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      15 Unforgettable Looks From Cannes 2025: Rihanna, Dakota Johnson and More

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      Three-dimensional gowns, thigh-high men’s boots, adult-size bibs and more.Organizers of this year’s Cannes Film Festival cast a conservative shadow over the red carpet with the release of a new dress code noting that, “for decency reasons, nudity is prohibited.” The rule was seen as an attempt to tamp down on so-called naked dressing, a trend that in recent years has inspired more people to wear less coverage as a way to get attention.Whether it stopped people from showing skin was debatable. But it certainly didn’t stop stars from making waves with their appearances. Some, like the actor Jeremy Strong, took Cannes as an opportunity to test color palettes: He wore a range of pastels (purple, green, salmon) that would rival the selection at an Easter egg hunt. Others, like the models Bella Hadid, used the festival to debut new hair (she went blond).Of all the clothes on display at Cannes, which ends on Saturday, these 15 looks were some of the most memorable for myriad reasons — nakedness mostly not among them.Isabelle Huppert: Most Brat!Miguel Medina/Agence France-Presse — Getty ImagesThe fine threads used to construct the actor’s Balenciaga gown had the delicacy of natural hair, but the chemical green color now firmly linked to Charli XCX and her “Brat” album.Pedro Pascal: Most ‘Sun’s Out, Guns Out’!Sarah Meyssonnier/ReutersWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      At Cannes, Sneaky Period Pieces and Film Lovers’ Delights Rule the Screen

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      Movies from China, Brazil, Iran and elsewhere prove that there’s so much more to cinema than Hollywood would have us believe.On Thursday, a few minutes after 10 p.m. on the 10th day of the Cannes Film Festival, a multitude of exhausted attendees — critics, programmers, industry types — abruptly woke up. The Chinese movie “Resurrection” had started, sending an immediate jolt through the theater. It was electric, dramatic, fantastic. People shifted in their seats to lean closer to the screen in the 1,068-seat auditorium. Experiencing awe can transform brains and bodies, and we were lit.A deliriously inventive, elegiac, self-reflexive fantasy written and directed by Bi Gan, “Resurrection” tracks a tragic mystery being, an entity known as a Fantasmer (Jackson Yee), across cinema history. A dreamer who clings to illusions, the Fantasmer’s journey effectively mirrors that of film itself, from its beginnings to its uneasy present. What makes the film especially delectable is that Bi Gan changes visual styles and narrative techniques throughout this movie odyssey. The opening section seems to take place around the time that the 19th century gives way to the 20th, but more precisely looks like — and heavily references — films from the art’s first few decades. Sometime later, a guy out of a Hollywood noir or a Jean-Pierre Melville thriller shows up.Chockablock with nods to other films and filmmakers, “Resurrection” is a cinephile’s delight. It was especially pleasurable to watch Bi Gan’s references to the pioneering Lumière brothers in a festival that showcases its award ceremony in a theater that bears their name. “Resurrection” may be wreathed in melancholy, but Bi Gan’s own journey through cinema is enlivening and encouraging. It was another reminder that great movies continue to be made despite the industry’s continuing agonies, which only deepened when, the week before the festival opened, President Trump threatened to impose a crushing 100 percent tariff on movies that were produced in “foreign lands,” though the White House has said no final decision had been made.The threat cast a lingering pall. The world’s largest film marketplace — where an estimated 15,000 industry professionals meet, great and make deals — takes place simultaneously with the festival. And the news out of the market was less than happy. “Did Trump’s tariffs hijack the world’s busiest film market?” read a headline on the France 24 news site. “Strong Festival, Soft Market” is how The Hollywood Reporter characterized the event’s final stretch.Whatever that means for our moviegoing future, this year’s festival was gratifyingly strong, the finest in a long time. The selections in the main competition — which vie for the Palme d’Or — can be a mixed bag, the product of programming taste, yes, but also favoritism, backroom politicking and other considerations. The festival functions as a vital showcase for European cinema, but it also relies on celebrity-driven movies to attract the news media that promotes it. That’s one reason the event is so protective of its red carpet and helps explains some of its much-derided rules, like no selfies on the steps leading to the Lumière.Lav Diaz revisits an explorer’s brutal travels in “Magellan.”Rosa FilmesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Best Movies of 2025, So Far

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      Our critics picked 10 films that you might have missed but that are worth your time on this long holiday weekend.“Mission: Impossible — The Final Reckoning” and the live-action “Lilo & Stitch” are flooding theaters this Memorial Day weekend. But if you don’t want to follow the crowd, it’s also a good time to catch up on some terrific films you may have missed earlier in the year. I asked our chief film critic, Manohla Dargis, and our movie critic, Alissa Wilkinson, to recommend releases worth your time. All are in theaters or available online.‘Sinners’In theaters.The story: The twins Smoke and Stack (both played by Michael B. Jordan) return from Al Capone’s Chicago to open a juke joint in Clarksdale, Miss. That’s when the devil, or rather, an Irish vampire, shows up in this talker of a film.Manohla Dargis’s take: Directed by Ryan Coogler, this “is a big-screen exultation — a passionate, effusive praise song about life and love, including the love of movies. Set in Jim Crow Mississippi, it is a genre-defying, mind-bending fantasia overflowing with great performances, dancing vampires and a lot of ideas about love and history.”Read the review; interviews with Coogler and Jordan, and other cast members; and a critic’s essay.‘I’m Still Here’Stream it on Netflix or rent it on most major platforms.Fernanda Torres in “I’m Still Here.”Alile Onawale/Sony Pictures ClassicsWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Tom Cruise Really, Really Loves Movies

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      One of the industry’s biggest stars is also its most enthusiastic evangelist. He is hoping it pays off for the eighth “Mission: Impossible” film.Tom Cruise’s characters are defined by their enthusiasms. Jerry Maguire boosts his clients. Daniel Kaffee wants the truth, whether or not he can handle it. Maverick feels a need — a need for speed.In real life, Cruise, 62, has enthusiastically cast himself as the great champion of cinema. You can almost hear the deep-voice narration over the trailer: In a time when movies are endangered after a pandemic and the streaming age, one man stands up for old-fashioned filmmaking — with stark stories and real stunts intended for the Cineplex.In 2020, during the first Covid summer, Cruise posted video to social media of going to Christopher Nolan’s “Tenet” (“Big Movie. Big Screen. Loved it”). An introduction ran before screenings of “Top Gun: Maverick” in the spring of 2022 in which Cruise thanked audiences for “seeing it on the big screen.” As Cruise put it in another short video: “I love my popcorn. Movies. Popcorn.”As he invariably does in his movies, Cruise has succeeded. “You saved Hollywood’s ass!” Steven Spielberg told him at a pre-Oscars lunch after “Top Gun: Maverick” grossed $1.5 billion, Variety reported. The turnout proved people would still go to the movies en masse.Cruise in “Top Gun: Maverick.” The 2022 film was widely credited with revitalizing the film industry after Covid.Paramount PicturesAs his latest blockbuster, “Mission: Impossible — The Final Reckoning,” hits theaters Friday, it is clear that Cruise’s persona has stuck. His press tour has featured his own paeans to moviemaking and fans’ appreciation for his commitment to doing his own stunts and even how he eats popcorn.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A New Pee-wee Herman Documentary Peeks Inside the Playhouse

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      Though he is well-known for only one, the performer and writer Paul Reubens lived many lives.As the new documentary “Pee-wee as Himself” details, before he created his alter ego Pee-wee Herman, Reubens was a successful child actor in regional theater. Growing up in the circus town of Sarasota, Fla. (the longtime home of Ringling Bros.), he was surrounded early on by self-proclaimed freaks. He became an Andy Warhol-loving cinéaste; a serious collector of kitsch; and, by his 20s, an aspiring performance artist.Among the many revelations in the three-hour documentary — which premieres Friday on HBO, in two parts — is his acknowledgment that he is gay, and that he was out of the closet before deciding early to barricade back in.Reubens’s death, at age 70 in 2023, was another surprise; the cancer he lived with for years had been a secret to almost everyone. (The filmmakers, who captured 40 hours of footage with him, were unaware of his illness; he was still due to sit for his final interview.)In 2010, Reubens took a version of “The Pee-wee Herman Show,” which debuted originally in 1981, to Broadway. Sara Krulwich/The New York Times NYTCREDIT: Sara Krulwich/The New York TimesEven more startling, and illuminating, is the audacity of Reubens’s lifelong ambitions — and his vast and continuing influence. During his heyday in the ’80s, with the hit movie “Pee-wee’s Big Adventure” and the Saturday morning children’s show “Pee-wee’s Playhouse,” he offered fans a world of outlandish creative possibility, where anyone could be anything they dreamed up. Also, chairs gave hugs, the floor talked, and a mechanical Abraham Lincoln cooked you pancakes.Pee-wee was bizarre at the time, too, but in retrospect, the global superstardom Reubens achieved is downright bonkers. With a B.F.A. from the California Institute of the Arts, he viewed his creation as conceptual art. He also meant to be famous. He was an avant-gardist, but “he wanted to be a superstar,” said Matt Wolf, the director of the documentary.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      What Tom Cruise Understands About Stunts. (And Movies.)

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      His intense devotion to doing his own stunt work can seem pathological. But it’s part of a more charming devotion to moviegoing itself.Every “Mission: Impossible” movie can be boiled down to a single, central image. Tom Cruise in glasses and a black vest, hanging by wires, inches above the floor. Tom Cruise dangling from a rocky cliff ledge. Tom Cruise sticking like a gecko to the glass panels of the Burj Khalifa. Tom Cruise in some kind of spacesuit, hurtling through the air toward the camera. Tom Cruise in midair again, arms stretched backward as a motorbike falls below him, making it look all the more as if he were flying. For the newest and purportedly last installment in the series, “The Final Reckoning,” the iconography has been perfected: We see Cruise dangling from a banana-yellow biplane as it hurtles through the sky. Oh, and the plane is upside down.In the opening minutes of “The Final Reckoning,” all of the iconic images from previous films are repeated back to us, reminding us that what we are here for is to see Tom Cruise perform breathtaking stunts. Of course, if you were in the theater, then you would have been sold on this idea already. The film’s marketing has made the sight of the upside-down biplane so familiar that before the movie had even started, I overheard a couple in the seats behind me discussing how the stunt might have been done. (“Where are the wires, you think?”)We’re compelled to know how these stunts were done for one very simple reason: We believe that Tom Cruise really is clutching the side of a skyscraper or an upside-down plane. This is because Cruise and many, many other people have worked hard to ensure our belief that Tom Cruise does his own stunts.‘How can we involve the audience?’Some of this belief-bolstering work is technical and filmic: The cameras move close to Cruise and linger there, convincing us that it really is him doing the thing. But a monumental part of the effort has to do with Cruise himself, and his ability to persuade us that if we buy a ticket for his movie, we will see him create a harrowing spectacle. On one hand, we will be watching a movie about a fictional character named Ethan Hunt, whose mission seems impossible. On the other, we will be watching Tom Cruise, a movie star we have known for 40-plus years, doing the seemingly impossible.This collapsing of character and star has become only more central to the films as the franchise goes on, sometimes sabotaging the movies’ impact, sometimes making them more interesting, sometimes both at the same time. For example, the antagonist in these final two installments is a runaway A.I. called the Entity. For a series that once had the great Philip Seymour Hoffman play a villain, evil software feels like a step down. But Ethan Hunt/Tom Cruise battling a faceless, ageless superintelligence that is able to fake practically anything? That is a rich text.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      If This Movie Wins the Palme d’Or, It Will Extend a Staggering Streak

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      The distributor Neon has been on a run at the Cannes Film Festival, and it has three movies, including “Sentimental Value,” considered front-runners.They sounded froggy. Their eyes were heavy. But underneath all that fatigue, it was clear that the cast and crew of “Sentimental Value” were in good spirits during their Cannes Film Festival news conference on Wednesday.“If my voice is a little rusty, it’s because the film was apparently well-received and we had the party yesterday,” said the co-writer Eskil Vogt.Later, the actor Stellan Skarsgard’s voice also faltered at the news conference. “I was at the same party,” he said apologetically.I, too, had been to that late-night soiree, crammed shoulder-to-shoulder with people eager to celebrate the festival’s biggest hit so far. Earlier that night, “Sentimental Value” received the most supersized standing ovation of Cannes, immediately distinguishing it as one of the strongest contenders to win the Palme d’Or. And if it does take that prestigious trophy, one of the most remarkable streaks in cinema will extend even further.The film’s distributor, Neon, is now angling for its sixth consecutive Palme d’Or, following “Parasite,” “Titane,” “Triangle of Sadness,” “Anatomy of a Fall” and “Anora.” Most insiders believe the Palme could go to “Sentimental Value,” the Iranian drama “It Was Just an Accident” or the Brazilian entry “The Secret Agent,” though Neon also bought the latter two films after they premiered this week, further improving the company’s odds.It may help that the “Sentimental Value” director Joachim Trier has come close to the top prize here before: His previous film, the dramedy “The Worst Person in the World,” won the best-actress award at Cannes for its lead, Renate Reinsve. “Sentimental Value” finds them reteaming for the story of Nora, a Norwegian stage actress who is reluctantly reunited with her estranged father, Gustav (Skarsgard), after her mother’s funeral.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Without a Prenup, David Geffen’s Divorce Could Get Interesting

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      The billionaire’s marriage to David Armstrong ended with the familiar “irreconcilable differences.” Is Mr. Geffen’s fortune in jeopardy?David Geffen’s name is affixed to concert halls, medical programs and drama schools. Last week, however, it landed on divorce papers.Mr. Geffen, 82, was the instigator in a divorce petition filed on Friday in Los Angeles, signaling a split from his husband of two years, David Armstrong, a 32-year-old dancer he married in March 2023.While the legal grounds were familiar to anyone with a passing knowledge of divorce — “irreconcilable differences,” according to the petition — the circumstances of the dissolution raised some eyebrows because of one detail: The petition also indicates that Mr. Armstrong did not sign a prenuptial agreement with Mr. Geffen, the entertainment mogul whose net worth has been estimated at more than $8 billion.Whether that will lead to financial distress for Mr. Geffen remains to be seen, say experts in California divorce law. The filing last week shows that Mr. Geffen intends to pay spousal support, which — considering the brevity of the marriage — is generally disbursed over a period equal to about half the length of a marriage.Still, that support could be sizable considering the luxurious world in which Mr. Geffen — and, until recently, Mr. Armstrong — resided.Samantha Bley DeJean, a family law attorney in San Francisco, said she would guess that the couple’s lifestyle “was fairly significant,” though she also noted that Mr. Geffen could probably afford whatever the court deemed support to be.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More