Latest news with #CinecittaStudios
Yahoo
08-05-2025
- Entertainment
- Yahoo
Timothee Chalamet & Kylie Jenner's Date Has Rachel Zegler ‘Worried' About His Fans
Timothee Chalamet and Kylie Jenner turned the red carpet into their very own date night while attending the 70th David Di Donatello Awards. On May 7, the two high-profile celebrities graced the prestigious event at Cinecitta Studios in Rome, looking mesmerizing. Cosmopolitan magazine shared several photos of the two on the red carpet on Instagram. The stills have been receiving a lot of attention from fans and other celebrities as well. Actor Rachel Zegler has left a comment under the Instagram post, humorously expressing her worry about Chalamet's fan 'club.' Timothee Chalamet and Kylie Jenner recently turned up the heat by bringing date night to the red carpet at the 70th David Di Donatello Awards. It marks the two high-profile celebrities' official red carpet debut, creating a massive buzz among fans. Under an Instagram post shared by Cosmopolitan magazine, actor Rachel Zegler commented, jokingly worrying about the 'Dune' actor's fans. She questioned, 'is club chalamet gonna be ok,' referring to the reactions of fans as Chalamet made his official red carpet debut with Jenner. For their appearance, Kylie Jenner donned an alluring and sultry black gown from Schiaparelli. The slinky dress featured a stunning plunging neckline. The ensemble fitted the beauty mogul like a glove, flattering her captivating figure and curves. She accessorized her look by wearing a beautiful pair of gold and pearl dangling earrings. When it came to makeup, 'The Kardashians' star kept it fresh-faced, featuring a dewy base, a petal pink blush, and a pink lip. She wore her dark hair in a sleek back bun. In the meantime, Timothee Chalamet opted for a double-breasted velvety black suit from Tom Ford. The velvet blazer was embellished with a rosette at the pocket area. The 'A Complete Unknown' actor looked dapper as he walked hand in hand with Kylie Jenner on the 70th David Di Donatello red carpet. The post Timothee Chalamet & Kylie Jenner's Date Has Rachel Zegler 'Worried' About His Fans appeared first on Reality Tea.
Perth Now
08-05-2025
- Entertainment
- Perth Now
Timothée and Kylie finally debut on red carpet as couple
Hollywood power couple Timothée Chalamet and Kylie Jenner have made their red carpet debut as a couple in Rome. The pair attended the 70th David Di Donatello at Cinecitta Studios, an annual awards ceremony honouring Italy's film industry. Entering the red carpet hand-in-hand before sharing an embrace, the couple made no attempts to hide their affection as they posed for photographers. Jenner rocked a semi-sheer Schiaparelli gown in black, shadowed by Chalamet in a black velvet Tom Ford suit. Timothee Chalamet and Kylie Jenner attend the photocall during the 70th David Di Donatello at Cinecitta Studios on May 07, 2025 in Rome, Italy. Credit: Vittorio Zunino Celotto / Getty Images The 29-year-old actor received the award for Cinematic Excellence following his recent roles in the Bob Dylan biopic A Complete Unknown, as well as Dune: Part Two. While the couple have been spotted together in public on several occasions since their relationship began in early 2023, this appears to be the first time they've chosen to walk the familiar carpet as a duo. Their most recent shared public appearances include Coachella in April, the Miami Grand Prix at the weekend, and the Oscars in March. Jenner, 27, notably attended this week's Met Gala in New York without the acting star. However, it's clear the decision did not represent the couple's commitment to each other. In the lead up to the awards in Rome, Italian cinema academy president Piera Detassis offered a tribute to the work, influence, and origins of Chalamet. 'Timothée Chalamet's European origins and American background make him one of the most unpredictable and talented protagonists of international cinema today, capable of being both an auteur performer and a star generating trends and styles,' Mr Detassis said. 'The Academy is delighted to award him the David for Cinematic Excellence, which is meant to be an acknowledgement of the great actor of quality and innovative films, and, at the same time, of the global protagonist. 'It is important for us to remember how his worldwide recognition came about thanks to a wonderful Italian film, Call Me by Your Name, directed by one of our most internationally acclaimed directors, Luca Guadagnino. Essential and absolutely contemporary crossroads of cultures and visions, a match that David di Donatello is delighted to celebrate.'
Yahoo
08-05-2025
- Entertainment
- Yahoo
Kylie Jenner and Timothée Chalamet Make PDA-Filled Red Carpet Debut
Yahoo is using AI to generate takeaways from this article. This means the info may not always match what's in the article. Reporting mistakes helps us improve the experience. Yahoo is using AI to generate takeaways from this article. This means the info may not always match what's in the article. Reporting mistakes helps us improve the experience. Yahoo is using AI to generate takeaways from this article. This means the info may not always match what's in the article. Reporting mistakes helps us improve the experience. Generate Key Takeaways After around two years of dating, celebrity couple Kylie Jenner and Timothée Chalamet finally made their red carpet debut at an event in Italy on May 7. The two looked elegant as they walked the red carpet at the David di Donatello Awards in Rome, with plenty of PDA as they posed in their complementary outfits. Jenner wore a black form-fitting gown with a subtle pattern all over, paired with large statement earrings and a stylish clutch. 🎬 SIGN UP for Parade's Daily newsletter to get the latest pop culture news & celebrity interviews delivered right to your inbox 🎬 Meanwhile, Chalamet was just as stylish in a black velvet suit with a flower brooch. As they took photos, Chalamet wrapped his arm around Jenner, touching her hand. They shared other sweet moments on the carpet before walking into the event hand in hand. ROME, ITALY - MAY 07: Timothee Chalamet and Kylie Jenner attend the photocall during the 70th David Di Donatello at Cinecitta Studios on May 07, 2025 in Rome, Italy. (Photo by Vittorio) Chalamet and Jenner's red carpet debut comes around two years after they allegedly started dating in early 2023. Since then, the couple has been spotted attending sporting matches together and going on dates. Jenner has attended some industry events in support of her boyfriend, including the 2025 Academy Awards, at which Chalamet was nominated for an award, but this is the first time they have walked a carpet together.
Buzz Feed
07-05-2025
- Entertainment
- Buzz Feed
Kylie Jenner And Timothée Chalamet Made Their Red Carpet Debut As A Couple, And I Need You To See How Stunning They Looked
Timothée Chalamet and Kylie Jenner just made their red carpet debut, and the internet is eating it up. On May 7, the 70th David di Donatello Awards took place at the Cinecitta Studios in Rome, where Timothée received the David Award for Cinematic Excellence. Kylie wore a black, semi-sheer Schiaparelli gown from the Fall/Winter 2025 collection, and Timothée complemented her with a tailored, black velvet Tom Ford suit. Here's a close-up: Before you freak, yes, Timmy and Kyky's romance has been in play since early 2023, and they've had a fair share of public outings together. But, while they've hit up a few awards shows like the Golden Globes and sporting events like the BNP Paribas Open together (both events that I attended), this is the first time the pair has seemingly walked the red carpet as a couple. Here's Timothée at the 2025 Academy Awards: Here's Kylie at the 2025 Met Gala: I don't know why they waited so long to walk the carpet together. They look great side-by-side, and the internet agrees. "Aight now... Kylie got Timmy out here lookin' like he just joined the Kardashian Cinematic Universe!" another person said. I see the vision. This person said they "just hard-launched my Kylie/Timothée obsession on my personal Instagram. They're serious. So am I," and all I have to say to that is — same. Here's to more Kylie and Timothée together on the red carpet! Kevin Winter / Getty Images
Telegraph
24-04-2025
- Entertainment
- Telegraph
A biblical ‘acid trip': Mel Gibson's plan to resurrect The Passion of the Christ
So, it has risen. Mel Gibson will, indeed, be making a sequel to his most notorious film, The Passion of the Christ, this August. After years of speculation, it has been announced by Manuela Cacciamani, the CEO of Rome's Cinecitta Studios, that the picture will be filmed there in the summer of 2025, and that various locations around the rural south of Italy will be used, as they were for his original 2004 picture. While Gibson himself has not confirmed the shooting schedule, it seems near-certain, after years of speculation, that this most-anticipated – and most dreaded – biopic has finally come to pass. And not before time, in the estimation of many. When we consider the most violent mainstream films ever made, we might talk about slasher pictures or Holocaust horrors, but Mel Gibson's decidedly gritty crucifixion film has to take the (sacramental) biscuit. Released on February 25 2004 in the United States, at a time when Gibson was both an Oscar-winning director and an A-list celebrity, it was remarkable both for the level of violence contained within it and for its dedication to presenting the Biblical passion narrative of the final days of Christ with as much accuracy as might be imagined. Despite starring such well-known actors as Jim Caviezel and Monica Bellucci, it was decidedly non-commercial in approach; the dialogue was wholly in Aramaic, the directorial approach owed more to Pasolini's The Gospel According to St Matthew than to the more anodyne Jesus of Nazareth or The Greatest Story Ever Told, and it was uncompromisingly horrible. The venerable critic Roger Ebert – who knew what he was talking about – called it 'the most violent film I have ever seen' – and even veterans of horror pictures cavilled at the sheer level of ghastliness on screen, which saw Caviezel's Jesus being flayed so graphically that bits of flesh flew off his body as he was scourged. Gibson was unrepentant, saying in contemporary interviews: 'It is very violent. You're watching a man being tortured to death, but as lyrically and as beautifully as I can film it. I hope (my method) allows audiences to stay there and experience it.' And, undeniably, it's a technically extraordinary piece of cinema. With the great Caleb Deschanel as cinematographer, and production design that attempts as far as possible to recreate the art of Caravaggio on screen, it's as successful an attempt at recapturing the ancient world on screen as can be imagined. Much as I rate Martin Scorsese's brilliant Last Temptation of Christ, it seems almost milquetoast compared to Gibson's full-strength offering. Although Gibson was accused of anti-Semitism – something of a consistent issue in his life and career – for the portrayal of the Jewish high priest Caiaphas, who declares at one point that the blood of Christ 'should be on us and on our children', the film played very well to its base. The Christian Right in the United States were rapturous when it came to the picture, helped by the reported words of Pope John Paul: 'it is as it was.' Many churches organised busloads of outings to the R-rated picture. It grossed an extraordinary $612 million from a $30 million budget – almost entirely funded by Gibson himself – and it led to a revival in Christian-themed films, many of which have been successful at the US box office. Most recently, the animated picture The King of Kings, which is a far more conventional account of the life and death of Christ, has grossed nearly $50 million, almost entirely in America, and faith-based films continue to attract wide audiences, who are drawn to the uplifting, evangelical messages contained therein. Yet for all the success of such pictures, many have wondered why the Citizen Kane of this sub-genre has not had a follow-up. Admittedly, since the release of The Passion of the Christ, Gibson himself has suffered his own reputational difficulties, which have resulted in his career screeching to a halt not once but twice. The defiant success of his Second World War film Hacksaw Ridge, which saw him nominated for Best Director at the Oscars, appeared to restore him to the A-list, but since then he has been struggling to return to his former prominence as a film-maker. His latest film, the Mark Wahlberg vehicle Flight Risk, spluttered to an unexceptional $44 million, only just covering its $25 million budget. Many might have assumed that any further Christ pictures remain as dead and buried as his martyred protagonist. However, few films make over $600 million at the box office without someone, somewhere, believing that the audience is going to come back for a repeat. The steady stream of interest in faith-based films has meant that Gibson is now in an excellent position to make the sequel that he has been talking about for the best part of two decades. And, to be frank, it sounds wild. As far back as 2016, he was talking about reuniting with his Braveheart screenwriter Randall Wallace for a follow-up, entitled The Passion of the Christ: Resurrection. Unsurprisingly, given that the previous film had ended at the precise moment that Jesus rose from the dead – leading unkind and irreverent commentators to call it 'the most serious zombie movie ever made' – there was the obvious potential to explore what happened after the stone covering Christ's tomb was rolled away. But what does Gibson have in mind? Since his return to Hollywood, the director has clearly been thinking about the sequel, but in 2023 he seemed undecided as to which route he would take. Acknowledging that it would be a 'massive undertaking', he mentioned two distinct screenplays. 'One of them is [a] very structured and very strong script and kind of more what should expect and the other is like an acid trip,' he explained. 'Because you're going into other realms and stuff. I mean you're in hell and you're watching the angels fall. It's like crazy.' Given that Flight Risk is by far the most conventional film Gibson has ever directed – and, judging by its indifferent critical and commercial reception, his least successful – few would blame him for opting for the latter, and this, by all accounts, is where he's gone. Speaking to Joe Rogan this January, Gibson said: 'I'm hoping next year sometime. There's a lot required because it's an acid trip. I've never read anything like it. My brother [Donal] and I and Randall all sort of congregated on this. So there's some good heads put together, but there's some crazy stuff. And I think in order to really tell the story properly you have to really start with the fall of the angels, which means you're in another place, you're in another realm. You need to go to hell. You need to go to Sheol.' Someone who has experienced his own fall from grace might be uniquely placed to offer this particular insight, but veteran Gibson observers would be unsurprised by anything that he has said. And so the return of the committed Christian Caviezel as Jesus – who, apparently, will be de-aged by CGI techniques similar to those used on Robert De Niro and Al Pacino in The Irishman – is obviously a necessity. Caviezel, who has largely eschewed mainstream film-making of late, is committed to a return. 'I'm not acting as Jesus,' he said recently. 'I'm asking Him to work through me.' And Gibson has his own ideas as to depict Christ's sojourn in Hell, saying last year: 'So it's like, you know, I have ways of dealing with that, because, you know, 20 years ago is [supposed to be] three days later. So it has its own peculiar set of problems, which I think I can solve.' If and when the film begins production, it will be a sombre affair, a far cry from Gibson's previous reputation as a joker on set. Caviezel has said that he will be receiving Holy Communion on a daily basis while filming, and that he will be taking influence from C.S. Lewis's classic religious text The Screwtape Letters, which he has called enormously important for him personally: 'I'm not a sheep,' he has said. 'I was a wolf who's been changed.' The Resurrection of the Christ (as it's now called) may be anticipated with a mixture of disdain and trepidation by the Hollywood cognoscenti and film critics alike. Yet Gibson has not made his career, and fortune, by failing to understand his audience, and what they want. This could yet be every bit as big as the first film – and if it is, it will represent a resurrection nearly as impressive as that of Christ's for its flawed but brilliant creator.
