Amal Clooney Continues Her Archival Streak in Sweetheart Galliano for Dior Gown With Bono at Cannes Film Festival 2025
Amal Clooney continued her vintage streak at the 78th Cannes Film Festival on Friday, walking the red carpet for U2 frontman Bono's documentary 'Stories of Surrender' in an archival off‑the‑shoulder John Galliano gown for Christian Dior. The human rights lawyer made a solo appearance in support of Bono, a longtime friend of both her and her husband, George Clooney.
The full‑length black dress featured a softly structured off‑the‑shoulder sweetheart neckline and a fitted bodice that nipped at the waist before flaring into a sweeping side train. The slightly lustrous fabric caught the lights of the Palais des Festivals steps, creating a subtle sheen across the skirt and bodice.
More from WWD
Tom Cruise, Michael B. Jordan and the Evolution of Height-Boosting Shoes: Why the 'Mission' Is Growing
Emma Stone Embraces Sculptural Drama in Louis Vuitton Bib Dress at Cannes Film Festival 2025
Best Dressed at Cannes Film Festival 2025: Bella Hadid, Julia Garner and More
For accessories, the human rights lawyer carried a compact black clutch and wore diamond-encrusted statement drop earrings paired with several silver-toned cocktail rings. Her makeup was subtle, featuring a muted lip and warm-neutral eyes.
Hair stylist Dimitris Giannetos styled her hair in voluminous waves with buttery balayage highlights, each wave finished with a spritz of Delina hair perfume by Parfums de Marly.
Clooney has long favored both vintage gowns and sweetheart necklines. Last October, she wore a black velvet Atelier Versace gown with a plunging sweetheart neckline to the Clooney Foundation for Justice's Albie Awards in New York. In 2016, while her husband George Clooney was promoting 'Hail, Caesar!,' she embraced back-to-back vintage Yves Saint Laurent looks: first, a gown from 1981 at the 66th Berlinale International Film Festival, followed by a black sequined number at a separate premiere later that week.
The 2025 Cannes Film Festival concludes on May 24. Films premiering at this year's festival include Wes Anderson's 'The Phoenician Scheme,' Julia Ducournau's 'Alpha' and Lynne Ramsay's 'Die, My Love.'
View Gallery
Launch Gallery: Cannes Film Festival 2025 Red Carpet: Angelina Jolie, Emma Stone, Natalie Portman and More Photos, Live Updates
Best of WWD
The Strategic Rise of Models at the Cannes Film Festival: Glamour, Fashion Brands and Media Millions
Cannes Film Festival's Sheer Dresses on the Red Carpet Through the Years: Sophia Loren, Bella Hadid & More [PHOTOS]
Celebrities Wearing Zara: From Melania Trump's Controversial Coat to Kate Middleton's Blazer Collection [PHOTOS]
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
an hour ago
- Yahoo
Sentient Acorns, Badass Grandmas and Underwater Knights Feature Among MIFA's 2025 Feature Pitches
Annecy Animation Festival is filled with unmissable events, ranging from global premieres to niche boutique screenings. Near or at the top of that list are the MIFA Pitches, showcasing what indie directors and producers from all over the world have planned for the future of animation. An event carefully monitored by nearly every Annecy attendee, the sessions have more often than not proven to be the birthplace of true animated gems. More from Variety Key Latin America Animation Titles to Come Under the Spotlight at Annecy-MIFA's La Liga Focus 'Edmond and Lucy' Returns With Season 2 From MIAM! Animation: Feature Adaptation in Development Netflix Shares 'Stranger Things: Tales From '85,' 'In Your Dreams' First Looks in Annecy Initially split into four categories—feature Films, Short Films, TV Series & Specials, and Immersive Experiences—MIFA's 40th birthday also celebrates the addition of a fifth category dedicated to animated documentaries. In the Feature Films category, twelve film projects were selected this year at MIFA from no less than 201 candidates. Pitching at MIFA, where teams have ten minutes to dazzle potential partners, distributors, investors, sales agents and broadcasters alike, can prove tremendously valuable for such projects. Michel Ocelot's 1998 groundbreaking feature 'Kirikou and the Sorceress' was pitched at MIFA in 1991, while 'Heirloom,' an Indian feature presented last year in the same event, is now part of the Work-in-progress session, backed by a German co-producer. Last but not least, a Latvian cat created by indie director turned Oscar-winner Gints Zilbalodis was presented at the MIFA pitches back in 2021. Four years later, 'Flow' wrote a new chapter in European animation history. Here are our picks for five projects that stood out from this year's selection. What if children's animation was crafted by the children themselves? This idea drove director Filip Mašek to create 'Acorn's Adventure,' a smashingly beautiful CG project with forest characters designed by the daring imaginations of nature-loving children. Quido, a boy made of acorns, appears in Resinland, a village hidden deep in the forest where everyone seems to have a predefined purpose except for him. Suddenly, the village 's vital resource, resin, comes under attack from an unknown ring of thieves. So, Quido declares himself the hero and sets off on an epic mission to save the village along with daredevil race-driver wannabe Mary. Quirky characters such as posh champagne-cork Mayor or chestnut odd-looking villagers populate the luscious project, which has been built so far under the careful scrutiny of — you guessed it — children. 'This story is about acceptance and finding who you are', explained Mašek. As a teenager and Boy Scout leader, he was always amazed to see what stories children could create with twigs and acorns. Bringing this story to life with the same elements and the same energy resonated with him as well as Annecy's audience. Using Unreal Engine and Blender technology mixed with cutting-edge photogrammetry and motion-capture, the Czech-German co-production brings a teaser to Annecy, along with a second draft of the script. The project is looking for co-producers, broadcasters, investors and sales opportunities. Co-producer Kristina Husová concluded that their main goal was to foster this creativity and imagination. 'Our main wish is that children will run from the screening straight to the forest and use their limitless imagination to create their own 'Acorn's Adventures.' Annie/Emmy-nominated Shofela Coker ('Kizazi Moto: Moremi') and Nadia Darries ('Star Wars Visions: Aau's Song') dazzled Annecy's audience of professionals with 'Mami Wata,' a South-African 2D-CG hybrid animated feature film bringing forth the West African folk tale of Mami Wata. When the ancient water goddess threatens her town, Roukia, a silenced musician, must reclaim her voice to break a generational curse and save herself and her family. Describing their project as a 'thriller and a classic monster tale with a love story at its heart,' directors Coker and Darries blend their experience working in high-end environments with Nigerian and Southwestern African visual style to create what promises to be a gripping feature. Music, a key element within their project, will take the viewers from afro-beats to traditional Nigerian music, from afro-funk to modern dance. As a musical storyteller, Roukia focuses on the healing capacity of music and dance. 'Crocodile Dance' is currently in development and comes to Annecy looking for gap financing, co-producers, sales and distribution. Impressive character design and powerful animatics show true expertise of the directors' duo backed by South African Lucan Studio and Nigerian Coker Coop. Concluding their pitch, directors Coker and Darries emphasized Roukia's path to understanding her fear will be key in this narrative. 'Rather than slay the dragon with sword, fear and might, one might instead move like water and learn to dance with it, for fear does not trouble the sea.' Belgian veteran production company Vivi Film ('Les Triplettes de Belleville,' 'The Secret of Kells,' 'Titina') and Brussels-based Studio Souza presented 'Dreamwalker.' The project, which had already been showcased at Cartoon Movie, Europe's biggest co-production forum for animated films, follows Lucy, a lively 11-year-old girl who loves skating, water ballet and hanging out with her best friends. Everything changes when she starts suffering from a rare sleep disorder called narcolepsy. To prevent accidents from happening, her parents become very protective, limiting her freedom. As her condition turns even the simplest of everyday actions into a painful challenge, she starts to grow apart from her friends while trying to figure out who the mysterious nameless boy is who keeps appearing to her in her dreams. The teams' expertise shines in this lush 2d animated project, of which Director Rudi Mertens and producer Veerle Appelmans unveiled a teaser and dashing animation tests. In this heartfelt story about friendship, Lucy will learn to embrace her condition and find new meaning. With a finalized script, rough pre-boards, beautiful character designs and striking backgrounds, the production has already received development grants from Flanders Audiovisual Fund. Again relying on their teams' solid knowledge of the European animation landscape, Vivi Film has detailed plans to share for a 3-country co-production scheme and is looking for partners, international sales agents and distributors. Miyu Productions — which boasts two films in Annecy's feature competition this year, 'Death Does Not Exist' and 'Dandelion's Odyssey' — returns to MIFA pitches with Simon Rouby's second feature. Nine years after his directorial debut film 'Adama' won two prizes at Annecy, Rouby presented, with producer and long-time friend Emmanuel-Alain Raynal, a CG project aimed at family audiences, which Rouby described as 'Red Riding Hood in the Himalayas.' An idea that has followed him since he had to retell his own version of the known folk tale as part of his Gobelins/CalArts training, Rouby was lucky enough to accompany a geological expedition in the famed mountain range. 'Where I would just see rocks, those geologists saw a story,' explained Rouby, recalling a trip that allowed him to infuse his story with realism, capturing the essence of those rocky landscapes and remote villages. 'Pangea' tells the story of Chesa, a young girl who can predict earthquakes. After one of them weakens her village, she leaves to seek help from her grandmother, who lives as a hermit in the mountains. As she searches for the origins of her power, Chesa discovers that the earth is shaking because of the Dark Teeth, a landless people who feed on anthracite. Driven by their ever-increasing hunger, they dig into the earth and accelerate continental drift, threatening the world Chesa and her grandmother are striving to protect. Rouby's and Miyu's expertise combine in what appears as a solid project, with impressive visuals and a striking teaser that ravished Annecy's audience. The project, already backed up by the CNC and several regional funds for its development, is looking for additional partners. 'The Sunken Knight' opened the day's second pitching session with an animated bang. In a medieval village where children are forbidden to go near the sea, 10-year-old Anna forms an unlikely duo with her whimsical, mysterious grandmother. Together, they venture deep under the ocean to retrieve Anna's no-good younger brother Malo, kidnapped by the terrible Sunken Knight. Along the way, the duo will uncover the secrets of the lost city of Ys, a mysteriously submerged town somehow connected to Anna's past. Visual artist and comic book author Sébastien Cosset helms this promising French project backed by L'Incroyable Studio ('Bergères Guerrières,' 'Draw for Change'). A feature that can also count on talents such as acclaimed French screenwriter Fabien Velhmann, artistic duo Kerascoët ('Tobie Lolness') and both cute and funny animatics created by Oscar-nominated director Benjamin Renner, who also storyboards the project. An adventure-filled project with a strong visual identity and dazzling concept art, 'The Sunken Knight' amazed Annecy's audience with its distinct palette and lovable characters. The duo of Anna and her grandmother forms a perfect balance between the old woman's quirkiness and the young girl's down-to-earth approach. In bringing the viewers into the depths of the Atlantic Ocean, the team also manages to underline how important it is to preserve marine life today. A definite highlight of this year's roundup, 'The Sunken Knight' already has a full treatment and is looking for co-producers, distributors and broadcasters to board this one-of-a-kind project. Selecting five projects from the twelve features proved extremely difficult, as each had its own specific identity. All the films' primary information remains available on Annecy's website, and we encourage investors, broadcasters, and producers to dive deeper into this year's powerful line-up. Best of Variety New Movies Out Now in Theaters: What to See This Week 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? 25 Hollywood Legends Who Deserve an Honorary Oscar
Yahoo
an hour ago
- Yahoo
Miyu Backs Bittersweet Coming-of-Age Tale ‘We Are Aliens' From Music Video Maestro Kohei Kadowaki (EXCLUSIVE)
French animation powerhouse Miyu Productions has teamed with Tokyo-based upstart Nothing New to co-produce 'We Are Aliens,' a coming-of-age tale now in development, and slated for completion by March 2026. The project marks the first animated feature from 28-year-old director Kohei Kadowaki, best known for his visually striking music videos for chart-topping acts like Yoasobi and for his experimental blend of live-action and animation. More from Variety 'Odd Taxi's' Baku Kinoshita on His Melancholic Feature Debut 'The Last Blossom,' Premiering in Annecy Sentient Acorns, Badass Grandmas and Underwater Knights Feature Among MIFA's 2025 Feature Pitches Key Latin America Animation Titles to Come Under the Spotlight at Annecy-MIFA's La Liga Focus 'We Are Aliens' tells the story of two boys, Tsubasa and Gyotaro. Tsubasa is quiet and serious, while Gyotaro is a cheerful genius. As kids, they were close friends, but jealousy and misunderstandings drove them apart. Years later, their lives have gone in different directions—but when memories from the past come back, both must face what happened between them. 'This film turns the spotlight on the half of adolescence anime rarely touches,' says director Kohei Kadowaki, promising a bittersweet film redolent in both pain and joy. 'Through children's quarrels and first loves—small events in a small place—the film poses universal questions: What does it mean to grow old? What is happiness? By affirming the Tsubasa and Gyotaro that dwell in every heart, it aims to become a story cherished across time and borders.' 'We are constantly seeking bold, singular voices in animation,' add Miyu producers Emmanuel-Alain Raynal and Pierre Baussaron. 'From the moment we saw the first images of 'We Are Aliens,' we were convinced of the strength of the project—and that we were witnessing the emergence of a major new voice in global animation.' Miyu Productions previously collaborated with Tokyo-based Shin-Ei Animation on 'Ghost Cat Anzu,' which premiered out of Directors' Fortnight at the 2024 Cannes Film Festival. Miyu's new partnership with Nothing New was born of that same trip down the Croisette, where the two companies connected over a shared commitment to ambitious, director-driven animation. 'We met our like-minded partners during the 2024 Cannes Film Festival and have since held detailed discussions,' says Nothing New producer Kentaro Hayashi. 'It is an honor to announce our collaboration at this juncture, and we will continue working together to deliver this film to the widest possible audience. [Director] Kohei combines breathtaking visuals with delicate storytelling. With his distinctive style—unlike anything in Japanese animation to date—we intend to set a new benchmark for coming-of-age cinema.' Best of Variety New Movies Out Now in Theaters: What to See This Week 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? 25 Hollywood Legends Who Deserve an Honorary Oscar
Yahoo
an hour ago
- Yahoo
Kid Koala Talks Processing Grief Through ‘Space Cadet' as His Debut Feature Sells Wide: ‘People Keep Telling Me it Made Them Cry' (EXCLUSIVE)
'Space Cadet' is ready for launch. The animated feature – screening in Annecy's Contrechamp section – has shot for the stars in multiple territories for Urban Sales, selling to BAC Films (France), Filmin and Vercine (Spain) Benelux – Periscoop (The Netherlands), JEF (Belgium), Eksystent (Germany), Filmladen (Austria), Folkets Bio (Sweden), Angel Films (Denmark), Fivia (Ex Yugoslavia), Alfazbet (Japan), Hope Content (Taiwan) and Aeon Entertainment (Vietnam). More from Variety Miyu Backs Bittersweet Coming-of-Age Tale 'We Are Aliens' From Music Video Maestro Kohei Kadowaki (EXCLUSIVE) 'Odd Taxi's' Baku Kinoshita on His Melancholic Feature Debut 'The Last Blossom,' Premiering in Annecy Sentient Acorns, Badass Grandmas and Underwater Knights Feature Among MIFA's 2025 Feature Pitches 'People keep telling me it made them cry,' admitted director Eric San, better known as Canadian scratch DJ Kid Koala. The story is based on his own graphic novel, which he wrote back in 2009, following his grandmother's passing. 'She enjoyed Charlie Chaplin films. That's one of my fondest childhood memories: watching Chaplin with her. She would come visit us in Canada and didn't speak a word of English. These were the only movies we could share together.' At the time of her death, he was also expecting the arrival of his first daughter. 'My brain literally went in two different directions. I kept reminiscing about the times I'd spent with my grandparents and my parents, these special moments that really shaped my personality and my outlook on the world. Then I was also thinking about my daughter and the things I could share with her,' he recalled. 'When people talk to me about the movie, they mention sadness, but I feel it's more bittersweet. I value that I got to spend all that time with my grandmother and all the profound things she taught me.' Funnily enough, in a film dedicated to 'our grandparents,' they are nowhere to be found. Instead, little Celeste spends her days with a kind guardian robot. Her mum is an astronaut, away on dangerous missions. When Celeste grows up, she also decides to reach for the moon, but her old robot needs to stay on Earth. 'Watching Chaplin with my grandmother inspired me to learn about film production and art, but it also made her laugh, and I'd never seen that before. She was quite stoic, or maybe just a little shy. Even at six years old, I remember thinking: 'When I grow up, I want to create this kind of energy in a room.' My career has taken different courses, but at its heart, there's this idea of sharing fun and emotion, and creativity, and bringing people together.' As Kid Koala, he has toured with Radiohead, the Beastie Boys and Arcade Fire, he's contributed to soundtracks for 'The Great Gatsby' and 'Baby Driver' and composed music for Cartoon Network, Sesame Street and Adult Swim. Music is also important in his dialogue-free film. 'It deals with cycles of generations, and there are flashbacks allowing you to understand the special bond between Celeste and her guardian robot. I wanted them to feel nostalgic. I went back to my first instrument, which was piano.' In the past, he accompanied the original graphic novel with an album as well. 'My daughter had just been born, and her crib was just six feet away from my piano. I recorded it with headphones: these were essentially lullabies. I remember writing it with my right hand and holding her in my left, trying to soothe her. A lot of these musical cues were brought into the film.' He felt the songs in 'Space Cadet' needed to be 'comforting moments,' and came up with new versions of some established classics. He also had some help. 'I reached out to literally my shortlist of favorite singers on the planet. Karen O, Emiliana Torrini, Trixie Whitley, Martha Wainwright, Meaghan Smith and Ladybug Mecca from Digable Planets.' Celebrating life's little moments was a priority in the story. 'My older daughter just graduated from high school this week, and I was so glad I could be there for that. It was a big milestone. But looking back on my childhood, it was some of these days that my parents don't even remember that really stand out.' He added: 'The idea of every moment being a gift is something I've always tried to remember, but the operative word was 'space.' I'm a scratch DJ – it's easy for me to fill every second with noise. But I needed to give space to the story and music, and space to the viewers for them to think about their own childhood.' The film marks a 'full circle' moment for San. After graduating from high school, he applied to NYU, thinking about pursuing animation. That dream had to wait. 'I was accepted, but it was very expensive for us at the time. I chose not to pursue it. Instead, I studied to become an elementary school teacher. Later, even when I signed my first record deal, I would still draw my album covers and create comic books.' Ginette Petit, who produced 'Space Cadet' for Les Films Outsiders with Nathalie Bissonnette – with Mylène Chollet writing the script – came to his tour and bought the book. 'Two weeks later, she reached out, saying: 'I want to turn it into a movie.' I never expected it to happen.' San is currently showing the film at Annecy, where 'all these sensitive, introverted animators finally get to cut loose, yelling and throwing paper airplanes at the screen.' But it might not be a one-off experience. 'I would like to maybe follow a different character within the same universe. So many of my stories seem quite fantastic – a mosquito plays clarinet, moves to the big city and tries to join the orchestra – but I was also thinking about 'Space Cadet's' delivery bot. It delivers parcels every day and gets an insight into so many lives.' Before that happens, he hopes his film, and the story it tells, will help people process grief. Just like it helped him. 'When I was teaching, our class pet bunny had passed away, and the whole class was just wrecked. Everybody was crying. We decided to write, or draw, what that bunny meant to us. The kids were able to grieve through this project. That's in the DNA of the film,' he noted. 'My daughter had a fish once, and at one point, it started to swim strangely. I basically told her: 'I don't think it's gonna be with us for much longer.' She grabbed her little digital camera and started taking pictures of this sick fish. She said: 'I need to remember. '' 'Kids have high emotional intelligence: when it comes to things like death, they understand it. It's the adults who get nervous, because they don't want to rain on the parade of childhood. But death is a part of life.' Best of Variety New Movies Out Now in Theaters: What to See This Week 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? 25 Hollywood Legends Who Deserve an Honorary Oscar
