Demi Moore, 61, Dares to Bare in Crystal Mesh Gown at Dal Cuore alle Mani Dolce & Gabbana Exhibition
I’ve always admired Demi Moore. Her incredible figure and daring yet classy red carpet style never disappoint. One of her most notable red-carpet moments to date came at the Dolce & Gabbana 40th anniversary gala, where she wore a glittering sheer gown from the Italian luxury fashion house, no less.
Demi Moore was among the celebrities invited to the inauguration of the Dal Cuore alle Mani (From the Heart to the Hands) exhibition at Palazzo Reale. In addition to honoring Dolce & Gabbana’s legacy, the exhibition celebrates Domenico Dolce and Stefano Gabbana’s creative process, including the Italian artisans and cultural heritage that influenced their work.
Other guests include Lupita Nyong’o, Lily James, Naomi Campbell, Olivia Culpo, Helen Mirren, Rosie Huntington-Whiteley, and Cher. All wore breathtaking outfits, but I think the evening’s most eye-catching dress belonged to Demi Moore.
Demi Moore stuns in a see-through crystal mesh gown...
Demi Moore was among the celebrities invited to the inauguration of the Dal Cuore alle Mani (From the Heart to the Hands) exhibition at Palazzo Reale. In addition to honoring Dolce & Gabbana’s legacy, the exhibition celebrates Domenico Dolce and Stefano Gabbana’s creative process, including the Italian artisans and cultural heritage that influenced their work.
Other guests include Lupita Nyong’o, Lily James, Naomi Campbell, Olivia Culpo, Helen Mirren, Rosie Huntington-Whiteley, and Cher. All wore breathtaking outfits, but I think the evening’s most eye-catching dress belonged to Demi Moore.
Demi Moore stuns in a see-through crystal mesh gown...
- 4/8/2024
- by Anne De Guia
- Your Next Shoes
Italian craftsmanship that rises to the level of art takes the stage at the Palazzo Reale (Royal Palace) in Milan, where Dolce & Gabbana has brought the best of their haute couture, tailoring and jewelry. From Baroque to Opera and from Domenico Dolce’s absolute devotion to Sicily and Stefano Gabbana’s Milan, there is on display the whole world of the two designers (once a couple in life) in the new exhibition “From the Heart to the Hands: Dolce & Gabbana.” The show just opened in Milan, a world premiere, ahead of touring to museums around the world.
Sponsored by the Municipality of Milan: Culture — and produced by Palazzo Reale and Img — the exhibit, which can be visited until July 31, is curated by the French fashion historian Florence Müller, who has already curated for Dior (“From Paris to the World”) and Yves Saint Laurent (“Rétrospective”). This new show, which also...
Sponsored by the Municipality of Milan: Culture — and produced by Palazzo Reale and Img — the exhibit, which can be visited until July 31, is curated by the French fashion historian Florence Müller, who has already curated for Dior (“From Paris to the World”) and Yves Saint Laurent (“Rétrospective”). This new show, which also...
- 4/8/2024
- by Pino Gagliardi
- The Hollywood Reporter - Movie News
Your capacity to enjoy Bruno Podalydés’ Park Benches will depend mostly on whether you enjoy people watching in real life. If no one’s done it yet, let this writer be the first to coin a term for this frustratingly and satisfyingly French film – “observational whimsy”. If the myopic cast of Paul Haggis’ Crash was too much for your palette, here is a lightweight dessert with just a hint of bitterness. Park Benches is an acquired taste though, testing your patience with a determined lack of focus and a cast so large that any fond hope of character development will shrivel up and die within the first half hour.
If there is a main character at the head of the purported cast of 90, it would be Lucie (Florence Muller), an office worker with a fish tank that she locks in a closet and a tendency to slack off. Along with her chatty co-workers,...
If there is a main character at the head of the purported cast of 90, it would be Lucie (Florence Muller), an office worker with a fish tank that she locks in a closet and a tendency to slack off. Along with her chatty co-workers,...
- 7/30/2011
- by Mark Zhuravsky
- JustPressPlay.net
Chicago – Episodic ensemble pieces in America often follow a contrived pattern typified by Paul Haggis’s “Crash.” Various diverse lives are juxtaposed and intersect while illustrating an overarching theme. What’s so refreshing about Bruno Podalydès’s 2009 French gem, “Park Benches,” is its utter lack of dramatic significance. It’s more interested in exploring the idiosyncrasies of humanity rather than preaching a self-important message.
Podalydès is a writer/director not known to most American moviegoers, but this thoroughly delightful comedy is bound to win the filmmaker many new fans. The vast majority of his screwball humor does not get lost in cultural translation, and produces countless moments that are laugh-out-loud funny. As a microcosm of Parisian society, “Benches” hops whimsically from one colorful scenario to the next, capturing vignettes as endearing as they are bittersweet.
DVD Rating: 4.0/5.0
What’s apparent right off the bat is the picture’s mammoth gallery of French stars.
Podalydès is a writer/director not known to most American moviegoers, but this thoroughly delightful comedy is bound to win the filmmaker many new fans. The vast majority of his screwball humor does not get lost in cultural translation, and produces countless moments that are laugh-out-loud funny. As a microcosm of Parisian society, “Benches” hops whimsically from one colorful scenario to the next, capturing vignettes as endearing as they are bittersweet.
DVD Rating: 4.0/5.0
What’s apparent right off the bat is the picture’s mammoth gallery of French stars.
- 7/29/2011
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Once in a while, one has to try something new when it comes to films. Unlike Toronto Stories, which is another anthology movie I'd recommend, Paris, je t'aime uses a rather different approach while showing as much audacity as its Canadian counterpart. All in all, the film is a rather enjoyable gem.
First of all, to put it shortly, Paris, je t'aime uses 18 short segments directed by internationally acclaimed directors. Of course, each segment takes place in a different district of Paris. In each segment, the directors, through their own vision, offer their own interpretation of the meaning of love in none other than the most romantic city in the world.
Obviously, the first praise that you'd like to offer for this film is certainly its photography. Without looking like a postal card, Paris, je t'aime has no difficulty to capture the city's beauty in order to fit it into...
First of all, to put it shortly, Paris, je t'aime uses 18 short segments directed by internationally acclaimed directors. Of course, each segment takes place in a different district of Paris. In each segment, the directors, through their own vision, offer their own interpretation of the meaning of love in none other than the most romantic city in the world.
Obviously, the first praise that you'd like to offer for this film is certainly its photography. Without looking like a postal card, Paris, je t'aime has no difficulty to capture the city's beauty in order to fit it into...
- 9/1/2009
- by noreply@blogger.com (Anh Khoi Do)
- The Cultural Post
Being in Paris is to be inside a work of art, and it is no surprise that in the charming collection of vignettes that make up Paris je t'aime, the art is love. This is a Paris where Oscar Wilde can reappear beside his grave at Pere Lachaise to give squabbling lovers a sense of humor. A vampire may pounce on an unsuspecting backpacker in the Madeleine. A cowboy on horseback can bring a grieving mother back to her family. A paramedic may fall in love with her bleeding patient.
Love in all its weird and wonderful forms is the subject of 18 short films made by an assortment of international directors who bring individual vision to a collective love letter to the French capital. Most of the directors have written their own pieces, and they range from whimsical to romantic, to dramatic and tragic.
With many familiar faces including Juliette Binoche, Fanny Ardant, Natalie Portman, Nick Nolte, Steve Buscemi, Bob Hoskins and Gena Rowlands, the film is necessarily uneven but has an overall winning charm and can expect a warm reception in art houses around the world.
Buscemi and Coen brothers completists will not want to miss their hilarious tale of an American tourist on the Metro stop at the Tuileries learning firsthand how accurate his guidebook is. Forget The Da Vinci Code -- anyone who sees this film will never look at Mona Lisa's smile again without thinking of the matchless Buscemi.
An offbeat sense of humor is established from the opening story, subtitled Montmartre, in which a frustrated young man (writer-director Bruno Podalydes) struggles to find a parking spot only to spend the time parked complaining aloud about why he can't find a girlfriend.
Then a lovely young woman (Florence Muller) faints beside his car. It's Paris.
Writer-director Gurinder Chadha spends a few minutes showing how a young man (Cyril Descours) can learn more from a modest hijab-wearing young woman (Leila Bekhti) than from his leering buddies.
Isabel Coixet manages to find great humor in a story of a failed love affair given new life after one of the lovers (Miranda Richardson) is diagnosed with terminal leukemia, while Oliver Schmitz's new paramedic (Aissa Maiga) learns how fleeting love can be while treating a stab victim (Seydou Boro).
Several sequences begin with misdirection so that Nolte's May-December romance turns out to be not that at all, while Hoskins and Ardant's strip club encounter involves more than a little planned artifice. Tom Tykwer's tale of an actress (Portman) trying to break off her affair with a blind linguist (Melchior Besion) also holds a surprise. Sylvain Chomet's item involving mimes is pleasingly self-mocking, and Alexander Payne's narrative of a Denver matron (Margo Martindale) visiting the city to improve her halting French begins in sarcasm and ends in sympathy.
Binoche grieves for her dead son in Nobuhiro Suwa's parable about a cowboy (Willem Defoe) who rides the midnight streets of Paris to ease her pain. Director Barbet Schroeder has fun along with Li Xin in a wacky musical fantasy by Christopher Doyle. Wes Craven naturally gravitates to a graveyard for his oddball contribution involving Wilde.
The cinematography is varied and wonderful. Pierre Adenot's music fits the bill, and there's a great waltz at the end with English adaptation by Oscar-winning lyricist Will Jennings.
PARIS JE T'AIME
Victoires International in association with Arrival Cinema
Credits:
Directors: Bruno Podalydes
Gurinder Chadha, Gus Van Sant, Joel and Ethan Coen, Walter Salles & Daniela Thomas, Christopher Doyle, Isabel Coixet, Nobuhiro Suwa, Sylvain Chomet, Alfonso Cuaron, Olivier Assayas, Oliver Schmitz, Richard LaGravenese, Vincenzo Natali, Wes Craven, Tom Tykwer, Frederic Auburtin & Gerard Depardieu, Alexander Payne
Producers: Claudie Ossard & Emmanuel Benbihy
Co-producer: Burkhard Von Schenk
Executive producers: Chris Bolzli, Gilles Caussade, Sam Englebardt, Ara Katz, Chad Troutwine, Frank Moss, Rafi Chaudry
Original idea: Tristan Carne
Concept: Emmanuel Benbihy
Production designer: Bettina von den Steinen
Editing supervisors: Simon Jacquet, Frederic Auburtin
Original music: Pierre Adenot
No MPAA rating
Running time -- 120 minutes...
Love in all its weird and wonderful forms is the subject of 18 short films made by an assortment of international directors who bring individual vision to a collective love letter to the French capital. Most of the directors have written their own pieces, and they range from whimsical to romantic, to dramatic and tragic.
With many familiar faces including Juliette Binoche, Fanny Ardant, Natalie Portman, Nick Nolte, Steve Buscemi, Bob Hoskins and Gena Rowlands, the film is necessarily uneven but has an overall winning charm and can expect a warm reception in art houses around the world.
Buscemi and Coen brothers completists will not want to miss their hilarious tale of an American tourist on the Metro stop at the Tuileries learning firsthand how accurate his guidebook is. Forget The Da Vinci Code -- anyone who sees this film will never look at Mona Lisa's smile again without thinking of the matchless Buscemi.
An offbeat sense of humor is established from the opening story, subtitled Montmartre, in which a frustrated young man (writer-director Bruno Podalydes) struggles to find a parking spot only to spend the time parked complaining aloud about why he can't find a girlfriend.
Then a lovely young woman (Florence Muller) faints beside his car. It's Paris.
Writer-director Gurinder Chadha spends a few minutes showing how a young man (Cyril Descours) can learn more from a modest hijab-wearing young woman (Leila Bekhti) than from his leering buddies.
Isabel Coixet manages to find great humor in a story of a failed love affair given new life after one of the lovers (Miranda Richardson) is diagnosed with terminal leukemia, while Oliver Schmitz's new paramedic (Aissa Maiga) learns how fleeting love can be while treating a stab victim (Seydou Boro).
Several sequences begin with misdirection so that Nolte's May-December romance turns out to be not that at all, while Hoskins and Ardant's strip club encounter involves more than a little planned artifice. Tom Tykwer's tale of an actress (Portman) trying to break off her affair with a blind linguist (Melchior Besion) also holds a surprise. Sylvain Chomet's item involving mimes is pleasingly self-mocking, and Alexander Payne's narrative of a Denver matron (Margo Martindale) visiting the city to improve her halting French begins in sarcasm and ends in sympathy.
Binoche grieves for her dead son in Nobuhiro Suwa's parable about a cowboy (Willem Defoe) who rides the midnight streets of Paris to ease her pain. Director Barbet Schroeder has fun along with Li Xin in a wacky musical fantasy by Christopher Doyle. Wes Craven naturally gravitates to a graveyard for his oddball contribution involving Wilde.
The cinematography is varied and wonderful. Pierre Adenot's music fits the bill, and there's a great waltz at the end with English adaptation by Oscar-winning lyricist Will Jennings.
PARIS JE T'AIME
Victoires International in association with Arrival Cinema
Credits:
Directors: Bruno Podalydes
Gurinder Chadha, Gus Van Sant, Joel and Ethan Coen, Walter Salles & Daniela Thomas, Christopher Doyle, Isabel Coixet, Nobuhiro Suwa, Sylvain Chomet, Alfonso Cuaron, Olivier Assayas, Oliver Schmitz, Richard LaGravenese, Vincenzo Natali, Wes Craven, Tom Tykwer, Frederic Auburtin & Gerard Depardieu, Alexander Payne
Producers: Claudie Ossard & Emmanuel Benbihy
Co-producer: Burkhard Von Schenk
Executive producers: Chris Bolzli, Gilles Caussade, Sam Englebardt, Ara Katz, Chad Troutwine, Frank Moss, Rafi Chaudry
Original idea: Tristan Carne
Concept: Emmanuel Benbihy
Production designer: Bettina von den Steinen
Editing supervisors: Simon Jacquet, Frederic Auburtin
Original music: Pierre Adenot
No MPAA rating
Running time -- 120 minutes...
- 5/18/2006
- The Hollywood Reporter - Movie News
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