Latest news with #CANNES
Time of India
25-05-2025
- Entertainment
- Time of India
Urvashi Rautela clicks selfie with Alia Bhatt, teases K-pop fans by including 'Like Jennie' in the background
Cannes 2025 wrapped up with several show-stopping red carpet moments but it was a candid selfie shared by Urvashi Rautela featuring that took fans by surprise. The unexpected pairing of the two actresses created quite excitement and talks on social media. Tired of too many ads? go ad free now The moment was captured during the closing ceremony radiated charm as both stars smiled warmly for the camera, turning the casual selfie into a viral sensation overnight. Urvashi who is known for her bold Cannes looks stunned in a dramatic white gown adorned with oversized black floral motifs, exuding her usual flair for high drama. Alia Bhatt in contrast, opted for effortless elegance with a monochrome checkered ensemble, paired with gold statement earrings that subtly echoed vintage glamour. Sharing the frame on Instagram, Urvashi cheekily captioned it with 'CANNES CAPTION PL,' inviting fans to engage and they certainly did. Internet reacts with memes at Urvashi's Cannes streak Within minutes of the post going live, Urvashi's comments section exploded with playful reactions. Netizens wasted no time teasing her history of making bold claims with many joking that she might soon declare herself the 'first actress ever to take a selfie with Alia Bhatt at Cannes.' The internet's humorous takes only added fuel to the joy, making it one of the most talked-about celebrity selfies from the festival. Urvashi's unintentional red carpet chaos goes viral Meanwhile, another Urvashi Rautela moment from Cannes also made headlines for very different reasons. A now-viral video shows the actress unintentionally creating a traffic jam at a luxury hotel staircase while posing in a heavily embellished gold gown with dramatic cape sleeves. Tired of too many ads? go ad free now As she continued her impromptu photoshoot, unaware of the growing line behind her, all the amused onlookers waited patiently to descend. The awkward yet comical situation quickly earned her a spot in the festival's most unforgettable moments. Alia's red carpet look is all about timeless elegance with a gucci twist While Urvashi grabbed attention with her bold fashion choices and unexpected antics, Alia Bhatt left a lasting impression for all the right reasons. She graced the Cannes finale red carpet in a dazzling Gucci saree-inspired ensemble, the fashion house's first attempt at blending Indian tradition with their luxe signature. Encrusted with Swarovski crystals and adorned with Gucci's iconic monogram, Alia's look was hailed by fans and critics alike as a perfect fusion of global couture and Indian heritage.
Yahoo
23-05-2025
- Entertainment
- Yahoo
‘Resurrection' Review: Bi Gan's Dream Scenario Is The Perfect Cure For Insomnia
Arguably the worst film in competition in Cannes this year is a strong candidate for the festival's Best Director prize, and rightfully so. The follow-up to 2018's Un Certain Regard entry Long Day's Journey into Night — which asked viewers to don 3D glasses for its spectacular climax, an unbroken, hourlong tracking shot — Resurrection is both breathtaking at times and airless at others. During the first press show the aisles of the screening room resembled scenes from Otto Preminger's Exodus, and it was hard to tell how many of those who stayed in their seats were even conscious of that fact. It will have its admirers, for sure, and at least 40 minutes of it are pure visual genius, but it's hard to imagine a more willfully obscure movie that's been shown here since Wong Kar-wai's 2046. Bi Gan is certainly a stylist, and the film luxuriates in that, starting with a fabulous opening sequence that's rather let down by wordy, pretentious title cards that posit a world in which nobody dreams, and, as a result, they live forever. There are, however, holdouts; called 'fantasmers,' they refute the fakery of the 'real' world and prefer to live in fantasy, which leads to a short life expectancy (the film compares them to candles that do not burn and hence 'exist forever'). This is complicated by the introduction of 'The Big Others,' who police the fantasmers and 'keep time linear.' Yes, you read that correctly, no, it doesn't really make much sense, and, sadly, neither does it ever. More from Deadline Scarlett Johansson On Why The Script For Her Directorial Debut 'Eleanor The Great' Made Her Cry: 'It's About Forgiveness' – Cannes Cover Story Cannes Film Festival 2025: Read All Of Deadline's Movie Reviews Bi Gan's 'Resurrection' Hits Cannes With 7-Minute Ovation At World Premiere The film begins with an extended prologue, in which a woman — named only as 'she,' and apparently a kind of Blade Runner figure — enters the dream realm in search of a fantasmer who lives in a what appears to be a spacious nuclear bunker. He looks like Nosferatu and is surrounded by other relics from silent cinema, like a big Georges Méliès moon. The woman captures him and releases him into the outside world with a very obvious refence to the Lumiere brothers' 1895 short The Sprinkler Sprinkled. From here, we're off to the races, with a series of extended tableaux that offer diminishing returns. RELATED: CANNES HUB / Photos, Cannes Studio & More The first is the most promising, a weird meta gangster/serial killer thriller, in which the fantasmer is chased by the police for a random murder. It involves mirrors, a theremin, the music of J.S. Bach and a suitcase that can end war. While completely baffling, it has an otherworldly charm that is utterly missing from the next sequence, in which a man clearing a temple comes face to face with his toothache ('The spirit of bitterness') that seems to have erupted from a stone Buddha. Next up is a con-man story, in which a card shark befriends an abandoned young girl and trains her in deception to fleece an old man. Finally, we have New Year's Eve 1999, and a young couple who are waiting for the end of the world. The girl might be a vampire, and — who knows? — she may well be. RELATED: 'Sound Of Falling' Review: Mascha Schilinski's Superb Feature Is A Masterclass In Ethereal, Unnerving Brilliance – Cannes Film Festival While the visuals are endlessly inventive, the narrative is simply just endless; none of these vignettes seem have any plot or resolution whatsoever, which is certainly cool as a concept but not so much fun to watch. Themes bubble up, but they almost instantly disappear; there are nods to film noir (including an explicit reference to Jean-Pierre Melville's The Samurai); the card-grift sequence seems to channel both Paper Moon and Takeshi Kitano's Kikujiro; while the final stretch would appear to be an homage to Godard's famous maxim that 'all you need to make a movie is a girl and a gun.' This could all be pie in the sky, and it probably is, but it's likely that Bi Gan doesn't really have anything that specific in mind, since the film is constantly in dialogue with the viewer, talking to us directly. In that respect, Resurrection (whatever that title really means) is oddly liberating, being a film that — it would appear — operates on dream logic and leaves interpretation up to the individual. It would be nice, though, to be thrown a bone once in a while. Bi Gan seems to know this and rubs it in right at the end with a joke about the film's 155-minute running time, which seems to the fantasmer — as the narrator says — to last 100 years. As the old saying goes, many a true word… Title: ResurrectionFestival: Cannes (Competition)Director-screenwriter: Bi GanCast: Yee Jackson, Shu Qi, Yan NanSales agent: Les Filmes Du LosangesRunning time: 2 hr 35 mins Best of Deadline Broadway's 2024-2025 Season: All Of Deadline's Reviews Sundance Film Festival U.S. Dramatic Grand Jury Prize Winners Through The Years Deadline Studio At Sundance Film Festival Photo Gallery: Dylan O'Brien, Ayo Edebiri, Jennifer Lopez, Lily Gladstone, Benedict Cumberbatch & More
Yahoo
22-05-2025
- Entertainment
- Yahoo
‘Fuori' Review: Valeria Golino Exudes Humanity In Mario Martone's Refreshing Biopic Of A Struggling Literary Pioneer
Literary biopics are hard to pull off, and even harder to market (1995's Total Eclipse missed a trick with 'Leonardo DiCaprio IS Arthur Rimbaud!'). Even well-known U.S. writers tend to be the domain of the indie world, resulting in films as respectable but hardly lucrative as Capote (2005), Kill Your Darlings (2013) and Shirley (2020). The odds are, then, that a movie dedicated to a brief period in the life of Goliarda Sapienza (1924-1996) — a noted Italian feminist and political activist denied her due until two years after her death — isn't likely to cause a splash in international markets. However, Mario Martone's thoughtful film does work quite well as a character study, in the same way that Marielle Heller's Can You Ever Forgive Me? captured the struggles of a failing writer with big ideas. Sapienza is played by Valeria Golino, who recently directed a six-part adaptation of the author's posthumous hit bestseller The Art of Joy, a novel Sapienza finished in 1976 and which remained unpublished until 1998. When we meet her, the year is 1980 and her manuscript has been rejected by every major publisher in town. Things are bad, so much so that she has been reduced to stealing, and the theft of some expensive jewelry from a wealthy socialite sees her spending some quality time in prison. Her motives for that, however, remain murky; although Sapienza is clearly in need of money, there is also a mischievous side to her beliefs that suggest an unapologetically radical-left dimension to the crime (the title card says that she was capable of cultivating 'love and furore' equally). More from Deadline Mario Martone's 'Fuori' With Valeria Golino Gets 7½-Minute Ovation At Cannes Premiere Cannes Film Festival 2025: Read All Of Deadline's Movie Reviews 'Romería' Review: Carla Simón Takes The Scenic Route For A Highly Personal Journey Of Self-Discovery - Cannes Film Festival Although her induction into prison is a humiliating, dehumanizing experience ('Are you wearing a wig?' asks a warden, tugging her hair and demanding she strip), Sapienza doesn't seem overly traumatized, holding her own within the hierarchies that exist behind bars and even getting her hands dirty in a fist fight. She becomes friends with one young girl in particular — Roberta (Matila De Angelis) — a seemingly hardened career criminal who becomes a big part of Sapienza's life, a tight friendship that, over time, will become more of a fractious, mother-daughter surrogacy. RELATED: CANNES HUB / Photos; Johnson, Hargitay, Stewart & More In Cannes Studio; 'Alpha' Review The title of the film translates into English as Out, and although the film shows Sapienza on both sides of the bars, the overriding theme of the film is freedom. Sapienza becomes fascinated by the women of Rome's Rebibbia prison, in particular the remarkable way that Roberta, in particular, seems to swim through life from one reality to another. The prison scenes are the most interesting, and Martone builds up a very textured analysis of the types of women doing time, and the types of crime that send them there. Drugs are a given, and Roberta has built up a pretty serious junk habit, but, this being Italy, the radical left is at its height, and many women have connections to the Brigate Rosse, one of the many outlaw European outfits of the time carrying out robberies, kidnappings and sabotage. RELATED: Dakota Johnson Talks Romantic Experiments In Cannes Comedy 'Splitsville', Upcoming 'Materialists' And 'Juicy' Colleen Hoover Adaptation 'Verity' Golino exudes humanity and patience, but there's an edge to her relationships that does border on the exploitative, which, inevitably, makes for tension with Roberta. But the overriding sense is not that Sapienza is fetishizing these women in the way the French bourgeoisie once went nuts for Jean Genet; it's more that she finds their stamina, their drive, their autonomy inspiring. The ending, then, is a little disappointing, since it involves a little twist that, if she really was paying so much close attention, Sapienza would have seen coming. Nevertheless, the film's central premise is refreshing; most literary biopics are about how a writer's most famous work came into being (Naked Lunch and Howl spring immediately to mind). Fuori, though, is about the opposite, concerning a woman who's already done that, now looking to make peace with her disappointments and learning to live freely in her own skin. Title: FuoriFestival: Cannes (Competition)Director: Mario MartoneScreenwriters: Ippolita Di Majo, Mario MartoneCast: Valeria Golino, Matilda De Angelis, Elodie, Corrado FortunaSales agent: GoodfellasRunning time: 1 hr 55 mins Best of Deadline Broadway's 2024-2025 Season: All Of Deadline's Reviews Sundance Film Festival U.S. Dramatic Grand Jury Prize Winners Through The Years Deadline Studio At Sundance Film Festival Photo Gallery: Dylan O'Brien, Ayo Edebiri, Jennifer Lopez, Lily Gladstone, Benedict Cumberbatch & More
India Today
22-05-2025
- Entertainment
- India Today
OG Queen: Internet raves about Aishwarya Rai's sindoor and saree look at Cannes
Actor Aishwarya Rai Bachchan once again left everyone speechless at the Cannes Film Festival 2025. She looked stunning in a traditional saree designed by Manish and videos of her look went viral on social media. Popular Instagram page Diet Sabya wrote, " OH SHE BROUGHT THE MARTINEZ TO A SCREECHING HALT LMAOOO. Not a soul blinked. Waiters dropped trays. Champagne paused mid-bubble. Girls in archival Gaultier turned their heads. The girlies and the gays knew.' Fans praised Aishwarya Rai in the comment section advertisementWhile some online trolls made negative comments about her styling and appearance, her fans came out in full support. One commented, 'This is the CANNES MOMENT we live for.' Fans praised Aishwarya Rai in the comments section Another wrote, 'Aishwarya in a saree is all we needed to see in Cannes.' Many called her the 'OG Queen of Cannes' and said the festival truly begins only when she walks the red carpet. Even though there were mixed opinions, Aishwarya's fans stood strong. One summed it up best: 'Nobody can beat her. Queen is always a Queen - with or without the crown.'advertisementDressed in a beautiful white saree with hints of rose gold and silver, Aishwarya's look screamed royalty. According to the Instagram post by Manish Malhotra, the saree was made from handwoven Banarasi fabric, and was covered with intricate silver embroidery. She paired it with a white dupatta and heavy ruby and diamond jewellery, including over 500 carats of Mozambique rubies! Her sindoor gave the look a traditional yet powerful touch. Aishwarya Rai at Cannes Film Festival 2025 (Photo Credit: Instagram/Aishwarya Rai) At the festival, Aishwarya Rai represented global beauty brand L'Oral. The 78th Cannes Film Festival has seen a strong Indian presence this year. Acclaimed filmmaker Payal Kapadia is serving on the main competition jury, marking a proud moment for Indian veterans Sharmila Tagore and Simi Garewal also attended the world premiere of the newly restored version of Satyajit Ray's 1970 classic 'Aranyer Din Ratri'. On Wednesday, director Neeraj Ghaywan showcased his film 'Homebound' in the prestigious 'Un Certain Regard' section. He was joined by actors Janhvi Kapoor, Ishaan Khatter, Vishal Jethwa, and producer Karan Watch
