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Brad Pitt’s ‘Cliff Booth’ Reveals Action-Packed Scenes in New Tease Ahead of Netflix Launch

Elizabeth Debicki, Scott Caan and Carla Gugino are also featured in the latest look at David Fincher's follow-up to 2019's 'Once Upon a Time in Hollywood.'
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Olivia Wilde’s revenge: How she got people to stop talking about everything but her work

© Marc Piasecki (Getty Images)

Olivia Wilde returns to the screen and the director’s chair with 'The Invite,' a comedy about secrets, desire and the cracks that emerge when a couple believes they know each other a little too well. The film, in which she stars alongside Penélope Cruz and which is already generating Oscar buzz, marks the return of one of the most controversial figures in recent Hollywood history.

An actress turned director, outspoken feminist and central character in one of the entertainment industry's most talked-about sagas, the 42-year-old filmmaker has gone from being the young doctor on 'House' to embodying the contradictions of an industry that applauds women for breaking the rules, but does not always forgive them for doing so on their own terms.

© Gilbert Flores (Variety via Getty Images)

If there is one thing Wilde has made clear during the promotional tour for 'The Invite,' it is her fascination with Penélope Cruz. The director and actress has even joked that she has not washed her hands since touching those of the Madrid-born star, who plays a free-spirited woman capable of turning her neighbors’ relationship upside down. The couple next door are played by Wilde herself and Seth Rogen.

The two have displayed their easy rapport throughout recent promotional appearances, with Wilde at one point describing her co-star as “the sexiest woman alive.” In one scene, Cruz unexpectedly kisses Wilde. The filmmaker has admitted that she completely lost her composure, her mind went blank and she fell hopelessly in love with her co-star.

© Taylor Hill (Getty Images)

Wilde is one of the filmmakers who has openly spoken about the difficulties she encounters when casting her films and trying to find actresses who have not undergone cosmetic procedures.

“As a director, I now am constantly searching for actresses who can still move their faces. And it’s not easy!” she said. “I don’t blame them. I’m a product of the same machine, I’m under the same pressures; I get it.”

“I just pray for technology to allow treatments that just aren’t so aggressive. Like, there’s something so medieval about all these things. Can’t someone come up with something better than Botox?” she continued.

© Karwai Tang (WireImage)

For Wilde, the issue is also personal. In recent years, her own public appearances have been met with cruel remarks about her looks, her age and speculation about possible cosmetic procedures.

In 2026, photos of the actress became fodder for mockery on social media, particularly because of her extreme thinness. Wilde herself responded with humor, acknowledging that in those viral images she really did look “like a little dead sarcophagus man.”

© Neil Mockford (GC Images)

On Jan. 6, 2021, the world woke up to an image that would dominate headlines for months: Olivia Wilde and Harry Styles walking hand in hand. Wilde was directing her second film, 'Don't Worry Darling,' and Styles, the former One Direction member, was one of its stars.

The couple’s 10-year age gap, the singer’s global fame and Wilde’s recent separation turned the relationship into a media phenomenon. The spiral soon became impossible to stop: Shia LaBeouf’s departure from the project, rumors that the film’s lead actress, Florence Pugh, had a strained relationship with Wilde and was unhappy with the displays of affection between the director and Styles during filming, and the supposedly viral incident in which Styles appeared to spit on Chris Pine at the Venice Film Festival.

Wilde has since acknowledged that she perhaps should have pushed back against some of the allegations. At the same time, she has recalled that she was experiencing moments of great happiness in her private life.

“ It was like a tornado was right outside the door, and if you were inside you were like, ‘It’s so nice,’” she said. “And you open the door and be like, ‘Ah,’ like a fucking like cow and a tractor would fly by.”

© Gilbert Carrasquillo (GC Images)

Wilde grew up in Georgetown, Washington, D.C., in a household where current affairs were effectively a member of the family. Her parents, journalists Andrew and Leslie Cockburn, hosted dinner parties attended by guests as prominent as Mick Jagger, Steven Spielberg and writer Salman Rushdie.

Her mother worked as a war correspondent and went on to become a renowned investigative journalist before taking her career in a different direction. In 2018, at the age of 66, she ran as a Democratic candidate for the U.S. House of Representatives, with her daughter’s public support. She lost to the Republican candidate, but her trajectory left Wilde with a powerful example of political engagement and reinvention.

© Gilbert Flores (WWD via Getty Images)

The role that changed everything for Olivia Wilde, who was born Olivia Cockburn and later adopted the surname Wilde in homage to Oscar Wilde, was that of internist Remy Hadley, better known as Thirteen to both Dr. House and the millions of viewers of the medical drama.

Joining the show's fourth season turned her into an international star and one of Hollywood’s most sought-after actresses. After starring in big-budget films such as 'Tron: Legacy' and 'Cowboys & Aliens,' both of which met with limited critical and commercial success, Wilde later said she felt exploited and objectified by the film industry.

“I had become numb to the fact that every meeting I went on — with men and women, by the way — I was going to be judged on my physical appearance,” she said.

© Chelsea Guglielmino (FilmMagic)

Wilde’s feminist commitment predates the controversies that would later put her at the center of the headlines. In 2017, when the #MeToo movement brought the industry’s abuses of power into the spotlight, she joined the growing chorus of voices calling for change. She also became one of the public faces of Time’s Up, the initiative launched by women in Hollywood to combat sexual harassment and promote safer workplaces, and spoke at the 2018 Women’s March in Los Angeles.
“This business belongs to all of us,” she said that year, advocating for an industry in which her peers could work without fear and without having to compete for opportunities that had historically been denied to them.

© Axelle/Bauer-Griffin (FilmMagic)

Wilde’s debut as a feature-film director came in 2019 with a low-budget comedy that quickly achieved cult status among a generation of moviegoers: 'Booksmart.' The film, which follows two high school students on one final night of partying before graduation, was a hit with both critics and audiences.

Wilde had long wanted to stop being just another cog in the industry and take a more active role in the creative process.

“I always assumed acting was the way in, because for many young women … they’re told, ‘You love movies — you should be a movie star,’" she told 'Variety.' "No one tells a little girl, ‘Why don’t you become a director?’ It’s just not a part of the conversation. But if a little boy says he loves movies, it’s like, ‘Maybe one day you’ll direct. Maybe you’ll be the next Steven Spielberg or Martin Scorsese.’”

© Donato Sardella (WireImage)

“Romantic and insane.” That is how Olivia Wilde describes her first great love story, which began in 2003 when she was just 19 years old.

At Burning Man, the unconventional arts and music festival held in Nevada’s desert, the young Wilde said “I do” to her boyfriend of only a few months, filmmaker Tao Ruspoli, the son of an Italian prince. By her own account, it took only seconds for her to realize that the ceremony might have been a little too impulsive.

“Immediately, I was like, 'Wait, what the fuck did I just do?'” she remembers thinking.

The marriage ended in divorce in 2011, although the two have remained on good terms.

© Axelle/Bauer-Griffin (FilmMagic)

The same year she finalized her first divorce, in 2011, Wilde met the man who would become the father of her two children: actor Jason Sudeikis (from 'Ted Lasso'). The two met at a 'Saturday Night Live' party, where Sudeikis was working at the time, and went on to build a family with their children, Otis and Daisy.

In November 2020, after several years together and a long engagement, they ended their relationship, setting off a custody dispute that would later make international headlines. In April 2022, during a film industry convention in Las Vegas, Wilde was interrupted onstage when a person approached to hand her legal documents related to the custody case.

Although Sudeikis maintained that he had no knowledge of how or when the papers would be served, Wilde described the incident as “incredibly traumatizing.”

© BG026/Bauer-Griffin (GC Images)

In her day-to-day life, Wilde is often spotted on the streets of New York wearing far simpler outfits, the kind that are easy for ordinary women to take inspiration from. The look pictured here is a perfect example: a blazer, a basic T-shirt, an oversized bag, trousers and sneakers.

It is the sort of outfit anyone might wear to the office or while running errands.

© Frazer Harrison (WireImage)

On the red carpet, Wilde has also earned international attention for her distinctive sense of style. Her looks strike a balance between understated elegance, as seen in this high-necked black Saint Laurent gown with structured shoulders, and a more daring sensibility, whether through sheer fabrics or outfits that showcase her sculpted midriff.

Tailored suits are another staple of her wardrobe, further proving her flair for sharp suiting. The architect behind a style that has grown increasingly sophisticated and eye-catching over the years is Karla Welch, who also styles Tracee Ellis Ross and Sarah Paulson.

© Valentina Frugiuele (Getty Images)

The actress is also a favorite of fashion houses with markedly different aesthetics, including Chloé (pictured here in one of the brand’s designs), Saint Laurent, Michael Kors, Louis Vuitton and Valentino.

Her regular appearances at international fashion weeks, particularly in Paris and New York, have made her one of the celebrity names every brand wants seated in its front row.

© Stephane Cardinale - Corbis (Corbis via Getty Images)

Earlier this October, Wilde answered the call of fashion’s designer and label of the moment, stepping out in an updated tweed suit by Matthieu Blazy for Chanel. Elegant yet contemporary, the look demonstrated how her trademark bohemian, '70s-inflected style can also take a decidedly classic turn.

It seems that for Wilde, neither in fashion nor in life, much is beyond reach.
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Glenn Close explica por qué usa un bastón: “Me han realizado una sustitución completa de cadera”

La actriz Glenn Close (Greenwich, 79 años) ha grabado un vídeo para sus fans tras los comentarios de preocupación que recibió el pasado 15 de octubre, cuando posó con un bastón en la premiere de La Bola Negra en Nueva York. Con una tirita triangular en la frente, que le evita fruncir el ceño, y una explicación tranquila, ha dicho que no hay nada de qué preocuparse. “Quería pasarme por aquí para agradecerles todo su cariño y explicarles por qué uso un bastón: lo necesito porque me han hecho una sustitución completa de cadera. Resulta que mi cadera izquierda estaba en muy mal estado, así que ahora mi objetivo principal es mantenerme en plena forma para poder afrontar con energía cualquier desafío que se me presente”, comienza el mensaje.

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© Ángel Colmenares (EFE)

Los directores de la película 'La bola negra' Javier Calvo y Javier Ambrossi posan junto a la actriz estadounidense Glenn Close y, a la izquierda, el director salvadoreño Julio Torres durante la alfombra roja del filme el 15 de octubre, en Nueva York.
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Evangeline Lilly revela los motivos por los que se alejó de Hollywood: “Siempre odié ser famosa”

Evangeline Lily en un evento en Japón en 2023.

Evangeline Lilly (Fort Saskatchewan, 47 años) lleva años alejada de los focos, desaparecida de las grandes producciones y gestionando una vida que durante un tiempo no le perteneció. La actriz, que saltó a la fama mundial gracias a su papel de Kate Austen en Perdidos, decidió dar un paso atrás en su carrera tras el estreno de Ant-Man y la Avispa: Quantumanía (2023), momento en el que dejó de acudir a alfombras rojas y eventos de Hollywood. Tres años después, la intérprete canadiense ha concedido una entrevista a CBN News en la que ha revelado los motivos que le llevaron a tomar la decisión de parar su carrera.

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Evangeline Lilly en el estreno de 'La princesa de Montpensier', el 16 de mayo de 2010, en Cannes.
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El homenaje póstumo de Jacob Elordi a su padre en ‘Euphoria’, Eric Dane: pondrá voz a las memorias que dejó escritas el actor antes de morir

Eric Dane falleció el pasado 19 de febrero, apenas 10 meses después de ser diagnosticado con esclerosis lateral amiotrófica (ELA), a los 53 años. El actor, conocido mundialmente por su papel en Anatomía de Grey, aprovechó sus últimos meses de vida para concienciar y pedir más investigación para la enfermedad. Después de conocer el diagnóstico y su inevitable final, el intérprete se centró en el que fue su último proyecto: escribir sus memorias en las que poder relatar su vida, los capítulos más difíciles y otras anécdotas personales. Será el próximo 3 de noviembre cuando se publique su libro póstumo, My Book of Days: A Memoir in Moments.

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Eric Dane y Jacob Elordi en un capítulo de la primera temporada de 'Euphoria'.
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El actor Erik von Detten, el galán del ‘Princesa por sorpresa’, es acusado de estafar a una pareja de ancianos 800.000 euros

Erik von Detten se convirtió en uno de los actores favoritos de las adolescentes en el año 2000 tras interpretar al galán de melena rubia de la película Princesa por sorpresa (2001) que engañaba al personaje interpretado por Anne Hathaway. Este mes ha sido demandado por engañar, esta vez en la vida real, a un matrimonio de ancianos. La pareja formada por Sheila Greenberg y Norman Greenberg, de 85 y 97 años respectivamente y residentes de San Diego (California), alega que el actor de 44 años los convenció para invertir más de dos millones de dólares (1,7 millones de euros) en monedas de oro a través de tres compras realizadas entre 2020 y 2021 a un precio muy superior al del mercado. En su denuncia, a la que han tenido acceso medios estadounidenses como Variety y People, alegan haber sido víctimas de una estafa en la que han perdido en total 900.000 dólares (800.000 euros).

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© Mike FANOUS (Gamma-Rapho via Getty Images)

Erik von Detten en Century City, Estados Unidos, el 16 de noviembre de 2004.
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Winona Ryder x Gwyneth Paltrow: entenda como rumor abalou amizade da dupla

Winona Ryder, 54, e Gwyneth Paltrow, 54, são duas famosas atrizes de Hollywood, conhecidas por seus trabalhos em filmes e séries norte-americanos. No passado, ambas tiveram uma amizade muito forte, mas que foi encerrada de forma conturbada e misteriosa.

O boato que teria impactado a relação das duas atrizes envolvia o roteiro do filme “Shakespeare Apaixonado” (1998). Winona teria recebido o roteiro e havia guardado os papeis na mesa de centro do apartamento onde morava, e que havia cedido para a amiga Gwyneth durante um período sentimental difícil.

Paltrow teria encontrado o roteiro, entrou em contato com o diretor Harvey Weinstein e pediu a chance de fazer um teste para a personagem principal. Ele teria gostado da atuação da artista e deu o papel para ela.

A atuação foi aclamada pela crítica internacional e foi pelo trabalho que a atriz ganhou seu primeiro e único Oscar — na mesma edição e categoria que Fernanda Montenegro concorreu por “Central do Brasil” (1998).

O que diz a imprensa americana?

De acordo com a revista People, Gwyneth Paltow namorou Brad Pitt em meados de 1996, mas um término conturbado fez com que ela buscasse apoio na casa da amiga, Winona Ryder, que já era um dos grandes nomes da indústria cinematográfica.

No ano seguinte, Paltrow começou a namorar Ben Affleck, melhor amigo de Matt Damon, que por sua vez era namorado de Ryder.

Nesta época, Gwyneth havia recusado um papel no filme “Shakespeare Apaixonado” sem nem ler o roteiro até o final. Depois de encontrar Weinstein, ela terminou de conferir como seria o trabalho e decidiu gravar a produção.

O sucesso do filme foi tão grande que rumores começaram a aparecer na mídia nos meses seguintes à estreia do longa. Tabloides publicavam a história de que Winona havia recebido o roteiro, que acabou na mãos da amiga, e logo perdeu a oportunidade de estrelar a produção.

Informações de biografia

Em 2025, a biografia não-autorizada “Gwyneth: The Biography”, de Amy Odell, afirmou que a relação entre as duas acabou de vez após o boato se espalhar na imprensa. Segundo o livro, Paltrow percebia que Winona sempre inventava uma história sobre ter sido roubada ou alvo de algum tipo de furto quando brigava com Matt Damon.

Incomodada com supostas atitudes tomadas pela estrela de “Edward Mãos de Tesoura” (1990), Gwyneth passou a chamar a rival de “Vagina Ryder”, apelido que chegou a estampar revistas da época.

Alguns anos depois, em seu blog de bem-estar chamado Goop, em 2009, Paltrow retratou o caso sem citar o nome de Winona.

Ela escreveu: “No passado, eu tive uma ‘frenemy’ (amiga que se tornou inimiga) que, no fim das contas, estava bem decidida a me derrubar. Essa pessoa realmente fez o que pôde para me machucar. Fiquei profundamente chateada, com raiva, com todos aqueles sentimentos que você tem quando descobre que alguém que você achava que gostava era venenoso e perigoso. Eu me contive para não revidar”.

A atriz ainda comentou, possivelmente, sobre o caso em que Ryder foi detida após roubar itens de uma loja de grife, em 2001. “Mas um dia ouvi dizer que algo lamentável e humilhante havia acontecido com essa pessoa. E minha reação foi de profundo alívio e felicidade”, comentou a vencedora do Oscar.

Na época, o representante de Gwyneth negou que o texto fosse sobre a antiga amiga dela, algo que nunca foi muito bem aceito pelo público.

Ainda hoje, nenhuma das duas atrizes fala oficialmente sobre o que teria levado ao fim da relação entre elas. Seus representantes também não comentaram o assunto quando a biografia escrita por Amy Odell foi lançada.

Veja fotos da mansão de Gwyneth Paltrow em LA, vendida por R$ 128 milhões

 

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'Ant-Man' star Evangeline Lilly says she left Hollywood because she 'always hated being famous'

"Ant-Man" star Evangeline Lilly revealed in an interview with CBN News published Monday that she walked away from Hollywood six years ago despite a successful acting career, citing her longtime discomfort with fame, health problems and a desire to pursue a more meaningful life guided by her Christian faith.

"I've always hated being famous," she said. "I never made any secrets about that. I've always said being famous is the cost of the wealth that you can get as an actor."

The actress, best known for portraying Kate Austen in "Lost" and Hope van Dyne in Marvel's "Ant-Man" franchise, acknowledged experiencing moments of fear after walking away from the wealth, professional influence and recognition that accompanied her Hollywood success.

"There has been definitely moments of fear of like, ‘How do you consciously and intentionally let go of so much seemingly power and influence and potentially money and also just affirmation of yourself,’" Lilly said.

'VAMPIRE DIARIES' STAR IAN SOMERHALDER SAYS LEAVING HOLLYWOOD FOR FARMING 'SHIFTED MY LIFE FOREVER'

Christian Toto, a film critic and founder of Hollywood in Toto, told Fox News Digital that Lilly's decision to leave her acting career is exceptionally rare, particularly for someone who achieved success in major Hollywood franchises.

"It's extremely uncommon for stars to walk away from their acting careers," he said. "It happens, but it's the exception to the rule. Many work very hard to achieve a level of fame, so giving that up doesn't always make sense. For some, like Lilly, they learn that an actor's life has too many drawbacks, and they seek something more fulfilling."

Despite those concerns, Lilly explained that her faith ultimately helped her embrace a future outside the entertainment industry's spotlight, saying she believed God had a greater purpose for her life beyond acting.

"It's just been incredibly liberating and beautiful to step into a total trust and surrender that God has a plan for my life," Lilly said. "That that plan doesn't necessarily need to – it doesn't have to be about fame and money and wealth and power. It can be about more important things and that all of it works together."

RICHARD GERE CONFRONTS HOLLYWOOD FAME, EGO AND GREED AS 'DARK CLOUDS' THAT THREATEN INNER PEACE

Toto also said that celebrities face intense public scrutiny, arguing that social media has increased the personal pressures associated with Hollywood fame.

"There's a cost to Hollywood fame," he said. "You live under the microscope. Strangers assume they know you and sometimes treat you that way in public. Your career is subjected to scrutiny in ways others can't imagine. It's always been so, but the rise of social media makes all of the above worse."

The actress also revealed that leaving Hollywood significantly improved her physical and emotional well-being after years of struggling with chronic health issues she associated with the demands of her career.

"My health has dramatically improved. I had massive chronic health issues by the time I retired," Lilly said.

'BLUE BLOODS' STAR JENNIFER ESPOSITO SAYS SHE WAS LOCKED IN PSYCH WARD AS HEALTH BATTLE SPIRALED

Lily clarified that she had considered herself retired since 2020, four years before her departure attracted widespread media attention following a retrospective social media post in 2024.

In June 2024, Lilly publicly announced she was stepping away from Hollywood by sharing a video recorded in 2006 in which she expressed her desire to retire from acting, raise a family and pursue humanitarian work.

Toto suggested that Hollywood's treatment of older actresses could also influence decisions to leave the industry, particularly for women who have spent decades pursuing major acting roles.

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"Another factor? Hollywood can be cruel to women past the age of 40. Men are allowed to age naturally and can still land major roles, even in action films. It's not as easy for actresses," Toto said.

Fox News Digital reached out to Lilly for comment, but did not immediately receive a response.

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Christina Applegate desvela que su diagnóstico de esclerosis múltiple fue erróneo

Christina Applegate no tiene esclerosis múltiple: su diagnóstico fue un error. La actriz ha dado la noticia en su pódcast, llamado MeSsy, que presenta junto a la también actriz y paciente de esclerosis, Jamie Lynn Sigler. En él ha contado, este martes, que los médicos se equivocaron en su diagnóstico, hace cinco años. Y que eso, lejos de liberarla, no la ha hecho nada feliz.

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© Gilbert Flores (Variety via Getty Images)

Christina Applegate, en los premios de los actores celebrados en Los Ángeles en febrero de 2023.
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Historia de la lancha más deseada del mundo: cómo la Riva pasó de un lago de Los Alpes al estrellato

¿Qué tienen en común películas como La escapada (1962), El desprecio (1963), Goldeneye (1995) o Men in Black: International (2019)? En al menos una de sus escenas, sus protagonistas navegan en una lancha Riva. En el caso de la obra dirigida por Jean-Luc Godard, es Camille, interpretada por Brigitte Bardot, quien viaja a bordo de una de estas embarcaciones. La francesa se dirige a la isla de Capri, donde visita la Casa Malaparte, otro hito del diseño italiano y un capricho más del productor estadounidense que intenta seducirla. Pero la relación de Bardot con el astillero italiano Riva había comenzado antes de aquel rodaje, cuando su primer marido, el director Roger Vadim, le regaló en 1959 la lancha Nounours, modelo Super Florida. El idilio de la diva con estos iconos de mar no acabó con aquel matrimonio, porque también su tercer marido, el excéntrico millonario Gunter Sachs, muy aficionado a disfrazarse de vampiro, era el orgulloso armador de la embarcación Dracula, una estilizada Aquarama con la que paseaban por la Costa Azul.

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© Slim Aarons (Getty Images)

Unos amigos subidos a una lancha Riva en Montecarlo, Mónaco, en 1975.
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De Charlize Theron con transparencias a Kim Kardashian con un Balenciaga histórico: todos los ‘looks’ de Academy Museum Gala

© LISA O'CONNOR (AFP via Getty Images)

La actriz sudafricana Charlize Theron era una de las homenajeadas en la gala de este año. Eligió un diseño negro con encajes, bordados y transparencias firmado por Tom Ford, cuyo director creativo es Haider Ackermann.

© LISA O'CONNOR (AFP via Getty Images)

Charlize Theron, que en 2004 ganó el Oscar por su papel en 'Monster', lució su pelo corto engominado y joyas de Boucheron.

© Kevin Winter/GA (The Hollywood Reporter via Getty)

Demi Moore no escatimó en metros de tela con su elección, un teatral diseño de la colección de costura de la temporada otoño-invierno 2026 de la firma de moda londinense Standing Ground, creada en 2022 por el diseñador irlandés Michael Stewart.

© Taylor Hill (FilmMagic)

Amanda Seyfried también se decantó por un diseño palabra de honor. Su favorecedor vestido, con lazos y pliegues en la falda, está firmado por Prada, y sus joyas son de Tiffany & Co.

© Emma McIntyre/Oscars (Getty Images for Academy Museum )

Ana de Armas eligió también el negro, con un diseño de escote pronunciado de Louis Vuitton.

© Kevin Winter/GA (The Hollywood Reporter via Getty)

Kim Kardashian tiró de archivo, como ha hecho en otras ocasiones, con un vestido histórico de Balenciaga de 1951, gargantilla de Leviev y pendientes de Zydo Italy.

© Emma McIntyre/Oscars (Getty Images for Academy Museum )

La celebridad comenzó a colaborar en septiembre con el estilista estrella Law Roach, responsable de los comentados 'looks' de Zendaya en las alfombras rojas. En esta ocasión, su inspiración fue el mito hollywoodiense Elizabeth Taylor, uno de sus referentes; de hecho, Kardashian fue productora ejecutiva de la docuserie 'Elizabeth Taylor: Rebel Superstar' en 2024.

© Kevin Winter/GA (The Hollywood Reporter via Getty)

Pamela Anderson combinó camisa blanca y falda vaporosa con lazada central, un diseño de la próxima colección primavera-verano 2027 de Carolina Herrera.

© Frazer Harrison (WireImage)

Elle Fanning, deslumbrante con un vestido en tonos pastel y cuerpo de mariposa, una vaporosa creación de Valentino que combinó con joyas de Cartier.

© Gilbert Flores (Variety via Getty Images)

Su hermana, Dakota Fanning, eligió un modelo negro con transparencias de Saint Laurent.

© Emma McIntyre/Oscars (Getty Images for Academy Museum )

Hunter Schafer hizo un homenaje al Hollywood clásico con este vestido de terciopelo negro a medida de Prada y su melena peinada con ondas.

© Emma McIntyre/Oscars (Getty Images for Academy Museum )

Rhea Seehorn, que acaba de ganar el Emmy a mejor actriz principal en una serie dramática por su papel de Carol Sturka en 'Pluribus', también combinó blanco y negro, con un voluminoso diseño con pantalones de flecos, un conjunto de alta costura parte de la colección otoño-invierno 2026 de Balenciaga y joyas de Englebert 1920.

© Taylor Hill (FilmMagic)

La cantante Taylor Swift realizó una de las actuaciones de la noche. A su llegada al evento posó con un diseño a medida de Dior, un vestido de cuerpo palabra de honor y falda vaporosa con plisados en un tono azul hielo. El diseñador de la 'maison', Jonathan Anderson, fue también en quien la cantante confió para su vestido de novia, del que nunca compartió imágenes.

© Taylor Hill (FilmMagic)

Una lazada remataba el escote del diseño de Dior de Taylor Swift, que completó su estilismo con unos llamativos pendientes de diamantes de Chopard.

© Taylor Hill (FilmMagic)

El rapero A$AP Rocky, de Chanel y con un gran broche en la solapa.

© Taylor Hill (FilmMagic)

Chase Infiniti, que se ha dado a conocer con la película 'Una batalla tras otra' y la serie 'Los testamentos', lució un vestido bicolor de Louis Vuitton y un maquillaje en el que destacaban sus labios oscuros.

© Kevin Winter/GA (The Hollywood Reporter via Getty)

La cantante Sabrina Carpenter se decantó por un diseño a medida azulón de Giorgio Armani con silueta 'cut out' y joyas de Chopard.

© Emma McIntyre/Oscars (Getty Images for Academy Museum )

El escote de la espalda, con unas borlas laterales, reclamaba todo el protagonismo en el estilismo de Sabrina Carpenter.

© Kevin Winter/GA (The Hollywood Reporter via Getty)

Sigourney Weaver no se quiso perder la cita y acudió con un traje negro con solapas satinadas.

© Kevin Winter/GA (The Hollywood Reporter via Getty)

La cantante y actriz Janelle Monáe sorprendió con su estilismo en forma de mariposa, un diseño cuajado de lentejuelas de Robert Wun.

© Frazer Harrison (WireImage)

El actor Colman Domingo fue uno de los premiados en la ceremonia. Y, como es habitual, llamó la atención a su llegada por la elegancia de su elección: un conjunto de Valentino hecho a medida con chaqueta de pedrería y pantalones acampanados y joyas de Boucheron.

© Taylor Hill (FilmMagic)

Greta Lee brilló con un vestido de pedrería en tonos azules de Dior.

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Sofia Vergara derrochó color y bordados con este vestido de escote asimétrico y corte sirena firmado por Elie Saab.

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La actriz mexicana Eiza González se divirtió jugando con su vestido, un diseño de escote asimétrico de la colección primavera-verano de Ralph Lauren que combinó con sandalias de Aquazzura y joyas de David Yurman.

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Andrew Garfield, que en diciembre estrena 'Artificial', la nueva película de Luca Guadagnino inspirada en los entresijos de la compañía tecnológica OpenAI, fiel a su estilo con un conjunto monocolor de Ferragamo.

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Monica Barbaro no posó junto a su pareja, Andrew Garfield, con quien sí compartirá pantalla en 'Artificial'. La actriz deslumbró con este modelo con cuerpo de 'animal print' y falda de terciopelo de Armani Privé.

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'La bola negra' tuvo su momento en el evento, al que acudieron algunos de sus actores. Miguel Bernardeau apostó por un estilismo negro de Emporio Armani, con una camisa con plisados.

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Guitarricadelafuente, otro de los actores de 'La bola negra', también acudió, con una levita y cinturón con hebilla dorada de Dior.

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Teyana Taylor, que este año estuvo nominada al Oscar por su papel en 'Una batalla tras otra', siempre arriesga en las alfombras rojas. En esta ocasión impactó con un corsé escultórico y una falda bordada de la colección de alta costura otoño-invierno 2026 de Schiaparelli.

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La actriz completó su estilismo con un maquillaje de ojos marcado en tonos azules.

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Alexa Demie ('Euphoria'), con un diseño con plumas y cortes estratégicos de Chanel, firma que la invitó al 'front row' de su último desfile en París.

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La modelo Kendall Jenner no se perdió la cita. Llegó vestida de Valentino, con un modelo palabra de honor con estampado de lunares de distintos tamaños, y no posó junto a Jacob Elordi, con quien se rumorea desde hace meses que mantiene una relación, que ninguno de los dos ha confirmado oficialmente.

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El actor australiano Jacob Elordi posó con gafas de sol vestido de Bottega Veneta, firma de la que es imagen.

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Hailey Bieber, propietaria de la firma de belleza Rhode, lo apostó todo al color rosa chicle con este vestido a medida de Chanel.

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El maquillaje de Hailey Bieber destacaba por sus marcados coloretes a juego con el tono de su vestido.

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Mikey Madison, ganadora del Oscar por 'Anora', también eligió un color vivo: en su caso, un diseño rojo de tirantes con cola.

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Wunmi Mosaku eligió el dorado, el color de las estatuillas que cada año entrega la Academia, para su estilismo, un modelo con brillos metálicos de Louis Vuitton.

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Sarah Paulson también se envolvió en dorado, con este modelo con falda de cola de Ferragamo.

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Sophie Thatcher ('Yellowjackets') se transformó en una estatuilla humana con este diseño dorado de Louis Vuitton.

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Chloë Grace Moretz, como una diva del Hollywood dorado con este vestido rojo de Louis Vuitton.

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La cantante de K-pop Rosé, con un vestido-lazo de Saint Laurent.

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Elizabeth Debicki, con un diseño a medida Balmain.

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La modelo Karlie Kloss, sofisticada de negro con un diseño de Alaïa con plumas en la cadera y joyas de Cartier.

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Jessica Biel, en la misma línea de negro y plumas, pero también con cola. Un diseño de alta costura de la colección otoño-invierno 2026 de Tamara Ralph.

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La actriz Mia Goth también apostó por el negro, uno de los colores que más se vieron a lo largo de la noche. En su caso, eligió un vestido satinado de mangas amplias rematado por una lazada de 'strass'. Una creación de Dior.

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Jessica Lange, también de negro y con mangas de encaje, un diseño de Gucci que acompañó con joyas de Boucheron.

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Joey King rindió tributo a las divas del Hollywood dorado con este diseño a medida de Miu Miu gon guantes largos y joyas de Bvlgari.

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Siempre sonriente, Kate Hudson eligió un vestido-escultura de alta costura, este modelo palabra de honor con ondas y bordados de la colección primavera-verano 2026 de Armani Privé.

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Eva Longoria escogió un estructurado diseño negro y recogió su melena en un moño con flequillo.

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Lili Reinhart, con un vestido en tono 'nude' con bordados florales negros de Giorgio Armani, una pieza de archivo de la colección primavera-verano 1995 de la firma, y joyas de Pasquale Bruni.

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Zoey Deutch, con un vestido con apliques de Prada.

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Jamie Lee Curtis fue fiel a la cita y eligió un vestido de manga larga.

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El estilista Law Roach sabe cómo llamar la atención. Lo hizo con un traje de Gurav Gupta y un tocado 'vintage' con plumas y piezas metálicas diseñado por Philip Treacy en 1998.

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Law Roach fue el responsable de varios estilismos de la noche, entre ellos el de la modelo y actriz británica Jodie Turner-Smith, que impactó con este diseño de la próxima colección primavera-verano 2027 de Mugler.

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Maya Hawke, que saltó a la fama con 'Stranger Things', deslumbró con un vestido recto de escote cuadrado cuajado de flecos de pedrería de Prada.

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La actriz y cantante, hija de los también actores Ethan Hawke y Uma Thurman, llevó el pelo suelto y natural.

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Tracee Ellis Ross, con un vestido asimétrico de flecos naranja de la colección primavera-verano 2027 de Balenciaga.

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Isla Fisher, con un diseño de Gaurav Gupta y joyas de Rahaminov Diamonds.

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Gemma Chan, con un vestido 'cut out' rosa de Prada.

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Clairo fue otra de las cantantes invitadas a la gala. Lució un diseño de la colección otoño-invierno 2026 de Valentino con encaje en el escote.

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Odessa A'zion (conocida por la serie 'I Love LA' y la película 'Marty Supreme') eligió uno de los modelos con colores más llamativos de la noche, un conjunto de archivo de Giorgio Armani en tonos naranjas con una boa de plumas a juego.

© Emma McIntyre/Oscars (Getty Images for Academy Museum )

El oscarizado actor británico Eddie Redmayne apostó por el color con este conjunto de la colección otoño-invierno 2026 de Giorgio Armani, con pantalones amplios y camisa de terciopelo azul.

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El legendario director John Carpenter fue otro de los homenajeados de la noche y acudió con su mujer, la productora Sandy King.

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El cantante Justin Timberlake, conversando con su mujer, Jessica Biel, a la entrada a la gala.

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La actriz británica Rosalind Eleazar ('Slow Horses'), impecable con un este diseño de Prada decorado con lazos.

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El director John Waters, un clásico.

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Grace Gummer, una de las hijas de Meryl Streep, ha interpretado recientemente a Caroline Kennedy en la serie 'Love Story: John F. Kennedy Jr. & Carolyn Bessette'. Para la gala, eligió un vestido verde satinado con encaje de Dior.

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Priyanka Chopra eligió un diseño en tono champán con bordados de Vivienne Westwood y lució joyas de Goshwara.

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La actriz chilena Mariana di Girolamo, con un modelo palabra de honor con detalle azulón en la falda de Louis Vuitton y joyas de Tiffany & Co.

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La modelo Vittoria Ceretti escogió para la ocasión un vestido de seda de Giorgio Armani inspirado en un diseño de 1995.

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Jessica Alba se decantó por un modelo palabra de honor y con cola.

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Adria Arjona, con un diseño bicolor clásico de Rasario.

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Chrissy Teigen y John Legend posaron juntos. Ella eligió un vestido con cola de la colección primavera-verano de Andrew Kwon.

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Hannah Waddingham, con un vestido negro con apliques.

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Ella Rubin, que ha despuntado por su trabajo en la serie 'Sterling Point', de negro con un vestido de Chanel.

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La modelo Emily Ratajkowski, con un diseño rojo de la colección primavera-verano 2027 del diseñador francoturco Burc Akyol.

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La influyente productora Ava DuVernay no se perdió la cita y eligió un vestido de hombros caídos y con cola firmado por Louis Vuitton.

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Esmé Creed-Miles, que interpreta a Marianne Dashwood en la nueva versión de 'Sentido y sensibilidad', eligió un conjunto de pantalones cortos de la colección primavera-verano 2027 de Chloé.

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La top Amber Valletta, con un vestido de tirantes finos negro de pedrería, acudió junto al diseñador Jason Wu.

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La actriz india Ananya Panday, con un diseño de la colección otoño-invierno 2026 de Chanel.

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La cantante Camila Cabello eligió un modelo con transparencias en la falda que dejaban entrever una figura de una virgen.

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Drew Starkey ('Outer Banks'), con un diseño de Dior.
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Monica Barbaro: The dancer who quietly became a Hollywood star

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Success may have taken its time, but Monica Barbaro has firmly established herself as one of Hollywood’s most promising talents. After years of searching for her breakthrough, the 36-year-old Californian first drew widespread attention as a fighter pilot in 'Top Gun: Maverick' before winning over the industry with her portrayal of Joan Baez in 'A Complete Unknown,' a performance that earned her an Academy Award nomination. Now, with high-profile projects on the horizon such as the much-anticipated 'Artificial,' a romance with fellow actor Andrew Garfield, and a personal style that balances sophistication with effortless ease, Barbaro has become one of the names worth watching, both on and off the screen.

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Acting was not part of Monica Barbaro’s earliest ambitions. Her mother, a professional dancer, enrolled all three of her children in ballet classes. Although she discovered through small school theater productions that acting was her true passion, her family’s encouragement led her to focus exclusively on ballet. She enrolled in the dance program at New York University’s Tisch School of the Arts, one of the most prestigious performing arts schools in the United States, and initially approached acting only through elective courses.

© ANGELA WEISS (AFP via Getty Images)

Today, with the dream she first nurtured as a teenager finally fulfilled, Monica Barbaro is grateful for what dance brought to her craft as an actress. “Dance gave me a completely different way into character. People reveal themselves through their body language,” she said. In the photograph, taken in 2018, the actress wears a floral dress by Brock Collection.

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Monica Barbaro logged more than 40 hours of flight time to portray a military pilot in 'Top Gun: Maverick,' her first major role in a big-budget Hollywood production. During filming, she even shot some scenes aboard a two-seat F/A-18, enduring forces of up to eight Gs, and went so far as to earn her pilot’s license. All in pursuit of meeting the exacting standards set by Tom Cruise, who, she says, has become one of her most important mentors in Hollywood. "He'll see a person, see their potential and just bring out the best in them," she said of Cruise.

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The role that definitively established Monica Barbaro as one of Hollywood’s most exciting breakthrough talents was her portrayal of Joan Baez in 'A Complete Unknown,' the Bob Dylan biopic starring Timothée Chalamet. Barbaro sings and plays guitar herself in the film, despite not knowing a single chord when she landed the part. After months of intensive preparation, her portrayal of Baez emerged as one of the film’s standout performances, earning her first Academy Award nomination for Best Supporting Actress. Chalamet later explained that the filmmakers were looking for an actress with gravity and quiet power, someone capable of holding her own opposite his Dylan and even intimidating him slightly. Although the Oscar ultimately went to Zoe Saldaña for 'Emilia Pérez,' the nomination confirmed that Barbaro had moved beyond the status of rising star to become one of the defining talents of a new generation of actors.

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Parallel to her professional breakthrough, which unfolded amid the awards ceremonies and industry parties surrounding the Oscars, the California-born actress embarked on her first high-profile public relationship. In January 2025, entertainment media began reporting rumors of a romance with actor Andrew Garfield, best known for films such as 'The Social Network.' Those rumors have gradually been borne out by the couple’s repeated public appearances together. Although both have been notably protective of their privacy, Garfield has spoken warmly about Barbaro, calling her a “supremely talented” actress. “I think she is truly incredible,” he said. “I could wax lyrical more, but I'll leave it there.”

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In July 2025, the couple made their first official public appearance together at the Wimbledon Championships in London. They embraced the tournament’s traditional aesthetic with coordinated all-white looks, and Barbaro opted for an outfit by Ralph Lauren.

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Fate would have it that their romance also blossomed on a film set, as both are part of the cast of 'Artificial,' the highly anticipated new film from Luca Guadagnino, the director of 'Call Me by Your Name.' Widely seen as a potential awards-season contender, the film is based on the story of OpenAI, the company behind ChatGPT, and the turbulent days surrounding the brief dismissal and subsequent reinstatement of its controversial chief executive, Sam Altman, who is played by Andrew Garfield. Monica Barbaro, meanwhile, portrays Mira Murati, the company’s former chief technology officer and one of the most influential figures in the artificial intelligence industry, widely regarded as a pioneering leader in the field.

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“[Andrew Garfield] is one of the best actors of his generation, our generation,” the actress has said of her co-star. “I just learned a lot from his approach to the material and to developing character, and I felt very fortunate to get to witness that in real time.” Barbaro has also said that working alongside him pushed her to raise her own game. She said she thought: “Oh shit, I really have to step up my game and make sure I'm a proper, legitimate scene partner.”

© Neil P. Mockford (WireImage)

For years, Monica Barbaro struggled to find her place in an industry that seemed unsure how to categorize her. The daughter of an Italian American father and a mother of Mexican, English and German descent, she has spoken about being repeatedly encouraged to lean into her Latina heritage in ways that felt inauthentic to her. At the same time, she feared the opposite risk: “neutralizing of myself to not offend anybody.” As a child, she endured racist taunts; as an actress, she sometimes lost out on roles because she was deemed not “ethnic enough.” Rather than choosing between labels, Barbaro has embraced the space in between. "I don't belong in either" — as in either side of her parentage — "but I do belong in this mixed territory."

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The actress describes herself as “a romantic and a workaholic.” “I’ve never given my life over to it, which, as a woman, I’m quite proud of. But there’s also the other side of that coin, which is: You can get to a point in your life where you wake up and you look around and you’re sort of like, Oh, have I been self-protecting by [adopting] so much autonomy and independence? I’m definitely shifting some of that perspective now,” she told 'InStyle.'

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After graduating from university, with neither steady work nor savings to fall back on, Monica Barbaro moved back across the country to her hometown of San Francisco. There, she spent nearly a decade juggling minor television roles and commercial work, far from the sudden, youthful breakthroughs enjoyed by some rising stars. She had to wait until 2022, when Tom Cruise came calling and changed the course of her career. That same year, her rising profile earned her an invitation to Vanity Fair’s Oscars after-party, where she attended wearing a design by Elie Saab.

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Monica Barbaro has spoken openly about why she is uncomfortable using her appearance as a selling point on screen or showing more skin than a story genuinely requires. “One of the very first things I did was a project that I lost the job because I wouldn’t be topless in it,” she told the U.S. edition of InStyle. At the time, she was a background performer with a small, non-speaking role and could not see any narrative reason for the nudity. In the end, she was rehired on her own terms, with her shirt buttoned up. “I’ve not gotten naked in anything I’ve done because I haven’t worked on something where that would be a necessity to the story,” she added.

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Her style evolution over the past few years has been striking. Her fashion résumé now includes a series of looks that feel both contemporary and effortless, among them the oversized white suit she paired with a Jacquemus handbag when she was photographed strolling through New York last winter.

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Ralph Lauren designed the look Monica Barbaro wore to the 2024 Academy Museum Gala.

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Last year, Monica Barbaro attended the Met Gala for the first time, further cementing her rising status within the industry. For the occasion, the actress once again turned to Dior, embracing the glamour of the 1950s and the New Look silhouette with the maison’s iconic Bar jacket, leather gloves and a boater hat. She seemed to belong to another era, while proving herself perfectly in tune with the event’s dress code.

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Although she says her everyday uniform tends to be simple and classic, built around Levi’s jeans, loafers and T-shirts, Monica Barbaro knows how to command the attention of the fashion press when promotional duties call. One of her most recent and most daring looks was this ensemble by designer Sandy Liang, which she wore in New York while promoting 'One Night Only.'

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Monica Barbaro attends the premiere of 'A Complete Unknown' at the Auditorium Parco della Musica in Rome on January 17, 2025.

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On the red carpet, Monica Barbaro frequently gravitates toward red. In the image, she is wearing a plunging red gown by Christian Dior.

© Emma McIntyre/Oscars (Getty Images for Academy Museum)

“I love to play dress up. I take red carpets as an opportunity to play, in whatever way feels fitting for the project I'm promoting,” she told the U.S. edition of 'Vogue.' In the image, Monica Barbaro wears a striking white gown from Jonathan Anderson’s new era at Dior.

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Precisamente en el rodaje de la cinta fue fotografiada luciendo un atrevido minivestido de lentejuelas color esmeralda de Alex Perry con muchas papeletas para convertirse en uno de los más icónicos de su trabajo en pantalla.

© Justin Goff Photos (Justin Goff Photos/Getty Images)

This Armani Privé gown, which Monica Barbaro wore to the 2025 BAFTA Film Awards, earned her a place among the best-dressed stars of the evening.

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The actress has developed a close relationship with Dior, one of her preferred labels for red carpets and high-profile events. Naturally, she is also a regular guest at the fashion house’s runway shows. For the brand’s Autumn/Winter 2024-25 presentation, she chose this striking white dress, a look that neatly encapsulates her style duality: sensual and romantic in equal measure.
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Corsés, encajes y satén: todos los ‘looks’ de Daisy Edgar-Jones para llevar el estilo Regencia de ‘Sentido y sensibilidad’ a la actualidad

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“Nos decían que la serie era un éxito increíble, pero yo seguía encerrada en mi dormitorio. Leía algunos artículos y miraba los memes, pero todo era un poco demasiado para procesar, así que me protegía a mí misma. Si quería, podía desconectar. Y eso me hizo pensar en lo inverosímil que era todo lo que me estaba pasando", contaba Daisy Edgar-Jones (Londres, 28 años) a 'S Moda' en 2022, cuando protagonizó una portada. Se había hecho famosa de la noche a la mañana y eso aún la sorprendía. “De repente, ya no eres Daisy, eres Daisy Edgar-Jones”, comentaba sobre cómo la hizo sentir y la transformó el éxito de la serie 'Normal People', basada en la novela de la escritora irlandesa Sally Rooney, que en 2020 catapultó su carrera y la de su coprotagonista, Paul Mescal (que tras 'Gladiator 2' ahora será Paul McCartney en las películas sobre The Beatles que prepara el director Sam Mendes). Ahora, la actriz vuelve a meterse en la piel de un personaje literario, en esta ocasión de época: encarna a Elinor Dashwood, la hermana mayor de 'Sentido y sensibilidad', novela de Jane Austen publicada en 1811 y que ahora ha vuelto a ser llevada a la gran pantalla por la directora Georgia Oakley. En el filme, que llega a los cines españoles el 23 de octubre, Edgar-Jones es Elinor y Esmé Creed-Miles es su hermana Marianne. Durante el mes que llevan de gira, Edgar-Jones se ha volcado en reinterpretar los estilismos de la época de la Regencia, en la que se desarrolla la novela: en la imagen, luciendo un vestido transparente, creado a medida por Miu Miu, con corsé en tul bordado durante la presentación en Sídney, Australia, a principios de octubre.

© Michael Buckner (Variety via Getty Images)

En la presentación de la cinta en Los Ángeles, el 7 de octubre, las tres protagonistas posaron juntas: Esmé Creed-Miles (Marianne Dashwood), Caitriona Balfe (la inolvidable Claire Randall de 'Outlander', que en la película interpreta a la madre de las hermanas, Mrs. Dashwood) y Daisy Edgar-Jones (Elinor Dashwood). Bodhi Rae Breathnach encarna a la tercera hermana, la joven Margaret Dashwood. Durante la presentación, Edgar-Jones eligió un conjunto de falda satinada y corsé con pequeños bordados, una pieza 'vintage' de Chloé, parte de la colección primavera-verano 1999 de la firma, cuando su directora creativa era Stella McCartney. Esmé Creed-Miles llevó un vestido de la recién presentada colección primavera-verano 2027 de Simone Rocha y Caitriona Balfe un conjunto a medida de Prada.

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Nada ha sido casual en los estilismos elegidos para la gira de presentación de la película, según confesó Dani Michelle, estilista de Edgar-Jones (y de otras famosas, como Hailey Bieber o Kendall Jenner), en la edición estadounidense de 'Vogue': "Mi equipo y yo pasamos meses investigando, solicitando prendas y explorando todos los diseñadores y piezas de archivo que pudieran reflejar el mensaje que queríamos transmitir, para crear una gira coherente y simbólica para Daisy".

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Esas prendas seleccionadas por Dani Michelle y su equipo tenían una intención clara: mostrar cómo vestiría Elinor Dashwood en la actualidad. La gira de presentación ha sido una lección de 'method dressing' (vestir durante la promoción con estilismos inspirados en el personaje de ficción al que se interpreta), en la línea de las que suelen realizar actrices como Zendaya (con sus posados en 'Spider-Man: un nuevo día' o 'Challengers'), Margot Robbie (en 'Cumbres borrascosas') o Anya Taylor-Joy (en 'Dune' o 'Furiosa'). 'Sentido y sensibilidad' se desarrolla durante la época de la Regencia (situada normalmente entre 1795 y 1837) en el Reino Unido. Corsés, acabados satinados, encajes y colgantes con cintas de raso han sido una constante durante toda la gira de presentación. La 'premiere' mundial, celebrada en Londres el 15 de septiembre, sentó las bases de lo que vendría después con este vestido de satén con lazos en los hombros, cola y cintura marcada, un diseño a medida de Andreas Kronthaler para Vivienne Westwood (firma de la que es director creativo desde el fallecimiento de su esposa en 2022) que completó con un colgante con cinta negra, una pieza de archivo de Boucheron datada en 1877.

© Kate Green (Getty Images for Universal Pictu)

Los detalles, del peinado con ondas románticas y el característico flequillo abierto de Edgar-Jones, y los acabados de las prendas, como los lazos, los botones o las cintas de los corsés, han marcado los estilismos elegidos por la actriz. “Creo que Elinor, por encima de todos los personajes que he interpretado, me ha marcado por el proceso hasta llegar a ella. De algún modo tiene una buena cantidad de cualidades con las que me puedo sentir identificada. Como las luchas que tiene con los sentimientos que empieza a experimentar; la incapacidad para expresar sus deseos o la necesidad de mantenerlos dominados. Es algo que me parece muy interesante porque disfruto enormemente al trabajar en personajes que están pasando por mucho, pero no lo pueden exteriorizar”, explicaba la actriz en una entrevista concedida en septiembre a la edición española de 'Vogue'.

© Charles McQuillan (Getty Images for Universal Pictu)

Stella McCartney firmó el vestido blanco con detalle de flores en los hombros y la espalda que eligió para la presentación en Dublín de la película. 'Sentido y sensibilidad' narra la vida de las hermanas Dashwood, que al morir su padre pierden su estatus porque hereda el hijo mayor, fruto de otro matrimonio, y se mudan a Devonshire, donde se enfrentan a la incertidumbre de su futuro, a sus sentimientos y a lo que la sociedad dicta que se debe esperar de ellas.

© Eric Charbonneau (Focus Features via Getty Images)

Esmé Creed-Miles y Daisy Edgar-Jones, ambas con conjuntos de falda cuerpo de Prada, juntas en Los Ángeles. Marianne representa la sensibilidad y Elinor el sentido que dan título a la novela, que ya había sido llevada a la gran pantalla en 1995, en una versión dirigida por Ang Lee (con guion de Emma Thompson, que mereció el Oscar al mejor guion adaptado) y en la que Emma Thompson interpretó a Elinor mientras que Kate Winslet fue Marianne. La nueva versión cinematográfica cuenta con la dirección de la británica Georgia Oakley, de 38 años, que en 2022 mereció el reconocimiento de la crítica con su filme 'Blue Jean', la historia de una profesora lesbiana que lleva una doble vida por miedo a perder su trabajo, ambientada en los años ochenta, durante el gobierno de Margaret Thatcher. Oakley explicó en una entrevista a 'The New York Times' que su versión de 'Sentido y sensibilidad' pretende ser "más relajada, contenida, terrenal y cruda".

© Michael Buckner (Variety via Getty Images)

Los corsés han sido la gran apuesta de Daisy Edgar-Jones para reinterpretar el estilo de la Regencia. Durante uno de los eventos alrededor de la película celebrados en Los Ángeles, la actriz lució esta creación de la diseñadora turcobritánica Dilara Findikoglu, cuyas prendas se caracterizan siempre por el aire lencero, las cinturas marcadas y el empleo de los corsés. Lo combinó con unas medias de cristal negras.

© TheStewartofNY (GC Images)

El despliegue de corsés, en distintos acabados, ha sido clave en la gira promocional de la película. En Nueva York, el 13 de octubre, Daisy Edgar-Jones combinó este de encaje y totalmente estructurado, casi escultórico, con unos vaqueros desgastados, demostrando que las piezas con inspiración de época funcionan a la perfección con prendas totalmente contemporáneas.

© TheStewartofNY (GC Images)

La estilista Dani Michelle ha contado que partió de un 'moodboard' de inspiración para construir los 'looks' de la gira promocional de Daisy Edgar-Jones: "Había desde campañas y desfiles de Galliano, Chloé, McQueen y Westwood hasta pinturas y simbolismos que nos conectaban con el mundo de Jane Austen. Volantes, motivos florales, encajes, corsetería, cintas, bordados, sedas abullonadas, borlas y tonos pastel". Este conjunto de Chloé sintetiza esas búsquedas: la vaporosa falda de gasa, con sus transparencias, contrasta con el cuerpo de brocado con encaje en el cuello y el cinturón de grandes hebillas.

© Aeon (GC Images)

De nuevo con vaqueros, en esta ocasión con un cuerpo 'vintage' de John Galliano y otra gargantilla de época, un diseño de 1873 de Boucheron. En la película, el diseño del vestuario ha recaído sobre Grace Snell ('Pillion', 'La hija eterna'), que ha sido meticulosa con la investigación de la época y ha empleado técnicas manuales para conseguir colores como los utilizados durante la Regencia, según ha explicado en su Instagram: "Para obtener el color lavanda de uno de los vestidos —un tono aceptable para el luto entonces— se utilizó un tinte extraído del palo de campeche. Esta planta es originaria de Centroamérica y las Antillas; a partir del siglo XVI, los españoles comenzaron a exportarla a Europa, donde se convirtió en una materia prima clave para la próspera industria de los tintes. El tejido 'jacquard' se contrajo durante el proceso de tintado, lo que le otorgó una textura maravillosa; me gustó tanto el resultado que pedí que esta prenda solo se planchara de forma muy ligera".

© XNY/Star Max (GC Images)

No todo han sido cuerpos historicistas en los estilismos de Daisy Edgar-Jones. También ha habido hueco para camisetas, como esta con un dibujo de un águila, combinada con un 'short' lencero rematado en puntilla. Ambas prendas son de Chloé: la camiseta de 1999 y el pantaloncito de este mismo año.

© Gerome Defrance (Getty Images)

En Berlín, la actriz apostó por los detalles de pedrería con un vestido de corte sirena de Armani Privé que llamaba su atención por las borlas que remataban sus hombros. La prenda es de archivo y pertenece a la colección primavera-verano 2005 de la línea de alta costura de la casa italiana.

© Brendon Thorne (Getty Images for Universal Pictu)

En Sídney, una de las primeras paradas de la gira promocional, la actriz apostó por una pulida silueta vanguardista de Alaïa con cuerpo ajustado y volantes en la falda que aun así remitía al vestuario de época.

© TheStewartofNY (GC Images)

En su última aparición pública de la gira, el 14 de octubre, Daisy Edgar-Jones caminó por las calles de Nueva York con este diseño de encaje con bordados, ribetes de puntilla y escote de corazón de Rodarte. Se trata de una pieza de archivo de la firma angelina que, según ha explicado en su Instagram Dani Michelle, resume todo lo que ha perseguido con sus estilismos para la presentación de 'Sentido y sensibilidad': "Esta película explora con enorme calidez la experiencia emocional del amor, desde el amor propio hasta el amor verdadero, pasando por la compañía y los desafíos que surgen dentro de las relaciones, que en aquella época a menudo estaban condicionadas por la tradición y la cercanía más que por los sentimientos o la razón. Ese anhelo que recorre la historia es una exploración tan atemporal del corazón humano que sentimos que era muy significativo que este fuera su último 'look'. Laura Mulleavy [una de las diseñadoras de Rodarte] y yo pasamos meses planificando este vestido de Rodarte, perteneciente a su colección primavera-verano 2017, que ella ha recuperado de la colección de su museo personal".
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The Hollywood Reporter, Animation Is Film Festival Partner on Live Animation Roundtable With Bill Hader, Travis Knight, More

Other participants at the Sunday event in Los Angeles include 'Tangles' director Leah Nelson, 'Hexed' director Fawn Veerasunthorn, 'In Waves' director Phuong Mai Nguyen, 'Iron Boy' director Louis Clichy and 'Forgotten Island' director Joel Crawford.
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The Elizabeth Holmes Documentary You Can See Everything Is an Act of Radical Empathy

Elizabeth Holmes in "You Can See Everything" | A24/You Can See Everything

We all know Elizabeth Holmes is a villain. 

She promised a radical new technology—bloodwork performed in a countertop-sized machine from a single droplet taken from your finger. She was young, photogenic, and self-possessed; she dressed like Steve Jobs. Her invention would disrupt the $60 billion bloodwork industry, bringing cheap, frictionless health monitoring to the masses. Or it would have, if it worked. Holmes was convicted of defrauding investors of nearly $500 million; she's currently serving an 11-year prison sentence. Holmes has been written about extensively, and her story was turned into an Emmy-winning Hulu series starring Amanda Seyfried. She is an avatar of Big Tech mendacity, a cautionary tale as much as a person.

Everyone knows the story. You would think there is nothing left to say. But you'd be wrong. 

Just before she entered prison, Holmes invited documentarians Nathan Fielder and Lance Oppenheim to live with her, her boyfriend Billy Evans, and their two young children in their beachfront San Diego rental unit, promising them full access, complete transparency. The result is this year's most entrancing documentary, You Can See Everything. When the camera captures Billy in the shower, the movie delivers on its titular promise; you, uh, really can see everything. 

Yet what you cannot see is who Holmes really is. The mystery of the era's most famous fraudster is the movie's central riddle: Is she cynical, calculating, a stone-cold liar and psychopath? Or is she something stranger—a damaged and delicate person who genuinely believes her lies, or at the very least, genuinely believes the stories she tells herself to justify those lies after the fact?

Fielder and Holmes seem uncertain themselves; the movie is, in part, their own attempt to wrestle with their own ambivalence, their own inability to come to a conclusion. It's a hall of mirrors about the infinite unknowability of a person, even given unfettered access. 

The documentarians do not absolve her of her villainy; the movie is not an attempt to excuse her fraud or build a case for her innocence. But they offer something exceptionally rare in this era of simplistic hero and villain narratives: genuine and deeply felt empathy for someone on whom the culture (not to mention the legal system) has cast final judgment. In the process, they have given us one of the strangest, most unsettling, and most poignant films of the year. You Can See Everything is a small miracle of a movie. 

It's sometimes said that the most compelling villains don't believe themselves to be villains. They have an internally coherent story to tell that excuses their actions, makes them the heroes in their own minds. Fielder and Oppenheim have given Holmes, and viewers, the gift of allowing Holmes a measure of psychological complexity. You don't see into her mind, because that's impossible. But you see that the story she tells herself is different from the story the world tells us about her. It's surprisingly kind and generous; it's also tricky as hell—to the point where you, the viewer, might wonder if you're the one being tricked. 

Halfway through, the movie takes a meta-turn that I won't spoil, entering into high-concept territory in an attempt to more deeply explore what art and images can reveal about a human psyche. It's formally audacious, often funny, and actually justifies the three-hour running time. I've never seen anything quite like it.  

The exercise left me just as unsettled as the documentarians seem to be themselves; uncertain about Holmes and her motives, and nearly as uncertain about Fielder and Oppenheim, two talented filmmakers who appear to be questioning not only the nature of their chosen form, but of reality, especially psychological reality, themselves. There are times when You Can See Everything borders on magical realism, except the magic comes from the complexity of human nature and storytelling, as if Gabriel García Márquez had written a story about a man with a camera that could see into souls. It's dizzying, dazzling, a sort of postmodern Rashomon of perspective shifting.

As I left the theater, in something of a daze, I found myself thinking of a line from the great Saul Bellow novel The Adventures of Augie March, "Nobody should be a mystery intentionally. Unintentionally is mysterious enough." In the case of Holmes, it's impossible to tell which it is. All we can say is this supposedly one-note Big Tech villain, like perhaps everyone, is better understood as some kind of mystery, even to herself. 

The post The Elizabeth Holmes Documentary <i>You Can See Everything</i> Is an Act of Radical Empathy appeared first on Reason Magazine.

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