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moiselles

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Lilja K

Lilja K

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2 hours ago, BarbieErin said:

 

It is just me or Leo looks quite happy and relaxed this time around in Cannes? it's a big difference from 2019.  

I can't compare, but he really looks happy and relaxed. He's definitely comfortable right now❤️

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Jade Bahr

Jade Bahr

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The Killers of the Flower Moon Cast Spotlighted Indigenous Design at Cannes

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After making its world premiere at the Cannes Film Festival this past Saturday, Martin Scorsese’s Killers of the Flower Moon is already garnering serious Oscars buzz. The film—based on David Grann’s 2017 nonfiction book of the same name—is centered around the FBI investigation of a series of murders of Native Americans from the Osage tribe in the 1920s, after oil was discovered on their tribal land. Starring in the tale of greed, corruption, and power are Lily Gladstone, Leonardo DiCaprio, Tantoo Cardinal, and Robert De Niro. The attention for the film is historic, given it’s a rare project in Hollywood that features a largely Indigenous cast, including actors Gladstone, Cardinal, Cara Jade Myers, Janae Collins, Jillian Dion, and Tatanka Means. 

 

It’s no secret that Indigenous representation in mainstream Hollywood has been lacking, though recent projects such as Prey and Reservation Dogs have brought Native talent to the forefront. So to see not one, but several Indigenous stars take over the Cannes Film Festival’s red carpet this weekend has been thrilling. Better yet, many of the cast members have been using their opportunity to highlight Indigenous designers too, bringing a dash of cultural flair through their intentional fashion choices.

 

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It all began on Saturday at the film’s world premiere. Gladstone, whose performance in the film has been widely praised, took to the red carpet in a floral-print Valentino gown, which she punctuated with a pair of dentalium shell earrings from Luiseño and Shoshone-Bannock designer Jamie Okuma, finished with antique glass seed beads, diamond beads, gold, and brain-tanned deer hide (the artist, who hails from the La Jolla Indian Reservation in California, recently became a CFDA member). “I’m so incredibly honored she chose to wear [my earrings] for such a significantly important day for her,” Okuma tells Vogue. “She was able to have that little bit of home, culturally speaking, walk her down the red carpet.” 

 

Gladstone has continued to wear jewelry by Native designers. For the film’s after-party on Saturday, the actor wore a classic black gown with a copper cuff, earrings, and neck plate by Tlingit artist Jennifer Younger. For the film’s photo call on Sunday, Gladstone wore a black caped Chanel ensemble, and again accessorized with Indigenous jewels—this time, a pair of beaded and dentalium earrings by Shelby LeeAnn Gorman. For many of these spotlighted designers, it’s been completely surreal to see their work on an international stage like Cannes. “This has been my dream, to see Tlingit formline design shared on a large platform like this,” Younger tells Vogue. “I hope more people are drawn in to Northwest Coast art when they see my pieces, and they find that the art form is thriving with many amazing Indigenous artists.”

 

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Lily Gladstone in Chanel and Shelby LeeAnn Gorman earrings
Photo: Getty Images
 
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Lily Gladstone in a Jennifer Younger necklace
Photo: Getty Images
 
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Earringas by Jamie Okuma, worn by Lily Gladstone
Photo: Courtesy of Jamie Okuma
 

Many of the film’s supporting cast members have also championed Indigenous traditions through style. At the film’s premiere, Cardinal chose veteran Indigenous designer Patricia Michaels to create her dramatic feather-printed ball gown. At the film’s photo call, Cardinal also wore a hand-painted skirt from Red Berry Woman, designed by Norma Baker-Flying Horse. Collins chose a printed dress from Okuma for the photocall, and striking earrings by Keri Ataumbi made of 24-karant gold vermeil over sterling silver; Dion sported a printed dress from Sky Eagle Collection. (The designer, Dante Biss-Grayson, is Osage—a thoughtful nod to the subject matter of the film.)

 

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Tantoo Cardinal in Patricia Michaels
Photo: Getty Images
 
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Tantoo Cardinal, Jillian Dion, Janae Collins and Cara Jade Myers 
Photo: Getty Images
 

Given all of these Indigenous stars are in one of the hottest films—if not the hottest film—at Cannes, they could have worn anything by virtually any designer. But their deliberate choices to uplift Indigenous labels, was a standout moment at Cannes thus far. Here’s hoping for even more fabulous displays of cultural pride once the film premieres in October. Ataumbi said it best: “Seeing my work on the red carpet at Cannes made me feel so proud; It made me feel like the telling of our history will not be squashed. The power of fashion, and the power of art, tells our stories and histories.”

 

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Tantoo Cardinal, Cara Jade Myers, Janae Collins, and Jillian Dion
 Photo: Getty Images
 
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Jade Bahr

Jade Bahr

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Bit more about Leos leading lady 💕

 

Meet Lily Gladstone, The Breakout Star Of ‘Killers Of The Flower Moon’ And An Early Oscar Contender

 

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Although Leonardo DiCaprio and Robert De Niro take top billing in Martin Scorsese’s harrowing drama, one might say the real star of Killers of the Flower Moon is a relative unknown: Lily Gladstone, who plays Mollie, wife to DiCaprio’s Ernest. Mollie is the film’s conscience, a rich Osage woman who is slowly being robbed of her health by a seemingly simple case of diabetes. Insulin shots only seem to make matters worse, and after losing her sisters in suspicious circumstances, Mollie insists that only her husband can administer her medicine. But is she being too trusting?

 

An American actress of Blackfeet and Nimíipuu heritage, Gladstone came to Scorsese’s attention after he saw her in Kelly Reichardt’s Certain Women. In an ensemble cast including Michelle Williams, Kristen Stewart and Laura Dern, she more than held her own, prompting Rolling Stone’s review to enthuse that “Gladstone gives a performance of such piercing honesty and yearning, you almost can’t look at her.” So, it’s hardly a stretch to suggest that Scorsese’s film might take her all the way from Cannes to the Oscars.

 

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Growing up in Montana, Gladstone recalls hearing stories about the exploitation of the Osage. “I didn’t have language for it being the reign of terror, until David Grann’s book reached the cultural zeitgeist,” she says. “I was aware of it in passing from my dad when I homeschooled in fifth grade. He told me about how Osages were killed for having oil money. I remember being upset about it, and then I would hear Osage stories make the rounds across Indian country. My father joked about how he’d heard that Osages had so much money they would buy a Rolls Royce, and when it ran out of gas, they’d go, ‘Oh well, I guess it’s time for another one.’ And then they’d go buy another car.”

 

She continues: “It’s a funny story, until you think about the implications. You had all these people who moved to Osage County to take advantage of this first wave of folks with headrights to oil, at a time when people were moving from a horse cart to driving automobiles. Nobody was going to say to those first generations of Osage, ‘No, you just fill the tank up with gas.’ All these people set up businesses around Osage wealth. Grann mentions it in the book, and this is something that a lot of families talked about, how there was this ‘Osage tax’, which meant things were horribly overpriced.”

 

Although some dramatic license has been taken, Gladstone believes that the version of events presented in Killers of the Flower Moon is true, and that attention to the fil will help the Osage’s claims that their land and fortunes were stolen, either literally, or, more chillingly, by white “guardians” appointed to oversee Osage tribe members’ money and limit their access to it. Gladstone’s research included the novel A Pipe for February by Charles H. Red Corn, which offered an Osage perspective on what happened to them and their rising levels of paranoia. “It’s a beautiful book,” she says.

 

But instead of talking history, Scorsese and DiCaprio wanted to talk to Gladstone about the moral aspects of the story. “Marty and Leo had conversations with me about what the nature of evil is, and how evil doesn’t see itself as evil,” she remembers. “Can somebody really love and honor another, feel all these things in one aspect of their psyche, and then turn around and do all of these other hateful, evil, entitled things? The tightrope walk was exploring the relationship between Ernest and Mollie.”

 

She says playing Mollie helped her understand the structures of Osage society. “The Osage are a patriarchal society only in the sense that men are the ones who get up and speak and kind of represent the family,” she explains. “But the women own everything, and when families come together, it’s really around the woman. She grounds everything, and I can see Mollie having that view of herself, coming from a tradition of women really being the heart of everything, and being the backbone.”

 

That insight made it easier for her to navigate the relationship. “The Mollie that I found loved Ernest for the innocence that she saw there,” she says, “which is something that can resonate with lots of women: loving that hurt little boy. If you do that, if you don’t think somebody can do something so calculated and evil, then they can. Right under your nose. I could see the tightrope Leo was walking. Ernest was receiving love and acceptance from Mollie, and yet there were other loyalties in his life.”

 

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