Latest news with #AlanaHaim
Daily Mail
29-05-2025
- Entertainment
- Daily Mail
HAIM pose for their new album cover in a VERY unlikely location while sporting a WHSmith carrier bag - and fans are going wild
The all-American girl band HAIM has posed for their new album cover in a very surprising UK location. The Grammy-nominated trio, named after the surname of bandmates and sisters Alana, 33, Danielle, 36, and Este, 39, have become internationally famous for their pop-rock songwriting and instrumental skills. But the cover of their next single from their upcoming album I Quit, set to drop on Friday, depicts a location much closer to home, as far as UK fans are concerned. The artwork for the song Take Me Back features a snap of the American band on Portland Street in Manchester - with youngest sister Alana clutching a WHSmith bag. The album, set for full release on June 20, marks HAIM's first studio recording in five years, so fans were already hyped - but the randomness of the shoot has sent them over the edge. From A-list scandals and red carpet mishaps to exclusive pictures and viral moments, subscribe to the DailyMail's new Showbiz newsletter to stay in the loop. One user questioned on X: 'This is Manchester. Why are HAIM near Piccadilly Gardens?' Another joked: 'The new HAIM single cover taken in Manchester, like girls, why didn't we hang?' Someone else said: 'HAIM's new single cover has reminded me how much I miss Vegan Shack [restaurant in Manchester]. This is Portland Street in Manchester.' This is most certainly not the first time Manchester has featured on notable music artwork. On the cover of Oasis's iconic 1994 debut album Definitely Maybe is a now legendary house in the West Didsbury area of Manchester. And Salford Lads Club, the home of a youth group, has become a pilgrimage site for fans of The Smiths, who were pictured outside on the front of their 1986 album The Queen Is Dead. But it still caught fans unawares to see somewhere so familiar in HAIM's album art, with one commenting in confusion on X: 'HAIM single cover in Manchester with Alana clutching a WHSmith bag...?' Another said in complete shock, of the location near the city centre's Piccadilly Gardens: 'WTF were HAIM doing in Manchester?' The album, set for full release on June 20, marks HAIM's first studio recording in five years, so fans were already hyped - but the randomness of the shoot has sent them over the edge (pictured) Someone else, posting a picture of the exact place on Portland Street where the photo of the band was taken, said: 'That's... Portland Street, Manchester. 'Not the first place I'd pick for a single cover but pop off.' Fans also noted the album cover was styled after a paparazzi snap of British actors Keira Knightley and Jamie Dornan, taken in 2004. One said: 'The artwork for HAIM's new single Take Me Back was inspired by a 2004 photo of Keira Knightley and Jamie Dornan. Drops tomorrow - don't miss it.' The cover shows the three sisters walking along the street, with youngest sisters Danielle and Alana dressed exactly like the Brits in the noughties snap. The attention to detail is astonishing, with Danielle even wearing a white scarf draped over her shoulders at exactly the same angle Keira is sporting it at in the photo. It comes after three other singles the band released from their upcoming album earlier this year also took inspiration from iconic paparazzi snaps. The cover of Down To Be Wrong, for example, which debuted last month, was based on a picture of actors Jared Leto and Scarlett Johansson kissing - while he distractedly tried to look at his mobile flip phone at the same time. The director of the cover shoot, Terrence O'Connor, spoke out on X (pictured) about the process of bringing the album art to life They are set to return to Manchester later this year, for a huge show at the Co-Op Live stadium in October, while on tour. Pictured: HAIM at the Grammy Awards in 2021 But in a first for the band's marketing for this album, the inspiration behind the cover for Take Me Back is uniquely British. And in a pleasing Easter egg moment for HAIM fans familiar with Manchester, well-known spots like restaurant Don Tacos and One Piccadilly Gardens offices are visible in the cover photo, the Manchester Evening News reports. The director of the shoot, Terrence O'Connor, spoke out on X about the process of bringing the album art to life. The photographer, known for his long-time collaboration with British singer Charli XCX, said: 'Take me back to me and D buying out the Manchester Victoria's Secret and shooting this two hours later lol. 'Artwork by me for Take Me Back by HAIM. Styled by us chaotically the morning of as always. A perfect song for my/your nostalgia addiction out Friday!' HAIM's single release will come after their hit performance at BBC Radio 1's Big Weekend in Liverpool last weekend. And they are set to return to Manchester later this year, for a huge show at the Co-Op Live stadium in October, while on tour.
News18
24-05-2025
- Entertainment
- News18
Josh O'Connor & Alana Haim Nail Red Carpet Look At 'The Mastermind' Cannes Premiere
Alana Haim, Josh O'Connor, director Kelly Reichardt, producer Anish Savjani, cinematographer Chris Blauvelt, actor John Magaro, and producer Neil Kopp attended the premiere of 'The Mastermind' during the 78th Cannes Film Festival on Friday. Watch their fun-filled moments here. bollywood news | entertainment news live | latest bollywood news | bollywood | news18 | n18oc_moviesLiked the video? Please press the thumbs up icon and leave a comment. Subscribe to Showsha YouTube channel and never miss a video: Showsha on Instagram: Showsha on Facebook: Showsha on X: Showsha on Snapchat: entertainment and lifestyle news and updates on:
Reuters
24-05-2025
- Entertainment
- Reuters
Josh O'Connor drawn to flawed protagonist in Cannes entry 'The Mastermind'
CANNES, France, May 24 (Reuters) - Rising British actor Josh O'Connor was drawn to how normal his character in "The Mastermind", a suburban dad who cooks up an art heist, seemed when he signed on to U.S. director Kelly Reichardt's new film that premiered at the Cannes Film Festival. "When we go to the theatres, we see often times the most extreme versions of characters, of human nature. And that's what we know is drama," O'Connor told journalists on Saturday. However, "I find now that I often want to see ordinary people put in kind of extraordinary positions," said the actor who played Prince Charles in the TV series "The Crown." O'Connor's James Mooney is an unemployed carpenter with a wife, played by Alana Haim, and two children in 1970s Massachusetts who decides he wants to steal four paintings by early American modernist Arthur Dove from the local city museum. The plan begins to unravel almost from the get-go as Mooney, with no criminal experience, steals the art but is forced to hide out, away from his family, while police search for him. "The Mastermind" is one of two films in competition for the festival's top prize that star O'Connor, the other being the gay period romance "The History of Sound" with Paul Mescal. The actor described Mooney's overconfident plan as a "work of art in itself," one that comes from privilege and "from generations of men being told that they deserve something more." For the film, director Reichardt said she was interested in exploring New Hollywood's typical "bumbling jerk" character who can do whatever he wants and still be liked by the audience. Examples include Robert De Niro's Travis Bickle in "Taxi Driver" or any Jack Nicholson character, said the director of films including "First Cow," "Old Joy" and "Wendy and Lucy." "I'm interested in that tradition, but I'm also interested in breaking it down a little bit and looking at how the parts of it work and then kind of fall apart," she told journalists. Streaming platform Mubi, which bought "The Mastermind," gave the film the resources needed and then did not impose on how it was made, said Reichardt, calling it a "very fortunate thing". "All the arts in America are, like science and education, are really obviously in a very precarious situation right now," said Reichardt, adding: "America's in such a dark place."
Daily Mail
23-05-2025
- Entertainment
- Daily Mail
Alana Haim and co-star Josh O'Connor share sweet red carpet moment at the premiere of their new film The Mastermind during Cannes Film Festival
Alana Haim and Josh O'Connor made an energetic arrival on the red carpet at The Mastermind premiere during Cannes Film Festival on Friday night. The pair, who star as husband and wife in the new film, shared a sweet exchange and seized the moment as they played up their onscreen identities. Making sure she and Josh got some attention in a room packed of A-list stars, Alana playfully 'presented' Josh to photographers during the glitzy premiere. Looking very glamorous in a Louis Vuitton black and green dress on the Croisette, the Haim singer made a show of introducing her co-star with a grin stretching her arms open wide, much to the delight of the cameras. The pair continued to play out more cute moments, as they made their way up the red carpet, laughing and joking, bringing a spark of joy to the prestigious event. From A-list scandals and red carpet mishaps to exclusive pictures and viral moments, subscribe to the DailyMail's new showbiz letter to stay in the loop. Making sure she and Josh got some attention in a room packed of A-list stars Alana playfully 'presented' Josh to photographers during the glitzy premiere on Friday Alana looked sensational in the black corset top and green skirt which featured dramatic ruffles all over. She left her brunette locks down for the evening and wore minimal makeup to highlight her naturally good looks. Josh donned a smart Prada trouser suit for the occasion and pinned a pink corsage to his lapel, for added pazaaz. They were joined by fellow cast member John Magaro and acclaimed filmmaker Kelly Reichardt, who penned and directed the hotly anticipated project. Josh stars in the forthcoming heist film, alongside the chart topping singer who, made her Cannes debut in Licorice Pizza by Paul Thomas Anderson four years ago. In the film, Mooney (Josh) and two accomplices make their way into a museum during the middle of the day and steal four paintings. However when things go haywire, his life unravels and Mooney is relegated to a life on the run. The film earned a five and a half minute standing ovation at its Cannes premiere on Friday night. Looking uber glamorous in a Louis Vuitton black and green dress on the Croisette, the Haim singer made a show of introducing her co-star continued to play out more cute moments, as the pair made their way up the red carpet, laughing and joking Josh appears in nearly every scene, and during the applause cheers and roars for his part in the film were reported to be the loudest. It was Josh's second film opening for the film festival, having had the premiere for the new gay romance, The History of Sound on Wednesday night. Despite receiving a nine minute standing ovation, the actor missed out on the celebrations due to filming Steven Spielberg's new movie. In The History of Sound, Lionel (played by Paul mescal) and David (Josh), meet at music college, embark on a project to record the lives, voices and music of their friends and countrymen, and in the process forge a forbidden bond. Josh has previously admitted he has 'mixed feelings' about playing gay characters despite starring in two homosexual roles. Speaking to Vanity Fair, Josh said: 'It's a really difficult subject. The truth is that ultimately I will read a script and what affects me, affects me. The actor explained how The History Of Sound was also about grief, companionship and music as well as love. Whereas his role is God's Own Country told the story of 'someone who was unable to love and be loved.' He added: 'A character's sexuality, a character's background, where they've grown up, their dynamic with their family—these are all aspects to any character, and so I take those as seriously as I would any other aspect. 'But to be totally truthful, I'm not 100% sure how I do feel about it. I think I have mixed feelings.
The Guardian
23-05-2025
- Entertainment
- The Guardian
The Mastermind review – Josh O'Connor is world's worst art thief in Kelly Reichardt's unlikely heist movie
It needs hardly be said that the title is ironic. The abject non-hero of Kelly Reichardt's engrossingly downbeat heist movie, set in 1970s Massachusetts, is weak, vain and utterly clueless. By the end, he's a weirdly Updikean figure, though without the self-awareness: going on the run with no money and without a change of clothes, to escape from the grotesque mess he has made for himself and his family. This is James, played with hangdog near-charm by Josh O'Connor; he is an art school dropout and would-be architectural designer with two young sons, married to Terri (a minor complaint is that the excellent Alana Haim is not given enough to do). James depends on the social standing of his father Bill, a judge, formidably played by Bill Camp, and is borrowing large sums of money from his patrician mother Sarah (Hope Davis), ostensibly to finance a new project. But James has something else in mind for the cash. Having established the lax security measures at a local art gallery, he plans to pay two tough guys and a getaway driver to steal four paintings by American artist Arthur Dove and hide them at a nearby farmhouse. But then, as one of his robbers plaintively ask him, how are they to be fenced? James's answer to that turns out to be the most pathetic thing of all. Obviously, you wouldn't expect the quietist, realist movie art of Kelly Reichardt to give us anything like Ocean's Eleven or Reservoir Dogs. But the very fact of its ostentatiously unadorned reality makes the extraordinary events real and startling, shot, as always with Reichardt, with an earth-tones colour palette in a cold, clear daylight in her unflavoured, unaccented style. We are talking about robbery with guns pointed at innocent people and security guards roughed up, with no dramatic music on the soundtrack (quite as it would be in real life). Reichardt has unerringly located the unglamour in the heist. You might compare this to realist art heist pictures such as Alonso Ruizpalacios's Museum or Bart Layton's American Animals, both from 2018, but this is utterly distinctive and, yes, exciting. So is the weird slice-of-life quality in every recorded detail of the chaotic and extended aftermath, which is the real meat of the picture in fact: James shows his failure to anticipate the reliability level of the tough guys and the likelihood that the local mob will not take kindly to audacious, eye-catching and – who knows? – lucrative robberies on their turf. James travels around his variously wary and aghast acquaintances, and these scenes show us the awful truth about James's abysmally insubstantial dreams and ambitions – he periodically calls in from public telephones, asking the kids to 'put mommy on the phone', avoiding justice, committing contemptible theft (so much less exciting than art theft) and finally receiving brutal poetic justice amid the injustice of Nixon's US. As for O'Connor, his art-thief character is weirdly similar to the one he played in Alice Rohrwacher's 2023 film La Chimera, a former archaeological scholar turned antiquity robber, although he was there physically tougher and more knowledgable about art theft. Kelly Reichardt's last film, as it happens, was also about art: Showing Up, with Michelle Williams as a stressed artist whose day-to-day existence (the banal business of 'showing up') is shown to be more real than the supposed white heat of artistic inspiration. There the quotidian details were as relevant as the art; in The Mastermind, the dreary details of post-heist calamity are as pertinent as the main event. It is this that attracts Reichardt's observing eye and makes The Mastermind so quietly gripping. The Mastermind screened at the Cannes film festival.
