Jade Bahr

Grocery shopping (March 1) in Los Angeles more: https://www.justjared.com/2023/03/01/charlie-hunnam-spends-his-wednesday-afternoon-running-errands-in-l-a/

US Instyle

Still in Paris

Obsessed with these 2 looks 🤩

Guys, length isn’t everything when it comes to film-making Martin Scorsese’s latest film will join a slew of three-hour slogs. These directors, mostly male, need to rein themselves in Let’s be honest about this. No film needs to be longer than three hours. And fewer than you might think can justify breaking the 2hrs 40m mark. News that Martin Scorsese’s latest film, Killers of the Flower Moon, is clocking in at well over three hours is only the latest in what seems to be a trend in mainstream cinema towards the butt-numbing end of the running time spectrum. If any director knows what to do with every last frame of a rumoured 3hrs 20m, it is Scorsese. But this does raise the question: are marathon movies really what the audience wants? There’s a theory that, in the age of TikTok, the collective attention span is shrinking. Is expecting punters to sit through more than three hours the best way to lure post-pandemic audiences back into cinemas? There’s a tacit assumption that a hefty running time automatically conveys event movie status or that anything over three hours is a Big, Important Artistic Statement worthy of note. In the last year, Damien Chazelle’s Babylon clocked in at an overwrought 3hrs 9m; Avatar: The Way of Water was 3hrs 12 damp minutes; Andrew Dominik’s polarising Marilyn Monroe biopic Blonde was just shy of the three-hour mark at 2hrs 47m. And the original cut of Alejandro González Iñárritu’s Bardo: False Chronicle of a Handful of Truths hit 2hrs 54m, before Iñárritu re-edited, shaving off 20 or so minutes. But of these, only Avatar, with a current box-office tally just shy of $2.25bn, can legitimately lay claim to the event movie tag. The others? It’s fair to say that audiences stayed away in droves. But for Blonde and Bardo, which, like Scorsese’s previous picture, The Irishman (3hrs 29m), were financed by Netflix, the theatrical releases were deliberately limited, suggesting box office performance is less of a concern. And this – the rise of streaming platforms – is one factor that may explain the trend towards longer films. Viewing habits, as evidenced by the concept of “blitzing” through a long-form series, have shifted. If viewers will happily watch four episodes of, say, Breaking Bad, back to back, why wouldn’t they spend the same length of time with a film? But while this works as a home-viewing option, cinema visits are more of an investment – in time and effort, as well as financially. And the date-night staple of dinner and a movie is rather skewered when the films are three-hour whoppers. A movie and a bag of convenience store peanuts doesn’t quite have the same allure. There’s another factor though. It’s no coincidence that all of these recent examples were directed by men. And with the notable exception of Chantal Akerman’s BFI best film poll-topper Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (3hrs 22m), the same tends to be true historically. There’s an argument to be made in some cases that the three-hour cine-slog is just a form of manspreading; another example of men taking up space just because they can. It’s reflected in the audience also: there’s an irksome breed of ultra-competitive film bro who would rather pee into a bottle than miss even a minute of Filipino director Lav Diaz’s latest long hauler. It’s worth repeating at this point: size isn’t everything, guys. Source Or like Rose already pointed out 1912 #queen

Variety discussing the pro and conts regarding a movie premiere in Cannes (not just for KOTFM but in general. Thought it's interesting) Will Hollywood Hit Cannes? ‘Indiana Jones 5,’ ‘Killers of the Flower Moon’ Weigh Festival Debuts Will Hollywood decamp for Cannes this year? Organizers for the annual celebration of all things cinema certainly hope so, though their ambitions could collide with a new spirit of economizing that’s making studios hesitant about shelling out the hundreds of thousands of dollars it takes to pull off a Riviera bow. Cannes Film Festival chief Thierry Frémaux has barely gotten over his jet lag after a whirlwind trip to Los Angeles this month, but he’s already planning a return visit as he attempts to pull together one of the most formidable lineups in the 76-year history of the event. He’s made it clear to studio executives that he would love to highlight both their blockbusters and their awards contenders, and though formal offers have not been made or accepted, this year’s Cannes has the potential to match or even surpass the 2022 edition — which played host to Tom Cruise and “Top Gun: Maverick” and Austin Butler and Tom Hanks with “Elvis” — in movie star moments. Apple is weighing sending Martin Scorsese’s “Killers of the Flower Moon” to the festival, and with it a cast that includes Leonardo DiCaprio, Robert De Niro and Jesse Plemons. Focus is expected to hit the Croisette with Wes Anderson’s “Asteroid City.” The ensemble film boasts a cavalcade of stars, including Hanks, Margot Robbie, Scarlett Johansson and Tilda Swinton. Anderson, who has an apartment in Paris, was in Cannes 2021 with “The French Dispatch,” which played in competition. His “Moonrise Kingdom” opened the festival and competed in 2012. (...) When it comes to securing a Cannes berth, studio executives say that Frémaux wields outsize influence on the U.S. titles. Festivals such as Toronto or Sundance rely more on teams of programmers, but the Cannes chief seems to be the most important and final word on what studio films screen at the oceanside fest. In March, Cannes will begin notifying talent if they have made the cut. For those studios that snag an invite, a Cannes debut allows them to command global attention. In the case of “Top Gun: Maverick,” a celebration of the U.S. Air Force that was seen as more of a domestic play, premiering at Cannes helped the studio introduce the film to European audiences. Not only was Cruise on hand, but the event also included an aerial display for the ages, as French fighter jets took to the sky streaming blue, white and red smoke. It worked. “Top Gun: Maverick” went on to make more than $770 million internationally, more than half its nearly $1.5 million global gross. In the past, some studios were hesitant to open in Cannes, because it felt too far removed from the fall Oscar season. But that stance has softened. Although it takes place months before many of the biggest awards shows, Cannes has proven to be a strong showcase for potential Oscar contenders. Not only did “Parasite” open at the festival en route to its best picture victory, but three best picture nominees this year — “Elvis,” “Top Gun: Maverick” and “Triangle of Sadness” — all debuted at the 2022 festival. A larger concern, studio sources say, is the cost of attending Cannes. For a splashy premiere, the price tag can climb to more than $1 million. That’s because A-list stars usually fly private and have glam teams that often must be ferried to the festival. Stars can bring one to two guests on the studio dime and a personal publicist, but that number is fungible, and the bigger the actor, the larger the retinue of handlers and hangers-on. And the parties themselves are also eye-wateringly expensive, with venues and caterers tacking on steep charges the second they hear the words “Cannes premiere.” Given that most entertainment companies are laying off staff and looking for ways to rein in spending as they glance worriedly toward a potential recession, those are checks that studios are wary of writing. “The farther away an event is, the higher the costs,” says one film publicist. “And Cannes is about as far away and about as expensive as it gets.” Source

So I guess I can't watch all episodes tomorrow. Damn 😭

Cami, Sienna and Diane. That's some girl power I can live with 😍 February 28: walking with Sienna Miller and bumping into Diane Kruger. New York City. Source: camimorrone.com I think the connection with Sienna is she's with Tom Sturridge, Sturridge is best friends with RPatz and RPatz is with Suki. Also both girls have a history with Leo lmao

Parisian gotta love Leo 😚

NY Mar 01 '23

by Tom Newton

^Just love this series 😍

^

Looks like Leo is on champagne mission in France. Cheers. He looks good 😍

For a glimpse I thought it's young Catherine Zeta Jones.

via Tom Newton

Next in Fashion by Patrick Ta

The press embargo ends today. Here's one of the better reviews. (...) Neither Claflin nor Keough is a natural-born singer and “Daisy Jones & the Six” represents the first time either of them sang for a performance. Keough, Elvis’ granddaughter, brings a lot of interest to the role due to her heritage, and she channels Stevie Nicks through many of the tracks and on the stage through her performances. Surprisingly, Claflin is the more convincing rock star of the two, his charisma carrying a lot of the musical performances. It’s his journey just as much as Daisy Jones, and he has to battle his ego and drugs to survive. The other role that really stands out is Camila Morrone as Camila Dunne. While she’s never on the stage with the band, she’s just as much a catalyst to their success as anyone else, and Morrone is able to convey Camila’s influence over the band to great effect. full review: https://theplaylist.net/daisy-jones-the-six-review-riley-keough-sam-claflin-bring-rock-n-roll-dreams-to-life-20230227/ But so far most reviews are medicore at best what probably means I will love this show 😄

Channing Tatum dancing is indeed magic. Fine ending of the trilogy. Not as strong as part 1 and 2.

🇫🇷 🥐🗼