Contemporary Costume Watch: "Passages"

by Cláudio Alves

Like it happens every year, as the awards season dawns, I complain that voters should pay more attention to contemporary narratives when recognizing design achievements. In 2023, their reluctance will be especially aggravating since there's such a deep well of costuming excellence within modern contexts. Take Khadija Zeggaï in Passages, for example. 

Ira Sachs' latest feature finds Franz Rogowski playing a Paris-based German director entangled in a bisexual love triangle of his own making. As Tomas, the actor is a sartorial tease whether he's in mesh or ratty green knits, while Ben Whishaw is more modest as his artist husband, Martin. Finally, Adèle Exarchopoulos is Agathe, a teacher who dresses like a young Bardot at the height of the Nouvelle Vague - all tight fits, high hems, and lingerie as outerwear. Across the board, fashion defies heteronormative tenets, everything is unisex and sexy to the nth degree. Clothes articulate tricky character dynamics while offering editorial-worthy queer spectacle…

Click to read more ...

Oscars: The Five Club

by Eric Blume

It’s always fun when “the conversation” starts to brew for Oscar nominations every year, seeing which actors are gaining traction for a potential nomination. What’s interesting this year is that there are an unusually high number of actors (six, in fact!) who currently have four acting nominations under their belt who all stand good-to-great chances of joining The Five Club with nods this year. Five Oscar nominations is a big deal. Only 22 actors currently have five, and the names are among some of our best from older Hollywood (Olivia de Havilland, James Stewart), to the modern age (Albert Finney, Anne Bancroft, Susan Sarandon) to contemporary (Nicole Kidman, Julianne Moore, Michelle Williams). It’s very nice company to be in. 

Let’s take a look at the actors who stand a very real shot of being a part of The Five Club this year…

Click to read more ...

Review: Meg Ryan’s ‘What Happens Later’ is a Comedic Misfire

by Abe Friedtanzer

Thirty years ago, Meg Ryan and David Duchovny were at the height of their popularity. Ryan starred opposite Tom Hanks in one of the definitive romantic comedies, Sleepless in Seattle, and Duchovny was headlining, along with Gillian Anderson, what would become one of the most popular series of the 1990s, The X-Files. While Duchovny has starred in other series like Californication and Aquarius, and a few films since, you have to go back to 2015 for Ryan’s last screen credit, her directorial debut Ithaca. The two are back together in Ryan’s second try at directing, What Happens Later, a film that falls flat early on and doesn’t get much better after that…

Click to read more ...

Brendan Fraser has the Girth

by Cláudio Alves

As one of the world's foremost The Whale haters, I was ready to despise whatever Brendan Fraser was up to in Killers of the Flower Moon. Indeed, part of me relishes how many have turned against our current Best Actor champion, eviscerating him for going ridiculously over-the-top in his brief scenes as William Hale's attorney. And yet, some of the criticism feels unfair, failing to recognize the character's purpose within the film's sprawling canvas and bizarre tonal twists into dark humor. After despising his lauded work under Aronofsky, I now find myself an unlikely Fraser apologist. 

I'm not alone in this, of course. Apple defends him with an appeal to literary authority, and Martin Scorsese has recently said that what the actor did with the role was perfect. In the master's own words, he had that girth...

Click to read more ...

Everything's coming up Jacob

by Cláudio Alves

With Priscilla in theaters and Saltburn on the horizon, it's a good time to be Jacob Elordi. Or, alternatively, one of his fans. After terrorizing the characters of Euphoria and skating by the Kissing Booth movies without much effort, the Australian actor is proving to be a force to be reckoned with and an auteur magnet to boot. For Sofia Coppola, he's Elvis perceived through a prism of domestic nightmare, proposing a take on the legend that should be antithetical to last year's Luhrmann-directed biopic. In Emerald Fennell's sophomore feature, his statuesque figure is framed as an object of perilous desire cum obsession, like a British twist on Highsmith's Dickie Greenleaf. It's fair to say that the erstwhile HBO hunk is on his way to becoming a movie star…

Click to read more ...