Latest news with #Céline
Geek Vibes Nation
19-05-2025
- Entertainment
- Geek Vibes Nation
‘Love Letters' Review
What makes a good mother? Is it who mothered you? Your life experience? Instincts? Or is it something indefinable, a thing you will not know until you become one? This question is asked, if not answered, by Alice Douard's Love Letters. But every story about mothers (or any parents) has a different idea behind it, probably because we all have different mothers. This story, in some ways, follows the director's own experience with the adoption process in France. Céline (Ella Rumpf) and Nadia (Monia Chokri) are a married lesbian couple. They have decided, as many couples do, to have a child. But, of course, it is much more complex than for straight couples. They were able to get married in France, but had to leave the country in order to access In Vitro Fertilization (IVF) for Nadia. Plus, despite their marriage, Céline has no automatic rights to their child after birth. That is, unless she adopts the child. And even the adoption process is difficult. It will take most of a year and will necessitate several letters to be written in support of her relationship with the child. Given the plot, it would be very easy for this to become excessively focused on how unfair the system is towards people who do not fit the simple mold of being a straight couple. And yes, it is deeply unfair, but Love Letters is much more concerned with what this particular couple has to do in reaction to the unfairness. It is one thing to rail against unfair treatment, but if Céline and Nadia want a child, they must play by the equally unfair rules. The decision, from screenwriters Douard and Laurette Polmanss, to focus the perspective on Céline, who is not pregnant, is a seriously smart one, because it allows everyone, regardless of gender or orientation, to easily relate. It must be a difficult place to be, especially for a woman, to be in line to parent a child without the concern and care from others that comes from visual signs of pregnancy. Certainly, it helps that Rumpf is immensely talented, being able to subtly communicate complexity with minimal dialogue. And yet, they also manage not to give Nadia and, by extension, their relationship, short shrift. Both of these women seem like actual, living humans and not simply an extension of political ideology. They love, they disagree, they make up, they move forward together, even when things are difficult. The camerawork, helmed by cinematographer Jacques Girault, is organized nearly in documentary style. It feels both professional and deeply intimate, which is demanded by the subject material. If we see one of the two women as villains in any way, none of this holds together. But as Céline and Nadia move through their trials and tribulations, including reconnecting with Céline's mother, Marguerite (Noémie Lvovsky), there are beautiful imperfections shown that make them whole, and better, together. The mother-daughter relationship between Marguerite and Céline, which seems distant at its introduction, might have the most important interactions in the film. One might expect a knock-down, drag-out fight, an explosive moment that either severs the relationship or fixes all of the problems of a long life, both together and apart. But unlike most films, Douard chooses to focus on a sense of reality. Marguerite, being a successful musician, was not present for much of Céline's childhood, and their relationship suffered. She is not evil or terribly manipulative; she is simply a woman who did not fit the exact mold of Mother. Love Letters is clearly a deeply personal story, but one that is important to consider, especially for those who have never faced this kind of difficulty, and likely never will. The film incites a sense of empathy without ever treading in the easy waters of guilt. The truth that Love Letters analyzes is that the idea of fitting the prescribed definition of anything is a useless enterprise. Someone could appear to be the perfect mother, but behind closed doors is the worst imaginable. Despite not being the one to give birth, despite not having a perfect example of maternal care, who is to say that Céline will not be an incredible caretaker? What right does a government have to make her work so hard for what is a right for many men and women? Love Letters held its World Premiere in the Special Screenings section of the 2025 Cannes Film Festival. Director: Alice Douard Screenwriters: Alice Douard, Laurette Polmanss Rated: NR Runtime: 97m
Yahoo
12-05-2025
- Business
- Yahoo
Former California Privacy Enforcement Attorney Céline Guillou Joins Kelley Drye
Recent hire strengthens the firm's privacy law and state attorneys general practice capabilities and expands its California presence. New York, NY, May 12, 2025 (GLOBE NEWSWIRE) -- Kelley Drye & Warren LLP announced today that Céline Guillou, most recently a senior attorney in the California Privacy Protection Agency's (CPPA) Enforcement Division, has joined the firm's Los Angeles office as a special counsel, further enhancing Kelley Drye's nationally recognized Privacy and Information Security and State Attorneys General practices. Céline has considerable experience advising clients on issues related to data security, consumer protection matters, and compliance with state privacy laws. 'We are delighted to welcome Céline to Kelley Drye,' said partner and chair of Kelley Drye's Privacy and Information Security practice, Alysa Hutnik. 'Her understanding of the regulatory landscape, particularly in California, and her work with state attorneys general offices throughout the country, will be a tremendous asset to our clients navigating evolving compliance and enforcement challenges.' Céline brings a blend of experiences in both government enforcement and as in-house counsel. She was the first attorney of hire at the CPPA's Enforcement Division, where she reviewed consumer complaints and audited legal and technical aspects of business' compliance with the CCPA. She served as the lead attorney on multiple matters and collaborated closely with the Enforcement Division's technologists who provide support and expertise in connection with its investigations and litigation. In her role, she also collaborated on privacy matters with other regulators, including state AG offices, and brings strategic insight into nationwide enforcement trends and priorities. Prior to serving at the CPPA, Céline was senior privacy counsel at Instacart, where she executed and implemented strategies, policies, and processes to proactively maintain compliance with global privacy laws and identified opportunities for bolstering Instacart's privacy program. 'I'm thrilled to be joining Kelley Drye at such a pivotal time for privacy law in California and nationwide,' said Céline. 'What drew me to the firm was not only its strong presence in the regulatory space, but also the depth and caliber of its attorneys, who are known for delivering smart, business-oriented solutions. I look forward to working with this talented team and helping our clients proactively address their most pressing privacy and compliance needs.' Céline's arrival follows several recent additions and promotions in California, including the addition of Partner Kristine Pirnia and Special Counsel Catherine Cayce to the San Diego office in January, the promotion of California-based Litigation attorney Rebecca Durrant to partner in July 2024, and the addition of Labor and Employment Special Counsel Judy Juang to the Los Angeles office in April 2024. Céline received her J.D. from Columbia Law School and her M.L. from the University of Paris School of Law. Céline is a Certified Information Privacy Professional (CIPP/E). CONTACT: Laurena Liu Kelley Drye & Warren LLP 202-342-8545 lliu@ in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data
Time Out
05-05-2025
- Entertainment
- Time Out
All aboard! Titanique has finally called a closing date for record-breaking Sydney run
After more than 300 Céline-belting, wig-snatching, laugh-out-loud performances, Titanique is preparing to leave the dock one last time. This June, the outrageous and award-winning musical parody will unberth from Sydney's Art-Deco-style cabaret den, The Grand Electric, sailing off into the sunset — never to return to Australian shores (unless, of course, an iceberg demands an encore). Since Titanique opened in October, this Harbour City exclusive has become one of the hottest tickets in town, with our critic saying that this 'completely unserious' sequin-filled extravaganza will 'have you laughing so hard your cheeks hurt' in a rave five-star review. But unlike Céline's eternal ballad, this show will not go on. After several sold-out season extensions, the final performance has finally been called for June 22, 2025. So it's time to hit up your girls, gays, theys, and enthusiastic straight men, because you have a limited time left to experience this cult musical phenomenon before it sails away forever. View this post on Instagram A post shared by Alannah Le Cross (nèe Maher) (@alannurgh) For the uninitiated, this off-Broadway splash-hit is a gloriously camp, spectacularly unhinged Olivier Award-winning send-up of James Cameron's cinematic juggernaut that rewrites the tragic tale of Jack and Rose, putting none other than the Queen of Power Ballads herself – Céline Dion – at the helm. With cabaret icon Marney McQueen leading the Aussie cast as Céline Dion, this ridiculously fun show is never the same twice (in the lead up to the recent election, she had audiences cracking up over an impromptu sketch taking the piss out of a certain political party that was over-eager with the texts – watch it here). The cast also features Georgina Hopson (Phantom of the Opera on Sydney Harbour) as Rose Dewitt-Bukater (who we've also seen doing a spectacular job stepping in to play Céline!), Drew Weston as Jack Dawson, and a standout ensemble featuring Keane Sheppard-Fletcher, Matt Lee, Stephen Anderson, Abigail Dixon and Abu (as both The Seaman and The Iceberg – yes, really). 'Bringing Titanique to Sydney has been an unsinkable joy,' said producer Michael Cassel. 'We've laughed until we cried, Céline'd until our vocal cords gave out, and rode every comedic wave this show had to offer. The Sydney audience didn't just come aboard – they clung to the bow and screamed into the wind. I couldn't be prouder of the extraordinary cast and crew who kept the heart of the ocean beating strong.' Bringing a show like Titanique to Sydney was an unconventional choice for a major theatre producer like Michael Cassel (whose company is behind bringing hit musicals like & Juliet and Hamilton to Aussie shores). But goddamn, the success of this record-breaking season speaks for itself.
CairoScene
03-05-2025
- Entertainment
- CairoScene
The Art School Dropout Edit
They never finished the degree, but they always understood the assignment. You've seen them. Sitting on pavement outside a gallery, sketchbook in one hand, a cigarette or iced oat latte in the other. They talk in references - Barbara Kruger, Sally Rooney, Rei Kawakubo - and they wear their clothes like walking critiques of conformity. They might don thrifted oversized jackets with shoulder pads that don't sit quite right, paint-streaked trousers that used to be beige but now lean toward 'off-white with history of stains and spills,' and T-shirts screen printed with something ironic, maybe even in Times New Roman. The fashion history of the art school misfit finds its grounds in rebellion. In the '60s, they wore beat-up denim and army surplus coats, channeling the anti-war student. In the '90s, it was grunge and deconstruction, like Martin Margiela's threadbare seams or Yohji Yamamoto's academic draping. Today, their look is an archive of eras - Dickies workwear meets Schiaparelli earrings, a vintage Céline tote. They dress like they read theory for breakfast and don't care about trends, even though they're constantly setting them. This edit is for the misfits, and the ones who dropped out - not because they couldn't hack it, but because the classroom was too small. It's for those who live in between critique sessions and underground zine fairs. Those who treat clothing like a medium, and getting dressed like a daily project brief. So no, it's not polished. It's layered. Intuitive. Slightly chaotic in the best way. Welcome to the wardrobe of the art school dropout - who may or may not still have their student ID for the museum and library discount. Jessica K | The Roman Jacket, Cabiria Corset & Mago Pants This satin set plays with contrast - between softness and structure, heritage and now. The Roman jacket and argyle corset offer texture without shouting. It's tailored nostalgia, repurposed for the dropout who sketches in gold ink. Medina | Maison Mohair Beanie This mohair beanie reads cozy at first glance, but look closer - it's full of cryptic texture and punk softness, fitting right in with the dropout's undone uniform. Mallakä | The Bedazzled Flannel I This piece features a familiar silhouette glitched with unexpected sparkle. This oversized flannel is the dropout's take on small-town nostalgia, remixed with stage-light fantasy. It's worn best while staying in, daydreaming out. Isis Dunya | Leopard Set This two-piece leopard set plays like a high-octane version of a teenage dream. Equal parts girlish and grounded, it's the dropout's answer to Y2K revival - worn with boots, bad posture, and a brilliant idea. Apoa | Rose Choker Equal parts pop-art and petal, this choker feels like a wearable sketch. It's delicate yet bold, soft yet strange - exactly the tension that defines the dropout's taste. Not Boring | Dating Season T-shirt Graphic and cheeky, this tee doesn't take itself too seriously - which is why it works. A nod to suburban rebellion and skater energy, it's the perfect dropout staple. Irony sold separately. Precious Trust | Workwear Pearls Jacket This jacket wears like a film still - gritty, brooding, and edited in grayscale. It's a wearable monologue from the dropout who dropped acid before critique day. It has just the right mix of angst and artistry. Mozari Jewels | Hag El Laila Rings There's a charm in wearing your colour theory on your fingers. These cabochon-cut flower rings from Mozari feel like relics from a folkloric daydream. They're the kind of statement you'd make after ditching design school for a jewellery bench. Proud Angeles | Not Proud Polo With its oversized fit and tongue-in-cheek slogan, this Proud Angeles polo leans into post-ironic streetwear. The airplane motif and sport stripes feel like a sketchbook doodle that made it big. Raw the Label | Denim Set in Light Dirty Shade This denim-on-denim moment turns washed-out blues into something sculptural. Raw the Label's matching set echoes the utilitarian lines of workwear but sits somewhere between wearable and installation. Nöl Collective | The Mina The rust-toned corduroy jacket feels tactile and rooted - like something you'd sew in your studio apartment between theory lectures. Handmade in a refugee camp and dyed naturally, the look bridges craft, story, and statement. It wears like a soft protest. Coddiewomple | CW Crewneck Milan This piece looks like it was made in a basement silkscreen studio on a caffeine high. Styled with clashing layers, it's a nod to that art student energy - half-styled, half-accidental, and all self-aware. It's merch for your imaginary band and the final year project rolled into one. Suez Studio | Khayamiya Crescent Jacket This Suez Studio jacket incorporates hand-stitched khayamiya panels into a crisp modern silhouette. Its heritage technique reimagined as outerwear - clean, graphic, but deeply textured, perfect for the dropout who still honors the source. Menage 07 | Volume 5 Beanie This beanie punctured with metal eyelets has the energy of a late-night design experiment gone right. It balances punk utility with precision shape - genderless, seasonless, and full of texture. Double A | Beckett Leather Waist Belt Brown With asymmetrical panels and blunt metal studs, this belt could double as a sculpture in your thesis show. It's the kind of accessory that doesn't just cinch - it directs the entire look. Anippe | Freesia Top This sheer yellow mesh top toes the line between daring and playful. The asymmetrical panels and exposed structure give it an experimental edge, and the high-cut silhouette hints at dancewear. BLSSD | Oversized Silk Blazer Dress Warning: do not paint with this on. A pristine white oversized blazer reworked into a dress, worn with textured gaiters - this look plays with proportion like a sculptor plays with clay. It's minimal, yet confrontational. Rafa Earth | Crochet Fishnet Shawl Delicate and conceptual, this piece literally wraps you in metaphor. The fishnet veil and shimmering underlayer merge textile and narrative - a nod to patience, process, and ritual. Rebel Cairo | Feline Open-Back Linen Dress A wild cut in a domesticated print, this linen mini captures the chaos of a thesis meltdown and the thrill of ditching it. Unapologetically sassy, it's for the dropout who turned their final into a performance piece. Steffy Gamayel | Mystique Cardigan A crocheted patchwork of mismatched stripes and striking colour clashes, this cardigan has the soul of a sketchbook. Handmade but not precious, it feels like a wearable collage from a textile student's final project. Brown Toast | Dissociation XL Tote Oversized, screen-printed, and a little too honest, this tote reads like an overexposed zine you'd pick up at a student-run gallery. Its XL size fits a sketchpad, your trauma, and a half-finished manifesto. Antreprima & Bea Bongiasca Jewellery | Wire Bag & Colourful Jewellery This beaded wire bag and jewellery are part toy, and entirely unserious in the best way. They're the kind of accessories an art school dropout grabs on the way to a manga exhibit or a rave-themed performance piece. Functional? Barely. Expressive? Entirely.
Chicago Tribune
02-04-2025
- Entertainment
- Chicago Tribune
As ‘Titanique' opens in Chicago, talking to the actress who plays Céline Dion
'Titanique,' a musical spoof of both the famed 1997 movie 'Titanic' starring Kate Winslet and Leonardo DiCaprio, and the Canadian vocal diva Céline Dion, opens at the Broadway Playhouse in Chicago on Wednesday night. The Chicago staging follows successful productions in New York, London and Sydney, among other places, and is directed by the original director Tye Blue, featuring Chicago-based performers in a collaboration between the Broadway producer Eva Price, Broadway in Chicago and Porchlight Music Theatre. The Chicago actress Clare Kennedy McLaughlin, a Northwestern University graduate, plays the character named Céline. Our following conversation has been edited for clarity and length. Q: How did you first hear of this show? A: I was in New York for a callback and I saw a poster on the subway for what looked like a French production of 'Titanique.' I couldn't understand why it was misspelled. Q: So, Céline huh? A: The queen of the power ballads. One of the greatest singers of all time. A role to which every belter can aspire. What a catalog! So many super-emotional ballads. 'My Heart Will Go On.' You know. Q: But you are doing a spoof. A: Yes. I love doing comedy. But not many belting roles let you be comedic. Truly, it's a parody of 'Titanic' more than a parody of Céline herself. It's more of a love letter to all that Céline is — but seen through that quirky lens you can also see when she does her interviews. Q: Her stuff is hard to sing, no? A: The belting is insane. People know that Céline has this huge range and incredible belt but what is more interesting to me is her use of the dynamic, her ability to pull back. She really does her own audio mixing just through her microphone placement. Q: And the accent? A: So, so specific. She's Quebeçois, but she's lived in the U.S. and traveled all over the world. A lot of her vowel sounds are unique only to her. I'm really trying to home in on all those nuances. Q: Is Chicago's show the same as in the other cities? A: We've added little local references that make it specific to Chicago, as has been done before. And it's a Chicago cast with lots of people I've looked up to. It's a bit like the Chicago 'Avengers.' I get to play with all my friends. I can't imagine getting sick of doing this, given how much freedom we have with all the improv and the talking with the audience. Actually, the speaking element, all the narration, is more challenging for me than the singing. I am going to have to go full diva on my days off and wear a sign around my neck that says 'on vocal rest.' Just like Rachel in 'Glee.' Q: So is this show a signature moment for you, personally? A: Oh yes. It's not just a big thing for me, it's a big thing for me doing Céline. My parents have seen the show three times already and we've only had seven previews.
