazy,” he said. “I feel very bad for the gambling scandal ’cause this was on the night that, you know, we had some amazing basketball happen.”

    —-

    Associated Press writer Leslie Ambriz contributed to this report.

    [ad_2]

    Source link

  • On Lady Gaga’s Harley Quinn as An Exemplification of Being a Poverty/Mental Illness Tourist

    On Lady Gaga’s Harley Quinn as An Exemplification of Being a Poverty/Mental Illness Tourist

    [ad_1]

    While people have chosen to lambast Joker: Folie à Deux for all the wrong reasons (mainly because it doesn’t fit in any way with the fanboy expectation of the DC Universe—much the same fate that befell Marvel’s She-Hulk series), no one appears to be looking at all the very clear trolling Todd Phillips is doing. Not just of the so-called fans, but of a certain kind of person…as embodied by Harley “Lee” Quinzel. And while, obviously, Lady Gaga’s iteration of the character could never have been as iconic as Margot Robbie’s, Phillips and co-writer Scott Silver wield her for purposes beyond merely having Halloween costume cachet (which, by the way, this version of Harley does not).

    To mirror the phoniness of everyone who claims to be a supporter of Joker (Joaquin Phoenix), it seems inevitable that Lee should turn out to be a total poseur as well. Accordingly, she initially tells Arthur at Arkham, “I grew up in the same neighborhood [as you]. Me and my friends used to take that staircase to school every day.” This said when Arthur steals a moment with her after being placed in the same B Ward music class, despite his assignation to the E Ward (a.k.a. where the dangerous and violent are relegated). Because, for whatever reason, one of the usually bullying security guards, Jackie Sullivan (Brendan Gleeson, still bearing an Irish name in character, naturally), decides to get him into the class. (Based on certain information given later, who’s to say that Lee wasn’t the one to make that happen?)

    Having encountered Lee while walking past that class a few weeks prior, Joker is only too eager to attend—especially since Lee flashed him a flirtatious sign by wielding her index finger and thumb as a gun and pantomiming killing herself with it. Talk about love at first sight. Or so she wanted to manipulate him into believing….

    This comes complete with further laying it on thick with her “poor me” backstory so that Joker will feel even more “kindred” with her as she tells him, “My parents didn’t give a fuck about me either. My father beat the shit out of me.” And then died in a car accident. An elaborate sob story, to be sure. Along with her explanation for being at Arkham: “I set fire to my parents’ apartment building.” As a result, “My mother had me committed. She says I’m psychotic.” Per Lee’s version of events, anyway. But even before she expresses contempt for her own matriarch, Arthur, apparently feeling comfortable in her midst, confesses, “Nobody knows, but I also killed my mother.” Lee smiles at him fondly, as though he’s just told her the sweetest thing ever (though, based on some women’s mothers-in-law, the smile isn’t totally out of left field). She then makes him feel even safer about parading his crazy around her by responding, “I should have done that.”

    Although Lee’s secret intention is to make Arthur bring out his “true” self—Joker—the effect she ends up having on him is quite the opposite. For he falsely believes that Lee loves the “real” him, not the man who took leave of his senses for a few days, culminating in the murder of Murray Franklin (Robert De Niro) on live television. To Lee’s dismay, that’s not who he is—because, like many of us, he gave in to a single moment that caused him to snap. A blind rage-sadness that made him do something he wouldn’t have ordinarily done. And now everyone, including Lee, wants him to be that guy. The one Harvey Dent (Harry Lawtey) describes on the news as follows: “His depraved acts of violence are only admired by his followers, not only in our city, but all over the country… And they are still willing to commit acts of violence in his name. Now these people, they believe Arthur Fleck to be some kind of martyr.”

    Soon after Dent’s public declaration, Fleck appears on a TV special with interviewer Paddy Meyers (Steve Coogan). This arranged by his lawyer, Maryanne Stewart (Catherine Keener), as a means to funnel a bit more goodwill in Arthur’s direction. Indeed, Maryanne seems to be the only one in Arthur’s life who actually wants him to “just be himself.” Paddy, on the other hand, wants to invoke the beast for the sake of his viewership. Even after Arthur firmly tells him of the person that killed five (er, six) people, “That’s not me anymore. That’s not who I am.”

    When Paddy demands what’s changed, Arthur announces that he’s not alone now. Paddy, like most of Gotham, is aware of who he’s referring to, with Lee’s overt displays of affection for Joker making headlines everywhere—especially since she’s out of Arkham and ready to talk to whoever will listen. Of course, she tells Arthur that the reason she’s being “sent home” is because “they’re saying you’re a bad influence on me.” This after the two “escaped” (a.k.a. danced a bit outside the confines of the prison) together when Lee insisted they ditch a screening of The Band Wagon, with Phillips strategically homing in on the scene during which “That’s Entertainment!” is sung.

    Perhaps not aware of just how meta that choice would be, it bears noting that The Band Wagon was initially regarded as nothing more than a box office disappointment before going on to garner the eventual respect it deserved (one can only hope the same might happen for Joker: Folie à Deux). The choice is overt in its pointedness, placing especial emphasis on the lyrics, “Anything that happens in life/Can happen in a show/You can make ‘em laugh/You can make ‘em cry/Anything, anything can go/The clown/With his pants falling down/Or the dance/That’s a dream of romance/Or the scene/Where the villain is mean/That’s entertainment!”

    Making mention of a “clown” isn’t the only thing that applies to Arthur, with his own dream of romance causing him to be blind to the fact that, as Maryanne warns him, “She’s playing you for a fool.” And even though Arthur tells Paddy, “You’re just like Murray, you just, you want sensationalism. You don’t care about—you just wanna talk about my mistakes, you wanna talk about the things I did in the past, not about who I am now, not how I’m different now,” it’s something he could just as well be saying to Lee. After all, she just wants him to be the bad boy that will assist her in securing her own fame. A viable fear of Arthur’s that leads into one of Joker’s musical fantasies of the two doing a duet as Sonny and Cher (except they’re Joker and Harley).

    Soon, Lee starts to get a little too interested in her solo—a rendition of the Bee Gees’ “To Love Somebody”—with the crowd going quiet when Joker stops singing to tell her, “You weren’t even looking at me anymore. You were making it all about yourself. And the song is about loving meeeee!” The two then make nice as Lee agrees, “You’re right, let’s give the people what they want.” Joker assumes this to mean they’ll take it from the top again with their lovey-dovey song and vibes, only for Lee to pull a gun out and shoot him. For that is, in the end, what the people want. Because the Joker they had in mind didn’t live up to the ideal, with Lee, too, feeling exactly the same way after seeing far too much Arthur shine through.

    And, in the end, her only motive for checking herself into Arkham was for the purpose of “seeing” Joker, like some sort of private museum display meant solely for her to enjoy and exploit however she wants. In the end, she doesn’t “see” him at all though. Nor does Arthur really see her. Not for what she is. That unveiling is left to Maryanne, who informs her client, “She didn’t grow up in your neighborhood. She lives on the Upper West Side with her parents [this clearly being a nod to the frequent shade thrown at Gaga’s own real-life background]. Her father is not dead, he’s a doctor. She voluntarily committed herself to the hospital and then just checked herself out when she wanted to.”

    Arthur is still insistent that the lies Lee told him are true, prompting Maryanne to then ask, “Did she mention she went to grad school for psychiatry?” Needless to say, she’s a mental illness tourist—someone who likes to pick and choose certain facets of the DSM and try them on to see if it might make them more interesting. Not to mention a lover of poverty porn (à la Nicola Peltz-Beckham with Lola). Incidentally, Arthur sings a lyric from “Bewitched (Bothered and Bewildered)” that cuts to the core of who Lee is even before he finds out the truth, singing to Paddy, “She’s a fool and don’t I know it/But a fool can have her charms,” then shrugging, “Lost my heart, but what of it?/She is cold, I agree.”

    And it’s true, her coldness knows no bounds by the end of Folie à Deux, when she emotionally gut-punches him right on the very staircase that made him iconic, breaking the news, “We’re not going away Arthur. All we had was the fantasy, and you gave up… There is no Joker, that’s what you said, isn’t it?” In effect, because he doesn’t want to play along with the fantasy that she and everyone else has of him, she’s got to move on. This by way of singing “That’s Entertainment!” to convey that spectacle is all anyone truly wants—from him and in general.

    Arthur begs, “I don’t wanna sing anymore. Shh. Just talk to me.” He tries to cover her mouth while urging, “Just talk, please stop singing.” But she can’t be stopped. “That’s Entertainment!” must be sung in all its glory. Even though Phillips opts to leave out the additionally applicable lyrics, “The world is a stage/The stage is a world/Of entertainment!” and “The dame/Who is known as the flame/Of the king/Of an underworld ring/He’s an ape/Who won’t let her escape.” Funnily enough, that last line speaks to the version of Joker that Margot Robbie’s Harley Quinn gets wet for. The one that Lee wants to enjoy, too.

    Only she’s instead saddled with this flaccid incel type who hardly lives up to previous images of Joker played by the likes of Jack Nicholson, Heath Ledger and even Jared Leto (panned as Suicide Squad was, Leto still delivered on being the kind of “sexy” Joker Lee wants). A disappointment that effectively ends Lee’s “tour” of how the other half lives.

    [ad_2]

    Genna Rivieccio

    Source link

  • Francis Ford Coppola Praises Todd Phillips as ‘Joker: Folie à Deux’ Flails: “He’s Always One Step Ahead of the Audience”

    Francis Ford Coppola Praises Todd Phillips as ‘Joker: Folie à Deux’ Flails: “He’s Always One Step Ahead of the Audience”

    [ad_1]

    Hang in there, Todd Phillips.

    That was the message Francis Ford Coppola tried to get across in a social media post on Saturday. As his new film Megalopolis continues to bomb at the box office, he praised Todd Phillips for making Joker: Folie à Deux, which is likewise struggling.

    The Joker sequel, which is launching in theaters around the globe this weekend, is opening well behind expectations after becoming the first Hollywood comic book pic in history to receive a D Cinemascore. The audience backlash isn’t a huge surprise, considering that the follow-up is a musical, making for an unusual hybrid that fanboys might not have wanted.

    Coppola says Phillips’ films have always amazed him and provided enjoyment. He also suggested that moviegoers may not be ready for a film such as Joker: Folie à Deux. “Ever since the wonderful The Hangover, he’s always been one step ahead of the audience never doing what they expect. Congratulations to Joker: Folie à Deux,” Coppola wrote on Instagram.

    That’s only slightly worse than the D+ awarded to Megalopolis when it opened in cinemas last weekend. Coppola’s dystopian epic debuted to a mere $4 million against a production budget of $120 million before marketing. No major studio would touch the movie, so Coppola raised the funds himself, including putting up some of his own money. Lionsgate came aboard at the 11th hour to distribute the movie, which is on course to earn less than $1 million this weekend.

    Joker: Folie à Deux — a hybrid antihero pic and a musical that stars Joaquin Phoenix and Lady Gaga — had no trouble getting made after Phillips’ Joker grossed $1 billion globally in 2019 and earned numerous Oscar nominations, as well as a best actor win for Phoenix. The first Joker cost $55 million to make before marketing; the sequel cost a net $190 million to $200 million, upping the stakes dramatically.

    When Folie à Deux first came on tracking three weeks ago, it looked like it would open to $70 million. While still behind the first film’s $96 million domestic opening, it was a respectable number. However, as reviews started coming in and the film was screened for influences, interest waned and there was a notable dip in tracking. Heading into this weekend, the forecast was $50 million to $60 million.

    Based on Friday’s opening day gross of $20 million, however, Folie à Deux looks to open in the low- to mid-$40 million range (one rival studio even has it in the high $30 million range).

    Joining the D CinemaScore club isn’t the only thing that Coppola and Phillips have in common, as it turns out.

    Coppola said in his Instagram post he’s honored that Joker 2 cinematographer Lawrence Sher has talked about how Coppola’s infamous 1981 musical One From the Heart — a critical and commercial flop, which nearly put his Zoetrope studio out of business — provided inspiration for Folie à Deux. (In recent years, critics have revisited One From the Heart, turning it into something of a cult classic.)

    Reviewers haven’t been kind to either Megalopolis or Joker 2, which have a 46 percent and 33 percent critic’s score on Rotten Tomatoes.

    [ad_2]

    Pamela McClintock

    Source link

  • Bad Romance: Joker: Folie à Deux Shows That Projection in Relationships Always Results in Dashed Expectations

    Bad Romance: Joker: Folie à Deux Shows That Projection in Relationships Always Results in Dashed Expectations

    [ad_1]

    In many ways, the real reason the sequel to Joker is called Joker: Folie à Deux has little to do with a shared delusion between Harley Quinn and Arthur “Joker” Fleck, and more to do with Todd Phillips and Scott Silver calling out the delusions that fans have about those they worship. A delusion that can be shared by both parties in the situation only so long as the “revered” obliges the projections being cast onto them (see: Taylor Swift). Once they stop, however, the fans’ “love” for them suddenly disappears, turning often to hate—hence the expression: “there’s a fine line between love and hate.”

    In Harleen “Lee” Quinzel’s (Lady Gaga) case, the love she claims to feel disappears as soon as Arthur Fleck (Joaquin Phoenix) refuses to be “the guy” (read: Joker). The one she fell “in love” with when she watched him blow Murray Franklin’s (Robert De Niro) brains out on live TV. Or the one who was portrayed in the “really good” (Lee’s words) TV movie about the entire course of events (presumably including dramatized scenes of Fleck’s hyper-shitty early life). So it is that, like fans with celebrities, Lee’s first connection with Arthur is entirely parasocial.

    At first, of course, he’s only too willing to play the part she expects of him, knowing on some level that her attraction is rooted in what she knows of him through the media’s portrayal—which only focuses on his “Joker era.” As such, he’s often reluctant to be “full Arthur” around her, while simultaneously being amazed that she could possibly be interested in him in any capacity—Joker or otherwise. And yet, like many who have been glamored by lovebombing, Joker falls for Lee’s flattery easily, letting her beguile him with the notion that they’re both two broken souls who can “mend” one another. To boot, that he is powerful and can do anything he wants—a feeling that becomes even more adrenaline-boosting when buttressed by notions of “two against the world”-type love. As for Lee, she sees in Joker someone who can be her diabolical savior. The “sexy” solution to all her “psychotic” woes because he accepts them, is unfazed by them. And because his are so much worse.

    Accordingly, it doesn’t take long for the pair to start projecting all of their unhinged ideals and fantasies onto one another—with Joker in particular constantly fantasizing about Lee in various musical settings that often remind one of a sort of “macabre La La Land” (particularly that sequence when they’re dancing with a giant moon behind them). Indeed, in one of many contrasts to the usual telling of Joker and Harley’s story, it is so clearly Joker who is more obsessed and smitten with Harley than the other way around (as Margot Robbie’s version elucidates in Suicide Squad and Birds of Prey). Because, as he tells his interviewer, Paddy Meyers (Steve Coogan), he’s a changed man now thanks to “not [being] alone anymore.” Falling prey to the old adage, “You’re nobody until somebody loves you” (which really should have been a musical number in the movie at some point). Or until you create a sinister alter ego and go on a killing rampage like Joker. Thereby becoming a magnet for freaks and faux freaks alike. Lee, as it turns out, subscribes to the latter category—ostensibly looking to Joker to make her “legitimate” on the disturbed and deranged front. As it transpires though, she’s ultimately more fucked-up than Joker in terms of callousness and plotting. Discarding him with ease once he renounces his Joker identity on live TV.

    Up until that moment, however, she was willing to do whatever it took to be with him based on her false projection, hoping against hope that he’ll take her cues about how he’s “supposed to be.” Case in point, she even insists upon Arthur wearing the Joker makeup she smuggles into his prison cell. So committed is she to upholding this projection of hers. Joker, meanwhile, is still too blinded by his “love” for her (read: his own false projection), dumbly remarking, “You brought makeup.” Lee asserts, “I wanna see the real you.” She then starts to apply the signature Joker colors to his face. This apparently getting her “wet” enough to not be totally repulsed when Arthur asks her, “Can you do it?” before they start to fuck. As in: can she guide him/his penis on how to even “do sex”? The scene is among the grimmest in the movie, with no fantastical/musical elements added to it as a means to mitigate the drab, grotesque “consummation” of their “relationship.” A relationship that is a folie à deux in that each person has their own separate but shared delusion about the other.

    Perhaps one of the most overt examples of this from Lee is her wording of the phrase, “When I first saw Joker—when I saw you on Murray Franklin… for once in my life, I didn’t feel so alone anymore.” That she has to remind herself that the pathetic, maquillage-free person in front of her is “technically” Joker—not Arthur—seems telling of the fact that she’s already noticed a disconnect between the man on the screen and the flesh and blood man in front of her. Who, if she’s being honest, can’t quite measure up to the projection she already saw and then built further up as her own.

    Arthur’s parallel belief in Lee as a kindred spirit (especially since she lies to him and says she’s from the same neighborhood and also had an abusive childhood) is also doomed to be dashed sooner or later. Particularly since his “living in a fantasy world” tendencies start to ramp up as he dreams of the two of them together in various musical scenarios, singing such love songs as “Folie à Deux” (one of the original songs on Harlequin) and “To Love Somebody” (originally sung by the Bee Gees). The lyrics of the former are most telling of each person’s respective projection as Lee lackadaisically sings, “In our minds, we’d be just fine/If it were only us two.” This line indicates that without the inevitable outside influence of others, maybe their delusions about one another could stand a chance and the relationship could still survive…albeit on a bed of lies.

    Lee then adds, “They might say that we’re crazy/But I’m just in love with you.” And yes, it is an adage widely disseminated in various art forms that the word (and act of) “love” is synonymous with “crazy.” To name a few examples, “The things we do for love,” “Love makes you do crazy things,” “Your love’s got me lookin’ so crazy right now,” etc. But the “crazy” in Joker: Folie à Deux is all about the insanity of projection rather than true love itself being the thing that makes a person go “crazy.”

    Then again, isn’t every form of falling in love ultimately a product of projection? People fall in love with the version of someone they build up in their head only to unearth some form of disappointment after they’ve already convinced themselves it’s love. Gone too far down the rabbit hole to turn back. But for Lee, it isn’t too late (as it never is for rich girls) once she realizes that Arthur refuses to be “who he really is.” Or rather, who she and everyone else so desperately wanted him to be: Joker.

    [ad_2]

    Genna Rivieccio

    Source link

  • Joker: Folie à Deux: The Symbol Becomes More Powerful Than the Real Person Behind It

    Joker: Folie à Deux: The Symbol Becomes More Powerful Than the Real Person Behind It

    [ad_1]

    It was Todd Phillips himself who said that Joker was never intended to have a sequel. In many regards, that’s not what Joker: Folie à Deux is, so much as a “second act” or “companion piece” that follows up the rise of Joker with the fall of Arthur Fleck (Joaquin Phoenix). Regardless, a large majority of viewers and critics haven’t been able to receive Joker: Folie à Deux in the spirit with which it was intended.

    From the beginning of the announcement of the movie’s existence, the automatic reaction upon hearing that a “sequel” to Joker would arrive in the form of a musical was met with more than slight hesitancy on the part of many “purists.” That Lady Gaga was going to be cast in the role of Harley Quinn—brandishing the diminutive “Lee” instead, as though to differentiate from Margot Robbie’s untouchable performance—was meant, perhaps, to assuage those who were nervous about the film’s viability. Granted, there are just as many who lost even more faith in it upon seeing Gaga’s name next to Joaquin Phoenix’s. And yet, it is not really supposed to be taken seriously as a musical (those who do are naturally going to pan the movie). That genre merely being a tool to exemplify the artifice and spectacle that ensues after a person achieves notoriety-turned-laudability/“respectable” fame. As Arthur Fleck does in Joker after going on a killing rampage spurred, ultimately, by his total ostracism from society.

    Ending up at Arkham Asylum at the end of Joker, Arthur has developed more than a mere cult following for his presumed anti-Establishment, anti-wealthy, generally anarchic tendencies. Whether he wanted to or not, he becomes a symbol. Something that the alienated and disenfranchised can project their disillusionments onto. And, although Arthur was seemingly happy to become that symbol at the end of Joker, his reluctance about being some kind of figurehead for chaos and misanthropy has waned in Joker: Folie à Deux, as he realizes that, once again, no one is actually seeing him—Arthur. They just want Joker, and he’s no longer sure if that’s who he “is,” or if it was who he became during a moment of weakness/a general nadir.

    Taking place two years after the rampage he went on in 1981 (even though five years have lapsed since Joker came out in 2019), the movie, nonetheless, has a decidedly 1970s feel and aesthetic, complete with sartorial choices—particularly during the fantasy sequences—and a blatant nod to The Sonny and Cher Show (hence, calling it The Joker and Harley Show) when Lee and Joker are singing the Bee Gees’ “To Love Somebody” on a TV stage in front of a live audience. By this point in the movie, Arthur has fallen hopelessly and blindly in love with Lee, forced to question that love when his lawyer, Maryanne Stewart (Catherine Keener), reveals to him that everything she’s told him about herself is a lie—particularly the fact that she grew up in the same neighborhood as Arthur with similarly abusive parents when, in fact, she’s from the Upper West Side (a meta detail considering Gaga’s own origins there) and her father is a well-to-do doctor. It is after this moment that he not only has The Joker and Harley Show fantasy (wherein said fantasy is tainted by the reality that she might not be all that she seems), but also starts to comprehend that maybe the only reason anyone is interested in him at all is because of their false projections. Much as he falsely projected onto her the ideal of a perfect “other half” who might save him from his misery.

    The misery that Phillips and his co-writer, Scott Silver (who also co-wrote Joker), highlight in the very first few minutes of the movie via an “old-timey” WB cartoon called “Me and My Shadow,” in which Joker struts into the Franklin Theater (in ironic honor of Murray Franklin [Robert De Niro], one imagines) with his shadow starting to act out in ways far more sinister than Peter Pan’s. Eventually, the shadow self overtakes the real Joker long enough to go out onstage, wreaking havoc before and during the performance so that when he finally is subdued by the real Joker again, it is that real Joker who is blamed for everything his shadow self did.

    It also bears noting that, in the title card of “Me and My Shadow,” while the flesh and blood Joker is wielding his index finger and thumb in the shape of a gun, his shadow self is toting a real gun—this being the ultimate clue that Joker is merely Arthur’s id, not who he really is a.k.a. who everyone, including Lee, wants him to be. That musicals themselves are entirely rooted in fantasy and fantastical elements further accentuates the idea that Arthur is now living in a distorted reality, a nightmare that he didn’t entirely create. For it is the public that has perpetuated this image of him as Joker…even if he’s no longer necessarily certain that’s who he wants to be (hell, if that’s who he ever was). And even if that acknowledgement means not getting the girl in the end as a result.

    And yes, it becomes increasingly difficult for Arthur not to notice what a “social climber,” for lack of a better word, Lee is. Which is ironic considering she’s already at the top of the social stratum. But what gets her off is “slumming it” with Joker, who she visits in prison at one point to wistfully encourage him, “You should see it out there, they’re all going crazy for you” (Gaga loves a Madonna reference, after all). Only they’re not going crazy for “him,” but rather, “Joker.” A man who doesn’t really exist. When Arthur finally admits that to everyone in the final courtroom scene, any “public sympathy” he might have had by pleading some “insanity defense” by way of the “it wasn’t me, it was my alter ego” excuse disappears entirely. And with it, his devoted following who wanted him to be “that guy.” The guy that could represent all of their ideals and beliefs because he, too, possessed them. In the end, however, Arthur is still the confused, emotionally insecure incel that audiences first met in Joker (even if he does get to give Lee a few pathetic thrusts during an impromptu conjugal visit).

    Yet, even though this very public admission should have been the death of Joker and all that he “means,” it instead opens the door for those who simply want to cherry-pick various “tenets” of his message to form their own factions, leaving the title available for a new, truly nefarious Joker who will take the helm without hesitation or any “pussy” qualms about doing what “needs” to be done. Because the Joker can be anyone, everyone. In some sense, it’s akin to how Trump is the latest symbol for white supremacy and fascistic conservatism, yet his “acolyte,” JD Vance, is the next-generation, more extreme version of it, poised for a takeover with Trump being too decrepit (and concerned with being “liked”) to maneuver his so-called beliefs toward an “optimum” level.

    In another sense, Arthur’s reluctance to accept his notoriety without questioning why people are so obsessed with him (or rather, his false image) also echoes another au courant occurrence: Chappell Roan renouncing fame and insisting she’ll abandon music altogether if her fans keep acting batshit. Arthur, too, has these same kinds of feelings, but doesn’t have the, let’s say, “likeability” aspect that Roan has going for her to carry it off. What’s more, Roan has yet to be knocked off her “pedestal” the way Joker is in Folie à Deux. Though that does seem inevitable since, to loosely quote Madonna, there is nothing the public loves more than elevating and then desecrating those they “worship.”

    This, in part, is what makes the reaction to Folie à Deux so predictable, with critics lining up to condemn it despite how in love they were with Joker in the first film. And perhaps that was Phillips’ intent in making Folie à Deux: to show something to the world about itself and the way it treats their “gods.” Even if they still can’t seem to see it.

    [ad_2]

    Genna Rivieccio

    Source link

  • Joker: Folie a Deux Movie Review | Filmfare.com

    Joker: Folie a Deux Movie Review | Filmfare.com

    [ad_1]

    Arthur Fleck (Joaquin Phoenix) is a man suffering from split personality. His alter ego is that of Joker, a comedian who literally has killer jokes. In the first film, we see him kill six people as Joker. He’s set for a trial and while his lawyer Maryanne Stewart (Catherine Keener), wants to bring the split personality angle into play, arguing that Fleck shouldn’t be punished for Joker’s crimes, he dismisses her as the lawyer and starts to put forward his own defence, much to the delight of the publicity seeking defence attorney, Harvey Dent (Harry Lawtey). In between, Fleck meets a mentally disturbed singer Harleen “Lee” Quinzel (Lady Gaga) in the jail. Her alter ego is that of Harley Quinn and she’s fascinated by Joker, finding him to be her feminine counterpart. Through her, Flick discovers the singer in him. If in the first film he saw himself as a crack comic artiste, here he begins to see himself as something akin to Fred Astaire, a singing-dancing sensation who draws maximum crowds everywhere. The film has a wonderful soundtrack, with the two stars collaborating on covering such classics as Get Happy, For Once in My Life, and What the World Needs Now Is Love and many more. The film is a proper musical spectacle, as the Joker, in his imagination, expresses his emotions as songs from a musical, turning his life into a Broadway act.

    Director Todd Phillips has borrowed characters from the DC comics universe but turned them into something raw and human. The film isn’t set in the fictional city of Gotham but in New York. And is riddled with real-life issues. We see corrupt guards exercising their power over hapless prison inmates, ambitious lawyers courting fame and power instead of justice, groupies idolising madmen, and anarchy raising its head as people lose faith in the government. The film also touches upon the issue of identity. Who are we really? What do we appear to the world or something that only we can see in our mind’s eye? Like the first film, it bats for mental health. Both Joker and Harley Quinn need counselling and could have been saved from themselves if the society was kinder to them. Again, the apathy that we see is real and not of the comic world. The difference between them is that while Harley Quinn knows about the mask and wants to embrace it, Joker seems to be tired of the facade and wants to end the fiction.

    Joaquin Phoenix, who won the Academy Award for his turn as Joker, is in fine form here as well. The gaunt, lean body he developed for the role pays homage to his integrity as a performer. We see Arthur Flick’s mind unravelling through the actor’s performance. The lines between realities blur, as Arthur tries to come to grips with who he really is, even as he finds musical talent flourishing within him. And unlike the first film, he actually finds true love here, something that comes as a redemption to him. The actor’s face is a canvas for a hundred expressions as his character lives through different possibilities. It’s again a performance of a lifetime for the consummate actor. Lady Gaga matches him scene by scene, even as she unravels the special brand of madness that’s Harley Quinn. We’ve heard of girls falling in love with serial killers and she’s one such girl. She’s in love and she wants the world to know it. She showed us how good she was in A Star Is Born (2018) as here she again stamps her authority as an actor.

    Watch the film for the command performances by Joaquin Phoenix and Lady Gaga and for the musical score which will take you back to the Golden era of Hollywood musicals.

    [ad_2]

    Devesh Sharma

    Source link

  • Todd Phillips Thinks His Joker Would Be a Batman Fanboy

    Todd Phillips Thinks His Joker Would Be a Batman Fanboy

    [ad_1]

    The big promise of Todd Phillips’ Joker was stripping out the titular character’s comic book elements and showing what would happen if a regular guy in 1980s Gotham decided to put on clown makeup. (Turns out, things didn’t go well, mainly for everyone else around him.) A young Bruce Wayne is in the original movie, and you may be wondering what would happen if an adult Batman met this version of his nemesis. According to director/writer Todd Phillips, he thinks Arthur Fleck would just think Batman’s neat. (You’re shocked, I’m sure.)

    In a recent IGN interview, Phillips explained how Arthur would “be in awe of the alpha male that is Batman. I think [he’d] look up and appreciate it.” In his read, Arthur is “fascinated by men at ease,” such as his own coworkers and Robert De Niro’s talk show host Murray Franklin from the first movie. Those men are everything he’s not, and why wouldn’t that extend to Batman? Presumably, this Batman knows Arthur’s responsible for his parents’ murder, but maybe they can move past that.

    The original Joker ended with Arthur eventually losing his cool so bad he shot Murray in the face on live TV, so that fascination clearly has a limit. Still, Phillips’ comments get at something, namely how Arthur has been very quick to fall in love, either romantically or platonically. But Warner Bros. is probably not interested in making the decades of subtext between Bats and Jokes into actual text, or at least no more than what Lego Batman already did back in 2017. Considering Arthur’s luck with people he crushes on, anything between this Clown Prince and a Dark Knight old enough to punch his face in would likely end in a bad romance.

    Joker: Folie à Deux hits theaters on October 4.

    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

    [ad_2]

    Justin Carter

    Source link

  • Joker is back, this time with Lady Gaga — and songs

    Joker is back, this time with Lady Gaga — and songs

    [ad_1]

    VENICE, Italy (AP) — “ Joker ” is a hard act to follow. Todd Phillips’ dark, Scorsese-inspired character study about the Batman villain made over a billion dollars at the box office, won Joaquin Phoenix his first Oscar, dominated the cultural discourse for months and created a new movie landmark.

    It wasn’t for everyone, but it got under people’s skin.

    Knowing that it was a fool’s errand to try to do it again, Phillips and Phoenix pivoted, or rather, pirouetted into what would become “ Joker: Folie à Deux.” The dark and fantastical musical journey goes deeper into the mind of Arthur Fleck as he awaits trial for murder and falls in love with a fellow Arkham inmate, Lee, played by Lady Gaga. There is singing, dancing and mayhem.

    If Phillips and Phoenix have learned anything over the years, it’s that the scarier something is, the better. So once again they rebelled against expectations and went for broke with something that’s already sharply divided critics.

    As with the first, audiences will get to decide for themselves when it opens in theaters on Oct. 4.

    “HOW ARE YOU GOING TO GET JOAQUIN PHOENIX TO DO A SEQUEL?”

    Any comic book movie that makes a billion dollars is going to have the sequel talk. But with “Joker” it was never a given that it would go anywhere: Joaquin Phoenix doesn’t do sequels. Yet it turned out, Phoenix wasn’t quite done with Arthur Fleck yet either.

    During the first, the actor wondered what this character would look like in different situations. He and the on-set photographer mocked up classic movie posters, like “One Flew Over the Cuckoo’s Nest” and “Yentl” with the Joker in them and showed them to Phillips.

    “Sometimes you’re just done with something and other times you have an ongoing interest,” Phoenix said. “There was just more to explore. … I just felt like we weren’t done.”

    So Phillips and his co-writer Scott Silver got to work on a new script, one that leaned into the music in Arthur Fleck’s head. Then his dreary Arkham life turns to Technicolor when he meets and falls for Lee, a Joker superfan.

    “Joaquin Phoenix is not going to do a line drive. He’s not going to do something that’s fan service,” Phillips said. “He wanted to be as scared as he was with the first movie. So, we tried to make something that is as audacious and out there and hopefully people get it.”

    LADY GAGA FINDS LEE’S VOICE, AND LOSES HER OWN

    One decision that’s already sparking debate is casting someone with a voice like Lady Gaga’s and not using that instrument to its full power. Phillips, who was a producer on “A Star is Born,” wanted someone who “brought music with them.” But Lee isn’t a singer.

    Actor Lady Gaga and director Todd Phillips delight in returning to Venice Film Festival with “Joker: Folie à Deux,” as Gaga reveals why she sings differently in the eagerly anticipated sequel. (Sept. 5)

    “Singing is so second nature to me, and making music and performing on stage is so inside of me. Especially this music,” Gaga said. “I worked extensively on untraining myself for this movie and throwing away as much as I could all the time to make sure I was never locking into what I do. I had to really kind of erase it all.”

    Phoenix, who wasn’t quite sure what it would be like working with someone who has such a larger-than-life superstar persona, found Gaga to be refreshingly unpretentious and available. And as an actor, he admired her commitment to the character.

    “Her power is in singing and singing a particular way,” he said. “For her to sacrifice that through character, to do something that people would call a musical, but to not be performing it in the way that would sound best as a singer but to approach it from the character was a very difficult process. I was really impressed with her willingness to do that.”

    In addition to writing a “waltz that falls apart” for the film, Gaga is releasing a companion album, “Harlequin” on Friday with song titles including “Oh, When the Saints,” “World on a String,” “If My Friends Could See Me Now” and “That’s Life.”

    SORRY PUDDIN’, THIS AIN’T MARGOT ROBBIE’S HARLEY QUINN

    Much like Phoenix’s Joker isn’t Heath Ledger’s or Jack Nicholson’s, Gaga’s Lee is not the Harley Quinn of “Birds of Prey.”

    “We’re never going to outdo what Margot Robbie did,” Phillips said. “You have to do something 180 degrees in the other direction.”

    Sure, Lee will still casually light something on fire to get some time alone with Joker, but the tumult is more internal. And Gaga threw herself into making Lee something new: A real person, grounded in a reality that came before her.

    “I spent a lot of my time on developing her inner life (which) for me had a lot to do with her storm and what thing was always making her about to explode,” Gaga said. “There’s a particular kind of danger that she carries with her, but it’s inside and it’s kind of explosive.”

    “DO YOU JUST WANT A BRUTE?”

    Brendan Gleeson didn’t have much hesitation about joining the ensemble. He’d worked with Phoenix before on “The Village” and was in awe of what he’d done on the first movie.

    “He has an absolute relentless integrity and curiosity and drive,” Gleeson said. “He won’t just plough the same furrow for its own sake.”

    But he also didn’t want to play the simple version of an Arkham prison guard.

    “I said, look, do you just want a brute? Because I’m not sure I just want to do a brute,” Gleeson said. “He wanted something more. We tried to find layers in this guy.”

    CREATING MAYHEM

    Anyone who has worked with Phoenix knows that he likes to keep things fresh. That may mean something as small as changing the location of a prop or as big as throwing out choreography that you’ve been rehearsing for months at the last minute.

    “I think we both love mayhem and not just in movies but on the set,” Phillips said. “It had to feel like anything can happen.”

    With the crew 95% the same as the first, everyone was ready to be flexible. Gaga, too, dove right in, suggesting that they sing live on camera.

    “It changed the whole making of the film,” Phillips said. “We were not only singing live, we were singing live differently every take.”

    THAT’S ENTERTAINMENT?

    Since Arthur killed Robert De Niro’s talk show host Murray Franklin on live television in the first film, he’s become a kind of icon and curiosity thanks in no small part to an oft referenced, but never seen, television movie that was made about him. Now, the trial is going to be televised as well.

    “Underneath it all, there’s this idea of corruption and how everything is corrupt in the system, from the prison system to the judicial system to the idea of entertainment, quite frankly,” Phillips said. “This idea that in the States at least, everything is entertainment. A court trial could be entertainment, and a presidential election can be entertainment. So, if that’s true, what is entertainment?”

    NO LONGER A COMPLETE WILD CARD

    It’s easier to be to the insurgent, not the incumbent, Phillips said. Although a Joker film is never going to fly completely under the radar, the spotlight is undoubtedly more intense this time around.

    “You do feel like you have a larger target on your back,” Phillips said.

    While much of the film was made on Warner Bros. soundstages in Los Angeles, the production did go back to New York to film again on the Bronx staircase (which now come up on Google Maps as the Joker Stairs) and outside a Manhattan courthouse. The production staged a massive protest scene, with Gaga, almost concurrently with the media frenzy around the Donald Trump hush money trial as if there weren’t enough eyes on them already.

    Some are also handwringing about the sequel’s bigger budget and whether it can match the success of the first. But Phillips has learned to take it in stride.

    “There’s a different amount of pressure, but that just comes with making movies,” he said. “You can’t please everybody and you just kind of go for it.”

    Gleeson has an even sunnier outlook.

    “It has kind of arthouse movie integrity on a blockbuster scale. It’s great news for cinema, is the way I look on it,” Gleeson said. “If these event movies can continue to have depth and can be so conflicting like this one, is we needn’t worry about the future of cinema.”

    SO, IS IT A MUSICAL?

    One thing Phillips didn’t mean to do was ignite a discourse about what is and isn’t a musical. He’s just trying to manage expectations.

    “People go, ‘what do you mean it’s not a musical?’ And it is a musical. It has all the elements of a musical. But I guess what I mean by it is all the musicals I’ve seen leave me happy at the end for the most part, ‘Umbrellas of Cherbourg’ not being one of them. This has so much sadness in it that I just didn’t want to be misleading to people.”

    [ad_2]

    Source link

  • All the Best Red Carpet Fashion from the 2024 Venice Film Festival

    All the Best Red Carpet Fashion from the 2024 Venice Film Festival

    [ad_1]

    The Venice Film Festival has begun—get ready for 11 days of some of the best red carpet fashion of the year. WireImage

    While last year’s Venice Film Festival was a quieter, more subdued occasion than usual due to the SAG-AFTRA and WAG strikes, the 2024 iteration is expected to bring the usual array of A-list filmmakers and celebrities to the Palazzo del Cinema on the Lido for a week and a half of premieres, screenings and parties.

    Isabelle Huppert is the 2024 jury president, and this year’s cinematic line-up is packed with some of the most anticipated movies of the year. Todd PhillipsJoker: Folie à Deux, starring Joaquin Phoenix and Lady Gaga, is set to premiere at the Venice Film Festival, as is Luca Guadagnino’s Queer (with Daniel Craig and Jason Schwartzman), Pablo Larrain’s Maria (starring Angelina Jolie) and Halina Reijn’s Babygirl (Nicole Kidman), among many others. Tim Burton’s Beetlejuice Beetlejuice, screened out of competition, will open the festival.

    Along with plenty of must-see films, the stars also bring their sartorial best for the glamorous film festival in Venice, Italy, strutting down the red carpet in fashionable designs—this is, after all, the very event that brought us couture moments like Florence Pugh’s dazzling black glitter Valentino ensemble at the Don’t Worry Darling premiere, along with Zendaya’s custom leather Balmain dress in 2021 and Dakota Johnson in bejeweled Gucci.

    The 81st annual Venice International Film Festival kicks off on August 28 and runs through September 7, which means a whole lot of high-fashion moments are headed for Lido. Below, see the best red carpet fashion from the 2024 Venice Film Festival.

    81th Mostra del Cinema di Venezia 202481th Mostra del Cinema di Venezia 2024
    Sienna Miller. WireImage

    Sienna Miller

    in Chloe 

    2024 Closing Ceremony Red Carpet - The 81st Venice International Film Festival2024 Closing Ceremony Red Carpet - The 81st Venice International Film Festival
    Taylor Russell. WireImage

    Taylor Russell

    in Schiaparelli

    2024 Closing Ceremony Red Carpet - The 81st Venice International Film Festival2024 Closing Ceremony Red Carpet - The 81st Venice International Film Festival
    Abbey Lee. Getty Images

    Abbey Lee

    2024 Closing Ceremony Red Carpet - The 81st Venice International Film Festival2024 Closing Ceremony Red Carpet - The 81st Venice International Film Festival
    Isabelle Huppert. WireImage

    Isabelle Huppert

    in Balenciaga 

    2024 Closing Ceremony Red Carpet - The 81st Venice International Film Festival2024 Closing Ceremony Red Carpet - The 81st Venice International Film Festival
    Isabelle Fuhrman. WireImage

    Isabelle Fuhrman

    2024 Closing Ceremony Red Carpet - The 81st Venice International Film Festival2024 Closing Ceremony Red Carpet - The 81st Venice International Film Festival
    Zhang Ziyi. WireImage

    Zhang Ziyi

    "M - The Son Of The Century" (M - Il Figlio Del Secolo) Red Carpet - The 81st Venice International Film Festival"M - The Son Of The Century" (M - Il Figlio Del Secolo) Red Carpet - The 81st Venice International Film Festival
    Haley Bennett. WireImage

    Haley Bennett

    "Iddu" (Sicilian Letters) Red Carpet - The 81st Venice International Film Festival"Iddu" (Sicilian Letters) Red Carpet - The 81st Venice International Film Festival
    Isabelle Huppert. WireImage

    Isabelle Huppert

    in Brunello Cucinelli

     

    "Joker: Folie à Deux" Red Carpet - The 81st Venice International Film Festival"Joker: Folie à Deux" Red Carpet - The 81st Venice International Film Festival
    Lady Gaga. WireImage

    Lady Gaga

    in Christian Dior 

    "Joker: Folie à Deux" Red Carpet - The 81st Venice International Film Festival"Joker: Folie à Deux" Red Carpet - The 81st Venice International Film Festival
    Joaquin Phoenix. Getty Images

    Joaquin Phoenix

    "Joker: Folie à Deux" Red Carpet - The 81st Venice International Film Festival"Joker: Folie à Deux" Red Carpet - The 81st Venice International Film Festival
    Rain Phoenix. WireImage

    Rain Phoenix

    "Joker: Folie à Deux" Red Carpet - The 81st Venice International Film Festival"Joker: Folie à Deux" Red Carpet - The 81st Venice International Film Festival
    Isabelle Huppert. Getty Images

    Isabelle Huppert

    "Joker: Folie à Deux" Red Carpet - The 81st Venice International Film Festival"Joker: Folie à Deux" Red Carpet - The 81st Venice International Film Festival
    Zhang Ziyi. Getty Images

    Zhang Ziyi

    "Joker: Folie à Deux" Red Carpet - The 81st Venice International Film Festival"Joker: Folie à Deux" Red Carpet - The 81st Venice International Film Festival
    Iris Law. Getty Images

    Iris Law

    in Burberry 

    "Jouer Avec Le Feu" (The Quiet Son) Red Carpet - The 81st Venice International Film Festival"Jouer Avec Le Feu" (The Quiet Son) Red Carpet - The 81st Venice International Film Festival
    Adjoa Andoh. Getty Images

    Adjoa Andoh

    "Diva E Donna" Prize Red Carpet - The 81st Venice International Film Festival"Diva E Donna" Prize Red Carpet - The 81st Venice International Film Festival
    Georgina Rodriguez. WireImage

    Georgina Rodrigue

    "Queer" Red Carpet - The 81st Venice International Film Festival"Queer" Red Carpet - The 81st Venice International Film Festival
    Daniel Craig and Rachel Weisz. Getty Images

    Daniel Craig and Rachel Weisz

    Craig in Loewe, Weisz in Versace

    "Queer" Red Carpet - The 81st Venice International Film Festival"Queer" Red Carpet - The 81st Venice International Film Festival
    Lesley Manville. Getty Images

    Lesley Manville

    in Loewe 

    "Queer" Red Carpet - The 81st Venice International Film Festival"Queer" Red Carpet - The 81st Venice International Film Festival
    Drew Starkey. WireImage

    Drew Starkey

    in Loewe 

    "Queer" Red Carpet - The 81st Venice International Film Festival"Queer" Red Carpet - The 81st Venice International Film Festival
    Sara Cavazza Facchini. WireImage

    Sara Cavazza Facchini

    in Genny

    "Queer" Red Carpet - The 81st Venice International Film Festival"Queer" Red Carpet - The 81st Venice International Film Festival
    Omar Apollo. WireImage

    Omar Apollo

    in Loewe 

    "Queer" Red Carpet - The 81st Venice International Film Festival"Queer" Red Carpet - The 81st Venice International Film Festival
    Jason Schwartzman. WireImage

    Jason Schwartzman

    "Queer" Red Carpet - The 81st Venice International Film Festival"Queer" Red Carpet - The 81st Venice International Film Festival
    Taylor Russell. WireImage

    Taylor Russell

    in Loewe 

    "Queer" Red Carpet - The 81st Venice International Film Festival"Queer" Red Carpet - The 81st Venice International Film Festival
    Philippine Leroy-Beaulieu. Getty Images

    Philippine Leroy-Beaulieu

    in Erdem 

    "Queer" Red Carpet - The 81st Venice International Film Festival"Queer" Red Carpet - The 81st Venice International Film Festival
    Tilda Swinton. WireImage

    Tilda Swinton

    in Alaia 

    "Queer" Red Carpet - The 81st Venice International Film Festival"Queer" Red Carpet - The 81st Venice International Film Festival
    Isabelle Huppert. WireImage

    Isabelle Huppert

    in Armani Privé

    "Queer" Red Carpet - The 81st Venice International Film Festival"Queer" Red Carpet - The 81st Venice International Film Festival
    Maria Borges. WireImage

    Maria Borges

    "Queer" Red Carpet - The 81st Venice International Film Festival"Queer" Red Carpet - The 81st Venice International Film Festival
    Rose Bertram. Getty Images

    Rose Bertram

    "Queer" Red Carpet - The 81st Venice International Film Festival"Queer" Red Carpet - The 81st Venice International Film Festival
    Natalia Paragoni. WireImage

    Natalia Paragoni

    "Harvest" Red Carpet - The 81st Venice International Film Festival"Harvest" Red Carpet - The 81st Venice International Film Festival
    Rosy McEwen. WireImage

    Rosy McEwen

    "The Room Next Door" Red Carpet - The 81st Venice International Film Festival"The Room Next Door" Red Carpet - The 81st Venice International Film Festival
    Julianne Moore. FilmMagic

    Julianne Moore

    in Bottega Veneta 

    "The Room Next Door" Red Carpet - The 81st Venice International Film Festival"The Room Next Door" Red Carpet - The 81st Venice International Film Festival
    Stella Maxwell. FilmMagic

    Stella Maxwell

    "The Room Next Door" Red Carpet - The 81st Venice International Film Festival"The Room Next Door" Red Carpet - The 81st Venice International Film Festival
    Taylor Russell. FilmMagic

    Taylor Russell

    in Alaia 

    "The Room Next Door" Red Carpet - The 81st Venice International Film Festival"The Room Next Door" Red Carpet - The 81st Venice International Film Festival
    Tilda Swinton. FilmMagic

    Tilda Swinton

    in Chanel

    "The Room Next Door" Red Carpet - The 81st Venice International Film Festival"The Room Next Door" Red Carpet - The 81st Venice International Film Festival
    Janine Gutierrez. WireImage

    Janine Gutierrez

    in Vania Romoff

    "The Room Next Door" Red Carpet - The 81st Venice International Film Festival"The Room Next Door" Red Carpet - The 81st Venice International Film Festival
    Josephine Skriver. Corbis via Getty Images

    Josephine Skriver

    "The Room Next Door" Red Carpet - The 81st Venice International Film Festival"The Room Next Door" Red Carpet - The 81st Venice International Film Festival
    Isabelle Huppert. FilmMagic

    Isabelle Huppert

    in Balenciaga

    "The Room Next Door" Red Carpet - The 81st Venice International Film Festival"The Room Next Door" Red Carpet - The 81st Venice International Film Festival
    Barbara Paz. WireImage

    Barbara Paz

    in Lenny Niemeyer 

    "Finalement" Red Carpet - The 81st Venice International Film Festival"Finalement" Red Carpet - The 81st Venice International Film Festival
    Sveva Alviti. WireImage

    Sveva Alviti

    in Fendi

    "Finalement" Red Carpet - The 81st Venice International Film Festival"Finalement" Red Carpet - The 81st Venice International Film Festival
    Sofia Resing. Corbis via Getty Images

    Sofia Resing

    "Wolfs" World Premiere - Venice International Film Festival"Wolfs" World Premiere - Venice International Film Festival
    Brad Pitt. Dave Benett/Getty Images for App

    Brad Pitt

    in Louis Vuitton

    "Wolfs" Red Carpet - The 81st Venice International Film Festival"Wolfs" Red Carpet - The 81st Venice International Film Festival
    Amal Clooney and George Clooney. WireImage

    Amal Clooney and George Clooney

    Amal Clooney in Versace

    "Wolfs" World Premiere - Venice International Film Festival"Wolfs" World Premiere - Venice International Film Festival
    Amy Ryan. Dave Benett/Getty Images for App

    Amy Ryan

    in Alexis Mabille 

    Filming Italy Venice Award Red Carpet - The 81st Venice International Film FestivalFilming Italy Venice Award Red Carpet - The 81st Venice International Film Festival
    Richard Gere and Alejandra Silva. FilmMagic

    Richard Gere and Alejandra Silva

    Filming Italy Venice Award Red Carpet - The 81st Venice International Film FestivalFilming Italy Venice Award Red Carpet - The 81st Venice International Film Festival
    Vittoria Puccini. FilmMagic

    Vittoria Puccini

    in Armani Privé

    "Wolfs" Red Carpet - The 81st Venice International Film Festival"Wolfs" Red Carpet - The 81st Venice International Film Festival
    Annabelle Belmondo. Getty Images

    Annabelle Belmondo

    "Wolfs" Red Carpet - The 81st Venice International Film Festival"Wolfs" Red Carpet - The 81st Venice International Film Festival
    Cate Blanchett. WireImage

    Cate Blanchett

    in Louis Vuitton

    Filming Italy Venice Award Red Carpet - The 81st Venice International Film FestivalFilming Italy Venice Award Red Carpet - The 81st Venice International Film Festival
    Ludovica Francesconi. Dave Benett/WireImage

    Ludovica Francesconi

    "I'm Still Here" (Ainda Estou Aqui) Red Carpet - The 81st Venice International Film Festival"I'm Still Here" (Ainda Estou Aqui) Red Carpet - The 81st Venice International Film Festival
    Hannah Stocking. Getty Images

    Hannah Stocking

    "The Brutalist" Red Carpet - The 81st Venice International Film Festival"The Brutalist" Red Carpet - The 81st Venice International Film Festival
    Stacy Martin. WireImage

    Stacy Martin

    in Louis Vuitton

    "The Brutalist" Red Carpet - The 81st Venice International Film Festival"The Brutalist" Red Carpet - The 81st Venice International Film Festival
    Raffey Cassidy. WireImage

    Raffey Cassidy

    in Chanel

    "The Brutalist" Red Carpet - The 81st Venice International Film Festival"The Brutalist" Red Carpet - The 81st Venice International Film Festival
    Joe Alwyn. WireImage

    Joe Alwyn

    in Gucci

    "The Brutalist" Red Carpet - The 81st Venice International Film Festival"The Brutalist" Red Carpet - The 81st Venice International Film Festival
    Adrien Brody and Georgina Chapman. Dave Benett/WireImage

    Adrien Brody and Georgina Chapman

    "The Brutalist" Red Carpet - The 81st Venice International Film Festival"The Brutalist" Red Carpet - The 81st Venice International Film Festival
    Emily Mortimer and Alessandro Nivola. Dave Benett/WireImage

    Emily Mortimer and Alessandro Nivola

    "The Brutalist" Red Carpet - The 81st Venice International Film Festival"The Brutalist" Red Carpet - The 81st Venice International Film Festival
    Felicity Jones. Dave Benett/WireImage

    Felicity Jones

    in Prada 

    "The Brutalist" Red Carpet - The 81st Venice International Film Festival"The Brutalist" Red Carpet - The 81st Venice International Film Festival
    Emma Laird. Getty Images

    Emma Laird

    in Louis Vuitton

    "Battlefield" (Campo Di Battaglia) Red Carpet - The 81st Venice International Film Festival"Battlefield" (Campo Di Battaglia) Red Carpet - The 81st Venice International Film Festival
    Emily Ratajkowski. Corbis via Getty Images

    Emily Ratajkowski

    in Gucci

    "Battlefield" (Campo Di Battaglia) Red Carpet - The 81st Venice International Film Festival"Battlefield" (Campo Di Battaglia) Red Carpet - The 81st Venice International Film Festival
    Stella Maxwell. Corbis via Getty Images

    Stella Maxwell

    in Iris van Herpen 

    "The Order" Red Carpet - The 81st Venice International Film Festival"The Order" Red Carpet - The 81st Venice International Film Festival
    Nicholas Hoult. Corbis via Getty Images

    Nicholas Hoult

    in Ralph Lauren 

    "The Order" Red Carpet - The 81st Venice International Film Festival"The Order" Red Carpet - The 81st Venice International Film Festival
    Jurnee Smollett. WireImage

    Jurnee Smollett

    in Louis Vuitton

    "The Order" Red Carpet - The 81st Venice International Film Festival"The Order" Red Carpet - The 81st Venice International Film Festival
    Jude Law. WireImage

    Jude Law

    in Brioni 

    "Battlefield" (Campo Di Battaglia) Red Carpet - The 81st Venice International Film Festival"Battlefield" (Campo Di Battaglia) Red Carpet - The 81st Venice International Film Festival
    Toni Garrn. Corbis via Getty Images

    Toni Garrn

    in Giorgio Armani 

    "Battlefield" (Campo Di Battaglia) Red Carpet - The 81st Venice International Film Festival"Battlefield" (Campo Di Battaglia) Red Carpet - The 81st Venice International Film Festival
    Eva Green. Corbis via Getty Images

    Eva Green

    in Armani Privé

    "Battlefield" (Campo Di Battaglia) Red Carpet - The 81st Venice International Film Festival"Battlefield" (Campo Di Battaglia) Red Carpet - The 81st Venice International Film Festival
    Jasmine Tookes. Corbis via Getty Images

    Jasmine Tookes

    in Giorgio Armani 

    "Battlefield" (Campo Di Battaglia) Red Carpet - The 81st Venice International Film Festival"Battlefield" (Campo Di Battaglia) Red Carpet - The 81st Venice International Film Festival
    Madisin Rian. Corbis via Getty Images

    Madisin Rian

    in Armani Privé

    "Battlefield" (Campo Di Battaglia) Red Carpet - The 81st Venice International Film Festival"Battlefield" (Campo Di Battaglia) Red Carpet - The 81st Venice International Film Festival
    Lucien Laviscount. WireImage

    Lucien Laviscount

    in Burberry

    "Babygirl" Red Carpet - The 81st Venice International Film Festival"Babygirl" Red Carpet - The 81st Venice International Film Festival
    Nicole Kidman. WireImage

    Nicole Kidman

    in Schiaparelli

    "Babygirl" Red Carpet - The 81st Venice International Film Festival"Babygirl" Red Carpet - The 81st Venice International Film Festival
    Sophie Wilde. Getty Images

    Sophie Wilde

    "Babygirl" Red Carpet - The 81st Venice International Film Festival"Babygirl" Red Carpet - The 81st Venice International Film Festival
    Eva Green. WireImage

    Eva Green

    in Armani Privé

    "Babygirl" Red Carpet - The 81st Venice International Film Festival"Babygirl" Red Carpet - The 81st Venice International Film Festival
    Kaya Scodelario. WireImage

    Kaya Scodelario

    in Giorgio Armani 

    "Babygirl" Red Carpet - The 81st Venice International Film Festival"Babygirl" Red Carpet - The 81st Venice International Film Festival
    Zhang Ziyi. Getty Images

    Zhang Ziyi

    in Chanel

    "Babygirl" Red Carpet - The 81st Venice International Film Festival"Babygirl" Red Carpet - The 81st Venice International Film Festival
    Harris Dickinson. WireImage

    Harris Dickinson

    in Bottega Veneta

    "Babygirl" Red Carpet - The 81st Venice International Film Festival"Babygirl" Red Carpet - The 81st Venice International Film Festival
    Antonio Banderas and Nicole Kimpel. WireImage

    Antonio Banderas and Nicole Kimpel

    "Babygirl" Red Carpet - The 81st Venice International Film Festival"Babygirl" Red Carpet - The 81st Venice International Film Festival
    Halina Reijn. WireImage

    Halina Reijn

    in Giorgio Armani 

    "Babygirl" Red Carpet - The 81st Venice International Film Festival"Babygirl" Red Carpet - The 81st Venice International Film Festival
    Chase Stokes. WireImage

    Chase Stokes

    "Babygirl" Red Carpet - The 81st Venice International Film Festival"Babygirl" Red Carpet - The 81st Venice International Film Festival
    Ella Purnell. Getty Images

    Ella Purnell

    in Giorgio Armani 

    "Babygirl" Red Carpet - The 81st Venice International Film Festival"Babygirl" Red Carpet - The 81st Venice International Film Festival
    Lili Reinhart. Getty Images

    Lili Reinhart

    in Armani Privé

    "Babygirl" Red Carpet - The 81st Venice International Film Festival"Babygirl" Red Carpet - The 81st Venice International Film Festival
    Camila Mendes. Getty Images

    Camila Mendes

    in Giorgio Armani 

    "Babygirl" Red Carpet - The 81st Venice International Film Festival"Babygirl" Red Carpet - The 81st Venice International Film Festival
    Madisin Rian. Getty Images

    Madisin Rian

    in Giorgio Armani 

    "Babygirl" Red Carpet - The 81st Venice International Film Festival"Babygirl" Red Carpet - The 81st Venice International Film Festival
    Ncuti Gatwa. Getty Images

    Ncuti Gatwa

    in Armani 

    "Babygirl" Red Carpet - The 81st Venice International Film Festival"Babygirl" Red Carpet - The 81st Venice International Film Festival
    Valentina Ferragni. WireImage

    Valentina Ferragni

    "Babygirl" Red Carpet - The 81st Venice International Film Festival"Babygirl" Red Carpet - The 81st Venice International Film Festival
    Martina Strazzer. WireImage

    Martina Strazzer

    "Babygirl" Red Carpet - The 81st Venice International Film Festival"Babygirl" Red Carpet - The 81st Venice International Film Festival
    Leonie Hanne. Getty Images

    Leonie Hanne

    in Milla Nova 

    "Babygirl" Red Carpet - The 81st Venice International Film Festival"Babygirl" Red Carpet - The 81st Venice International Film Festival
    Sveva Alviti. WireImage

    Sveva Alviti

    in Versace 

    "Disclaimer - Chapter 5-7" Red Carpet - The 81st Venice International Film Festival"Disclaimer - Chapter 5-7" Red Carpet - The 81st Venice International Film Festival
    Cate Blanchett. WireImage

    Cate Blanchett

    in Louis Vuitton

    "Disclaimer - Chapter 5-7" Red Carpet - The 81st Venice International Film Festival"Disclaimer - Chapter 5-7" Red Carpet - The 81st Venice International Film Festival
    Louis Partridge. Getty Images

    Louis Partridge

    "Disclaimer - Chapter 5-7" Red Carpet - The 81st Venice International Film Festival"Disclaimer - Chapter 5-7" Red Carpet - The 81st Venice International Film Festival
    Kodi Smit-McPhee. Getty Images

    Kodi Smit-McPhee

    "Disclaimer - Chapter 5-7" Red Carpet - The 81st Venice International Film Festival"Disclaimer - Chapter 5-7" Red Carpet - The 81st Venice International Film Festival
    Hoyeon Jung. Getty Images

    Hoyeon Jung

    in Louis Vuitton

    "Maria" Red Carpet - The 81st Venice International Film Festival"Maria" Red Carpet - The 81st Venice International Film Festival
    Angelina Jolie. Getty Images

    Angelina Jolie

    in Tamara Ralph

    "Maria" Red Carpet - The 81st Venice International Film Festival"Maria" Red Carpet - The 81st Venice International Film Festival
    Taylor Russell. WireImage

    Taylor Russell

    in Loewe 

    "Maria" Red Carpet - The 81st Venice International Film Festival"Maria" Red Carpet - The 81st Venice International Film Festival
    Bianca Brandolini. Corbis via Getty Images

    Bianca Brandolini

    in Schiaparelli

    "Maria" Red Carpet - The 81st Venice International Film Festival"Maria" Red Carpet - The 81st Venice International Film Festival
    Alba Rohrwacher. Corbis via Getty Images

    Alba Rohrwacher

    in Dior 

    "Maria" Red Carpet - The 81st Venice International Film Festival"Maria" Red Carpet - The 81st Venice International Film Festival
    Eva Herzigova. Getty Images

    Eva Herzigova

    in Etro 

    "Maria" Red Carpet - The 81st Venice International Film Festival"Maria" Red Carpet - The 81st Venice International Film Festival
    Miriam Leone. WireImage

    Miriam Leone

    "Maria" Red Carpet - The 81st Venice International Film Festival"Maria" Red Carpet - The 81st Venice International Film Festival
    Patti Smith. Getty Images

    Patti Smith

    "Maria" Red Carpet - The 81st Venice International Film Festival"Maria" Red Carpet - The 81st Venice International Film Festival
    Greta Bellamacina. WireImage

    Greta Bellamacina

    in Philosophy di Lorenzo Serafini

    "Maria" Red Carpet - The 81st Venice International Film Festival"Maria" Red Carpet - The 81st Venice International Film Festival
    Giusy Buscemi. WireImage

    Giusy Buscemi

    "Maria" Red Carpet - The 81st Venice International Film Festival"Maria" Red Carpet - The 81st Venice International Film Festival
    Valentina Cervi. Corbis via Getty Images

    Valentina Cervi

    in Max Mara

    "Disclaimer" Red Carpet - The 81st Venice International Film Festival"Disclaimer" Red Carpet - The 81st Venice International Film Festival
    Cate Blanchett. Getty Images

    Cate Blanchett

    in Armani Privé

    "Disclaimer" Red Carpet - The 81st Venice International Film Festival"Disclaimer" Red Carpet - The 81st Venice International Film Festival
    Tim Cook. WireImage

    Tim Cook

    "Disclaimer" Red Carpet - The 81st Venice International Film Festival"Disclaimer" Red Carpet - The 81st Venice International Film Festival
    Jung Ho-yeon. WireImage

    Hoyeon Jung

    in Louis Vuitton

    "Disclaimer" Red Carpet - The 81st Venice International Film Festival"Disclaimer" Red Carpet - The 81st Venice International Film Festival
    Sacha Baron Cohen. Getty Images

    Sacha Baron Cohen

    "Disclaimer" Red Carpet - The 81st Venice International Film Festival"Disclaimer" Red Carpet - The 81st Venice International Film Festival
    Leila George D’Onofrio. Getty Images

    Leila George D’Onofrio

    "Disclaimer" Red Carpet - The 81st Venice International Film Festival"Disclaimer" Red Carpet - The 81st Venice International Film Festival
    Kodi Smit-McPhee. WireImage

    Kodi Smit-McPhee

    in Versace 

    "Disclaimer" Red Carpet - The 81st Venice International Film Festival"Disclaimer" Red Carpet - The 81st Venice International Film Festival
    Louis Partridge. WireImage

    Louis Partridge

    in Prada 

    "Maria" Photocall - The 81st Venice International Film Festival"Maria" Photocall - The 81st Venice International Film Festival
    Angelina Jolie. Corbis via Getty Images

    Angelina Jolie

    in Saint Laurent

    "Disclaimer" Photocall - Venice International Film Festival"Disclaimer" Photocall - Venice International Film Festival
    Cate Blanchett. Dave Benett/Getty Images for App

    Cate Blanchett

    in Moschino

    "Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival"Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival
    Sigourney Weaver. Getty Images

    Sigourney Weaver

    in Chanel

    "Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival"Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival
    Jenna Ortega. Getty Images

    Jenna Ortega

    in Dior 

    "Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival"Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival
    Winona Ryder. WireImage

    Winona Ryder

    in Chanel

    "Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival"Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival
    Catherine O’Hara. Getty Images

    Catherine O’Hara

    in Oscar de la Renta

    "Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival"Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival
    Justin Theroux. Getty Images

    Justin Theroux

    in Zegna

    "Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival"Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival
    Arthur Conti. WireImage

    Arthur Conti

    "Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival"Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival
    Tim Burton and Monica Bellucci. Getty Images

    Tim Burton and Monica Bellucci

    Bellucci in Vivienne Westwood 

    "Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival"Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival
    Cate Blanchett. Getty Images

    Cate Blanchett

    in Armani Privé

    "Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival"Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival
    Isabelle Huppert. WireImage

    Isabelle Huppert

    in Balenciaga

    "Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival"Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival
    Willem Dafoe and Giada Colagrande. Getty Images

    Willem Dafoe and Giada Colagrande

    "Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival"Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival
    Taylor Russell. WireImage

    Taylor Russell

    in Chanel

    "Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival"Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival
    Zhang Ziyi. WireImage

    Zhang Ziyi

    in Armani Privé

    "Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival"Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival
    Patti Smith. Getty Images

    Patti Smith

    "Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival"Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival
    Amy Jackson. WireImage

    Amy Jackson

    in Alberta Ferretti 

    "Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival"Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival
    Izabel Goulart. WireImage

    Izabel Goulart

    in Ermanno Scervino 

    "Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival"Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival
    Poppy Delevingne. Getty Images

    Poppy Delevingne

    in Philosophy di Lorenzo Serafini

    "Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival"Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival
    Paola Turani. Getty Images

    Paola Turani

    in The Andamane

    "Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival"Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival
    Barbara Paz. Getty Images

    Barbara Paz

    in Dolce & Gabbana 

    "Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival"Beetlejuice Beetlejuice" Opening Red Carpet - The 81st Venice International Film Festival
    Sveva Alviti. Getty Images

    Sveva Alviti

    in Armani Privé

    All the Best Red Carpet Fashion from the 2024 Venice Film Festival

    [ad_2]

    Morgan Halberg

    Source link

  • The Best Off-Duty Fashion at the 2024 Venice Film Festival

    The Best Off-Duty Fashion at the 2024 Venice Film Festival

    [ad_1]

    The 2024 Venice Film Festival officially kicks off on August 28, but A-listers have already arrived in Lido ahead of the 11-day extravaganza. While the couture looks spotted all over the red carpet never fail to impress, attendees always make the most of their time in the Floating City and don what might be some of the best street style ensembles of the year.

    When the filmmakers and celebrities aren’t attending premieres, screenings and official fêtes, they’re enjoying all that Venice has to offer, and they’re doing so in style—the Venice Film Festival is where you’ll find some of the best off-duty looks, because is there really any better backdrop than that of a Venetian gondola?

    While last year’s Venice Film Festival was a somewhat sleepier event due to the SAG-AFTRA and WAG strikes, the 2024 edition is back in full force, with highly anticipated movies including Todd PhillipsJoker: Folie à Deux, starring Joaquin Phoenix and Lady Gaga, and Pablo Larrain’s Maria, starring Angelina Jolie, set to premiere.

    The 81st annual Venice Film Festival runs from August 28 through September 7, so get ready for 11 days of incredible fashion. Below, take a look at the best off-duty looks from all your favorite stars at the 2024 Venice Film Festival.

    81th Mostra del Cinema di Venezia 2024
    Nicole Kidman. WireImage

    Nicole Kidman

    in Bottega Veneta 

    Celebrity Sightings - Day 3 - The 81st Venice International Film FestivalCelebrity Sightings - Day 3 - The 81st Venice International Film Festival
    Eva Green. Getty Images

    Eva Green

    Celebrity Sightings - Day 3 - The 81st Venice International Film FestivalCelebrity Sightings - Day 3 - The 81st Venice International Film Festival
    Sophie Wilde. Getty Images

    Sophie Wilde

    in 16Arlington 

    Celebrity Sightings - Day 3 - The 81st Venice International Film FestivalCelebrity Sightings - Day 3 - The 81st Venice International Film Festival
    Eva Riccobono. Getty Images

    Eva Riccobono

    Celebrity Sightings - Day 3 - The 81st Venice International Film FestivalCelebrity Sightings - Day 3 - The 81st Venice International Film Festival
    Charli Howard. WireImage

    Charli Howard

    in Self-Portrait

    Celebrity Sightings - Day 3 - The 81st Venice International Film FestivalCelebrity Sightings - Day 3 - The 81st Venice International Film Festival
    Isabelle Huppert. Getty Images

    Isabelle Huppert

    Celebrity Sightings - Day 3 - The 81st Venice International Film FestivalCelebrity Sightings - Day 3 - The 81st Venice International Film Festival
    Giusy Buscemi. Getty Images

    Giusy Buscemi

    Celebrity Sightings - Day 3 - The 81st Venice International Film FestivalCelebrity Sightings - Day 3 - The 81st Venice International Film Festival
    Cate Blanchett. Getty Images

    Cate Blanchett

    81th Mostra del Cinema di Venezia 202481th Mostra del Cinema di Venezia 2024
    Angelina Jolie. WireImage

    Angelina Jolie

    in Saint Laurent

    Celebrity Sightings - Day 2 - The 81st Venice International Film FestivalCelebrity Sightings - Day 2 - The 81st Venice International Film Festival
    Sigourney Weaver. Corbis via Getty Images

    Sigourney Weaver

    in Chanel

    Celebrity Sightings - Day 2 - The 81st Venice International Film FestivalCelebrity Sightings - Day 2 - The 81st Venice International Film Festival
    Miriam Leone. FilmMagic

    Miriam Leone

    Celebrity Sightings - Day 2 - The 81st Venice International Film FestivalCelebrity Sightings - Day 2 - The 81st Venice International Film Festival
    Eva Herzigova. FilmMagic

    Eva Herzigova

    in Etro

    Celebrity Sightings - Day 2 - The 81st Venice International Film FestivalCelebrity Sightings - Day 2 - The 81st Venice International Film Festival
    Beatrice Vendramin. FilmMagic

    Beatrice Vendramin

    in Philosophy di Lorenzo Serafini

    Celebrity Sightings - Day 2 - The 81st Venice International Film FestivalCelebrity Sightings - Day 2 - The 81st Venice International Film Festival
    Isabelle Huppert. Corbis via Getty Images

    Isabelle Huppert

    in Balenciaga 

    Celebrity Sightings - Day 1 - The 81st Venice International Film FestivalCelebrity Sightings - Day 1 - The 81st Venice International Film Festival
    Izabel Goulart. Getty Images

    Izabel Goulart

    Celebrity Sightings - Day 1 - The 81st Venice International Film FestivalCelebrity Sightings - Day 1 - The 81st Venice International Film Festival
    Cate Blanchett. FilmMagic

    Cate Blanchett

    in Giorgio Armani 

    Celebrity Sightings - Day 1 - The 81st Venice International Film FestivalCelebrity Sightings - Day 1 - The 81st Venice International Film Festival
    Amy Jackson. Getty Images

    Amy Jackson

    in Alberta Ferretti 

    Celebrity Sightings - Day 1 - The 81st Venice International Film FestivalCelebrity Sightings - Day 1 - The 81st Venice International Film Festival
    Alba Rohrwacher. Getty Images

    Alba Rohrwacher

    Celebrity Sightings - Day 1 - The 81st Venice International Film FestivalCelebrity Sightings - Day 1 - The 81st Venice International Film Festival
    Poppy Delevingne. Getty Images

    Poppy Delevingne

    in Philosophy di Lorenzo Serafini

    Celebrity Sightings - Day 1 - The 81st Venice International Film FestivalCelebrity Sightings - Day 1 - The 81st Venice International Film Festival
    Catherine O’Hara. Getty Images

    Catherine O’Hara

    in Petar Petrov 

    Celebrity Sightings - Day 1 - The 81st Venice International Film FestivalCelebrity Sightings - Day 1 - The 81st Venice International Film Festival
    Isabelle Huppert. Corbis via Getty Images

    Isabelle Huppert

    in Balenciaga 

    Celebrity Sightings - Day 1 - The 81st Venice International Film FestivalCelebrity Sightings - Day 1 - The 81st Venice International Film Festival
    Izabel Goulart. Getty Images

    Izabel Goulart

    in Ermanno Scervino

    Celebrity Sightings Ahead Of The 81st Venice International Film FestivalCelebrity Sightings Ahead Of The 81st Venice International Film Festival
    Jenna Ortega. GC Images

    Jenna Ortega

    in an Alessandra Rich blazer and Tod’s bag 

    Celebrity Sightings Ahead Of The 81st Venice International Film FestivalCelebrity Sightings Ahead Of The 81st Venice International Film Festival
    Angelina Jolie. GC Images

    Angelina Jolie

    in Christian Dior 

    81th Mostra del Cinema di Venezia 202481th Mostra del Cinema di Venezia 2024
    Moran Atias. WireImage

    Moran Atias

    Celebrity Arrivals At Excelsior Pier Ahead Of The 81st Venice International Film FestivalCelebrity Arrivals At Excelsior Pier Ahead Of The 81st Venice International Film Festival
    Sigourney Weaver. Getty Images

    Sigourney Weaver

    in Chanel

    Celebrity Sightings Ahead Of The 81st Venice International Film FestivalCelebrity Sightings Ahead Of The 81st Venice International Film Festival
    Tim Burton and Monica Bellucci. GC Images

    Tim Burton and Monica Bellucci

    Bellucci in Balmain 

    Celebrity Sightings Ahead Of The 81st Venice International Film FestivalCelebrity Sightings Ahead Of The 81st Venice International Film Festival
    Izabel Goulart. GC Images

    Izabel Goulart

    The Best Off-Duty Fashion at the 2024 Venice Film Festival

    [ad_2]

    Morgan Halberg

    Source link

  • Joaquin Phoenix Recalls Lady Gaga “Spitting Up Coffee the First Time I Sang” in ‘Joker: Folie à Deux’

    Joaquin Phoenix Recalls Lady Gaga “Spitting Up Coffee the First Time I Sang” in ‘Joker: Folie à Deux’

    [ad_1]

    Lady Gaga‘s initial reaction to Joaquin Phoenix singing in Joker: Folie à Deux is definitely one he’ll likely never forget.

    The actor, who returns as Arthur Fleck/Joker in director Todd Phillips‘ musical sequel to 2019’s Joker, recently recalled what it was like singing in front of Gaga, who not only plays Lee/Harley Quinn but is also a professional Grammy-winning singer.

    “I do seem to remember her spitting up coffee the first time I sang, so that felt good, that was exciting, and made me feel confident,” Phoenix quipped during an interview with Empire magazine.

    He and the “Shallow” singer went on to work together to build a musical rhythm between their characters for the highly-anticipated film.

    “Gaga was always very encouraging of just, ‘Go with what you feel, it’s fine’,” Phoenix said. “For somebody who’s not a performer in that way, it can be… uncomfortable to do that, but also very exciting.”

    The Beau Is Afraid actor also explained the importance of music for his character, notably since Arthur Fleck “has music in him,” per Phillips’ words in the first installment.

    “It was important to protect that with poor phrasing and occasional bum notes,” Phoenix added. “Arthur grew up hearing his mother play these songs on the radio. He’s not a singer, and he shouldn’t sound like a professional singer. He should sound like somebody that’s taking a shower and just bursts out into song.”

    Joker: Folie à Deux, which hits theaters Oct. 4, sees failed comedian Arthur Fleck meet the love of his life, Harley Quinn, while incarcerated at Arkham State Hospital. Once he’s released, the duo embarks on a doomed romantic misadventure.

    Last week, Gaga also revealed to Empire how she changed her singing voice for her version of Harley Quinn in the movie, noting that it was “unlike anything I’ve ever done before.”

    “People know me by my stage name, Lady Gaga, right? That’s me as that performer, but that is not what this movie is; I’m playing a character,” she said. “So I worked a lot on the way that I sang to come from Lee and to not come from me as a performer.”

    [ad_2]

    Carly Thomas

    Source link

  • Joker: Folie à Deux’s First Trailer Sends in the Clowns

    Joker: Folie à Deux’s First Trailer Sends in the Clowns

    [ad_1]

    After what feels like years of waiting—mostly, because it has been—we finally have our first extended look at Joker: Folie à Deux in action, bringing laughs, sorrow, and music to Todd Phillips’s vision of the Batman’s most legendary foe.

    It stars Joaquin Phoenix, reprising his Oscar-winning role of Arthur Fleck, now fully transformed into the clown prince of crime known as the Joker after the events of the 2019 film. Folie à Deux—which, in a surprising turn, is a jukebox musical—also introduces pop-sensation-turned-actress Lady Gaga as another iconic DC character in Harleen Quinzel, aka Harley Quinn.

    Joker: Folie à Deux | Official Teaser Trailer

    Joker: Folie à Deux also stars Zazie Beetz, returning from the first film alongside Leigh Gill and Sharon Washington, as well as Brendan Gleeson, Catherine Keener, Jacob Lofland, Steve Coogan, Ken Leung, and Harry Lawtey. It’s set to hit theaters on October 4.


    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

    [ad_2]

    James Whitbrook

    Source link

  • Joker 2 Is Apparently Aiming to Be DC’s First Jukebox Musical

    Joker 2 Is Apparently Aiming to Be DC’s First Jukebox Musical

    [ad_1]

    Image: DC Studios

    Get ready to see Todd Phillips send in the clowns in Joker: Folie à Deux—the jukebox musical! Though we’ve long heard the DC Studios film starring Lady Gaga as Harley Quinn and Joaquin Phoenix as the Joker will be a musical, we now know a bit more about the off-kilter romantic showdown.

    Variety cites insider sources as revealing Joker 2 will be “mostly a jukebox musical,” with at least 15 covers of “very well-known” songs with room for original music. I mean they have Lady Gaga so one would hope some original music will be in the mix. Composer Hildur Guðnadóttir, who won an Oscar for Best Original Score for 2019’s Joker, is also aboard the sequel, and Variety’s source notes her “haunting” musical cues will have a presence once more.

    Among the cover songs is “That’s Entertainment” from The Band Wagon, a 1953 musical starring Judy Garland (which just so happens to open with the lyric “A clown with his pants falling down”). We can imagine that the music will harken mostly to old Broadway showtunes as opposed to a broader playlist of classic and modern hits like Baz Luhrmann’s Moulin Rouge. There’s definitely an old Hollywood romance vibe to all the imagery we’ve seen of the duo in their dreamlike mad love story.

    Joker: Folie à Deux from DC Studios Elseworlds is set for release October 4.


    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

    [ad_2]

    Sabina Graves

    Source link

  • Todd Phillips Gifts New ‘Joker: Folie à Deux’ Photos With Joaquin Phoenix, Lady Gaga

    Todd Phillips Gifts New ‘Joker: Folie à Deux’ Photos With Joaquin Phoenix, Lady Gaga

    [ad_1]

    To celebrate the holiday season and new year, Todd Phillips gave fans new photos from the forthcoming Joker: Folie à Deux.

    The sequel to 2019’s Joker, starring Joaquin Phoenix and Lady Gaga, is set to be released from Warner Bros. on Oct. 4, 2024.

    The filmmaker released two photos on Instagram, and in the first one, Phoenix’s Arthur Fleck can be seen through what appears to be a prison cell window with the number “E258” written above it. The second image shows Gaga’s Harley Quinn wearing plain clothes, looking at Phoenix’s character in his iconic Joker makeup.

    Phillips followed the photos with the caption: “Wishing everyone a happy holiday and a beautiful new year. Oct 2024 #Joker2.”

    Though most of the film has been kept under wraps, the director has continued to tease fans throughout the year. In April, to celebrate filming wrapping, Phillips shared photos of Phoenix and Gaga in character. The A Star is Born actress was also photographed earlier this year during what appeared to be a New York City shoot for Joker: Folie à Deux.

    Gaga’s Harley Quinn first debuted in February when Phillips shared a first-look image on Instagram of the star holding Phoenix’s face. He wrote in the caption at the time, “Happy Valentine’s Day.”

    Joker, which grossed $1 billion, followed Arthur Fleck, a failed stand-up comedian battling mental health issues, who turns to crime and chaos.

    Joker: Folie à Deux will be one of the DC Elseworlds titles, along with Matt Reeves’ The Batman sequel, which is set to exist separate from DC Studios bosses James Gunn and Peter Safran’s slate.

    [ad_2]

    Carly Thomas

    Source link

  • Bradley Cooper Would Do ‘The Hangover Part IV’ in an “Instant”

    Bradley Cooper Would Do ‘The Hangover Part IV’ in an “Instant”

    [ad_1]

    Bradley Cooper may be doing serious roles at this point in his career, but he’s not opposed to returning to his earlier, more comedic ones.

    The multihyphenate stopped by The New Yorker Radio Hour to discuss his film, Maestro. During the podcast appearance, he also opened up about whether or not he would do more “fun” movies again one day.

    “I would probably do Hangover IV in an instant,” the filmmaker said. “Just because I love Todd [Phillips], I love Zach [Galifianakis], I love Ed [Helms] so much, I probably would.” When pressed about whether or not that’s coming, Cooper admitted, “I don’t think Todd is ever going to do that.”

    While he hasn’t done traditionally funny roles lately, he explained that he is having the most fun of his career right now and doesn’t find the heavier movies he’s been working on recently “exhausting” as many people might.

    “There’s nothing more fun that I’ve experienced than Maestro and A Star is Born,” he said. “I wouldn’t do it if it wasn’t.”

    Cooper directed, co-wrote and stars in Maestro, opposite Carey Mulligan. He portrays legendary composer Leonard Bernstein, while Mulligan takes on the role of his wife, Felicia Montealegre Cohn Bernstein.

    Instead of creating a traditional biopic, the Steven Spielberg and Martin Scorsese-produced film details Leonard and Felicia’s “very complicated” 30-year relationship, from when they met at a party in 1946, through two engagements and three children.

    “Their connection was profound,” Mulligan previously told Vogue. “They lit each other up. You can hear it: There are tapes of them trading anecdotes, and it’s like they’re dancing.”

    The marriage, to some, may have seemed unorthodox, as she accepted his affairs with men. But it was only to a certain point.

    “For her, the betrayal wasn’t sex,” the Oscar-winning actress said of her character. “It was when she felt someone else intruding into the space she held for him, being the person who understood him, who was necessary.”

    Maestro is in theaters now, before hitting Netflix Dec. 20.

    [ad_2]

    Christy Pina

    Source link

  • ‘Joker 2’ Wraps With New Image of Lady Gaga’s Harley Quinn

    ‘Joker 2’ Wraps With New Image of Lady Gaga’s Harley Quinn

    [ad_1]

    As filming wraps on the long-awaited Joker: Folie à Deux, more set photos have been released. An Instagram post made by director Todd Phillips features Lady Gaga as Harley Quinn, and Joaquin Phoenix as Arthur Fleck. While some people have been taking a measured approach to expectations with this one, the excitement is everywhere. At first, some were caught off-guard by the fact that its a musical, but a risk like that could have a serious payoff if it goes over well. Especially after Gaga’s performance in A Star Is Born.

    It’s unclear how exactly the movie could really even exist given the ending of 2019’s Jokerbut there are a few ways to get around that. In the last film, we only really saw the beginning of Fleck’s career. Then, there’s also the fact that he hallucinated an entire relationship. Could he not hallucinate a life outside the walls of an asylum just as easily? Or a relationship with Gaga’s character?

    Phillips’ post revealed two new images of Gaga and Phoenix in costume as their DC characters.

    READ MORE: DC Announces New Universe of Movies and Shows

    Todd Phillips captioned the post with the following text:

    That’s a wrap. Thanks to these two (+ the entire cast) and the BEST crew that the film industry has to offer. From top to bottom. Gonna crawl into a cave now (edit room) and put it all together.

    This sequel will exist in an interesting new space for DC. It’s being branded an Elseworlds title, which essentially means that it isn’t canon to any other kind of shared universe. Matt Reeves‘ The Batman also exists in the same kind of liminal space.

    The New DC Universe of Movies and Shows

    All the projects announced by DC Studios as the start of “Chapter 1” of the company’s new universe of movies and shows.

    [ad_2]

    Cody Mcintosh

    Source link