Who is sofia coppola dating

Have you ever really lived until you’ve seen Nicole Kidman shriek “yi-yi-yi-yi” in a punk-versus-alien melee?In this loopy lark from director John Cameron Mitchell (based on a short story by Neil Gaiman), Kidman has a supporting role as Boadicea, a punk goddess who single-handedly confers cool points in 1970s London.Boadicea is introduced in a club scene yelling obscenities and slapping insolent punks, though the real first impression she makes is with her out-there look: Boadicea’s black-and-white punk duds and outrageous makeup are accentuated with what may be Nicole Kidman’s finest screen wig ever, a silver Bowie-type poof that I would adopt if it were a dog.The only thing that could possibly improve the look is later on in the movie where she dons welder’s goggles while wielding a blowtorch; essentially, Boadicea is Mad Max meets ’s Pris meets Sharon Needles.A similarly long and sprawling entry, Robin Campillo’s “120 Beats per Minute” (“120 Battements par Minute”), won the Grand Prix, the runner-up to the Palme. distribution rights shortly after the film’s premiere.A moving tribute to the Paris wing of the AIDS activist group ACT UP in the ’90s, inspired by Campillo’s own experience, the film was one of the competition’s most well-received titles. Eleven years after drawing a few boos and zero prizes for her competition entry “Marie Antoinette,” Sofia Coppola won directing honors for “The Beguiled,” her slyly feminist adaptation of a Civil War-era novel that previously inspired Don Siegel’s 1971 thriller starring Clint Eastwood.to four more exciting projects that all debuted over the past week at the Cannes Film Festival.But listen, you’re a busy Nicole Kidman fan, and we understand!

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It’s hard to imagine the film working without her, and it’s just as difficult to think of an actress as willing to bare her soul — and her body — in the way that Lanthimos asks of her.They’re all a little twitterpated by this supine soldier, and while Dunst and Fanning are more overt in their romantic interest, Kidman’s buttoned-up belle feels stirrings, too, never more so than when she’s cleaning off Farrell’s body and running her wet hands a little too close to his Adonis belt.There’s a little more verve to the proceedings than you’d usually get from a languorous Sofia Coppola film, and Kidman nicely bridges the gap between Coppola’s more tasteful inclinations and the pulpy source material.At a Cannes Film Festival where the purposes and parameters of art have been much debated, with Netflix, virtual reality and television series making rare and sometimes first-time appearances, it was only fitting that the Palme d’Or was awarded Sunday night to “The Square,” Swedish director Ruben Östlund’s blisteringly funny and provocative portrait of a modern-art museum curator enduring a crisis of conscience.Thanking one of his collaborators in his acceptance speech, Östlund said, “We made a film that is 2 1/2 hours, and I think you’re the only producer who said, after the screening last Sunday, ‘We have to make the film longer!

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