#coppola clarke

[boydswan]

It Happened One Night (1934) dir. Frank Capra // Tucker: The Man and His Dream (1988) dir. Francis Ford Coppola

[erstwhile-punk-guerito]

[lacking-hydration]

that postal movie is so inconsistently ok

[babyjujubee]

Alden Ehrenreich, Taylour Paige, Elijah Bynum and Haley Bennett at the Variety Sundance Studio in Park City, Utah. January 21, 2023. Alden and Haley both played in "Rules Don't Apply". Also attending Sundance were Sophia Coppola - Alden worked with her and Natalie Portman on a commercial for "Miss Dior" perfume; Emila Clarke of course was Qi'ra to Alden's Han Solo; and Alice Englert who was Lena to Alden's Ethan in "Beautiful Creatures". What a reunion!

[chicinsilk]

US Vogue January 1, 1967

Simone d'Aillencourt in a dress printed with flowers from the sunniest garden, in Ban-Lon fibers and nylon jersey. By Ken Scott. Jewelry, by Coppola & Toppo. Hairstyle by Alba & Francesca.

Simone d'Aillencourt dans une robe imprimé de fleurs du jardin le plus ensoleillé, en fibres banLon et jersey de nylon. Par Ken Scott. Bijoux, par Coppola & Toppo. Coiffure par Alba & Francesca.

Photo Henry Clarke

vogue archive

[sleepythug]

could you list some of your fav indie dramas?

stroszek (werner herzog, 1977)

cockfighter (monte hellman, 1974)

repo man (alex cox, 1984)

julien donkey boy (harmony korine, 1999)

bless their little hearts (billy woodberry, 1983)

out of the blue (dennis hopper, 1980)

made in britain (alan clarke, 1982)

walkabout (nicolas roeg, 1971)

blue collar (paul schrader, 1978)

buster and billie (daniel petrie, 1974)

five easy pieces (bob rafaelson, 1970)

my brother's wedding (charles burnett, 1983)

minnie and moskowitz (john cassavetes, 1971)

somewhere (sofia coppola, 2010)

wendy and lucy (kelly reichardt, 2008)

ossos (pedro costa, 1997)

smithereens (susan siedelman, 1982)

relaxer (joel potrykus, 2018)

fingers (james toback, 1978)

we're all going to the world's fair (jane schoenbrun, 2022)

mary jane's not a virgin anymore (sarah jacobson, 1996)

4:44 last day on earth (abel ferrara, 2011)

[fashionbooksmilano]

Coppola e Toppo Fashion Jewels

Deanna Farneti Cera

photographs by Gian Paolo Barbieri, Henry Clark, Franco Rubartelli

Antique Coll.Club, Woodbridge 2009, 287 pages, 25x25,5cm, ISBN 978-1-85149-611-2

euro 50,00

email if you want to buy booksinprogressmilano@yahoo.it

This book is a recognition of the talent of Lyda Coppola, designer and owner of Coppola e Toppo, a costume Jewellery company which was active in Milan from 1948-1986

A true work of passion, this book lovingly charts the creative path of Italian jewelry designers Lyda Toppo and Bruno Coppola, famed for their intricate over the top designs of clustered beads. Sumptuous illustrations complement a well-researched and accessible text. The duo designed for Valentino, Dior, Balenciaga and Pucci and many more, and worn by countless Hollywood stars and on catwalks the world over. Deanna Farneti Cera first glimpsed the jewels of Coppola e Toppo in 1987 at an auction house in Milan. Instantly fascinated by their diversity, the evocative power of the colors, the wealth of shapes and motifs and the multitude of materials used, she soon developed an overwhelming passion for the stunning creations. This book, researched over the last twenty years, is the culmination of that passion and a reconstruction of the creative path of Coppola e Toppo, charting their inspiring partnership from their first appearance in VOGUE in 1948, through to Lyda's death in 1986. This book lovingly charts the creative path of Italian designers Lyda Toppo and Bruno Coppola, famed for their intricate and over-the-top creations designed for Valentino, Dior, Balenciaga, Pucci, and others, and worn by countless Hollywood stars and on catwalks worldwide. 

Questo volume è un omaggio al talento di Lyda Coppola in Toppo (Venezia, 1915 – Milano, 1986), la disegnatrice e fondatrice, insieme al fratello, della Coppola e Toppo, un’azienda di gioielli per la moda attiva a Milano dal 1948 al 1986. Sono proprio i complementi creati da Lyda – innanzitutto bijoux, ma anche borse, sciarpe, cinture, foulard – a dare il tocco finale a molte delle mises proposte dagli stilisti che hanno segnato la Haute Couture francese della fine degli anni Quaranta e dagli stilisti della moda boutique italiana degli anni Cinquanta, Sessanta e Settanta. All’inizio della carriera, Lyda Coppola, forse a causa delle sue origini – madre triestina, di origine ebraica, padre napoletano – caratterizza la sua produzione combinando, in modo inusuale, materiali tipicamente italiani provenienti da parti diverse della penisola, come le perle in vetro veneziano e il corallo di Torre del Greco. Subito dopo la fine della Seconda guerra mondiale, a partire dal 1948, i bijoux di Coppola e Toppo diventano famosi prima a Parigi (Elsa Schiaparelli, Jacques Fath, Edward Molyneaux, Robert Piquet, Pierre Balmain, Jeanne Lanvin, Nina Ricci, Cristobal Balenciaga, Jacques Heim sono i loro primi clienti) e poi negli Stati Uniti, dove – a cominciare dai primi anni Cinquanta e per almeno quindici anni – si riversa la maggior parte della loro produzione. La stampa, da «Vogue» Francia a «Vogue» America, e con i redazionali su «Harper’s Bazaar», «Women’sWear Daily», «The New York Times», «Herald Tribune» accompagna la presentazione nelle città americane più importanti delle due collezioni annuali di Coppola e Toppo, accrescendone il successo commerciale. Dai primi anni Cinquanta, Lyda Coppola crea i gioielli per Emilio Pucci e per la gran parte degli stilisti della moda italiana: Roberto Capucci, Germana Marucelli, Carosa, Biki, Sorelle Fontana, Pino Lancetti, Patrick de Barentzen, Federico Forquet, Enzo, Ken Scott, Valentino, Krizia. Il connubio dei bijoux Coppola e degli abiti firmati viene ripreso da straordinari servizi fotografici di Gian Paolo Barbieri (autore di oltre 40 scatti, qui riprodotti), Henry Clark, Franco Rubartelli, pubblicati sulle riviste di moda internazionali. La storia di Coppola e Toppo si dipana in contemporanea alla crescita e affermazione della moda italiana, passata da una condizione di artigianato nei primi anni Cinquanta a un’industria fiorente e conosciuta in tutto il mondo negli anni Ottanta come Made in Italy. Oggi i bijoux e i complementi di Coppola e Toppo rientrano nei collectibles più ambiti dai collezionisti di gioielli d’epoca.

18/01/24

[filmaticbby]

Aries: Tarantino, F. F. Coppola, Andrea Arnold, Eric Rohmer, Edgar Wright, Ruben Östlund, Josh Safdie, David Lean, Andrei Tarkovsky, Michael Haneke, Martin McDonagh

Taurus: Wes Anderson, Orson Welles, Sofia Coppola, Lars von Trier, Terry Zwigoff, George Lucas, Robert Zemeckis, John Waters, Frank Capra

Gemini: Fassbinder, Hideaki Anno, Makhmalbaf, Agnès Varda, Alex Garland, Clint Eastwood, Yorgos Lanthimos, Aaron Sorkin, Ken Loach, Alexander Sokurov, Giuseppe Tornatore

Cancer: Abbas Kiarostami, Wong Kar-wai, P. T. Anderson, Mike White, Ari Aster, Ingmar Bergman, Krzysztof Kieślowski, Paul Verhoeven, Robert Eggers, Béla Tarr, Mel Brooks, Ken Russell, Sidney Lumet, Kinji Fukasaku

Leo: Alfred Hitchcock, Greta Gerwig, Alain Robbe-grillet, Kubrick, Wes Craven, Taika Waititi, Luca Guadagnino, Christopher Nolan, Polanski, Sam Mendes, Richard Linklater, Nicolas Roeg, James Cameron, Pablo Larraín, M. Night Shyamalan, Iñárritu, Gus Van Sant, Peter Weir, Wim Wenders, Maurice Pialat

Virgo: Tom Ford, Joe Wright, Paul Feig, Dario Argento, David Fincher, Brian De Palma, Baz Luhrmann, Tim Burton, Friedkin, Takashe Miike, Noah Baumbach, Werner Herzog, Elia Kazan, E. Coen

Libra: Julie Dash, Almodóvar, Jacques Tati, Ang Lee, Michelangelo Antonioni, Ti West, Walerian Borowczyk, Nicolas Winding Refn, Satoshi Kon, Kenneth Lonergan, Michael Powell, Jacques Tati, Steve McQueen, Denis Villeneuve

Scorpio: Mike Nichols, Barry Jenkins, Charlie Kaufman, Céline Sciamma, Tsai Ming-liang, Jean Rollin, Scorsese, Louis Malle, Luchino Visconti, François Ozon, Julia Ducournau

Sagittarius: Sion Sono, Cassavetes, Raj Kapoor, Steven Spielberg, Eliza Hittman, Terrence Malick, Ozu, Alfonso Cuarón, Gregg Araki, Larry Charles, Judd Apatow, Kathryn Bigelow, Lenny Abrahamson, J. Coen, Jean Luc Godard, Diane Kurys, Ridley Scott, Lynne Ramsay, Woody Allen, Fritz Lang

Capricorn: Larry Clark, David Lynch, Harmony Korine, Damien Chazelle, David Lowery, Mary Harron, Sergio Leone, Todd Haynes, Pedro Costa, Gaspar, Noe, Fellini, Joseph Losey, Miyazaki, John Carpenter, Steven Soderbergh, Michael Curtiz, John Singleton, Vertov

Aquarius: Jim Jarmusch, John Hughes, Darren Aronofsky, Jodorowski, Michael Mann, Derek Cianfrance, Alex Payne, Truffau, Eisenstein, Tone Hooper

Pisces: Pasolini, Sean Baker, Paul Schrader, Bernardo Bertolucci, Benny Safdie, Jacques Rivette, Bunuel, Luc Besson, David Cronenberg, Spike Lee, Rob Reiner, Mike Mills, Sebastián Lelio, Jordan Peele, Ron Howard, Robert Altman

[sixcostumerefs]

Pulled the numbers on what colleges were most common for the US/Can actors. This is mostly taken from the Wiki. May be missing some actors/colleges. I generally tried to only count it when an actor actually got a degree in the performing arts, but it's possible that some of these still went to college for something else. I'll probably do this for the UK eventually, too.

5 University of Michigan (Bre Jackson, Storm Lever, Zan Berube, Cydney Clark, Aline Mayagoitia) AMDA (Gabbi Mack, Brittney Mack, Didi Romero, Joy N Woods, Brennyn Lark. Leandra Ellis-Gaston also attended AMDA LA, but that's a different program)

4 Cal State - Fullerton (Ellie Wyman, Abigail Sparrow, Lauren Mariasoosay, Taylor Sage Evans) Columbia College (Courtney Mack, Megan Leung, Mallory Maedke, Shantel Cribbs) Sheridan College (Julia Pulo, Elysia Cruz, Hailey Alexis Lewis, Julia McLellan)

3 Belmont (Wesley Carpenter, Sierra Fermin, Carlina Parker) Boston Conservatory at Berklee (Kennedy Monica Carsterns, Gabriela Francesca Carrillo, Aryn Bohannon. Honorary mention of Hien, from the non-replica Hungarian cast) Ithaca College (Olivia Donalson, Sydney Parra, Audrey Fisher) Montclair State University (Gianna Grosso, Amaya White, Kristina Walz) NYU (Gerianne Pérez, Princess Victomé, Guilia Marolda) Penn State (Jasmine Forsberg, Amina Faye, Jessie Davidson) TXST (Bella Coppola, Anna Uzele, Adriana Scalice)

2 Ball State University (Terica Marie, Keirsten Hodgens) Baldwin Wallace University (Keri Rene Fuller, Shelby Griswold) BYU (Emily Rose Lyons, Channing Weir) Emerson College (Kathryn Kilger, Erin Ramirez) Elon University (Ruby Gibbs, Nasia Thomas) Fullerton College (Haley Izurieta, Lauren Mariasoosay) Indiana University (Abby Mueller, Caroline Siegrist) Pace University (Aja Simone Baitey, Aubrey Matalon) Rider University (Casey Esbin, Jessie Bodner) Shenandoah University (Kelsee Kimmel, Willow Dougherty) Temple University (Alana M Robinson, Chelsea Lorraine Wargo)

[mzannthropy]

I've watched the 2020 Dracula mini series and, like I said in my previous post, it would have been better if they just made it a parody. About the last episode, I think Dracula in modern times could be interesting (idk if anyone attempted it, have not seen that many Dracula films & series) but one can't expect much from the Moftiss (I never liked their Sherlock). I'd say that at least they treated Mina and Jonathan better than the Coppola version, or any other version from what I've heard. Yeah, Jonathan had a hard time but Mina never left him and she started that foundation. I think Morfydd Clark is actually a good cast for Mina! Also Jack Seward came out of it quite well.

The scenes on the Demeter in the middle episode with the passengers disappearing one by one felt very Agatha Christie. Death on the Nile mixed with And Then There Were None. Perhaps it was intentional (I think Gatiss is a fan, he wrote scripts for 3 episodes of Poirot).

[ao3feed-superbat]

daytona.

read it on AO3 at https://ift.tt/OyYf35v by wiinters (romqntics) He tilts his head and the light catches on his throat, the ‘B’ resting on it glinting with fervor. Bruce Wayne was it for him, this he knew. Love had been permanently skewed for him, Clark’s outlook warped and twisted into the shape of Bruce’s body. This had been his man and this would always be his man. ⋆ or my dc love letter to florida. Words: 3551, Chapters: 1/1, Language: English Fandoms: Batman - All Media Types, The Batman (Movie 2022) Rating: Mature Warnings: Creator Chose Not To Use Archive Warnings, No Archive Warnings Apply Categories: M/M Characters: Clark Kent, Bruce Wayne, Jason Todd, Dick Grayson, Harleen Quinzel Relationships: Clark Kent/Bruce Wayne, Jason Todd & Bruce Wayne, Dick Grayson & Bruce Wayne, Stephanie Brown & Bruce Wayne, Harleen Quinzel & Bruce Wayne Additional Tags: Alternate Universe - Modern Setting, Florida, Teacher Bruce Wayne, Age Difference, Older Man/Younger Man, Older Clark Kent, Younger Bruce Wayne, Clark Kent Loves Bruce Wayne, Alternate Universe, sofia coppola inspired, the florida project inspired, but mainly the color palette, Breaking Up & Making Up, Angst with a Happy Ending, Emotional Hurt/Comfort, Pet Names, Implied Sexual Content, Soft Bruce Wayne, Soft Parent Bruce Wayne, Single Parents, Battinson read it on AO3 at https://ift.tt/OyYf35v

[cinenthusiast]

films watched in october 2023

234. Brotherhood of the Wolf (2001, Gans) (1st viewing / Blu-ray)

235. Hour of the Wolf (1968, Bergman) (2nd viewing / Criterion Channel)

236. Little Nicky (2000, Brill) (3rd viewing / Blu-ray)

237. The Sadness (2021, Jabbaz) (1st viewing / Blu-ray)

238. The Haunted Mansion (2003, Minkoff) (1st viewing / Disney+)

239. The Haunted Mansion (2023, Simien) (1st viewing / Disney+)

240. The Caine Mutiny Court-Martial (2023, Friedkin) (1st viewing / Showtime app)

241. Never Be a Punching Bag for Nobody (2023, Yang) (1st viewing / Amazon rental)

242. Ed Wood (1994, Burton) (no idea what viewing / Blu-ray)

243. Sleepy Hollow (1999, Burton) (no idea what viewing / Blu-ray)

244. Doctor Bull (1933, Ford) (1st viewing / Amazon rental)

245. The Haunting of Julia (1977, Loncraine) (1st viewing / 4K)

246. The Others (2001, Amenábar) (3rd viewing / Blu-ray)

247. Scary Movie 2 (2001, Wayans) (not sure what viewing since I saw this a lot on Comedy Central growing up / Max)

248. Scary Movie 3 (2003, Zucker) (2nd viewing / Max)

249. They Live (1988, Carpenter) (4th viewing / Blu-ray)

250. Invasion of the Body Snatchers (1978, Kaufman) (5th viewing / 4K)

251. Dreamaniac (1986, DeCoteau) (1st viewing / Tubi)

252. Nightmare Sisters (1988, DeCocteau) (1st viewing / Blu-ray)

253. Pyewacket (2017, MacDonald) (1st viewing / Blu-ray)

254. Savage Harvest (1994, Stanze) (1st viewing / Blu-ray)

255. Scary Movie 4 (2006, Zucker) (1st viewing / Max)

256. Bram Stoker’s Dracula (1992, Coppola) (4th viewing / 4K)

257. Bordello of Blood (1996, Adler) (1st viewing / Amazon rental)

258. Maximum Overdrive (1986, King) (1st viewing / Blu-ray)

259. Cat’s Eye (1985, Teague) (3rd viewing / Blu-ray)

258. Uninvited (1988, Clark) (1st viewing / Blu-ray)

259. Triangle (2009, Smith) (1st viewing / Shudder)

260. Ghosts of Mars (2001, Carpenter) (2nd viewing / Blu-ray)

261. The City of the Dead (1960, Moxey) (1st viewing / Blu-ray)

262. Spider Baby (1967, Hill) (1st viewing / Blu-ray)

263. It Came from Outer Space (1953, Arnold) (1st viewing / 4K)

264. The Blob (1988, Russell) (6th viewing / 4K)

265. Freaks (1932, Browning) (2nd viewing / Blu-ray)

266. The Funhouse (1981, Hooper) (1st viewing / Blu-ray)

267. Killers of the Flower Moon (2023, Scorsese) (1st viewing / theatrical)

268. Mars Attacks! (1996, Burton) (no idea / Amazon)

269. The Premature Burial (1962, Corman) (1st viewing / Tubi)

270. X: The Man with the X-Ray Eyes (1963, Corman) (1st viewing / Blu-ray)

271. Black Sabbath (1963, Bava) (3rd viewing / Blu-ray)

272. Mad God (2022, Tippet) (1st viewing / Blu-ray)

273. Coraline (2009, Selick) (3rd viewing / 4K)

274. Purana Mandir (1984, Ramsay Brothers) (1st viewing / Blu-ray)

275. Don’t Look Now (1973, Roeg) (4th (?) viewing / Blu-ray)

276. The Red Queen Kills Seven Times (1972, Miraglia) (1st viewing / Blu-ray)

277. Rosemary’s Baby (1968, Polanski) (4th viewing / 35mm, Coolidge Corner Halloween Marathon)

278. Suspiria (1977, Argento) (4th viewing / 35mm, Coolidge Corner Halloween Marathon)

279. Blair Witch Project (1999, Myrick & Sanchez) (3rd viewing / 35mm, Coolidge Corner Halloween Marathon)

280. Snow White and the Seven Dwarves (1937, Hand) (no idea what viewing / 35mm, Coolidge Corner Halloween Marathon)

281. The Craft (1996, Fleming) (no idea what viewing / 35mm, Coolidge Corner Halloween Marathon)

282. Evil Dead II (1987, Raimi) (3rd viewing / 4K)

283. Christine (1983, Carpenter) (9th or 10th viewing / Blu-ray)

284. Tales from the Crypt: Demon Knight (1995, Dickerson) (6th viewing / Blu-ray)

285. Halloween (1978, Carpenter) (6th-ish viewing / Blu-ray)

286. Halloween III: Season of the Witch (1982, Wallace) (8th viewing)

[louderfade]

an unsolicited rant about moviefilms by me

when people find out i was a theatre major they always want to talk to me about film. to me this feels like if i told someone i speak french and their response was "oh cool so you understand spanish?" and it's like no dude. what i love is theatre. film is its own, different thing that i know fuck all about. i also honestly dislike a lot of movies that are considered good/cool/classics. i don't enjoy popular american movies in general. like i hate pulp fiction and fight club and all such tryhard fakedeep hollywood garbage. i also strongly dislike wes anderson and quentin tarantino is the worst. also larry clark and gus van sant are simply awful.

but to be clear there ARE plenty of films i love. my favorite movies are aguirre, wrath of god, eraserhead, the 400 blows, ratcatcher and this film called fishtank by andrea arnold. i love lynne ramsay and the cohen brothers have some hits like barton fink. and charlie kaufman is usually pretty wonderful. oh and tarkovsky forever and ever; the mirror lives deep in my heart. there's also this movie called come and see by elem klimov that's really important. and i appreciate harmony korine's willingness to experiment and take risks and make different kinds of films. i don't like everything he's made but julien donkey-boy is one of my all-time favorites and i love mister lonely too. sofia coppola is actually kinda ok with me for reasons i cannot fully articulate. that marie antoinette movie is my guiltiest pleasure lol and do not get me started on emma watson's brilliant and criminally underrated performance in the bling ring. i also like 3 women and who's afraid of virginia woolf and russian ark. buffalo '66 was cool and so was la haine. and fucking days of heaven; terrence malick is top notch. anywayyy i need to try to accomplish something besides internet diary entries today, so this concludes today's rant no one cares about/list of shit i like.

summary/tldr: my theatre education does not qualify me to discuss film, and also i like some movies but dislike others. thank you for your attention and yes this will definitely be on the test.

[watching-pictures-move]

Put On Your Raincoats | Viva Vanessa (Pachard, 1984)

This review contains mild spoilers.

As far as biopics of Vanessa Del Rio go, this is likely a less fanciful account than Gregory Dark's Deep Inside Vanessa Del Rio, which alleges that Del Rio defected from Russia and worked as a sex toy salesperson, only to go back for a gangbang scene. But I do think this foregrounds the tension between the genre's artifice and reality in a pretty interesting way. We start off with Del Rio, trying to shoo a couple (Eric Edwards and Tiffany Clark) away after a tryst so she can prepare for a biopic about her life made by Henri Pachard. We see her recount her attempts to make it mainstream cinema, only to be taken advantage of by sleazy agents and producers (Robert Kerman and Jose Duval). Once again we have the tension between a scene that's pretty rotten in a real life context but played for you to get off on, but in this case that seems very much the point, and I think Del Rio's displeasure with these experiences comes through.

Then Del Rio switches to a pornographic career, working with a much more on the level Fred Lincoln (who tells her in his industry, "You fuck after you get the job"), who provides a supportive hand through the process. (Lincoln comes across as much less pungent than he did in his best known mainstream role in The Last House on the Left. The beard looks good on him.) A lot of the appeal of hardcore pornography comes from that fact that the performers are doing it for real, but Lincoln lampshades just how much artifice there is. When her male co-star has trouble remembering his lines, Lincoln steps in. "Let's just get on with the hardcore, and we'll work it out later in the editing room."

And we get scenes that are more obviously in the realm of fantasy, like where Del Rio picks up a pair of fans (Jerry Butler plays one of them) in a bar and takes them to the bathroom for a threesome. It's as if to say, if you step into a bar at the right time, you too could have sex with the great Vanessa Del Rio. (But be sure to bring a friend.) Of course, the scene snaps us back to some semblance of reality when it ends with a shot of a flushing toilet, which I understand the purpose of but really could have done without.

This tension between artifice and reality culminates in the climactic scene, a tense shoot where Del Rio is asked to share a scene with an ex-boyfriend played by George Payne, but isn't told beforehand. The idea is to find genuine emotion in their performances. As Pachard explains, "I don't know how much of it's gonna be real and how much of it isn't gonna be real, that's the chance we're taking. Try to find an erotic moment, let your heart out." And "I'm not asking you to do anything, except be yourself." But how genuine these performance are is questionable, as Payne insists on slathering himself in baby oil, and explains to Del Rio (after she tells him "You're not an asshole, you're a whole ass"): "I don't play nice guys in films, you know why? Because they pay me to be an asshole." The scene ends with Del Rio angrily walking off the set, while Pachard telling everybody what a great job they did.

Obviously these (as with all the other scenes) are dramatics within the movie, but I do wonder what Pachard's real thinking behind this scene was. There's a clip from an awards show where Pachard gives a nod to Francis Ford Coppola (who was present in the audience), and I do wonder if this is acknowledgement that art can be a messy, emotionally fraught process, made by people who could be callous people even if they don't think of themselves as such. I don't think this has the same angst as something like Gerard Damiano's Skin Flicks, which ends on a much more challenging note, but it is interesting to see something that's more cliche ridden still try to grapple with these questions.

Of course, it's no surprise that this ends (along with a threesome, and a striptease where she wears a sparkly tuxedo and hat) with Del Rio deciding that she's gonna go back and finish the movie because she's a goddamn professional. Del Rio has always been a magnetic screen presence (and enjoyable to watch for... other reasons), and this movie is no exception. If there's one other thing I can single out in this movie, it's a scene between Del Rio and Angelique Ricard. Ricard is a trans performer who I'd previously seen in a non-sex role in Squalor Motel (she plays a member of the house band). Considering how gross pornography can be with respect to transwomen, this scene is refreshingly free of those dimensions. The scene is appreciative, not fetishistic, and has a casual, relaxed vibe that I found quite appealing. Certainly a nice surprise.

Thanks to @gotankgo for the recommendation!

[babyjujubee]

Alden Ehrenreich, Taylour Paige, Elijah Bynum and Haley Bennett at the Variety Sundance Studio in Park City, Utah. January 21, 2023. Alden and Haley both played in "Rules Don't Apply". Also attending Sundance were Sophia Coppola - Alden worked with her and Natalie Portman on a commercial for "Miss Dior" perfume; Emila Clarke of course was Qi'ra to Alden's Han Solo; and Alice Englert who was Lena to Alden's Ethan in "Beautiful Creatures". What a reunion!

[chicinsilk]

US Vogue January 1, 1967

Simone d'Aillencourt in a long crepe kaftan split at the neck and ankles, with mosaic-like prints, pink and gold, by Princess Luciana. photographed in Sa Conca, one of Sardinia's fascinating villages. Jewelry: Coppola & Toppo. Hairdressing, Alba & Francesca.

Simone d'Aillencourt dans un long caftan en crêpe fendu au cou et aux chevilles, aux imprimés en forme de mosaïques, rose et or, par la princesse Luciana. photographié à Sa Conca, l'un des fascinants villages de Sardaigne. Bijoux : Coppola & Toppo. Coiffure, Alba & Francesca.

Photo Henry Clarke

vogue archive