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      BAFTA Awards 2024 Winners: ‘Oppenheimer’ Sweeps

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      “The Holdovers” and “Poor Things” were also honored at the British equivalent of the Oscars, while “Saltburn” and “Barbie” left empty-handed.“Oppenheimer,” Christopher Nolan’s blockbuster movie about the development of the atomic bomb, swept the board at the EE British Academy Film Awards in London on Sunday.The movie won seven awards at Britain’s equivalent of the Oscars, including best film, best director for Nolan and best leading actor for Cillian Murphy for his portrayal of the physicist J. Robert Oppenheimer.It beat four other nominees to the best film prize, including “Poor Things,” Yorgos Lanthimos’s take on a Frankenstein story and “The Holdovers,” Alexander Payne’s comedy about a boarding school teacher stuck looking after a student over the holidays. It also beat “Killers of the Flower Moon,” Martin Scorsese’s three-and-a-half-hour epic about the Osage murders of the 1920s, and “Anatomy of a Fall,” Justine Triet’s multilingual courtroom drama about a woman accused of murdering her husband.In the days leading up to the awards, commonly known as the BAFTAs, most British movie critics predicted that “Oppenheimer” would win big. Tom Shone, writing in The Times of London, said that Nolan’s “magnum opus” was an instant classic. “Sometimes the front-runner is the front-runner for a reason,” he added.Still, the prizes were Nolan’s first director wins at the BAFTAs, despite several previous nominations for his movies “Inception” and “Dunkirk.”At the ceremony at London’s Royal Festival Hall, Nolan, who grew up in London, seemed a little overwhelmed by all the accolades. Accepting the best director prize, he called the award “an incredible honor” then reminisced about his parents dragging him to the festival hall, a major classical music venue as a boy. In fact, he said, his younger brother, now also a TV and filmmaker, had beaten him to the hall’s stage “by about 40 years” because he once took part in a performance of “The Nutcracker.”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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      Oscars 2024 Best Picture Nominations: Everything You Need to Know

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      Sure, a whole lot of people saw at least half of the “Barbienheimer” phenomenon this year. Missed some of the other films that scored best picture nominations? Catch up here on all of them: “American Fiction,” “Anatomy of a Fall,” “Barbie,” “The Holdovers,” “Killers of the Flower Moon,” “Maestro,” “Oppenheimer,” “Past Lives,” “Poor Things” and “The Zone of Interest.”‘American Fiction’‘Anatomy of a Fall’‘Barbie’ ‘The Holdovers’‘Killers of the Flower Moon’‘Maestro’‘Oppenheimer’‘Past Lives’‘Poor Things’‘The Zone of Interest’ More

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      ‘Oppenheimer’ Leads BAFTA Nominees

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      Christopher Nolan’s movie received 13 nods, and will compete for best picture against the likes of “Killers of The Flower Moon” and “Poor Things,” but not “Barbie.”“Oppenheimer,” Christopher Nolan’s movie about the development of the atomic bomb, on Thursday received the highest number of nominations for this year’s EE British Academy Film Awards, known as the BAFTAs.The film secured 13 nods for Britain’s equivalent of the Oscars, including for best film, where it is up against four other titles including “Killers of The Flower Moon,” Martin Scorsese’s epic about the Osage murders of the 1920s, and “Poor Things,” Yorgos Lanthimos’s sexually-charged take on a Frankenstein story starring Emma Stone. “Poor Things” followed “Oppenheimer” with 11 nominations overall.The other titles nominated for best film are “Anatomy of a Fall,” Justine Triet’s Palme d’Or winner about a woman accused of murdering her husband, and “The Holdovers,” Alexander Payne’s tale of a boarding school teacher who has to look after students during the holidays.The nominations for “Oppenheimer” come just days after the movie won three of the major awards at this year’s Golden Globes, and will be seen by many as further boosting its chances at this year’s Oscars; the BAFTA and Oscar voting bodies overlap. This year’s Oscar nominations are scheduled to be announced on Tuesday.Although “Oppenheimer” secured the most nominations, the highest profile categories featured a variety of movies. In the best director category, Nolan, Triet and Payne were nominated alongside Bradley Cooper for “Maestro,” his biopic of Leonard Bernstein; Jonathan Glazer for “The Zone of Interest,” a movie about day-to-day life at the Auschwitz concentration camp during the Holocaust; and Andrew Haigh for “All of Us Strangers,” an acclaimed British film about a lonely gay writer.Andrew Scott and Paul Mescal in “All of Us Strangers,” directed by Andrew Haigh.Parisa Taghizadeh/Searchlight Pictures, via Associated Press“Barbie,” Greta Gerwig’s blockbuster about the doll going on a journey of self-discovery, was not nominated in the best movie or best director categories, but Margot Robbie, its star, secured a nomination for best lead actress. Robbie will compete for that prize alongside the stars of other high-profile movies including Emma Stone (“Poor Things”), Carey Mulligan (“Maestro”) and Fantasia Barrino (“The Color Purple”). Sandra Hüller was also nominated for “Anatomy of a Fall,” as was Vivian Oparah for her role in the British rom-com “Rye Lane,” set in a diverse part of south London.Lily Gladstone, who earlier this month became the first Indigenous person to win a Golden Globe for best actress for her performance in “Killers of The Flower Moon,” was not nominated for a BAFTA.Leonardo DiCaprio, Gladstone’s co-star, was also snubbed in the best actor category. That category’s nominees instead included Cillian Murphy for “Oppenheimer,” Cooper for “Maestro” and Barry Keoghan for “Saltburn.” They will compete against Paul Giamatti for his lead role in “The Holdovers,” Colman Domingo for “Rustin” and Teo Yoo for “Past Lives,” Celine Song’s wistful movie about two childhood friends who keep reuniting in later life.In 2020, the BAFTAs’ organizers overhauled the awards’ nomination processes in an attempt to improve the diversity of nominees. The changes included assigning voters 15 movies to watch each before making their selections. Sara Putt, the chair of BAFTA, said in an interview that the inclusion of Oparah among the leading actress nominees showed that the changes were helping to highlight smaller films, but she added that there was “still more to do” to increase diversity in the industry.The winners of this year’s BAFTAs are scheduled to be announced on Feb. 18 in a ceremony at the Royal Festival Hall in London, hosted by David Tennant. The ceremony will be broadcast on BritBox in the United States. More

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      What Will Be Nominated for Oscars Next Week, and What Won’t?

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      While “Oppenheimer,” “Barbie” and “Killers of the Flower Moon” are likely to do well, the directors race is hardly set and other categories are open, too.When it comes to predicting the Oscars, you ultimately have to go with your gut … and mine is in a state of agita.That’s what happens when there are simply too many good movies and great performances to all make the cut: Even the hypothetical snubs I’m about to dole out have me tied up in knots.Which names can you expect to hear on Tuesday, when the Oscar nominations are announced? Here is what I project will be nominated in the top six Oscar categories, based on industry chatter, key laurels from the Golden Globes and Critics Choice Awards, and the nominations bestowed by the Screen Actors Guild, Producers Guild of America and Directors Guild of America. Well, all of those things, and my poor, tormented gut.Best PictureLet’s start with the safest bets. “Oppenheimer,” “Barbie” and “Killers of the Flower Moon” scored top nominations from the producers, directors and actors guilds last week and I expect each film to earn double-digit Oscar nominations. “The Holdovers” and “Poor Things” are secure, too: Though they didn’t make it into SAG’s best-ensemble race, both films boast lead actors who’ve won the Golden Globe and Critics Choice Award. If this were an old-school race, these would be the five nominees.But there are five more slots to fill, and I project the next three will go to “Past Lives” and “American Fiction,” passion picks with distinct points of view, as well as “Maestro,” the sort of ambitious biopic that Oscar voters are typically in the tank for. I’m also betting that the French courtroom drama “Anatomy of a Fall” and the German-language Holocaust drama “The Zone of Interest” find favor with the academy’s increasingly international voting body. (Even the Producers Guild, which so often favors big studio movies over global cinema, found room to nominate that pair.)There are still a few dark horses that hope to push their way into this lineup, like “The Color Purple,” “May December,” “Society of the Snow” and “Origin.” But I suspect these 10 are locked and loaded.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?  More

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      Critics Choice Awards Winners 2024: See the Full List

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      “The Holdovers” wins early trophies. Going into the night, “Barbie,” with 18 nominations, led the field. Its closest rivals, with 13 apiece, were “Oppenheimer” and “Poor Things.”Stars from “The Holdovers” were early were early winners in the Critics Choice Awards on Sunday. Da’Vine Joy Randolph won best supporting actress and Dominic Sessa won the newcomer award. Going into the evening, “Barbie,” packed with a cast of household names and filled with hit songs, had by far the most nominations — 18, far ahead of its rival all season, “Oppenheimer,” and “Poor Things,” with 13 each. “Killers of the Flower Moon” also made a strong showing, with a dozen nominations.Whether multiple nominations will translate into wins remains to be seen. The ceremony is being broadcast on the CW with Chelsea Handler as the host. We’ll be updating the winners’ list all evening long.FilmBest Supporting ActorRobert Downey Jr., “Oppenheimer”Best Supporting ActressDa’Vine Joy Randolph, “The Holdovers”Best Young Actor or ActressDominic Sessa, “The Holdovers”Best Animated Feature“Spider-Man: Across the Spider-Verse”TelevisionBest Supporting Actor, Drama SeriesBilly Crudup, “The Morning Show”Best Supporting Actress, Drama SeriesElizabeth Debicki, “The Crown”Best Supporting Actor, Limited Series or TV MovieJonathan Bailey, “Fellow Travelers”Best Supporting Actress, Limited Series or TV MovieMaria Bello, “Beef” More

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      Paul Giamatti, Bradley Cooper, Da’Vine Joy Randolph and More Celebrities at the National Board of Review gala

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      The stars were among the 17 honorees at the annual National Board of Review gala, as awards season ramps up.On a not-at-all red carpet inside Cipriani 42nd Street in Midtown Manhattan on Thursday night, Da’Vine Joy Randolph was glowing.“The fact that these people actually even seen my work is just mind-blowing,” said the actress, a star of “The Holdovers,” who was being honored with the National Board of Review’s best supporting actress prize at its annual film awards gala, just days after she had won her first Golden Globe on Sunday for her role in the film.A few feet away on the gray carpet was Celine Song, who came to accept the prize for best directorial debut for “Past Lives.” She was sporting a tuxedo jacket, a long skirt and a bow tie.“Because the movie is so personal, any time somebody connects to the film, I always feel less lonely; I feel very seen and understood and embraced,” said Ms. Song, who based the romantic film partly on her own experience with a childhood friend.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?  More

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      For Best Picture, Here are 13 Most Likely Contenders

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      It’s a very competitive year for the top Oscar. With precursor awards like the Golden Globes coming soon, here’s what may make the cut.The good news is that it’s been a great year for movies.The bad news is that, now, the battle for best picture will be bloodier than ever.With such a wide field of acclaimed contenders, plenty of worthy films will be dealt a bad hand when the Oscar nominations are announced on Jan. 23. Even today’s self-imposed assignment to narrow the list to the 10 likeliest nominees proved a harrowing task; instead, I have hedged with an unlucky 13.Ahead of the Golden Globes on Sunday, and the bellwether industry nominations next week from the producers’ and actors’ guilds, here are the current contenders with the most viable shot at a best-picture nomination, ranked in descending order according to their certainty.‘Oppenheimer’Christopher Nolan’s blockbuster biopic has the feeling of an old-fashioned sweeper: It’s a highbrow film and a populist hit — exactly the sort of movie Oscar voters and general audiences should be able to agree upon. Still, this race isn’t sewn up. Recent best-picture winners tend to tug more at the heart than at the head, and there are a slew of contenders that can make a more effective case for that organ. And though Nolan has been nominated five times before, he has never been able to convince voters to actually hand him the Oscar: Even when he directed “Dunkirk” (2017), the sort of technically stupendous World War II movie that should have been a slam-dunk for the academy, voters flocked to the warm and cuddly Guillermo del Toro (“The Shape of Water”) over the crisp, professorial Nolan.‘The Holdovers’Could Alexander Payne’s Christmas movie be this year’s “CODA,” a scrappy little heartwarmer that defeats the imposing auteurist film it’s up against? Set in the 1970s and shot like a film from that era (even the precredits studio logos are appealingly vintage), this boarding-school dramedy couldn’t be more of a bull’s-eye for older academy members, who’ll be eager to give “The Holdovers” their they-don’t-make-’em-like-this-anymore vote. Paul Giamatti, the film’s lead, and Da’Vine Joy Randolph, have could-win heat in the actor and supporting actress categories, and movies that triumph in the acting and screenplay races have a nearly unbeatable portfolio for best picture. If Payne manages a best-director nomination, it’s a good sign that this underdog could slip past all the big-budget spectacles and go the distance.‘Barbie’Greta Gerwig’s plastic-fantastic comedy was indisputably the movie of 2023: This billion-dollar blockbuster went over like a rock concert in theaters, and its creative swerves had Hollywood types marveling at what Gerwig was able to get away with. Though Oscar voters have gotten a bad rap for ignoring mega-budget hits, they’re typically willing to make an exception for movies with a distinctive point of view and a high level of craftsmanship, which the deliciously decorated “Barbie” has in spades. A fun movie that’s full of heart and a standout in this group of contenders, “Barbie” is limited only by the not insignificant number of voters who’ll be thinking, “Can I really give Hollywood’s most prestigious award to a toy?”‘Killers of the Flower Moon’“Killers of the Flower Moon” could get a boost if Lily Gladstone is nominated for best actress.AppleTV+Martin Scorsese’s well-regarded movie would have a better shot at the top Oscar if “Oppenheimer” had been a contender in a different year: Between these two weighty, three-hour historical dramas, voters may deem Nolan’s more significant, simply because it made nearly a billion dollars worldwide. Still, the 81-year-old Scorsese has won only one Oscar and time is ticking for the academy to give him another. If his lead, Lily Gladstone, comes out on top of a fiercely competitive best-actress race, that could help burnish the film’s chances of picking up another significant prize.‘Poor Things’The Venice Film Festival kicks off awards season in earnest every August, and Emma Stone movies that play there often get a sensational launchpad: Just look at Oscar favorites like “La La Land” and “Birdman” and “The Favourite,” the last of which kicked off Stone’s very fruitful partnership with the director Yorgos Lanthimos. Their most recent film, “Poor Things,” won the Golden Lion at Venice this year and quickly established itself as a major contender, able to compete for up to three acting nominations (for Stone and her supporting actors Mark Ruffalo and Willem Dafoe) and a huge haul of below-the-line nods for its stunning costumes, cinematography, production design and visual effects. There’s no doubt it’ll be a best-picture player, but is there a narrative to push the film and Stone over the top in a very crowded year?‘Past Lives’Celine Song’s directorial debut was a breakout indie hit this summer, but this intimate romantic drama was in danger of receding once bigger and noisier rivals arrived in the fall. Fortunately, “Past Lives” begins this awards season in strong shape, earning the best-film trophy at the Gotham Awards, five nominations at the Independent Spirit Awards, and a key nomination for best drama at the Golden Globes. Like “The Holdovers,” it’s a smaller-scale film that some voters simply adore, and that passion will count for a lot in this field.‘American Fiction’There may be no more auspicious festival prize than the People’s Choice Award voted on by attendees of the Toronto International Film Festival: Every movie that won there over the past decade went on to score a best picture nomination, and three of them — “12 Years a Slave,” “Green Book” and “Nomadland” — actually took the top Oscar. This bodes awfully well for the writer-director Cord Jefferson’s contemporary comedy “American Fiction,” which hit big out of Toronto, netted crucial nominations at the Golden Globes and Indie Spirits, and ought to land its leading man, Jeffrey Wright, the first Oscar nomination of his long career. (I should note Jefferson is a friend.)‘Maestro’Bradley Cooper as Leonard Bernstein in “Maestro,” which he also directed.Jason McDonald/NetflixBradley Cooper’s first directorial effort, “A Star Is Born,” deserved better from the Oscars. It won only the original-song trophy when so much else about it, including Cooper’s ace lead performance, was also worth recognizing. Then again, Cooper had only himself to blame for that result: He was so determined to land the directing nomination, which ultimately eluded him, that he didn’t give his acting the push it merited. I wonder if something similar may happen this year: Cooper’s Leonard Bernstein drama, “Maestro,” is an even bigger directorial swing, and though he delivers exactly the sort of makeup-aided, transformative real-person performance that Oscar voters go gaga for, the fate of “Maestro” currently seems tied up in whether the directors’ branch will finally admit Cooper to the club.‘Anatomy of a Fall’The hip studio Neon has a knack for guiding Palme d’Or winners from the Cannes stage into Oscar’s inner circle, and the French courtroom drama “Anatomy of a Fall” could very well follow in the footsteps of Neon’s “Parasite” and “Triangle of Sadness.” It helps that the lead, Sandra Hüller, has enough heat to make it into the best-actress race, though the film was dinged by France’s decision to submit instead “The Taste of Things” as its contender for the international film Oscar: As fans of “RRR” found last year, it’s hard for world cinema to penetrate the best-picture lineup without a corresponding nod in the international-feature category.‘May December’Can Todd Haynes finally score a best-picture nominee? Though the director’s drama “Carol” got awfully close, “May December” is the most viable contender he has ever made, a favorite with critics’ groups and a mainstream conversation-starter since its debut on Netflix. If Natalie Portman, Julianne Moore, and Charles Melton all pick up acting nominations and the writer Samy Burch snags an original-screenplay nod, a place in the best-picture race ought to follow, but Haynes and his oeuvre have proved too smart for the room before. Let’s hope the academy’s tastes have caught up.‘The Zone of Interest’Jonathan Glazer’s audacious Holocaust drama is one of the most acclaimed movies of the year, the probable winner of the international-feature Oscar, and could even score Glazer an auteurist slot in the best-director category. Still, its chances for best picture are harder to predict. Every other contender on this list is likely to earn at least one acting nomination and any such recognition for “Zone” would come as a big surprise. It would also be the most challenging art-house film to make the best-picture lineup in ages: When older, more traditional voters cue the movie on their academy app and are met with a black screen and several minutes of unsettling score, will they stay seated through this unusual overture or close the app to call tech support?‘The Color Purple’Fantasia Barrino-Taylor in “The Color Purple,” which missed out on a Golden Globe nomination for best musical or comedy.Warner Bros PicturesThis musical take on the classic Alice Walker novel is banking on some late-breaking momentum, aided by a strong box office return on Christmas Day, to push it into the best-picture lineup. Still, it’s missed out on a few key nominations, failing to make the American Film Institute’s populist-leaning 10-best list or even snag a Golden Globe nomination for best comedy or musical, which should have been a given. Earning an ensemble nomination from the Screen Actors Guild on Jan. 10 is all but necessary to move “The Color Purple” up on this list.‘Society of the Snow’Last season, when the academy announced semifinalist shortlists in a wide variety of below-the-line categories, Netflix’s war film “All Quiet on the Western Front” had the sort of surprisingly strong showing that presaged a stellar nine Oscar nominations and four wins. That’s the reason I’m keeping an eye on the streamer’s Spanish-language plane-crash drama, “Society of the Snow,” which made the international-feature shortlist and also popped up as a semifinalist for visual effects, score, makeup and hairstyling (even edging out “Barbie” in the latter category). If all of these branches are already taking notice, don’t be surprised if “Society of the Snow” vaults past a better-known contender by the morning of the Oscar nominations. More

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      The Stories Behind Emma Stone’s Costumes in ‘Poor Things’

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      The designer Holly Waddington breaks down how Emma Stone’s Bella Baxter evolves onscreen, from her childish knickers to her cage-like wedding dress.The designer Holly Waddington had wide latitude in envisioning the costumes for “Poor Things,” Yorgos Lanthimos’s mad comedy starring Emma Stone.“The only brief really was that he didn’t want it to be overtly like a period drama” — the script is set in the 1880s — “and he didn’t want it to be overtly like a science fiction film,” Waddington said. In the movie (a Golden Lion winner at the Venice Film Festival and now an Oscar contender), Stone is a scientist’s creation who evolves from a childlike naïf to a sexually and politically liberated woman.The Greek-born director Lanthimos, known for his surrealist vision, gave Waddington only one reference image: a young designer’s take on “inflatable trousers,” Waddington recalled. When puffed up, they “created this really exaggerated shape, just incredibly curvaceous.” She worked with other departments, like production design and hair and makeup, to finish the look for Stone’s Bella Baxter, whose life changes on a Grand Tour of cities like Lisbon.A lot snapped into focus when Waddington learned that Bella would have long, jet-black hair; an Egon Schiele painting was Lanthimos’s inspiration for that, she said, and it informed her color palette. Another thing to consider, in a movie with a lot of sex scenes: How the clothes come off. “I had many slightly awkward conversations with Yorgos about it,” she said. “He was asking me, how does she have sex in these? I was probably a bit embarrassed. But he’s not, at all.”Waddington knew her Victoriana; she spent years working in a costume house, specializing in archival ladies fashion. But for this film, she cut loose the corsetry — a scary prospect at first, she said, because corsets give period clothes their shape — and mixed eras and materials. Early on, Mrs. Prim, the medical assistant turned nanny, chooses Bella’s wardrobe; then she finds her own style. “The clothes needed to really change with her,” Waddington said.Beyond that, Lanthimos offered conceptual freedom. “He just doesn’t need to have a whole back story,” she said. If it looked good, it flew. Bella’s statement sleeves are already having a moment.In a video interview from her London home, Waddington discussed how, and why, she dressed Stone in three key moments of the movie. These are edited excerpts from the conversation.1. Bella at HomeThe costumes Stone wore in early scenes that took place at home captured her in a more childlike persona.Searchlight PicturesThat look in the house is all based around the idea of her being a very young child at this point. And she’s being dressed by Mrs. Prim, who finds her really annoying. The clothes are not baby clothes, they’re womanly, but applied in this slightly ad hoc fashion, because she has the physicality of a child. Very quickly, things have dissembled and come off. And this is just based on my own observations of children that, even if you’re going to a smart occasion, the clothes, especially from the waist down, often come off. It’s just a slightly discordant, uncomfortable way to dress a woman — like an anxiety dream about going to a job interview wearing a suit at the top and nothing on the bottom, just knickers.The knickers are almost like 1950s nappy covers and they’re highly textured — seersucker. And then there’s this big bodice, a very thick moiré taffeta. The thickness of the cloth is almost too thick for human scale, which is what you get when you look at dolls. Often their fabrics look like marzipan — like cake decoration. Also, the striations in the moiré look to me like the organic marks that you get in flesh.She wears this funny little bustle — one of my favorite things in the film. It’s based on an authentic late Victorian bustle cage which would have been worn underneath the dress to give it volume. What struck me is that it looked super sci-fi.2. Lisbon OutfitWhen Stone’s character arrives in Lisbon, she starts to undergo an awakening.Searchlight PicturesDuring the pandemic, the producers arranged for me to go and meet Emma. I took many different renditions of sleeves with me — big sleeves, medium sized. I took lots of different kinds of knickers. I had an idea about how I wanted it to progress, but it was really in that fitting, trying all these shapes on Emma, that I was able to say, OK, we definitely need a bustle, we need these special 1930s tap pants, which I had just thrown in the suitcase at the last minute. They were a departure from the babyish knickers. In Lisbon, they’re silky and fluid — they’ve grown up and they’re sexy.I knew that I wanted her to step out of the hotel in something really discordant. And I was thinking of that scene in “Taxi Driver” when Jodie Foster steps out into the streets of New York in these hot pants.The ruffly top is based on a modesty piece for Victorian dresses — they filled in the décolletage, but on their own they’re just like a little dickey or bib. And I like the idea that she would just wear that, in its own right, as a blouse. What she’s actually wearing is bits of underwear as her clothes.The boots are a little homage to André Courrèges. In early development, I looked at late ’60s-early ’70s sci-fi costumes, and space age modernism fashion. So those boots are based on this idea of her having her toes free, because she’s just uncontainable — she’s exposing every aspect of her, including her feet. The peep-toe boot would never have happened in Victorian society. They didn’t even show their ankles.The gold, yellow and sky-blue colors are definitely a combination that we associate with many fairy tale characters. She stepped into the world and it opened up to her, sort of a Disney version of how you imagine Lisbon, all pastel. I wanted the clothes to reflect that joy and optimism.3. Wedding DressStone’s character wears elaborate sleeves throughout the movie, including when she dons a wedding dress.Searchlight PicturesI liked the idea of it being a cage, with bands of tubing in delicate silk. So hopefully evoking this sense of entrapment, but you could still see through to her and see her body — that felt important. And also these sleeves.We had this book of patterns from the 1890s, my assistant got it from an antiques dealer on Portobello Market. Patterns from the actual period are much more extreme than how we imagined them. This is a very brief period in fashion when there were huge mutton sleeves. I thought they should be even larger — really massive. And Yorgos was really up for the big sleeves. The wedding dress sleeve is probably about a meter all the way around. They look like balloons.I struggled with the veil because I didn’t feel like it was quite the right thing for this character. But then I took it to Emma on the morning of the shoot, and she grabbed it and got it wrapped around her face in a knot.I quite like the fact that it’s see-through and light and big, and it’s also her favorite costume, because her body felt so free in it. More