Halle Berry and Heidi Klum shine despite new Cannes dress code banning nudity, 'excessively voluminous' looks
Halle Berry stunned when she arrived at the opening ceremony of the Cannes Film Festival in a black and white striped floor-length Jacquemus gown with a halter neckline.
While Berry looked great in the dress, it wasn't her first choice. Berry was forced to change her outfit after a last-minute announcement ahead of the 2025 festival that organizers had decided to ban nudity and "excessively voluminous" clothing, which also includes dresses with long trains.
"I had an amazing dress by Gupta that I cannot wear tonight because it's too big of a train," Berry told Variety. "I'm not going to break the rules. The nudity part is also probably a good rule."
The star posted photos from the opening night on her Instagram, and fans flooded the comments with compliments. One fan wrote, "Still as beautiful as ever (the definition of aging like fine wine)," and another added, "As they say Hallie [sic] is Living Her Best Life."
Berry also walked the red carpet at the premiere of "Mission Impossible - The Final Reckoning."
She posed for photos at the premiere in a strapless black and pink Celia Kritharioti dress.
"Wow!!! Stunning!!!! GORGEOUS!!!" one fan wrote in the Instagram comments of a post she shared from the festival. Another wrote, "She never misses! Always best dressed," while a third added, "Sis, you killin' em!"
Angelina Jolie turned heads when she walked the red carpet at the premiere of "Eddington" at the Cannes Film Festival in France. The actress stunned in a strapless sequined nude Brunello Cucinelli gown with circular designs embroidered throughout.
Jolie is this year's godmother of the Trophée Chopard award, meaning she will present the Trophée Chopard award, which goes to two young actors to encourage them in their career.
"I am honored to be godmother at the Cannes Film Festival. I am pleased to have a moment to recognize young artists and their exceptional work," Jolie told Women's Wear Daily.
Natalie Portman shut down the red carpet when she posed for photos at the premiere of "Eddington" at the Cannes Film Festival in a strapless silver and black sparkly dress.
She appeared at Cannes just a few days after the actress shared that she and her two children had moved to Paris, telling Net-a-Porter she enjoys the privacy the city has to offer.
Heidi Klum wore a strapless pink floral Elie Saab dress with a thigh-high slit and cascading layers of pink fabric.
The dress featured a long train, but it's unclear if it broke one of the new dress code rules set forth by the Cannes Film Festival organizers this year. The rules were announced on Monday, one day before the start of the festival.
"For decency reasons, nudity is prohibited on the red carpet, as well as in any other area of the festival," the dress code on the festival website states.
"Voluminous outfits, in particular those with a large train, that hinder the proper flow of traffic of guests and complicate seating in the theatre are not permitted. The festival welcoming teams will be obligated to prohibit red carpet access to anyone not respecting these rules."
She kept her accessories and makeup to a minimum and wore her blonde hair down in a middle part.
Klum also walked the carpet at the premiere of "Mission Impossible - The Final Reckoning."
The supermodel wore an off-the-shoulder figure-hugging purple sequined gown that featured a plunging neckline and a small train.
Emma Stone posed for photos on the red carpet at the premiere of "Eddington" in a form-fitting white gown with a dramatic neckline featuring a large round disk that sat above her chest.
The actress kept her accessories to a minimum, letting the dress do the talking, opting only for a pair of drop earrings and a ring.
She stars in the new Western horror movie that takes place during the COVID-19 pandemic and tells the story of townspeople turning against one another after a conflict between the sheriff and the mayor.
Bella Hadid arrived on the red carpet on opening night of the Cannes Film Festival wearing a black Saint Laurent dress with a loose neckline that draped around her lower neck and chest.
She accessorized the look with emerald earrings, a heart-shaped diamond ring and rhinestone-encrusted high heels.
Eva Longoria wore a strapless metallic gold Tamara Ralph gown when she arrived at the premiere of "Leave One Day" on opening day of the Cannes Film Festival.
She accessorized the dress with a statement necklace designed to look like leaves, matching earrings and rings and gold high heels.
Longoria also walked the carpet at the premiere of "Mission Impossible - The Final Reckoning."
This time around, Longroria chose to wear a sequined green dress with a halter neckline and a long train behind her, pairing the look with minimal accessories, except for a pair of earrings.
The "Desperate Housewives" actress wore her hair in a loose updo, leaving a few pieces out in the front that framed her face.
"Dipped in green," she captioned the Instagram post featuring photos from the event. Fans quickly took to the comments section to compliment the actress, one writing, "Wow! Flawless," and another adding, "You look more exquisite each time. Winning."
Andie MacDowell stunned when she arrived at the premiere of "Case 137" at the Cannes Film Festival in a form-fitting vintage Alberta Ferretti slip dress with black lace on the neckline.
She wore her signature gray hair in a side part with big curls and kept the makeup looking natural. She also wore no accessories, letting the dress get all the attention.
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Forty years ago, I telephoned Richard Ellmann, then recently retired as Goldsmiths' professor of English literature at Oxford, and asked him to review the critic William Empson's last book, 'Using Biography.' Like many readers, I regarded Ellmann as our greatest literary biographer, mainly because of his intensely documented and beautifully written 'James Joyce' but also for the much shorter 'Yeats: The Man and the Masks.' His biography of Oscar Wilde would appear posthumously in 1988, then go on to win both the National Book Critics Circle Award and the Pulitzer Prize. Ellmann's review appeared on the front page of Book World on May 18, 1985, almost precisely two years before he died at age 69 on May 13, 1987. The piece spoke admiringly of Empson's originality and sometimes capricious brilliance but took him to task over some of his ideas about Joyce's 'Ulysses,' most significantly that near the novel's end, Leopold Bloom offers his wife, Molly, to Stephen Dedalus. 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That second sentence — the one about ice — obliquely refers to the critical shift away from Ellmann's humanist reading of 'Ulysses,' one that approaches this modernist classic as a difficult but essentially traditional novel, to one that views the book much more as an artistic experiment with language, a stepping stone on the way to the neologistic wordplay of 'Finnegans Wake.' In general, Ellmann sets 'Ulysses' against the backdrop of the people and institutions that shaped Joyce — his family, teachers and friends; Nora Barnacle, with whom he shared his life; the Catholic Church, against which he rebelled; and, later, the financial supporters whom he charmed and the fellow writers who paid him homage. In his inaugural lecture at Oxford in 1971, Ellmann declared: 'More than anything else we want in modern biography to see the character forming, its peculiarities taking shape.' Leader — who has previously published lives of Kingsley Amis and Saul Bellow — follows this same principle in 'Ellmann's Joyce,' especially in its first half, labeled 'The Biographer.' Here he shows how much Ellmann's life, especially his early years and young manhood, affected his intellectual development and, eventually, his interpretation of Joyce. In the second half, 'The Biography,' Leader charts the creation of Ellmann's masterwork through encounters and interviews with Joyce's surviving family members, including the writer's brother Stanislaus, as well as numerous acolytes, such as bookseller Sylvia Beach, who published 'Ulysses,' and Maria Jolas, who protected a trunk full of letters, working notes and other papers during World War II. Together, Leader's two halves seek to better understand what Ellmann called 'the controlled seething out of which great works come,' in this case his own great biography of Joyce. 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