Tom Cruise Goes Monochrome, Angela Bassett Drips in Pearls and More Looks From the ‘Mission: Impossible' Photo Call at 2025 Cannes Film Festival
For the daytime engagement on the Croisette, the team was dressed in a range of attire evoking summer in the Mediterranean energy. Bassett selected a peach-hued ensemble from American luxury label Yara Shoemaker, a brand founded by the eponymous Syrian-born and U.S.-raised designer in 2019.
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Bassett dressed up in Look 14 — also worn by Blake Lively in March — from the brand's fall 2023 collection. The set includes a pair of salmon-hued straight-leg pants and an overcoat adorned with small lustrous discs layered beneath a pearl and accompanied by graduated crystals. The actress accompanied the look with a white bustier top. As for Bassett's shoes, a pair of pointed-toe silver platform block heels peeked out beneath her pants. Her accessories included a dainty layered pearl necklace.
Bassett's costar Hannah Waddingham, meanwhile, wore a dress from Elie Saab, much like Cannes' dress code rule breaker Heidi Klum. While Klum wore a pink ruffled dress with a dramatic train for the event's opening ceremony, Waddingham showcased a strapless midi dress from the brand's spring 2025 ready-to-wear collection embroidered with a lush floral scene. The colorful design makes use of sequins and yarn for a complex textural aesthetic. Elie Saab found inspiration for the collection in 'Out of Africa,' the 1985 film starring Meryl Streep.
Cruise, who has starred in the 'Mission: Impossible' franchise since 1996, opted for a monochrome look, donning burgundy trousers and a fitted knit collared top. Pom Klementieff modeled an asymmetrical beige dress and Hayley Atwell showcased a crisp white outfit featuring a skirt with a feathery layer.
'Mission: Impossible — The Final Reckoning' is slated to hit theaters on May 23.
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This habitual caretaking—the act of showing up for others, regardless of convenience or reward—is part of what the political theorist Hannah Arendt called the ' web of human relationships,' conceived on an ethic of tolerance and responsibility that goes deeper than simply enjoying your neighbors' company. After all, Bill can be a buzzkill, and the Hills' other neighbors, such as the conspiratorial Dale Gribble across the alley and the holier-than-thou Minh and Kahn Souphanousinphone next door, are flawed too. For the Hills, staying in Arlen means forgoing a more comfortable life to lump it with some weird personalities. But without taking pains to help one's neighbors, a resilient, tolerant community could not exist. And without that web of relationships, even the most Stepford-perfect town is a spiritual desert. While Bill's storyline dramatizes how isolation can hollow out an individual's life, King of the Hill also explores how withdrawal can fray community ties more broadly. 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Now neither do ongoing stories that have kept Texas in the news, such as the state's restrictive anti-abortion laws. The reveal that Dale was briefly elected mayor of Arlen on an anti-mask campaign is the closest the show comes this time around to commenting on today's culture wars. Some viewers may find it difficult to reconcile the show's good-humored, inclusive portrayal of everyday suburban life with the political and social fragmentation found within many American communities today. A version of the show that more directly explored real-world tensions could have sharply captured the moment into which King of the Hill returns. However, its obvious distance from real life encourages viewers to suspend disbelief and immerse themselves in its true politic: participating in the ritual of neighborhood life, regardless of whether that just means standing in an alley with a beer, contributing to a frog chorus of 'Yups' until everyone's made it through another day together. 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