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Vogue
3 days ago
- Entertainment
- Vogue
Here's the State of the 2026 Oscar Race
Almost a week after the 2025 Cannes Film Festival, with the French Riviera showcase's most prestigious awards now presented, press conferences and photo calls completed, and all those illegal naked dresses returned to fashion houses, Hollywood's top publicists are hard at work. Next on the agenda? Crafting Oscar campaigns for all of those who came out on top. Yes, I realize the 98th Academy Awards are over nine months away, and a lot can and will change between now and then—but, revisit the nominees for the 2025 ceremony, and you'll remember just how pivotal Cannes can be. Last year's Palme d'Or winner, Anora, went on to secure the best-picture statuette, and two of its nine fellow nominees in the top category, Emilia Pérez and The Substance, also premiered at the festival. In best director, three of the five nominees debuted their film at Cannes (including Sean Baker, who won), and of the 20 acting nominees, over a third walked the Croisette before they landed on the Oscars red carpet. Two of them, Anora's Mikey Madison and Emilia Pérez's Zoe Saldaña, left with two of the four acting prizes on offer. It's a truly staggering showing for a single festival, especially considering how early it falls in the awards season calendar. It's difficult to imagine this year's Cannes cohort—which includes many quieter, more contemplative films compared to the hoopla of Anora, The Apprentice, Emilia Pérez, and The Substance—having quite the same impact on the Oscar race, but still, there are plenty of releases that could very well dominate across the board, from best picture and the writing and directing line-ups to the highly competitive acting races. Below, a rundown of the releases currently surging, as well as those which have faced setbacks following a more muted Cannes debut than expected. It Was Just an Accident's Palme d'Or win could take it into the best-picture line-up
Yahoo
17-05-2025
- Entertainment
- Yahoo
From Palme d'Or to Best Picture: Cannes' Impact on the Oscars Is Stronger Than Ever
For years, the Cannes Film Festival has been synonymous with glamour, prestige and cinematic artistry, with more than a few awards season darlings debuting there. But over the last decade, as Oscar hopefuls increasingly shifted their debuts to Venice, Telluride and Toronto, Cannes saw its influence on awards season diminish. That's no longer the case. In the last three years, Oscar best picture contenders (as well as international feature nominees) emerged from its lineup — most notably Palme d'Or winners 'Triangle of Sadness' (2022) and 'Anatomy of a Fall' (2023). At this year's Oscars, Cannes Palme d'Or winner 'Anora' took best pic, director and actress, while Oscar nominees 'Flow,' which won for animated feature, 'The Substance,' 'The Apprentice' and 'Emilia Pérez,' with Zoe Saldaña taking home best supporting actress (she and her co-stars collectively won acting kudos at Cannes as well), all launched on the Croisette. More from Variety Lucky Number Sells Cannes-Bound 'The Last One for the Road' to Italy and France, Unveils Clip (EXCLUSIVE) Cannes Festival Adds More Films, Including Eugene Jarecki's Julian Assange Doc 'The Six Billion Dollar Man,' Bi Gan's 'Resurrection,' Martin Bourboulon's '13 Days, 13 Nights' Brazil's VDF Connection Bows at Cannes With Horror, Minas Gerais Showcases and Screening of Talent-To-Track Eva Pereira's Debut (EXCLUSIVE) In 2025, the festival is poised to reassert its dominance as an awards season juggernaut. With highly anticipated films from auteurs like Wes Anderson, Richard Linklater and Spike Lee, this year's slate is packed with bold, visionary storytelling. According to industry insiders, the buzz around the Palais des Festivals is approaching the same fever pitch typically reserved for the Dolby Theatre in March. 'This year's lineup is very promising,' says one awards consultant. 'We're seeing a return to form — not just for the festival, but for the idea that a film can be both artistically daring and awards-relevant.' Historically, Cannes has served as the place where filmmakers cemented or made their reputations on a global scale. Think Quentin Tarantino's Palme d'Or win for 'Pulp Fiction' (1994), Abdellatif Kechiche's emotionally raw 'Blue Is the Warmest Color' (2013) and Bong Joon Ho's 'Parasite,' which began its path to Oscar gold with a standing ovation on the French Riviera in 2019. But Cannes' strict premiere policies and early calendar placement at times made it feel out of sync with the more strategic awards campaigns of the fall festival circuit. Venice capitalized on the power shift, premiering future Oscar winners like 'The Shape of Water' (2018) and 'Joker' (2019), while Telluride and Toronto became favorites for launching studio-backed contenders like 'The King's Speech' (2010), 'Argo' (2012) and 'Moonlight' (2016). Cannes, meanwhile, developed a reputation — especially in the U.S. — as more of a global distribution showcase than a feeder for the Academy Awards. That perception is now rapidly shifting. In a fragmented media landscape, where theatrical windows are shrinking and the Oscars continue to fight for relevance, Cannes offers something increasingly rare: a global stage, immediate visibility and a built-in stamp of artistic legitimacy. As the theatrical landscape continues to evolve post-COVID and the Academy embraces a more international membership, Cannes' early slot is being reframed as a strategic advantage rather than a liability. The strategy reflects a larger shift in industry thinking: Cannes isn't merely a festival — it's a platform for long-term positioning. A breakout at Cannes doesn't simply generate acclaim; it sets in motion a year-long campaign arc that can culminate at the Oscars. 'We're building narratives for our films months ahead of the fall fests,' says one executive at a studio with projects in this year's lineup. 'If the reception is huge, we've got time to ride that momentum into the fall and fine-tune our campaign.' Michael Barker, co-president of Sony Pictures Classics, agrees Cannes has long played a pivotal role in shaping the awards conversation — and not just recently. 'I think it's been that way for a long time,' Barker says. 'You go back to a film like [2012's] 'Amour' — that set the table. 'Once Upon a Time in Hollywood' — the response there was so over the top. You knew in that moment Brad Pitt was going to win the Oscar.' Barker also sees Cannes as vital for discovery, noting that it remains a place 'where companies continue to find jewels under the rock. It's famous for that — films that become successful around the world, whether in the market or with awards.' Sony Pictures Classics arrives this year with Scarlett Johansson's directorial debut, 'Eleanor the Great,' screening in Un Certain Regard. Cannes' resurgence has been fueled by a new generation of distributors who've cracked the code on translating festival buzz into Oscar gold. Neon's 2019 campaign for 'Parasite' — which became the first non-English-language film to win best picture — is widely seen as the blueprint. Since then, Neon has returned to Cannes to acquire Palme d'Or winners 'Titane' (2021), 'Triangle of Sadness' and 'Anatomy of a Fall,' with the latter two making notable showings during awards season in the U.S. This year, the distributor returns with several high-profile entries, including Joachim Trier's dramedy 'Sentimental Value,' starring Renate Reinsve and Stellan Skarsgård — already considered a top contender for the jury's selection. While Venice, Telluride and Toronto remain critical to any awards campaign — particularly for building U.S. buzz and courting North American Academy members — Cannes is now being taken more seriously by acquisition teams and awards strategists alike. Scott Shooman, Head of IFC Entertainment Group, also sees Cannes as perfectly aligned with today's global Oscar strategies. 'The starter pistol goes off when that red carpet is rolled out at Cannes,' Shooman says. 'It used to feel like there was too much real estate to cover between Cannes and awards season. But now, because of the Academy's international expansion, Cannes has become the worldwide launchpad.' Shooman notes that Cannes now offers a clear first-mover advantage. 'It's not about worrying if a film will burn out before the fall — it's about building a long, global runway. And if you win the Palme d'Or now and you don't land a best picture nomination, that would honestly be the surprise,' he says. IFC will be premiering the Australian survival horror film 'Dangerous Animals,' starring Jai Courtney, as part of the Directors' Fortnight section. Among other films generating early buzz: Wes Anderson's latest, 'The Phoenician Scheme,' a spy thriller backed by Focus Features that stars Benicio del Toro and introduces Mia Threapleton — daughter of Oscar-winner Kate Winslet — in what insiders say is a breakout role. From A24 and filmmaker Ari Aster, 'Eddington' stars Oscar-winner Joaquin Phoenix and is rumored to be another surreal, genre-bending project. And then there are the acquisition titles. Studio heads and acquisition teams are traveling with their company's checkbooks, ready to put down offers for some of the festival's most exciting and buzzy stories. Jennifer Lawrence and Robert Pattinson star in the thriller 'Die, My Love,' directed by Lynne Ramsay, which was added to the competition lineup after the initial announcement — a late addition that has drawn considerable attention from buyers. Artistic director Thierry Frémaux has also programmed Cannes mainstays such as the Belgian auteur duo Jean-Pierre and Luc Dardenne, who are among only nine filmmakers to have won the Palme twice, with 'Rosetta' (1999) and 'L'Enfant' (2005). 'Titane' helmer Julia Ducournau returns to the fest with the dark psychological drama 'Alpha,' starring Emma Mackey and Tahar Rahim. The film follows a troubled teenager whose world spirals after an unexpected moment of rebellion. And then there's 'The History of Sound,' directed by Oliver Hermanus. This romantic wartime drama stars Josh O'Connor and Paul Mescal as two young men falling in love during World War I — already pegged as a high-profile acquisition title that could be a major player in acting and craft categories. Not every awards movie from the festival fits a traditional mold. In 2022, Paramount Pictures debuted the sequel 'Top Gun: Maverick' out of competition, which went on to earn $1.5 billion globally and garner six Oscar nominations, including best picture. Paramount and Tom Cruise are hoping lightning can strike twice as they bring 'Mission: Impossible — The Final Reckoning,' the final mission for Cruise's Ethan Hunt. The Academy, too, is leaning into the festival. Every year, it hosts a private mixer during Cannes for its international members, creating space for networking and relationship-building without press intrusion. 'It's not about whether a film is French, American or Korean anymore,' says one strategist. 'It's about Cannes giving it that first big ovation — and letting the world know, 'Pay attention.'' Variety Awards Circuit: Oscars Best of Variety Emmy Predictions: Talk/Scripted Variety Series - The Variety Categories Are Still a Mess; Netflix, Dropout, and 'Hot Ones' Stir Up Buzz Emmy Predictions: Drama Series - Could 'The Last of Us' or 'The Pitt' Dethrone 'Severance?' Emmy Predictions: Comedy Series - 'Hacks' and 'The Studio' Take Early Lead; 'The Four Seasons' Drops In Time for Awards Season
Yahoo
09-05-2025
- Entertainment
- Yahoo
How London Became the New Hollywood
Rumor has it that when London's luxury hotel Chiltern Firehouse erupted in flames in February, most of its high-profile clientele spilling out onto the streets weren't well-heeled Brits — they were from Los Angeles. The venue was set to host Netflix's BAFTA awards party that weekend — with attendees including Zoe Saldaña, Leonardo DiCaprio, Demi Moore, Adrien Brody and Colman Domingo — but a rogue strip of wood falling from a pizza oven led to a change of plans. More than 100 firefighters descended on the celebrity hotspot in Marylebone, owned by Chateau Marmont proprietor André Balazs. The hotel incurred major damage, but no injuries were reported. But it's a suitable metaphor: London is ablaze. More from The Hollywood Reporter Jirí Bartoska, Czech Actor and Longtime Karlovy Vary Film Festival President, Dies at 78 The Hollywood Reporter's Access Canada Summit to Launch During Toronto Film Festival Cardinal Robert Prevost Becomes First American Pope, Takes the Name Leo XIV From the many state-of-the-art shooting facilities running at full capacity (millions of square feet of soundstage space combined) to a tax incentive scheme that saves producers millions and a progressive environment that is literally a world away from the daily onslaught of President Trump's draconian policy decrees (not to mention the chaos unleashed on travel), London is, as one insider puts it, 'more Hollywood than Hollywood.' In 2024, media agency Film London estimated that about £9.5 billion ($12.7 billion) is set to be invested in the city for production during the next five years. The global hubs of Amazon Prime Video, Netflix and Disney continue to expand their U.K. offices as studios like Pinewood (home to 12 MCU blockbusters) and Ealing are fully booked out. Some of the biggest players in the production world right now — think Working Title, Protagonist Pictures and All3Media — are headquartered in London. British and Irish talent dominate in front of and behind the camera. And to those working in the U.K. capital's entertainment industry, this tidbit of insider tattle may not come as a surprise. It's not just cost savings and the Trump effect; Tinseltown has lost much of its luster. Once the global hub of film, wealth and glamour, L.A., more than any other city, has become a casualty of the worldwide production plunge. Hollywood film and TV production have taken a momentous hit, with U.S. productions across the board down some 40 percent from pre-strike levels in 2022. But in the U.K., production revenue in 2024 topped £5.6 billion ($7.4 billion), a 31 percent increase from the previous year, according to the British Film Institute's research and statistics unit. Shooting levels in California, reeling from budget reductions across most studios and streamers, last year fell to their lowest level observed by FilmLA since it started tracking the data in 2017 (excluding 2020 at the height of the pandemic). Though they only tore through 1.3 percent of the city's filming locations, the L.A. wildfires put even more projects on pause. 'It just doesn't make sense when you do the math,' a top streaming executive says, adding that entire soundstages on L.A. lots are sitting idle. And while California Gov. Gavin Newsom tries to push through the expansion of the state's Film and Television Tax Credit program to $750 million annually, he now has his hands full with Trump's spate of upending tariffs, the latest of which has baffled an entire industry. His 100 percent tariff proposal on all movies coming into the U.S. that are 'produced in foreign lands' has, naturally, prompted more questions than answers. What about co-productions? Does this apply to U.S. productions already underway outside of the States? Marvel, for example, has kicked off their hotly anticipated Avengers: Doomsday in London. Luckily, a U.K.-U.S. trade deal was struck early Thursday morning — the first major trade deal of Trump's second term — with both British prime minister Keir Starmer and the President lauding the countries' allyship. Starmer, dialling into the Oval Office news conference via phone, called it a 'fantastic, historic day,' while Trump described it as a much-needed 'win'. The vague rhetoric coming from both leaders was indicative of the breadth of detail outlined; though major talking points include a removal of the 25 percent tariff on U.K. steel and aluminium, as well as car export cuts and chopping the tariff on ethanol for U.S. goods, Trump's plan to slap a 100 percent tariff on British-made movies was not addressed in the hours after the deal was formally announced. In other words: we wait. There is one thing Trump's right about: Hollywood is facing a 'very fast death.' This is where the U.K. comes in. Sources tell THR that Hollywood producers are gravitating to London to shoot, write and even permanently live. It helps that the population of an overwhelmingly left-leaning industry is mortified by Trump's re-election (one lawyer says her Oscar-winning client who has relocated to Britain was almost entirely motivated by Trump's return to The White House), but the biggest incentive is interminably alluring: money. The tax breaks from the U.K. are among the best in the world. Until 2034, film and TV producers seeking to shoot in the U.K. can receive a 40 percent reduction on their final bill as of this year. The Audio-Visual Expenditure Credit provides them with a tax credit worth 34 percent of their U.K. production costs, and as of April 1, filmmakers can claim a credit of 39 percent on their visual effects costs. Indie films with budgets of less than £15 million ($20 million) can claim a whopping 53 percent back thanks to the new Independent Film Tax Credit, in place since October. In laymen's terms, it's cheaper: The tax relief is greater, and this means that studios can recoup the money they lose elsewhere (Disney, for example, is reported to have received more than a third of a billion dollars in U.K. tax credits the past decade). After taxes, Hollywood producers in Britain can claw back a net 20 percent of the cost of the production. And crucially, U.S. nationals are not required to pay double tax: They offset the American tax using what they already paid to the U.K. Sure, it's cheaper to film in Australia, too, and Spain, especially — Netflix has just made Madrid's Secuoya Studios its European hub for production — but there is another benefit to shooting in London that goes beyond money: infrastructure. 'I've been blown away,' says Shadowbox Studios COO Mike Mosallam of the facilities at his company's state-of-the-art Shinfield Studios. Perched just outside London, Shinfield was established in 2021 and became fully operational in June. The facility, which boasts nearly 1 million square feet of studio space, including 18 purpose-built soundstages, is emblematic of the shooting boom in the U.K. Now at capacity, the studio has played host to a number of high-profile Hollywood titles, including Ghostbusters: Frozen Empire, Disney's Star Wars spinoff Andor and Ben Gregor's hotly anticipated The Magic Faraway Tree. These shoots account for a fraction of the titles produced in and around London in recent years. Of course, Wales, Scotland, Northern Ireland or indeed other parts of England are valuable, too, but of the approximately 7 million square feet of filming stage space that the U.K. benefits from, nearly a quarter of it (21 percent, to be precise) is in London. Lucasfilm, the George Lucas-founded production company behind one of the most lucrative franchises in moviemaking history, has shot all nine of its Star Wars features at the company's Pinewood base. Solo, Rogue One and the Indiana Jones flicks also have laid the groundwork for a legacy built on billions of dollars' worth of success in the U.K., which is invested back into the business. And it aids local coffers as well: Left Bank Pictures' BBC drama This City Is Ours is estimated to have boosted Liverpool's economy by £9 million ($12 million), according to the city council. A Lucasfilm source tells THR that this legacy element also promotes continuity of crews: Costume designers on recent Star Wars projects are the children of prop department pros on 1977's A New Hope: 'Harrison [Ford], Mark [Hamill] and Carrie [Fisher] were American and George was American, but all the crew were Brits.' The same applies with James Bond — which will still be made in England following its Amazon takeover — and Harry Potter too: Hollywood produced but was flanked by U.K. teams. 'It's not just, 'Let's go someplace [exotic] and get a tax break,' ' a source adds. 'Because when you show up, there's really no workforce. You have to import all of that, and that's expensive. But you go to London and you have stages, personnel and everything you need.' 'We've had really big, iconic films filmed here, and what the U.K. has done is they've built on that infrastructure' by investing in new and old facilities, adds London-based immigration lawyer Chetal Patel, who has helped some of the industry's biggest stars move across the Atlantic. Amazon's acquisition of the historic Bray Studios (home of The Rocky Horror Picture Show, The Mummy and Alien, to name three) is set to get millions of dollars in investment over the next five years. There's also the benefit of geography. Location-scouting from London is a streamlined task when Wales is a short car journey away and the Scottish Highlands just a 60-minute flight. The rest of Europe — including the tax-light regions of Eastern Europe, Spain and Greece — are only hours from the urban landscape of London by plane. 'No matter where in the world [producers] might be looking, in my experience, production decisions consistently come down to two things — people and prices,' says Mosallam. 'As a world-class city, London is an easy ask for top-tier talent.' Indeed, there's no need to fly far from family when talent (and crew) can grab an early morning taxi to Pinewood. 'The U.K. is an easier sell to stars,' says L.A.-based talent attorney Abel Lezcano. 'Above-the-line talent, meaning actors, head writers, directors … They don't necessarily want to go to South Africa or Botswana for eight weeks. Flying from New York to London is not much different than flying New York to Los Angeles.' When Wicked's Ariana Grande released the deluxe version of her most recent album, Eternal Sunshine, one of the most talked-about tracks was a love letter to the north London area Hampstead. 'I left my heart at a pub in Hampstead,' she sings. A favorite among celebrities like Taylor Swift and Harry Styles, the quaint, village-esque spot is a stone's throw from the city center and perfectly positioned for stars. And Hampstead is one of a hundred — London's boroughs are extensive and diverse, with some of the world's best restaurants, green spaces, museums, sports arenas and theaters within reach. So when Jon M. Chu's Broadway adaptation filmed both parts of Wicked at Pinewood, its entire cast — Brits Cynthia Erivo and Jonathan Bailey included — were more than happy to nestle in the U.K. during the shoot. 'Maybe somebody gives you a great tax incentive to shoot in the desert,' another insider adds. 'But do you want to spend a year in the desert?' Patel concurs. She says that her clients have been flocking to the U.K. thanks to benefits like the country's free health care system and security advantages (read: restrictive gun laws). One client working in Britain through the Global Talent visa tells THR: 'The political shift and cost of living, especially the cost of health care — which was virtually unaffordable as a freelancer — became a significant factor to the decision to extradite myself from the U.S. I felt that I was much more culturally tuned to the U.K. ethos.' But there's another incentive as well: sticking it to Trump. With diversity and inclusion programs getting shuttered seemingly everywhere, Britain has the potential to become something of a refuge for talent hoping to get away from Trumpian turmoil. 'With the Trump administration, there is a crackdown on certain nationalities even coming into the U.S.,' explains Patel. 'If you're Indian or Pakistani, [it can be more difficult]. So a lot of people don't necessarily want to be in the U.S. … The U.K., to some extent, provides a safe haven for them.' Then there's the chaos and uncertainty surrounding travel and visas thanks to Trump's hard-line immigration policy. Patel advises her clients to capitalize on a visa scheme called the Global Talent visa — 'the crème de la crème' of visa categories available in the U.K. — which allows talent to work and live in Britain for up to five years. Many of Patel's clients, she tells THR, have been making use of it in recent months. It isn't a sponsored route, but it allows the applicant to earn money however they like, whether as a freelancer or self-employed. All they need is a 'substantial track record' and an endorsement from a British-based member of the entertainment industry. 'My plan was to move here, and with the current administration, that time is now,' another creative on the Global Talent visa says. 'For the past few years, I've really enjoyed and related much more to the work coming out of the U.K. My favorite projects and people that I've worked with have been from the U.K. … I find it increasingly difficult to create here in America because the atmosphere is not conducive to my sensibilities as an artist. The quality of life in the U.K. suits me much better not only as an artist, but as a human being.' Reaction to Trump is even being felt in the production of British content, which some say has the potential to fill a void left by the current play-it-safe-at-all-costs mentality in the American entertainment industry. As Hollywood in the Trump age becomes more risk-averse, insiders say the U.K. isn't afraid of embracing tough material, and boundary-pushing only reaffirms what execs already believe about Britain: It is the best country for content on the small screen right now, and examples abound, from Black Mirror to Baby Reindeer. 'We are unmatched in the world for what we do in this space,' BFI chair and Apple TV+ European creative director Jay Hunt said late last year. 'I mean literally unmatched. To sit at the Emmys [where Apple TV+ hit Slow Horses took home best writing for a drama series in 2024] or the Oscars a couple of years ago and just hear British accent after British accent walking up onstage … I just want to keep doing something that fuels that, because this is really precious.' Many believe that backlash to Trump's DEI crackdown could end up having a positive effect on minorities and those from lower socioeconomic backgrounds seeking access to the industry in the more welcoming U.K. Patel offers Netflix's Adolescence as an example of how British producers can fight back against Trump's attacks on diversity — and have real-world impact in the process. '[Adolescence star Owen Cooper] and the child actors were purposefully chosen for those roles as they hadn't gone through that traditional [upper middle class] drama route. They wanted to create opportunities for social mobility,' she says of the timely Brit drama. 'It's something that we're fully embracing in the U.K.' The impact of the show has been so profound that it has been discussed in Parliament and is now being screened in schools across the U.K. in an effort to combat knife violence and the toxic influence of the online 'manosphere' on young boys. Similarly, ITV's Mr. Bates vs. the Post Office (2024) was a show for public broadcast that had the country in an uproar. The Peabody Award winner spotlighted how hundreds of sub-postmasters were wrongly convicted of theft — the true cause was a faulty IT system — between 1999 and 2015. The series was so popular and the scandal it depicted so outrageous that it prompted the British government to exonerate the sub-postmasters and compensate them in thousands of pounds. The former Post Office boss Paula Vennells was publicly vilified and stripped of her CBE. Film and television can provoke political and societal change in the U.K., Patel says, which isn't always the case in other countries: 'We can be provocative.' According to Hunt, Idris Elba's 2010 casting on Luther as the BBC One's first Black lead was a turning point for the industry. 'You go into people's homes, and you change the way they think about the country that they live in,' she said while discussing how British film and TV can 'change the world.' She adds, 'It's profoundly important that we find a way, particularly in quite a divided society, that communities across the U.K. see themselves onscreen and see their stories onscreen, and we know it's utterly game-changing.' While the full extent of Trump's impact remains to be seen, London's dominance on the global film and television stage outdates his return to politics' biggest job, and it shows no signs of abating. Studio facilities are booked solid for years, the various cost savings will no doubt become even more valuable as the trade wars impact the global economy, and London's streets will continue to crawl with Hollywood talent (even if their posh hotels aren't on fire). For some, London will never truly replace Hollywood, but the city's production boom certainly has the rest of the world — and President Trump, it appears — a little jealous. 'From my discussions that I've had with colleagues and friends in the U.S.,' Patel says, 'we are definitely the new Hollywood. I've got some contacts for the big streamers overseas, and what they've said to me is London is the next big stage, and they want to be here.' A version of this story appeared in the May 7 issue of The Hollywood Reporter magazine. Click here to subscribe. Best of The Hollywood Reporter How the Warner Brothers Got Their Film Business Started Meet the World Builders: Hollywood's Top Physical Production Executives of 2023 Men in Blazers, Hollywood's Favorite Soccer Podcast, Aims for a Global Empire
Telegraph
09-05-2025
- Entertainment
- Telegraph
The best bob for every face shape
Gone are the days when chopping one's hair short meant you'd given up. The bob used to have a reputation as the style women turned to when they were too busy with sticky toddlers to maintain luscious locks, or when the menopause thinned out their formerly thick strands. That's old news. At this week's Met Gala, edgy bobs were everywhere: Zoe Saldaña debuted a micro fringe, ditto Pamela Anderson who as per usual delighted onlookers with a radical new hairstyle to match her signature no-make-up attire. Prior to the Met, the pin-up for the mum bob's edgy makeover was The White Lotus actor Leslie Bibb, who played one-third of a toxic friendship triangle in the just-wrapped season three. Her sweet-as-pie performance was sharpened by a crisp, jaw-length blonde bob, a silent character in Mike White's acclaimed franchise. Bibb's bob has set social media alight in recent weeks, and more importantly, sent women racing for the salon chair. 'People are feeling empowered about going really short now,' explains George Northwood, the stylist-to-the-stars known for giving Alexa Chung her highly coveted shaggy bob in the Noughties. 'They're sticking two fingers up to the definition of femininity.' Bibb echoes this sentiment – in a recent Instagram post by her hairdresser Chris McMillan, she jokes, 'Some people have the 'Rachel' [Green from TV series Friends ]'; I have the 'c-nty little bob''. This is no wispy 1990s flounce; this is a bold, decisive cut with attitude. I myself was first acquainted with the power of an edgy bob in 2007 when watching a Rihanna music video. Awestruck, I took a picture of the singer to my hairdresser the next day. I was 11 years old. I've grown my hair out several times since then. But last January I got the itch again – and slashed my long locks into a short crop. What can I say? The transformation is addictive. 'We decided on chin length to lean into that strong, clean silhouette, and juxtaposed it with a soft curtain fringe that starts at the eyes and flows into where the cheekbones naturally curve in,' explains my hair stylist Annah Bouscal of Violet Hill Studio, who cut my bob whilst I was visiting my home city in Canada. 'It draws the eye up and frames the features in the best way,' she adds. @la_robinson so many ppl told me not to… but we're cutting the dead weight in 2024 @ rocked this transformation 😈 #haircut #bluntbob #shorthair ♬ original sound - Steph Barkley I'm hooked, but many women question whether a bob will suit their face shape. Will a sharp style suit you if you don't have the cut-glass jawline of a Hollywood actress? 'If you're worried about the strength of your jawline, keep it really pure and one length, but on the longer side,' says George Northwood. His advice is echoed by celebrity hair dresser Larry King, who cut TV presenter Frankie Bridge's bob: 'You can still go short, but with a little more length at the back, so that when you tuck your hair behind your ears, you get a softness that frames the jaw.' For maximum impact, King also advises keeping it all one colour, rather than showering it with streaks and highlights: 'if you start trying to break it up, that's when it starts to look like a mum bob'. Look to red carpet darling Greta Lee's inky black crop as a key example. Below, Northwood and King weigh in on how to adapt the bob to suit your face shape, whether it's round, square, oval or heart shaped. Bear in mind most hairdressers don't suggest being rigid with the rules – if you have the confidence, you can pull off any hairstyle you desire. The right cut for your face shape Round If you've got a more circular face, like Penelope Cruz, take care not to go too short. 'It can give your face more width, which you don't want. Round faces can often look wide,' says Northwood. 'Keep it on the longer side, and have it cut quite blunt; it will elongate your face and bring out the bone structure.' Cruz followed these instructions to a tee when debuting her rich honey-dipped bob at the Chanel fashion show in Paris last year. If you're keen on trying an ultra-short bob, however, King has some pro tips: 'You might add a bit of a fringe to make it edgier and cut the length to just above the jaw. That shape will frame the corner of the mouth,' serving to accentuate and flatter your features. Oval On the opposite end of the face shape spectrum, ovals can experiment with shorter cuts. 'You want it to be choppy and free and wispy, so it gives you more volume,' says Northwood. Look to Bibb's bobbed co-star Carrie Coon, another White Lotus star, carries off an edgy bob, but with textured pieces for a more tousled look. If you're going for a blunter cut, look to Ayo Edebiri and Michelle Williams, who both soften their bobs by tucking their hair behind their ears with a charming retro flick. Square Blessed with strong jawlines, square shapes should opt for a softer cut to complement the angles of their face. Northwood says: 'A bob is good for this face shape; I'd go for a choppier cut.' Khloé Kardashian recently debuted a thick, chocolatey bob which social media has dubbed the 'old money bob' due to its luxurious texture. Northwood adds: 'I love this look, but something a bit more choppy and free would look a bit less hard. In general, a softer cut balances out the strength of an angular jaw.' Heart If you've got a heart-shaped face, then you've got carte blanche to snip, chop and change your cut as you fancy. 'Most bobs suit a heart shaped face,' explains Northwood, who references his clients Lily Collins and Princess Olympia of Greece as prime examples: 'Heart shapes can be quite elfin, and they can carry off a short cut. If someone has this facial structure I would cut it blunt to balance out a dainty jaw and chin – you can go for a real statement.' How to style your bob While a short chop is a breezy, relatively fuss-free cut (great for the upcoming summer heat), it does require its own brand of maintenance. I personally like to blow dry mine inward with a round brush for that classic bevelled look, but on days where there's simply no time, I opt for a leave-in conditioning treatment and some hair oil, then let it dry whilst tucked behind my ears. That way, the front pieces take on a curved, face-framing shape. My hair is also quite thick and coarse so my hair stylist Annah Bouscal recommends Oribe's Straight Away Smoothing Blowout cream (£48, Oribe) to tame it. If you've got naturally curly hair, King advises curl cream on days you want to leave it natural, and diffusing it on days you want to give it more volume. If your hair is pin-straight, you'll be able to wash and go with a bit of cream or mousse to give it some hold, and if you're after lift and texture, then try a volumising mist or root powder. If you're having reservations about making the cut, remember that losing a few inches gains major style points. A bold bob is the best accessory to any outfit this season. 'It's such a strong fashion look,' enthuses King. 'You can vary up your style depending on what you're wearing.' With a floaty summer dress, King says to use a bit of mousse and leave it to dry naturally, flipping it from side to side. For more of a statement he suggests you blow-dry it straight. Whatever your style, there's a new season bob to suit you.
Yahoo
05-05-2025
- Entertainment
- Yahoo
Zoe Saldaña Teases The ‘Pain' Neytiri Is Going To Deal With In Avatar 3, And I'm Already Getting Anxious
When you buy through links on our articles, Future and its syndication partners may earn a commission. Avatar: Fire and Ash is set to make its highly anticipated debut on the 2025 movie schedule later this year and, based on what's been shared about it thus far, it's going to be a true epic. The third installment in James Cameron's science-fiction saga is set to continue the story of the Sulley family and, unsurprisingly, they'll encounter new challenges in this latest film. Zoe Saldaña's Neytiri won't be immune to any kind of problems either, as the actress shared some worrying thoughts about how 'pain' is going to impact her character. 2022's The Way of Water (which is streamable with a Disney+ subscription) sees Neytiri going through considerable changes. Early on, she and her brood must leave her native Omatikaya for the Metkayina to evade the revived Miles Quaritch and the RDA. The family experiences its share of challenges throughout the film, and that all culminates in the death of Neytiri and Jake's first-born son, Neteyam. Zoe Saldaña reveals that her character's grief definitely factors into Fire and Ash's story: That pain is seamlessly followed up on. And because it doesn't really have anywhere to go, and doesn't go away, rage can also come from it. [The Sullys] are going to be tested as a family. Considering how traumatic the loss of a child is, it's completely understandable that the Na'vi warrior would still be mourning her son. However, what worries me is how that might fuel her actions in this upcoming sci-fi movie. Neytiri can be headstrong under the best of circumstances, so I can't even predict how grief might fuel her actions. While speaking with Empire Magazine, the Oscar-winning actress also suggested that her character is going to deal with both external and internal struggles: Not only would everything that's happening compel her to question the bond she has with her husband but also her bond with herself, her people, her land, and the way the Na'vi are. She's going to question everything. I get the feeling Neytiri is going to have to make some crucial decisions, which will likely impact not only her but those around her as well. All of the Sulleys are apparently going to have to lean on each other in a big way in this threequel. The film is set to introduce a clan of evil Na'vi known as the Mangkwan (or the Ash people). To that point, Zoe Saldaña also mentioned during her interview that Neytiri will 'meet her match' in the clan's leader, Varang, who's played by Oona Chaplin. Disney+: from $9.99 a month w/ ad-supported planDisney+ is home to the Avatar franchise, and you experience those Pandora-set stories by subscribing. The ad-supported tier starts at $9.99 a month for its new ad-supported plan. There's also an ad-free option that costs $15.99 a month or save 16% and pre-pay $159.99 for a Deal Considering Fire and Ash's lengthy runtime, there's a lot of narrative real estate for James Cameron and co. to play with. It's natural for fans not to want to see their favorite characters experience pain but, if they're going to evolve, that needs to be the case. So I'm definitely eager to see this third Avatar film, though I'm still hopeful that Neytiri doesn't end up doing anything she'll ultimately regret. Avatar: Fire and Ash opens in theaters on December 19. Considering the spectacle associated with this franchise, I'd wager that you should see the film on the biggest screen possible.
