Cannes Film Review: ‘Homeward’

Visually striking, but narratively undernourished, the father-and-son-bonding drama “Homeward” unfolds against the backdrop of a fraught road trip from Kyiv to Russia-annexed Crimea and marks a flawed debut from young Ukrainian helmer-writer Nariman Aliev, a Crimean Tatar. Indeed, the plight of Crimean Tatars (both historically and currently) forms an important element of the plot. While […]



Selena Gomez Jokes She and Bill Murray Are ”Getting Married” After Viral Cannes Film Festival Photos

Selena Gomez, 72nd annual Cannes Film Festival Selena Gomez is most certainly enjoying her time at the 2019 Cannes Film Festival, where she made her red carpet debut at the fête on Tuesday. The 26-year-old actress and her co-star Bill…

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Cannes Film Festival’s Most Daring Looks of All Time: From Kendall Jenner’s See-Through Dress to Madonna’s Lingerie Set

Kendall Jenner, 2018 Cannes Film FestivalIt’s that time of year when celebrities flock to France for the Cannes Film Festival.
This year, everyone from Selena Gomez to Eva Longoria to Elle Fanning have already graced the…

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Calvin Klein Cancels Annual Bash at Cannes Film Festival

CALVIN SKIPS CANNES: Calvin Klein, which has thrown some of the splashiest events at the Cannes Film Festival in collaboration with the Independent Filmmaker Project for the past five years, is taking a pass this year. The company has decided to cancel its annual party, which over the years has honored such stars as Lupita Nyong’o, Naomi Watts, Julianne Moore, Rooney Mara, Emily Blunt, Isabelle Huppert, Mélanie Laurent, Sienna Miller and Rachel Weisz. The parties have taken place at a private villa on the French Riviera.
Last year’s event attracted such celebrities as Jake Gyllenhaal, Harvey Weinstein, Rossy de Palma, Joan Smalls and Doutzen Kroes. The party included a huge seafood buffet, a DJ set by Harley Viera-Newton and a live performance by California band Haim.
With the changing of the guard of the design team at Calvin Klein — Francisco Costa and Italo Zucchelli are both exiting as creative directors of women’s and men’s Collection — sources said the company decided to skip the celebration this year.
Klein confirmed that it won’t be doing an event in Cannes but still supports the IFP, which includes its sponsorship of the Gotham Awards with the presentation of the Calvin Klein Euphoria Grant to an

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Here Are All The Winners Of This Year’s Cannes Film Festival

CANNES, France (AP) — The 68th Cannes Film Festival was brought to a surprising close Sunday with Jacques Audiard’s Sri Lankan refugee drama taking the festival’s coveted top honor, the Palme d’Or.

The choice of “Dheepan,” as selected by a jury led by Joel and Ethan Coen, left some critics scratching their heads. While the dapper French filmmaker has drawn widespread acclaim for films such as “A Prophet” and “Rust and Bone,” some critics were disappointed by the thriller climax of Audiard’s film. “Dheepan” is about a trio of Sri Lankans who pretend to be a family in order to flee their war-torn country and are settled in a violent housing project outside Paris. “This isn’t a jury of film critics,” Joel Coen told reporters after the awards ceremony, alongside fellow jurors like Guillermo del Toro and Jake Gyllenhaal. “This is a jury of artists who are looking at the work.”

The win for “Dheepan” comes at a time when Europe is particularly attuned to the experience of immigrants, following the recent deaths of hundreds crossing the Mediterranean, seeking Italian shores. Jury members, though, said “Dheepan” was chosen for its overall strength as a film, rather than any topicality.

“We all thought it was a very beautiful movie,” said Ethan Coen, calling the decision “swift.” ”Everyone had some high level of excitement and enthusiasm for it.”

Audiard, springing to the podium at the Palais des Festivals, accepted the award with warm gratitude, bowing to the jury. He was joined by the makeshift parents of his film: Kalieaswari Srinivasan and Antonythasan Jesuthasan, who himself was Tamil Tiger child soldier before finding political asylum in France.

“To receive a prize from the Coen brothers is exceptional,” said Audiard, who added that only receiving one from the Luc and Jean-Pierre Dardenne, the Belgian filmmaking siblings, could equal it.

The runner-up prize, the Grand Prix, went to “Son of Saul,” a grim Holocaust drama by first-time Hungarian director László Nemes. Some expected Nemes’ horrifying plunge into the life of an Auschwitz worker to take the top award, but it’s been 26 years since a debut film (Steven Soderbergh’s “Sex, Lies, and Videotape”) was given the Palme.

English actress Sienna Miller and Canadian actor Xavier Dolan, both jury members, sounded especially moved by “Son of Saul.” Miller called it “breathtaking” and an extraordinary accomplishment for a first-time filmmaker.

“Europe is still haunted by the destruction of the European Jews,” said Nemes. “That’s something that lives with us.”

Hou Hsiao-Hsien, the masterful 68-year-old Taiwanese filmmaker, won best director for his first feature in eight years: “The Assassin,” a lushly painterly martial arts drama.

The best actress prize was split but not the way some expected. It was given to both Rooney Mara, half of the romantic pair of Todd Haynes’ ’50s lesbian drama “Carol,” and Emmanuelle Bercot, the French star of the roller coaster marriage drama “My King.” (Bercot also directed the festival opener, “Standing Tall,” about a delinquent teenager.) Any split was presumed to go to Mara and her “Carol” co-star, Cate Blanchett.

Best actor was awarded to Vincent Lindon, the veteran French actor of Stéphane Brizé’s “The Measure of a Man.” He plays a man struggling to make a living after a long period of unemployment. The visibly moved Lindon won over some big-name competition, including Michael Caine, the star of Paolo Sorrentino’s unrewarded “Youth,” a wry, melancholy portrait of old age.

Lindon’s award added to a banner year at Cannes for France, which had five films out of the 19 in competition and went home with three awards.

Yorgos Lanthimos, a Greek filmmaker working in English for the first time, took the jury prize for his “The Lobster,” a deadpan dystopian comedy, starring Colin Farrell and Rachel Weisz, about a near-future where unmarried singles are turned into the animal of their choice.

“Chronic,” an understated drama about a home-care nurse (Tim Roth) for the terminally ill, took best screenplay for Mexican writer-director Michel Franco. Franco and Roth met three years ago when Roth, serving on a Cannes jury, helped award Franco the Un Certain Regard prize. “It’s a Cannes story,” said Franco.

The Camera d’Or, Cannes award for best first feature film, went to “La Tierra Y la Sombra.” César Augusto Acevedo’s debut, which played in the Critics Week section, is about an old farmer returning home to tend to his gravely ill son.

The Coens themselves took the Palme in 1991 for “Barton Fink.” The last two Cannes winners have been three-hour art-house epics: the glacial Turkish drama “Winter Sleep,” chosen last year by Jane Campion’s jury, and “Blue is the Warmest Color,” as picked by Steven Spielberg’s jury.

This year’s competition slate left some critics calling it a so-so year for Cannes. Some of the films that drew the biggest raves (“Mad Max: Fury Road,” Pixar’s “Inside Out”) played out of competition, while some in it (like Gus Van Sant’s “The Sea of Trees”) drew loud boos.

The festival was dominated by discussion about gender equality with many — from Blanchett to Jane Fonda — speaking about female opportunity in the movie business. “You hope it’s not just the year,” said Blanchett of the attention to women in film. “It’s not some sort of fashionable moment.” An honorary Palme d’Or was also given to French filmmaker Agnes Varda, the first woman to receive one and only the fourth director after Woody Allen, Clint Eastwood and Bernardo Bertolucci.

But the festival was overrun by an unlikely scandal when several women were turned away from the formal premiere of Todd Haynes’ “Carol” for wearing flat shoes, rather than high heels. The festival insisted it was the mistake of overzealous security guards and not part of Cannes’ notoriously strict dress code.

The festival, as it often is, was dominated by the unexpected, even on its last night. Nothing was more unforeseen — not even the Palme for “Dheepan” — than John C. Reilly, a co-star of “The Lobster” and another competition entry, “Tale of Tales,” took the stage to sing “Just a Gigolo” in a bright white suit.


AP’s Thomas Adamson contributed to this report.

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Nikki Reed and Ian Somerhalder’s Beyond-Stunning Cannes Red Carpet Moment

Le sigh. Newlyweds Nikki Reed and Ian Somerhalder walked the red carpet at Cannes yesterday, and they both looked so sophisticated, so classic, and so crazy-good stunning, it feels utterly possible that no married twosome has ever looked so very perfect on that iconic carpet.


Nikki wore a navy couture Azzaro gown with a spray of coral at the left shoulder, while Ian chose a traditional tux. The appearance was also the first time we’ve gotten to properly scope out their wedding rings (and see Ian helping his new wife with her train, which is basically the sweetest).

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The twosome had a swoonworthy tropical honeymoon after a paparazzi-free wedding.

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‘Chronic’ at Cannes: Tim Roth As a Depressed Male Hospice Nurse

Tim Roth gives an outstanding performance in Michel Franco’s new film Chronic, which just premiered at Cannes, as a male nurse who bizarrely goes beyond the call of duty to care for his dying patients. The film follows him as he takes care first of one patient (until the funeral), and then another — and then another — each time scrupulously washing the patient’s back, with dedicated strokes, or encouraging him or her to speak about their lives. The nurse even goes so far as to buy an architecture book for one of his crotchety patients (an architect), and to visit one of the homes he designed. What is odd is that his care for his patients is absolutely deadpan — and he, for an unfathomable reason, deeply depressed.

Tim Roth in person — whom I saw joking at poolside with a hotel woman who called to him from her balcony — is quite opposite from the role he plays. Lively, funny (“I love you too!” he called up to the woman at the balcony) and jocular. In the film, he is brooding, with his body tensed up like that of a former high school wrestler, who never got out of the pose. At the press conference, in fact, the actor remarked that: “For this role, I stripped myself bare. I played the nurse very quiet. I didn’t want to distract from him, so I tried to keep myself low.”


Chronic is a riveting film — because of Roth — and may very well win an award tomorrow night. But it is tough to watch, just as it is tough to be at the hospital bedside of a patient in chronic pain (one after another). There is no joy in the movie, and very little warmth. The other characters in the film (mostly family members of the patients) have little affect: Perhaps because they are dealing with a loved one’s chronic illness (as the director noted at the press conference), but more likely because the director has chosen to put the spotlight on how estranged we human beings are from each other. The nurse, in his strange dense way, is the most “human” character. The others, in contrast, seem cold, rushed, or indifferent, and speak to each other in monotone.

A sense of mystery is what propels the story: Something traumatic happened in this nurse’s past that spurs him in his overzealous activity. The mystery works: We are gripped to the “cold” story before us, one that (plot spoiler) ends up as icy as it begins.

I went to meet the young Mexican director, Michel Franco, to ask him why he created such a disturbingly bleak universe.


Why did you make a film in which humans seem not to care about each other? Is this how you see people?

I should not be very pessimistic as in my personal life I am lucky with my friends and family. My family came all the way from Mexico to be here with me. Nevertheless, I am intrigued by how we can be well-educated and civilized, and still have trouble communicating. Humans are complicated; we always make mistakes with each other. It is the same pessimistic view that you will find in my other films.

Almost all of the relationships in the film are cold, except for the one at the end, with Tim Roth and the cancer patient “Martha.” Can you comment on Martha?

Oh yes, Martha. It’s true they end up being close. Still, I don’t know if Martha is manipulating him. We don’t know if from the very beginning, she is trying to manipulate him.

Really! I didn’t see her this way.

It’s not clear. I will have to see it again and tell you what I think of Martha. Every time I see the film I think differently about Martha. I am suspicious of people’s motives. We all have our worries, and our minds are complicated, and even if we love each other, we harm each other…

Some viewers will be disappointed that this film has no arc of triumph, no evolution. In a conventional film, a protagonist who begins a film depressed will evolve and, by film’s end, have a surprising realization or recovery.

My film is close to real life, in that life rarely has that arc where everything changes and is better at the end. I like movies that do not solve the conflict, because when the conflict is solved, it satisfies the spectator and all is finished, forgotten in an hour. But if the conflict is not solved, like in my film, you are forced to keep thinking about it. Usually in a film, the audience is told from the beginning: Be prepared for the final [triumphant] end. I just shot my film in a way I like: subtle. I don’t give things to the audience. I feel like the audience is tired with being disrespected.

You say life has no arcs. Do you really believe that?

When my professional life is going well, I am happy, and then I am down again. Yes, I have those kinds of professional arcs.

What about non-professional arcs? How about going through an emotional upset or loss, and then changing through it, or achieving some kind of resolution? This is a way many people approach tragedies…

I would say no, that does not happen. Most things you have to accept them and move on, if they are really bad. You don’t change them and it is better to accept and move on. These people who believe in change are in therapy for ten years or always reading a book about how to be happy, but then they fall into another problem. I am more simple. As long as there is no trouble in my life, I focus on work.

I am going to guess that you are an atheist: and think there is nothing after death.

Right. I do think there is nothing after life. Death is scary. It is a horrible thought, pessimistic, but it is good to embrace that thought because if you accept it, it makes you make the most of your life.

One critique of your film: The father/daughter relationship is not quite believable. The Tim Roth character sees his daughter after many years of absence, and she just casually welcomes him back with a, “Nice to see you!”

True, but I wanted to make the father-daughter story as small as possible. With the daughter, I just wanted to make a point that the nurse is welcomed back easily by his [estranged] family, so even that cannot explain his depression. The real problem for him is that he cannot cope with life; it’s not a matter of external factors.

Where did you get the idea for your story?

My grandmother got sick in 2010, and she was tied to a bed for several months before she passed away. I was very moved by the angel who took care of her. I asked this nurse, Beatrice, how many years she had been doing this! The work kept her down. She was depressed. Yet, she said she liked her work. She was always thinking about her patients. Nurses are close to certain matters that we try to escape; they are brave and they do it. My film is a character study.

The reason I chose to make it a male nurse is because of Tim Roth. I won the Certain Regard with my film After Lucia a couple years ago [2012]. Tim Roth was on the jury. He came up to me after the awards ceremony and said, “Let’s work together!” I told him I was making a film about a nurse and he said, “If you make her a male, I’ll be that nurse!” And so I did.

Does the fact that you are from Mexico — a very unsettled place right now — influence your filmmaking and choice of subjects?

Mexico has always been a very complicated society, not just now. It is a really troubled country [with corruption etc.] which is why we have good film directors — which is why Greece has interesting film directors now. I like chaos. My first movie really comes out of that Mexican context; my second film has some of it. The third was shot in the streets of Mexico, with homeless people. My beginnings were tied to Mexican reality, but now I am growing out of it, and becoming more personal.

You are a Jewish Mexican, and as you tell me, your mother is Israeli. Do you feel connected to your Jewish roots?

Culturally, I do (laughs.) Perhaps I have some of the pessimism.

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Apichatpong Werasethakul’s ‘Cemetery of Splendour’: A Dream Film at Cannes

To watch an Apichatpong Werasethakul film is to be lulled into a dream state. His latest film, Cemetery of Splendour, which premiered at Cannes this week, immerses you in a surreal, and yet real, world on the line of wakefulness and sleep: literally a hospital (once a schoolhouse), in the Thai town of Khon Kaen, where 40 soldiers are interned for “sleeping sickness,” occasionally waking only to tumble into slumber, even mid-meal. Jenjira, a middle-aged woman with a damaged leg, takes care of one of these sleeping soldiers, a comatose man named Itt. For much of the film, she is patiently kneeling by Itt’s bedside, and caressing his hand.

The spectator drifts into a quiet state with the palm trees swaying in the windows, the cicadas chirping, the sounds of the fan. At one point, a woman comes to the hospital to teach mediation: “Feel the energy of the stars,” she says soothingly. “And bring that energy inside you.” As she spoke, I did the same in my chair.

The surreal aspect is upped step-by-step. A pretty young medium comes and communicates with the unconscious of the soldiers, confiding to Jen that the soldiers’ souls have been taken by a warrior emperor to fight his battles, one thousand years before. The hospital, she states, is built on the remains of a cemetery of kings. Later this winsome medium takes Jenjira through a forest, pointing to the leafy ground: The site, she says, of palace rooms, which the sleeping Itt seems to have mapped out with strange squares and circles in a notebook. In another scene, Jenjira travels to pray at a shrine, laying down figurines as offerings. Two young girls come to thank her for her offering; they are princesses of the shrine, they tell her. 1,000-year-old princesses. Indeed, they are dead. enjira lifts an eyebrow.


At times, the film becomes a series of beautiful installation pieces, playing with color and light to enhance the limbo of dreaminess. My favorite sequence is that of a series of shots of the lit town at night: a neon light over a bus-stop, illuminating a poster of a wedding studio advertisement, and the night “therapy” lights on the sleeping soldiers (designed by the director), that look like long fluorescent loops and change from blue to green to red.

I also like the random images that don’t make sense. A machine in the lake that spits up brilliant drops of water. A giant amoeba floating in the sky. The men at the side of the lake who suddenly stand up and move in various formations. A movie theater where, at the conclusion of the film, the entire audience stands up, as if in military salute.

The director has noted that many of the images in the film are those of his own memories in this town: the local movie theater, the school classroom we see in ruins, the brightly lit night market where the medium and Jenjira chat and eat. A Cemetery of Splendour is a collage of his native Thailand, the layered memories of the past, both his own and that of the nation.

Still, there is something unsettling about this dream. Everyone seems to be waiting. But waiting for what? Something — beyond cemeteries — is buried under the surface. While the images are serene and whimsical, I intuited a disturbing subtext to this hynoptic world — especially since Apichatpong Werasethakul introduced the premiere, on stage, by speaking about how difficult it was in Thailand now, living under a dictatorship.

I met with the director to discuss.


Could you please explain the contemporary context of Thailand, for a non-Thai audience?

Thailand has a lot of coup d’etats, repeatedly. Every time it happens a lot of people die; the last one was just last year, in May, when the military took over. Now, if you say something against the government, they will convoke you to “Attitude Adjustment”. You have to sign something that says you will not say anything again.

Why this emphasis on sleep and dreaming in your film?

I have been interested for the last five years in sleeping and dreaming. For me, the act of sleeping is an act of escape, and that is what is going on now in Thailand: One wants to escape from the country. Sometimes you feel very powerless, in that all you can do is go away. I work on many projects, art projects. Sometimes you cannot deal with reality, and you don’t know if it is a dream. Sometimes the situation in Thailand is so absurd and so violent that I feel threatened…

There are a lot of random elements in the film, that don’t entirely make sense. Could you please explain, for example, why everyone suddenly stands up to salute in the theater?

Because we are always standing up in Thailand! We have to stand up at eight in the morning for the National Anthem.

Why the palace in the forest? Why the cemetery under the hospital?

Thailand is a young country, with many layers of civilizations: the Kingdom of Laos, the Khmer of Cambodia. I want to present those layers of history. We don’t live in only one reality, but in different layers of memories. I want the film to reflect on and lament the ruins of past kingdoms. In Thailand, we do not know the roots of who we are. We have been taught propaganda history in school: “We are the best,” etc. Did you note that image in my film of the bas relief of soldiers? It was a wall created to commemorate a prime minister who died a long time ago, Sarit Thanarat. He was a total dictator. He embezzled a lot of money. Along the way, he killed people. The town is still celebrating him!

Your film, like your previous films, has ghosts and other supernatural elements…

In this region of Thailand, we are very superstitious. We are Hindu, Animistic. You believe in the invisible. People live in the fantastic. I will give you an example: A road once cracked in the village. It became a very strange shape. People put candles on the crack and started to pray. They believe in the spirit; they need to worship the invisible.

But do you believe in the other-worldly elements in your film: The ghost princesses who come to Jenjira, for example?

(AW laughs) Oh, I think it is all nonsense. For me, it is a joke. But the character is ready to believe they are phantoms. Many Thai people believe in phantoms — it is so funny how people are ready to believe in anything. But in my film, there is no judgement. As for me, I am interested in the different parallel universes, of time and space.

What is that machine spitting water bubbles in the lake, and why do you have such a lengthy close-up on it?

(AW laughs) Oh, that is a water propeller, a machine to keep oxygen in the water, for the equilibrium in the water, so it does not go bad. Why did I put it in? Oh, I grew up with it; it was always there in the water. And the soldiers are like the fish: They, too, need oxygen. Water is life, the cycle.

What is everyone waiting for in this film?

They are waiting to wake up.

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Nikki Reed and Ian Somerhalder Show Off Their Super-Simple New Wedding Rings at Cannes

Nikki Reed might have a super-size engagement ring (see it here), but her new wedding ring is super-simple. It appears that both she and brand-new husband Ian Somerhalder are wearing plain platinum (or white-gold) bands….

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Newlyweds Nikki Reed And Ian Somerhalder Are Beyond Glamorous At The Cannes Film Festival

Newlyweds Nikki Reed and Ian Somerhalder were the picture of grace and glamour on Wednesday as they walked the red carpet at the 68th annual Cannes Film Festival.

The couple showed up for the premiere of “Youth” and Reed dazzled in a midnight blue, backless gown by Azzaro, while Somerhalder looked dapper in a black tux. The couple tied the knot last month, and are clearly still in the honeymoon phase.

nikki reed ian

nikki reed ian

nikki reed

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Sienna Miller’s Choker, Diane Kruger’s Sheer Dress, and Other Must-See Cannes Moments

Between Lupita Nyong’o’s grass green gown, Fan Bingbing’s stunning Marchesa number, and Charlize Theron’s epic yellow dress, it’s hard to believe the glamour is still going strong at Cannes, but it is!

cannes-sienna-millerSienna Miller pulled an Emma Stone, complementing her Sonia Rykiel gown with a Bulgari High Jewelry collection choker in white gold and diamonds.

cannes-diane-krugerDiane Kruger attended The Sea of Trees premiere in an embellished Prada halter gown with sheer sides.

cannes-cate-blanchettLeave it to Cate Blanchett to bring the drama in this stunning Giles gown. How mesmerizing is that print?

cannes-lupita-nyongo-oscar-de-la-rentaThis Oscar de la Renta dress looks like it was made for Lupita Nyong’o! Does anyone twirl better than she does?

cannes-eva-longoriaEva Longoria showed up to the premiere of Carol in a navy Atelier Versace strapless gown. Talk about a statement dress!

cannes-erin-oconnorCheck out the epic bow on Erin O’Connor’s Ralph & Russo couture gown! Is it a Do or Don’t?

cannes-natasha-polyNatasha Poly took a big risk for Cannes in this Atelier Versace bodysuit and skirt pairing.

For more coverage of Cannes, see:
The Prettiest Cannes Dresses of All Time
6 Cannes Dresses That Are Prettier From the Back
The Easy-To-Do Hairstyle as Seen at Cannes
Check Out Charlize Theron’s Diamond

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The Latest Gorgeous Cannes Dresses You Have to See

The Cannes Film Festival has made this week quite the glamorous one, no matter where you’re located. Here’s your quick refresher: Lupita Nyong’o looked divine in grassy green, Fan Bingbing did a floral dress like the world’s never seen before, and there were a few stunners with must-see backs. If it’s got you craving gowns like crazy, good news: There’s more where all that came from.

Emma Stone is in the house, wowwing in a flirty black Oscar de la Renta dress.

Julianne Moore looked gorgeous in sumptuous red velvet Givenchy couture, finished off by matching platforms and a glossy lip.

Blonds can’t wear yellow? Heck no, as proved by Charlize Theron in this bright pick. The only thing that might distract you from her perfect fashion moment (Christian Dior couture, obviously) is that suspicious bling on her ring finger.

This goddess Valentino couture gown looked great on Zoe Kravitz, who kept it romantic and simple to promote Mad Max: Fury Road.

It would appear that Michelle Rodriguez was inspired by Jennifer Lopez’s parade of sexy, sheer dresses. The actress did J.Lo proud in this black floral number.

Miranda Kerr partied at a Magnum event in sultry, low-cut bubble-gum pink Emanuel Ungaro.

Naomi Watts had a Grace Kelly moment in classic black lace by Ralph Lauren and a Bulgari necklace with serious sparkle.

Come see the prettiest Cannes gowns of all time.

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Matthew McConaughey’s New Movie Was Booed At Cannes

It was no Cannes do for Matthew McConaughey … his new flick was booed in a big way at the French film festival.

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Kering to Launch ‘Women in Motion’ in Cannes

GIRLS ON FILM: Kering is deepening its ties with cinema.
Having signed a five-year-deal with the Cannes International Film Festival, the French luxury group said Monday it would launch the first edition of “Women in Motion,” an event highlighting women’s contributions, at this year’s festival, which is slated to run from May 13 to 24 on the French Riviera.
Throughout the competition, Kering and the Festival de Cannes are to host talks focusing on a number of issues including women’s status, their representation on screen and within the film industry, as well as their perspectives behind the camera.
“The artistic sensibility of women and the specific nature of female narration are an integral part of the richness of cinema. The ‘Women in Motion’ program does not just aim at highlighting the talent of women in cinema, but also emphasizes the interest of their work for audiences. Enhancing their visibility is essential when we consider the impact that films have on our ways of thinking and, ultimately, our everyday behavior,” said Francois-Henri Pinault, Kering’s chairman and chief executive officer.
As of 2016, Kering is to launch two “Women in Motion” Awards: one recognizing “a significant contribution to the cause of women in cinema,” the other

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White God TV SPOT – Cannes (2014) – Drama Movie HD

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White God TV SPOT – Cannes (2014) – Drama Movie HD

Winner of the Prize Un Certain Regard Award at this year’s Cannes Festival, Kornel Mundruczo’s newest film is a story of the indignities visited upon animals by their supposed “human superiors,” but it’s also an brutal, beautiful metaphor for the political and cultural tensions sweeping contemporary Europe. When young Lili is forced to give up her beloved dog Hagen, because it’s mixed-breed heritage is deemed ‘unfit’ by The State, she and the dog begin a dangerous journey back towards each other. At the same time, all the unwanted, unloved and so-called ‘unfit’ dogs rise up under a new leader, Hagen, the one-time housepet who has learned all too well from his ‘Masters’ in his journey through the streets and animal control centers how to bite the hands that beats him …
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Kristen Stewart Opts For Sequin Pants Instead Of A Gown At Cannes Film Festival

Kristen Stewart decided to try out a different kind of look for the premiere of “Clouds of Sils Maria” at the Cannes Film Festival on May 23.

The 24-year-old actress, who stars in the film alongside Juliette Binoche and Chloe Grace Moretz, looked très chic in a Chanel couture two-piece jumpsuit, which she paired with nude heels. Stewart styled her orange locks in loose waves and rocked smokey eye makeup.

kristen stewart

kristen stewart

kristen stewart

kristen stewart

“I dress really practically, so when I do red carpet things, I like to go extreme on the other side of it,” Stewart recently told PopSugar of her beauty routine. “I really like working with people who love what they do and are a bit more bold. If you’re going to do that job, it’s always more interesting to find artists and not people who just want to get it done. It can be fun to find different aspects of myself, since it’s not usually what I do.”
Style – The Huffington Post
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