Heidi Klum's Sheer Lace Dress at Cannes Shows Off Her Underwear
Heidi Klum is already making headlines at the 2025 Cannes Film Festival.
At the opening ceremony, she wore a dress that almost broke the festival's new dress code.
The supermodel wore yet another daring look at the festival's opening night dinner.Heidi Klum is turning heads at every event she attends at this year's Cannes Film Festival. At the festival's opening night dinner, the supermodel wore a sheer lace bodycon dress over chic, high-waisted underwear.
Klum seems to have chosen the route of active defiance against the festival's organizers, who quietly changed aspects of the red carpet dress code. On Tuesday, the charter, which helps attendees navigate the 12-day event, was updated to include a new strict fashion rule. "For decency reasons, nudity is prohibited on the red carpet, as well as in any other area of the festival," the update reads.
"Voluminous outfits, in particular those with a large train, that hinder the proper flow of traffic of guests and complicate seating in the theater, are not permitted. The festival welcoming teams will be obligated to prohibit red carpet access to anyone not respecting these rules.'
It seems as though Klum is purposefully toeing that line with her fashion choices this year. At the opening ceremony, she wore a eye-popping Elie Saab gown adorned with flower petals and a long train, which is strictly against the new rules.
Read the original article on InStyle

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
26 minutes ago
- Yahoo
Queen Elizabeth Found One Aspect of Her Coronation 'Horrible'
Near the beginning of Queen Elizabeth's historic 70-year reign, she took part in her coronation on June 2, 1953—72 years ago. Despite all the pomp and ceremony, the Queen found one aspect of her coronation 'horrible.' The three-hour ceremony had over 8,000 guests in attendance, including a 4-year-old Prince years ago yesterday—on June 2, 1953—Queen Elizabeth's coronation took place just over a year after her historic 70-year reign began on February 6, 1952 and the death of her beloved father, King George VI. The next coronation didn't take place until May 6, 2023—almost exactly 70 years later—when the late Queen's son King Charles took the throne. Queen Elizabeth's own coronation was significant as it was the first one to be televised, but the monarch apparently found one aspect of her big day to be 'horrible,' according to Marie Claire. In the BBC 2018 documentary The Coronation, none other than the Queen herself spoke about the event—after all, who better to ask? As she arrived at Westminster Abbey that day in the Gold State Coach, the Queen looked every bit the part—but the reality of riding in the coach was 'horrible,' the Queen said. 'It's not meant for traveling in at all. I mean, it's only sprung on leather. Not very comfortable.' It wasn't a short ride in the Gold State Coach, either, as the Queen said she went 'Halfway around London.' 'It can only go at a walking pace,' she said in the documentary. 'The horses couldn't possibly go any faster. It's so heavy.' Per Marie Claire, the Gold State Coach was built as far back as 1762, designed by William Chambers and constructed by coachmaker Samuel Butler. Since 1831, the coach has been used at every coronation, including King Charles' two years ago. The coach was pulled by eight grey gelding horses at Queen Elizabeth's coronation, and on that particular June day, the late Queen's coronation was 'unseasonably cold and wet,' so staffers apparently 'strapped a hot water bottle under the seat' to keep the Queen warm—no doubt only further adding to how uncomfortable the ride was. There were 8,000 guests in attendance at Queen Elizabeth's three-hour coronation, including a 4-year-old Prince Charles—'the first heir apparent of a Queen to attend a coronation,' according to People. The Queen was crowned with the extremely heavy St. Edward's Crown—the same crown her father was crowned with 16 years before her. The crown weighs in at nearly five pounds—which doesn't sound heavy until you think of it balancing atop your head. 'The ceremonies you have seen today are ancient, and some of their origins are veiled in the mists of the past,' the Queen said on that day. 'But their spirit and their meaning shine through the ages, never, perhaps, more brightly than now. I have in sincerity pledged myself to your service, as so many of you are pledged to mine. Throughout all my life and with all my heart I shall strive to be worthy of your trust.' Read the original article on InStyle
Yahoo
3 hours ago
- Yahoo
What Does The Cannes Film Festival Have Against Documentaries?
Cannes Film Festival chief Thierry Frémaux entered the room with a martial bearing, his square jaw tilted upwards in the manner of a man who need not doubt his significance. He came to the Salon des Ambassadeurs within the Palais to make a few remarks before the awarding of the annual l'Oeil d'or (Golden Eye) award for the festival's top documentary, as selected by a jury. Before an audience of perhaps a hundred or more nonfiction film lovers, he stated what must be considered unquestionable: More from Deadline 'Imago' Wins L'Oeil d'Or Prize For Top Documentary At Cannes; Julian Assange Film Wins Special Jury Prize For l'Oeil d'Or 10th Anniversary 'The Six Billion Dollar Man' Review: Timely Documentary Shows Julian Assange As Truth Teller Fighting Against Authoritarian Drift – Cannes Film Festival Patrick Wachsberger's 193 Locks Post-Cannes Deals On Multiple Pics Including 'Die My Love' & Colman Domingo's Directorial Debut 'Scandalous!' 'Documentaries are a minority within the Cannes Film Festival. There have been documentaries in the past, but very few,' Frémaux acknowledged, before adding, 'But it's true that over the past few years, there have been many more.' He went on to say, '[With] your minority status, you can always feel a little oppressed. You are not. I can reassure you right away that there is proof. The proof, this prize; the proof, this jury, these people who are here.' Those comforting sentiments aside, it's hard to argue with the evidence that Cannes sees documentary as secondary within the septième art, or 7th Art, as the French sometimes call cinema. Of the more than 20 films selected for official competition, not a single one was a documentary. Given that only films In Competition are eligible for the Palme d'or, that means nonfiction films came in with no chance of winning the festival's most coveted prize. (In Cannes history only two docs have won the Palme d'or – in 2004, for Michael Moore's Fahrenheit 9/11, which was probably awarded more for the film's political message than its cinematic qualities; and in 1956 for The Silent World, the oceanographic film directed by Jacques Cousteau and Louis Malle). Two years ago, it appeared Cannes might be turning a corner in its view of documentary as cinema – inviting not one but two nonfiction films to screen in Competition: Kaouther Ben Hania's Four Daughters and Wang Bing's Youth (Spring). But then last year it reverted to form, omitting any docs from Competition, a pattern repeated this year. Before 2023, it had been almost 20 years – the Fahrenheit 9/11 year – that Cannes had deigned to admit a documentary to Competition. Venice and Berlin, the two other most prestigious European festivals, have displayed much less tendency to segregate documentary from fictional cinema. Indeed, the Berlinale's Golden Bear has gone to a documentary three times in the last decade: Dahomey, directed by Mati Diop (2024); On the Adamant, directed by Nicolas Philibert (2023), and Fire at Sea, directed by Gianfranco Rosi (2016). Jafar Panahi's Taxi, sometimes described as docufiction, won the Golden Bear in 2015. In 2022, the Golden Lion – Venice's top prize – went to the documentary All the Beauty and the Bloodshed, directed by Laura Poitras. Going back to cinema's roots in the late 19th century, the first projected films were essentially documentaries – often referred to as 'actualities' back then. Among them were very brief shorts directed by the French Lumière Brothers – Auguste and Louis – 'Exiting the Lumière Factory in Lyon' (1895) and 'Fishing for Goldfish' (1895). Nanook of the North, the 1922 silent directed by Robert Flaherty, is considered the first documentary feature. Dziga Vertov's documentary Man with a Movie Camera (1929) has been voted one of the greatest movies of all time – nonfiction or fiction. Cannes' l'Oeil d'or prize has only been around for 10 years. This year, the honor went to Imago, directed by Chechen filmmaker Déni Oumar Pitsaev, a film that premiered in Critics Week (Semaine de la Critique) the unofficial Cannes sidebar. 'It's nice that there are more and more documentaries in Cannes,' Pitsaev told me after winning the l'Oeil d'or, 'but it's maybe time that we're not in the back room, but that it's considered just cinema. Wasn't cinema born in documentary as well?' Un Certain Regard, an official Cannes sidebar, likewise gave no love to docs. 'It's 20 films,' Pitsaev noted, 'and no documentaries.' The Critics Week jury, comprised of Oscar-winning actor Daniel Kaluuya and others, awarded the French Touch Prize to Imago, praising its subtlety: 'It observes but never insists, listens but never forces, captures but never encloses.' The film was edited by Laurent Sénéchal, the Oscar-nominated editor of Anatomy of a Fall, and fellow award winner Dounia Sichov. Pitsaev said he always meant the film to be cinematic (and thus worthy to be in the company of scripted films). 'The film was financed as a work of cinema, not just a documentary,' he said. 'The film was also helped by Arte Cinema, not just Television, but Arte Cinema. People typically ask me, 'When is it going to be on TV?' and I just remind them first it's going to be a theatrical release, so end of October it's going to be released in cinemas in France. We're more than happy that people can see the film on a big screen as it was planned. All the collective of the image and also sound, all the work we did, it's done for cinema, to have the full theatrical experience.' Cannes does have a section partly devoted to documentary films – Cannes Classics, which programs nonfiction films oriented towards cinema history, directors, and actors. This year's lineup included Welcome to Lynchland, a film about David Lynch directed by Stéphane Ghez; Bo Being Bo Widerberg, a doc about the Swedish filmmaker directed by Jon Asp and Mattias Nohrborg, and Slauson Rec, a film about Shai LaBeouf's free theater company in L.A. directed by Leo Lewis O'Neil. Cannes also slated a couple of documentaries in other sections. Orwell: 2 + 2 = 5, Raoul Peck's film about author George Orwell, bowed as a 'Cannes Premiere,' and The Six Billion Dollar Man, Eugene Jarecki's documentary about Julian Assange and Wikileaks, was slotted as a 'Special Screening.' The Six Billion Dollar Man won a Special Jury Prize in honor of the 10th anniversary of l'Oeil d'or. 'I do think this is a seismic development within the Cannes Film Festival, my movie aside,' Jarecki told me after winning the award. 'Just the fact that you can feel the festival leaning into documentary much more than ever before, leaning into the serious issues that are flying around the world right now. If you look at what showed at the festival this year, the dedication of the festival to Fatima [Hassouna, a Palestinian photojournalist killed in Gaza], there's extremely important stuff going on. And I think the way the psyche of the festival has shifted, we need that… We need more and more people to step up and get concerned and get engaged. And I came here not knowing what to expect of that, of how a festival of poetry and fantasy and romance would be dealing with a modern era where we all have such grave concerns, and they're leaning into it.' If Jarecki is right and Cannes takes a more serious turn in the direction of documentary, it can demonstrate that by selecting nonfiction films for Competition. We'll see if that happens in 2026. Comme disons les français, on verra. On the basis of past history, I would argue Cannes remains all about poetry, fantasy, and romance as embodied by the spectacle of the red carpet (le tapis rouge) and the stars ascending the stairs to the Palais, where they are typically greeted by Thierry Frémaux. That's the beating heart of Cannes. Documentaries, for the most part, lack the inherent glamour that constitutes Cannes' true identity. Best of Deadline Everything We Know About 'Stranger Things' Season 5 So Far 2025 TV Series Renewals: Photo Gallery 2025 TV Cancellations: Photo Gallery
Yahoo
19 hours ago
- Yahoo
Jennifer Lawrence and Dakota Johnson Enjoy a Girls' Night Out in N.Y.C. After Cannes Hangout
Jennifer Lawrence and Dakota Johnson arrived together for a dinner at a New York City restaurant on May 31 The two friends have been spotted together as recently as the Cannes Film Festival in May, where they both had movies premiere The actresses were dressed in similarly dressy casual looks for their night outJennifer Lawrence and Dakota Johnson are having a night just for the girls. The two actresses were spotted dining out together at a restaurant in New York City on Saturday, May 31. Arriving together in a car, The Hunger Games star, 34, and Madame Web actress, 35, almost matched in dressy casual looks, the former in an all-black ensemble and the latter in a black top, brown blazer and gray dress pants. They also both sported wavy hair and sideswept bangs. Lawrence accessorized with an oxblood-covered purse and gold necklaces, while Johnson opted for a gemstone necklace and bright orange handbag. Never miss a story — sign up for to stay up-to-date on the best of what PEOPLE has to offer, from celebrity news to compelling human interest stories. Johnson, who is currently dating Coldplay singer Chris Martin, an ex of Lawrence's, supported her friend recently at the 2025 Cannes Film Festival. The actresses were photographed hugging and laughing together at the May 17 after-party for Lawrence's movie Die, My Love following its buzzy premiere at the fest. The duo's friendship is a bicoastal one; last October, Johnson and Lawrence grabbed beverages together in Los Angeles. The Silver Linings Playbook Oscar winner, pregnant at the time, has since welcomed her second child with Cooke Maroney, her husband since 2019. Johnson and Martin, 48, were first romantically linked in 2017. Last August, a rep for the 50 Shades of Grey actress debunked rumors that they had broken up, while a source noted that the couple "are both very independent and actually have lives outside of their relationship too." Lawrence costars with Robert Pattinson and LaKeith Stanfield in director Lynne Ramsay's Die, My Love, to be released by Mubi at a to-be-announced date. The actress-producer reportedly has The Wives, a murder mystery inspired by the Real Housewives reality franchise, in the works. Johnson stars with Pedro Pascal and Chris Evans in Celine Song's A24 romantic drama Materialists, in theaters June 13. She also features in Michael Angelo Covino's Splitsville, which premiered at the Cannes Film Festival on May 19 and will be released by Neon on Aug. 22. Read the original article on People