Latest news with #TewfikJallab
Daily Mail
13-05-2025
- Entertainment
- Daily Mail
Alessandra Ambrosio wows in a daring green floor-length gown as she attends the star-studded Cannes Film Festival opening ceremony
Alessandra Ambrosio exuded glamour as she posed on the red carpet ahead of the Partir Un Jour screening during the opening ceremony of the Cannes Film Festival on Tuesday. The Brazilian model, 44, showcased her incredible figure in a daring green floor-length gown, featuring a dramatic thigh-high slit, fluffy sleeve accents, and a long train. Offering a glimpse of her toned pins, Alessandra elevated her look with silver strappy heels. She further accessorised her glamorous look with a diamond choker necklace, featuring a purple jewel in the centre, and matching hoop earrings. To complete the look, she styled her brunette tresses in a sleek half-up-half-down hairstyle and wore a flawless makeup palette. The former Victoria's Secret model appeared in great spirits as she blew a kiss to the cameras and struck several sultry poses on the red carpet. Partir Un Jour follows a young woman who leaves her hometown to forge a life of her own, only to be drawn back by a family emergency. Directed by Amélie Bonnin, the film stars French actress Dominique Blanc and actor Tewfik Jallab. This year's Cannes Film Festival is taking place in the wake of Trump's vow to enact tariffs on international films. Cannes, where filmmakers, sales agents and journalists gather from around the world, is the Olympics of the big screen, with its own golden prize, the Palme d´Or, to give out at the end. Filmmakers come from nearly every corner of the globe to showcase their films while dealmakers work through the night to sell finished films or packaged productions to various territories. 'You release a film into that Colosseum-like situation,' says Brazilian director Kleber Mendonça Filho, who´s returning to Cannes with 'The Secret Agent, a thriller set during Brazil ´s dictatorship. 'You´ve got to really prepare for the whole experience because it's quite intense - not very far from the feeling of approaching a roller coaster as you go up the steps at the Palais.' Trump sent shock waves through Hollywood and the international film community when he announced on May 4 that all movies " produced in Foreign Lands" will face 100% tariffs. The White House has said no final decisions have been made. Options being explored include federal incentives for U.S.-based productions, rather than tariffs. But the announcement was a reminder of how international tensions can destabilise even the oldest cultural institutions. The Cannes Film Festival originally emerged in the World War II years, when the rise of fascism in Italy led to the founding of an alternative to the then-government-controlled Venice Film Festival. In the time since, Cannes' resolute commitment to cinema has made it a beacon to filmmakers. Countless directors have come to make their name. This year is no different, though some of the first-time filmmakers at Cannes are already particularly well-known. Kristen Stewart (The Chronology of Water), Scarlett Johansson (Eleanor the Great) and Harris Dickinson (Urchin) will all be unveiling their feature directorial debuts in Cannes´ Un Certain Regard sidebar section. Many Cannes veterans will be back, too, including Tom Cruise (Mission: Impossible - The Final Reckoning), Robert De Niro - who received an honorary Palme d´Or 49 years after Taxi Driver premiered in Cannes - and Quentin Tarantino, to pay tribute to low-budget Western director George Sherman. The much-anticipated eighth and final instalment of Mission Impossible is one of the earlier premieres on this year's Cannes calendar, with its glitzy red carpet taking place on Wednesday, May 14. Meanwhile, Scarlett's directorial debut, Eleanor The Great, will be unveiled on May 20. However, in the wake of his legal battle with former co-star Blake Lively, Justin Baldoni is not expected to attend. Over recent years, the star-studded extravaganza has arguably won more attention for the outfits worn by its celebrity guests than the roster of feature films being screened on the Croisette. But new nudity rules, devised for 'the sake of decency,' will be implemented when French director Amélie Bonnin's Leave One Day opens the ceremony this week. According to organisers, the austere move is an attempt to stifle the celebrity trend for 'naked dresses' - namely provocative outfits that reveal considerably more than they conceal - on the red carpet. 'For decency reasons, nudity is prohibited on the red carpet, as well as any other area of the festival,' states a Cannes festival document. 'The festival welcoming teams will be obligated to prohibit red carpet access to anyone not respecting these rules.' The surprise new policy features in a recent festival-goers charter - released with a series of outlines regarding expected public behaviour. Guests are expected to converge on the Grand Auditorium Louis Lumière for some of the highest profile film screenings across a packed seven-day schedule in Cannes. It's understood that the iconic venue now adopts a more conservative dress code, with suits, dinner jackets, and floor-length evening gowns generally favoured over headline-grabbing ensembles. Classic little black dresses, cocktail dresses, pant-suits, dressy tops and elegant sandals, 'with or without a heel', will also be permitted. While the decision to implement a more stringent policy will be a first, it is not known if French TV broadcasters, wary of airing nudity, played a role in its enforcement. Major red carpet events, including the Cannes Film Festival, are aired in France by France Télévisions. Recently attracting more models and influencers than actors and filmmakers, the annual ceremony has seen an increase in risque red carpet fashion statements. In 2021, American supermodel Bella Hadid bared her cleavage in a plunging black gown while attending a screening of Tre Piani (Three Floors). She pulled a similar stunt three years later, with guests at the 2024 gala left speechless after she attended the premiere of Donald Trump's biopic The Apprentice completely braless beneath a sheer brown evening dress.
Telegraph
13-05-2025
- Entertainment
- Telegraph
Leave One Day: The feeblest Cannes opener in a decade
The French chanteuse Juliette Armanet is perhaps best-known in the UK for her role in the Paris Olympics opening ceremony last year. Readers may recall her singing John Lennon's Imagine while gliding down the Seine on a polystyrene meteorite, as her accompanist's grand piano, also on board, was set on fire. Anyway, this spectacle turned out to neatly foreshadow the diabolical opening film at Cannes this year, in which Armanet, making her acting debut, plays the lead role. A 'realistic musical' that is in fact neither of those things, Leave One Day is such a haplessly cobbled fiasco that it could almost serve as a sort of Viking funeral for the entire musical genre, which it sends bobbing off into the night as it burns to a crisp. Armanet plays Cécile, a famous TV chef on the cusp of a high-profile restaurant opening, who returns to help out at her parents' humble roadside cafe due to her father's ill health. Dad (François Rollin) is drily unimpressed by his daughter's ascent, and keeps a notebook containing all of her quips about her working-class upbringing, which he pulls out and reads from at the slightest excuse. But inevitably Cécile's overdue reconnection with her roots leads to a zing-pow Ratatouille Moment in which inspiration for a new signature dish strikes. She's also secretly pregnant by her boyfriend and colleague Sofiane (Tewfik Jallab), which adds a bittersweet note to a reunion with high school sweetheart Raphael (Bastien Bouillon) – a local fisherman-slash-motocross biker who has himself since settled down, but clearly still carries a torch. This stupefyingly bland plot is shored up by regular musical numbers: all lyrically tweaked covers of French karaoke favourites. And it is hard to capture just how mortifying it is when the first one kicks in; at the critics' screening earlier today, it felt as if the roof of the Salle Bazin was descending on the audience like the burst guts of a hot air balloon. Cécile and Sofiane are talking shop in their office, when the former suddenly hops up a small staircase and breaks into a tuneless rendition of Stromae's Alors on Danse while flapping his arms around, panic flashing in his eyes. First-time feature director Amélie Bonnin (the film is an expanded version of her prize-winning short) clearly wanted these sequences to reflect how her characters would actually sing and dance in these situations. And that collision of theatrically and naturalism can, if handled properly, be thrilling – it worked out pretty well for Jacques Demy. But realism isn't the same thing as clumsiness, and the biggest moments here look either simply under-rehearsed, or as if their participants have yet to be sold on the gimmick. A nightclub brawl which opens with Raphael and his cronies belting out December, 1963 (Oh, What a Night) is such a mess that I lost track of where the singing stopped and the fighting began. Cannes has had its share of opening-night turkeys over the past decade or so (2014's Grace of Monaco was a memorable one), but for sheer unabating feebleness this must take the biscuit. Things Can Only Get Better, The Only Way Is Up: insert your preferred please-let-this-be-as-bad-as-it-gets anthem here.
