Colin Farrell was so transformative as the Penguin—yes, that's Colin Farrell under all those prosthetics, if you can believe it—that the actor earned The Batman villain his own spin-off series. Premiering on HBO this fall, The Penguin will showcase the return of nightclub owner Oswald Cobblepot as he seeks to claim Gotham's criminal empire for himself.
To promote the series, HBO is going all out for The Penguin ahead of the show's San Diego Comic-Con panel. The Batman director Matt Reeves, Farrell, and showrunner Lauren LeFranc (Marvel's Agents of S.H.I.E.L.D.) are set to unveil a new trailer—alongside a fan event at a recreation of Penguin's Iceberg Lounge. Hopefully, Reeves will also share a bit about the road ahead for The Batman Part II, as well as his vision for the Caped Crusader's franchise moving forward. For everything we know so far about The Penguin, continue reading below.
Following the destruction of Gotham City at the end of The Batman film, the streets remain flooded. However, all that water is perfect for the Penguin. According to Sarah Aubrey, the head of original content at HBO, "The goal of this is to show what Oz’s life is like and that’s very much in the streets of Gotham...As a hustler and a strategist with his own ambitions."
The series stars Cristin Milioti (Palm Springs) as Sofia Falcone, the daughter of recently deceased Gotham kingpin Carmine Falcone (John Turturro). Michael Kelly (Special Ops; Lioness) stars as Falcone underboss Johnny Vitti, and Clancy Brown (John Wick: Chapter 4) appears as gangster Salvatore Maroni. Craig Zobel (Mare of Easttown) directs the first three episodes of the eight-episode series.
No. The Penguin directly follows Reeves's The Batman (2022) starring Robert Pattinson and Zoë Kravitz. Elements of the series will also tie in to the sequel film, The Batman Part II, set for release in 2026. The Penguin has no connection to James Gunn's rebooted DC Universe (DCU). Neither does The Batman or The Batman Part II.
Gunn has his own plans for Batman in the near future, with a film titled The Brave and The Bold, directed by The Flash's Andy Muschietti. Reeves' Batman stories will continue on in their own universe labelled "DC Elseworlds," along with any other DC Comics project not within the official DCU canon. And what about Todd Philips's Joker movies with Joaquin Phoenix? That's a whole different universe as well. Are you with me so far? Because there's more. Reeves is also developing an Arkham Asylum series that Deadline reports is actually included in the new DCU. As Gunn explained on Threads, "He'll be producing stories both within his The Batman universe and within the DCU." Got it!
The Penguin will premiere on HBO and stream on Max this September. HBO has yet to reveal the official release date, though The Penguin's Comic-Con panel will likely reveal the premiere date. If not, at least you might catch a ride in the Penguin's "iconic Purple Maserati." I remember when the Penguin cruised around Gotham in a big yellow duck, but it seems as if times have changed. Maybe we'll at least see some penguins with fireworks attached to their backs.
Originally Published on Esquire US
An unnerving horror that is upset by its own marketing.
Agent Lee Harker (played by Maika Monroe) is tasked to solve a series of murders from the 1990s where the patriarch, without any provocation, kills his own family and then himself. Aside from the MO, the only thing that ties all these cases are the cryptic letters left behind, and the name that signs them off: Longlegs.
The best sort of horror films are the ones that still stick around after the credits roll. In the company of Hereditary and The Silence of the Lambs, Longlegs cling to you like cigarette smoke. It's palpable; the atmosphere that director Osgood "Oz" Perkins conjures up. He withholds information—scenes are played out in areas where light struggles to take root; bits and pieces of Longlegs (Nicolas Cage) are hinted at or glimpsed in most of the movie. You're kept on tenterhooks before the inevitable tug.
Monroe, who found her sure footing in It Follows, plays the mousey agent Lee Harker. The detective seldom makes eye contact and is a bit of an odd duck but her anxiety is evident, especially whenever she deals with her religious mother played by the captivating Alicia Witt.
You won't get all your questions answered in Longlegs. That might be frustrating to have a lack of closure on certain issues but that's the appeal of the movie. That violent acts sometimes occur without rhyme or reason. In the movie, the Satanic Panic is given weight as the devil (or some paranormal simulacrum of Old Nick) is the entity pulling the strings. Or is it just a convenient bogeyman to point a finger at? We'd never know but, again, it's this sort of uncertainty that lingers.
Longlegs also features a well-trod theme: how children survive their parents. Whether how parents raise their kids is intentional or well-meaning, we bear the marks (or scars) of our upbringing. Real life seem to have spilled over into Longlegs: Perkins is the son of Antony Perkins and his father's homosexuality being kept a secret inspired the film. Cage based his Longlegs performance on his mom, who was a schizophrenic and severe depressive. The hair, the white face, the incoherent utterances, Cage's performance is unforgettable. But on the other side of that same coin...
...Cage's performance may not ellicit the proper reaction from moviegoers.
During my screening, a few patrons started giggling when Longlegs appeared on the screen. Is it from how over-the-top Cage's acting is? Or from nervousness? We don't know but it took the rest of us out of the movie. Then, again Cage's portrayal was egged on my Perkins' directions so maybe the director knows something that we don't.
In what is seen as the ballsiest marketing move ever, Longlegs' production house and distributor, NEON, ran a campaign that did better than "show-not-tell"—they didn't show Longlegs. Instead, they ran clips to set the tone. One such marketing stunt involved Monroe's heartbeat that spiked when she first met Cage in his Longlegs persona. While it created buzz, it also set the bar for how scary the film is unrealistically high. I enjoyed Longlegs and think the movie is in a league of its own but when it is set against NEON's marketing highfalutin claims, I was a tad disappointed.
In short, don't buy into the hype.
Kiernan Shipka, who was in Perkins' The Blackcoat's Daughter (another atmospheric horror), returns here as the only known survivor of Longlegs' crimes.
Longlegs requires multiple viewings to fully pick up on the bits of easter eggs and clues. Like the "cuckoo" that Longlegs utters. There's a theory that "cuckoo" refers to the real-life behaviour of the cuckoos, who lay their own eggs in other bird's nests and trick the host into raising the cuckoo's young. Whether that's the reason for Longleg's "cuckoo", it just adds another layer of lore to the movie.
Also, there's little information about the film's composer, Zigli. He's an almost-unknown to the music scene and all that is known about him is, according to Milan Records, that the composer described himself as a “humanoid vessel for the delivery of sounds and songs.”
Longlegs is now out in theatres.
It’s taken exactly twice as long as real-life Emperor Commodus’ reign to get another Gladiator movie. But finally, 24 years since Russell Crowe, Joaquin Phoenix, and the dog that played Well’ard in Eastenders taught us there’s no place like Rome, it’s here. Almost.
The swelteringly anticipated sequel to Ridley Scott’s sword-and-sandle epic hits cinemas this autumn. The original, about an all-conquering general betrayed and sold into slavery by a jealous new emperor, proved box office magic in 2000. It not only raked in USD 460 million worldwide, but won five Oscars, including Best Picture and Best Actor.
So big sandals to fill.
Beyond what we can glean from the trailer, the plot of the film is as closely guarded as an imperial bedchamber. Pretty much all we know is who’s in it – Pedro Pascal, Paul Mescal, Denzel Washington and Connie Nielsen. And, of course, Scott is again in the folding chair. We also know that it picks up the same story some 20 years later, following the (familiar-sounding) trajectory of Lucius (Mescal) – the cherubic boy in the first film, now with stubble and muscles – as he transforms into a ruthless gladiator.
As for the plot, here's what we know: Lucius, now an adult, has traded life at the top table (along with his mother) for one in the fields of Numidia, northern Africa. Now with a wife and child, he finally appears to have found inner peace. But then the armies of co-emperors Caracalla (Fred Hechinger) and Geta (Joseph Quinn) invade Numidia, led by general Marcus Acacius (Pascal). Lucius is captured and finds himself in the shackles of the very empire he was once meant to rule.
Washington’s character is completely new – a former slave turned wealthy merchant called Mercius with his own grudge against the emperors. Cut from a similar cloth as the late-Oliver Reed's Proximo, most certainly.
So what can we expect? A lot more of the same, probably, and more. It’s being touted as the blockbuster of 2024. But how close to historical truth does it tread, and who were the real-life Romans who inspired this epic?
Played in the movie by Fred Hechinger and Joseph Quinn, these brothers gave off strong Cain and Abel energy throughout their lives, the former now recognised as one of the most bloodthirsty tyrants in Roman history.
Upon his deathbed in AD211, their father Septimius Severus, made them co-emperors – surely one of the greatest errors in judgment of the Roman era, in a crowded market. Trouble was, Severus didn’t set out a division of rule for the brothers, who engaged in a bitter tug-of-war for the best parts of the empire.
For two years they ruled miserably together, the time in which Gladiator II is set. But in the end, their fragile egos could no longer contain their jealousies, and Caracalla had Geta murdered by his own guardsmen. Geta is said to have died in their mother’s arms. Caracalla then went full-Stalin on Geta’s memory, having his image removed from every painting in sight, and ordering the wholesale deaths of his supporters.
Caracalla was also known for a face as ugly as his soul. He earned the nickname Tarautas, after one of the most famous gladiators of the time, who also had a reputation for being offensively ugly and violent.
He did some good things, like grant Roman citizenship to all free men throughout the Roman Empire, and build the great public Baths of Caracalla in Rome. But most of that was overshadowed by the trail of death and destruction he left in his wake. Once, after a satirical play mocked him in Alexandria, Egypt, he ordered the indiscriminate massacre of thousands of Alexandrian citizens as payback. He had senators murdered, slaughtered entire populations of cities he conquered, and ultimately left the empire’s economy in tatters.
He was said to have studied Greek and could quote long passages from the Greek playwright Euripides but also that he strongly despised education and educated people.
In some way Caracalla died as he lived – urinating on whatever he saw before him. While travelling through southern Turkey to visit a temple, he stopped for a toilet break by the side of the road. There, as he relieved himself in the mud, a disgruntled soldier named Justin Martialis, ran over and stabbed him to death. He was 29 years old.
You’ll remember Lucilla from the first film – the beautiful emperor’s daughter caught in an uncomfortable love triangle between her brother (Commodus) and former lover (Maximus).
First minor discrepancy between fact and fiction: Lucilla died six years before Caracalla was born. But still, details.
Born into the purple of imperial Rome, Lucilla was no stranger to power and privilege. As the daughter of Emperor Marcus Aurelius, she was groomed for a life of political significance. At the age of (ahem) about 11, she was married off to her father's co-emperor, 29-year-old Lucius Verus. It was a union designed to cement their alliance. As empress, she enjoyed the trappings of her position, but fate had a cruel twist in store.
Verus' untimely death left Lucilla a widow, her power and influence diminished. Yet, her lineage made her a valuable pawn in the game of empires. A hasty remarriage to a senator followed, but she yearned for the power she once held.
When her brother Commodus ascended the throne, Lucilla watched in dismay as his erratic rule threatened to unravel their father's legacy. Driven by ambition and a desire to protect Rome, she became entangled in a daring plot to assassinate the emperor. However, the conspiracy was foiled, and Lucilla faced the wrath of her brother.
Exiled to the picturesque island of Capri, Lucilla's fate was sealed. Isolated and disgraced, she met her end at the hands of an assassin sent by Commodus.
Probably the biggest creative liberty, this, given that the real Lucius died before Commodus even became emperor. His full name was Lucius Verus II, the son of Lucilla and Lucius Verus (Marcus Aurelius' co-ruler). He had two sisters: Aurelia Lucilla and Lucilla Plautia and a little brother named Pompeianus from his mother's second marriage.
Lucius and his two sisters all died in childhood, most likely of illness, which was common for children of the time. Pompeianus, however, did survive childhood to become a soldier and, later, a senator. He was five when his mother was executed, and in his early 30s when he was murdered by bandits on the orders of emperor Caracalla.
While the plot for Gladiator II is shrouded in secrecy, the historical backdrop of Emperor Caracalla's reign offers a glimpse into the potential brutality and political intrigue that could unfold on screen. Caracalla's reputation for violence and ruthlessness, coupled with the power struggles and betrayals that characterised his rule, provides fertile ground for a compelling and action-packed sequel.
Whether the film delves into the darker aspects of Caracalla's reign, such as his penchant for massacres and purges, remains to be seen. However, the historical context suggests that the gladiatorial arena could be a fitting stage for a tale of vengeance, survival, and the struggle for power in a corrupt and decadent empire.
Originally published on Esquire UK
If you thinks that Krumpus is the worst kind of monster to see during the Christmas season, buddy, you are about to meet the nosferatu. Sorry, Nosferatu with a capital "N". And we are talking about the version by Robert Eggers, he of The Witch, The Lighthouse and The Northman.
Some context: not willing to spare coin to adapt Bram Stoker's Dracula for film, Prana Film produced an unauthorised version of it. The film was called Nosferatu, which is an archaic Romanian word "a suggested etymology of 'Nesuferitu', meaning 'the offensive one' or 'the insufferable one'. Many details from the book were changed (Dracula is now Count Orlok; the setting was shifted to Berlin; Van Helsing was renamed as Professor Bulwer) but it wasn't enough to deter the Stoker Estate from suing. Alas, Prana Film declared bankruptcy but Nosferatu was hailed by film scholars that has set the standard for the horror genre.
Even though Nosferatu entered the public domain in 2019, it didn't stop unofficial remakes from being produced even earlier. With a tenuous connection to the original via its title, Werner Herzog's Nosferatu the Vampyre starred Klaus Kinski as Count Dracula, not Count Orlok. There was even a remake by David Lee Fisher on Kickstarter starring Doug Jones. Robert Eggers' version is the only official remake to date.
It was announced that Bill Skarsgård (who's in, apparently, his goth phase) was cast as Count Orlok in Eggers' remake (very apt). Then it was followed by the news that Willem Dafoe was cast as well. There's a sort of poetry of Dafoe being in Nosferatu—Dafoe previously starred in Shadow of the Vampire, a fictionalised account of the filming Nosferatu, where Dafoe portrays Max Shreck (the actor who played Count Orlok) as an actual vampire.
For this overture, Dafoe will play Professor Albin Eberhart von Franz, whose name was changed from Professor Bulwer (who was based on Van Helsing in Stoker's Dracula).
At least, we saw a reason to create this.
Robert Eggers' Nosferatu also stars Nicholas Hoult; Lily-Rose Depp; Aaron Taylor-Johnson; Emma Corrin and Ralph Ineson. While the trailer doesn't show Count Orlok in all his horrifying glory, the feel of the teaser and the silhouette at the end conveyed all that's needed to tide us over for the full reveal.
Nosferatu will be released this Christmas.
The 2024 edition of the Cannes Film Festival made quite a number of headlines. From complaints of rude, handsy security on the red carpet to the coming together of film greats Martin Scorsese and George Lucas on the same stage, it was quite the two weeks. Perhaps, one that went under the radar was Saint Laurent's multiple appearances at the film festival.
There's no doubt that the red carpet at Cannes is as much of a showstopper as the schedule of films—Saint Laurent is anything but a stranger at the former. But this time, the French fashion house took part in the other half of the festival with its newly formed film production arm Saint Laurent Productions.
Initiated by creative director Anthony Vaccarello, Saint Laurent Productions marks the first full-fledged production of film by a fashion house. For its official debut, Saint Laurent Productions premiered three films at the 2024 Cannes Film Festival where Vaccarello is both listed as co-producer as well as costume artistic director.
The trio of long-feature films are Emilia Perez by Jacques Audiard (featuring a star-studded cast including Zoe Saldaña, Selena Gomez, and Edgar Ramirez), David Cronenberg's The Shrouds, and Parthenope directed by Paolo Sorrentino. All three films were in competition for the coveted Palme d'Or. Although none were awarded the honour—it went to Anora by American filmmaker Sean Baker—Emilia Perez took home the Jury Prize while its ensemble female cast was awarded Best Actress. In other words, not too bad for a first-time production house.
It may seem out of left field for Saint Laurent to have a film production arm, but the in reality the House has had a link to the world of cinema back to the very beginnings of its inception. Founder Yves Saint Laurent—apart from contributing to some of fashion's most celebrated silhouettes— designed costumes for a number of films. His most prominent was 1967's Belle de Jour starring Catherine Deneuve, where the entire film wardrobe for the actress was wholly designed by the couturier. Yves' collections were also thought of as cinematic, something that Vaccarello has increasingly channelled in his collections for the House.
There's little doubt that with the successful Cannes debut, Saint Laurent Productions will continue to produce a wide range of films, each with the same depth as Vaccarello's collections. With Jonathan Anderson of Loewe also having had a hand in designing costumes for Challengers, is this a trend that we'll see more of?
Although I do not believe that 2023 will go down as a stellar year for anyone – I asked six friends and they all agreed – there is something I cannot stop thinking about: Cannes 2023. We got The Zone of Interest, Anatomy of a Fall, May December, How to Have Sex, Perfect Days. There was Killers of the Flower Moon. There was that gay Western with Ethan Hawke and Pedro Pascal. And best of all – and yes, I really mean best – we got our first peak at The Idol, The Weeknd’s HBO critical darling (ha, ha) gone too soon. If the Oxford English Dictionary ever need to update their definition of “halcyon” – is that something they do? – they could just use two words: Cannes 2023.
Which leads us to the 2024 festival, its 77th edition, which takes place in a few weeks. This year’s jury is headed up by Greta Gerwig, former indie darling who last year managed to turn a toy franchise into an Oscar-nominated film (though missed actual gold: shame!). It’s probably not going to be quite as starry as last year’s affair – though, as evidenced by my introduction, what chance did it have? – but there are a few promising projects.
You can read the full list of in-competition and out-of-competition films here, but we have picked some highlights.
All eyes are on Francis Ford Coppola’s Megalopolis, about an architect who rebuilds New York following a disaster. The film, which Coppola has been working on since the early Eighties, stars Adam Driver, Nathalie Emanuel and Aubrey Plaza.
Barry Keoghan dropped out of Gladiator II (led by Esquire cover star Paul Mescal) to star in Bird, directed by Andrea Arnold (American Honey, Fish Tank) alongside the recent star of gay open relationship drama Passages, Franz Rogowski. And his Saltburn co-star and erstwhile Elvis, Jacob Elordi, will star in Paul Schrader’s Oh, Canada, which is based on 2021 novel Foregone. It’s about a an American leftie who heads to Canada to avoid being drafted for the Vietnam War.
Yorgos Lanthimos, fresh from a victory run with Poor Things, is back with Kinds of Kindness, an anthology film starring Emma Stone, Jesse Plemons, possible tortured poet Joe Alwyn and a blink-and-you’ll-miss-it turn from Hunter Schafer. Tortured politician Donald Trump is the subject of The Apprentice, directed by Ali Abbasi, which follows the businessman turned politician’s early years. The dubious honour of playing the former president goes to Sebastian Stan and Succession’s Jeremy Strong co-stars.
Sean Baker, the American director behind the heart-stealing The Florida Project, returns with Anora, a New York rom-com about… well, who knows actually? Details are under wrap apart from the cast which includes Mikey Madison (Once Upon a Time in… Hollywood). Elsewhere Italian director Paolo Sorrentino returns with Parthenope, starring Gary Oldman. We don’t know much about that one either though the film’s title takes its name from a siren in Greek mythology (could be helpful to know for a pub quiz?).
David Cronenberg is premiering The Shrouds, a horror film with Vincent Cassel, Guy Pearce and Diane Kruger. Cassel plays a widower who invents a machine to connect with the dead. If movies have taught us anything, that will surely have zero consequences. Another horror, Coralie Fargeat’s The Substance, sounds interesting thanks to its cast alone: Demi Moore, Dennis Quaid and Margaret Qualley.
The biggie premiering out of competition is George Miller’s Fury Road prequel, Furiosa: A Mad Max Saga. Anya Taylor-Joy takes on the lead role while Thor’s younger brother, Liam Hemsworth, joins in on the desert fun. Will Kevin Costner’s western, Horizon: An American Saga, be as fun? Who knows but its cast, which includes Costner, Sienna Miller and Luke Wilson, will surely give it a go.
And what will follow up Molly Manning Walker’s How To Have Sex in the Un Certain Regard category? By title alone, I am excited by On Becoming a Guinea Fowl from Zambian-Welsh director Rungano Nyoni. It is a family comedy-drama set in Africa and has already been picked up by A24 for international sales.
Originally published on Esquire UK
From 15 to 21 April 2024, Moncler transforms the Milano Centrale railway station into a spectacular creative hub. The station will turn into one of the world’s largest galleries with an immersive exhibition titled An Invitation To Dream.
“Dreams are what have been moving myself and Moncler forward since day one, because we never stop dreaming about what is possible, and how we can inspire and be inspired by others around the world. Always aiming to not only do new, but to do better,” says Moncler chairman and CEO Remo Ruffini.
Curated by Jefferson Hack, the theme of the exhibition heeds closely to the brand’s values. An Invitation To Dream is filmed and photographed by Jack Davison, and features a lineup of visionaries that are the cultural leaders of today. They include Daniel Arsham, Dr. Deepak Chopra, Isamaya Ffrench, Laila Gohar, Jeremy O. Harris, Francesca Hayward, Julianknxx, Ruth Rogers, Ruffini, Rina Sawayama, Sumayya Vally, and Zaya.
“The curated community represent some of the finest creative visionaries across culture who dare to dream for us. They are today’s reality-shapers and they were invited to participate as their work carries with it new hopes and possibilities. It’s the deeply transformative aspects in their work and practice that makes them essential artists of our time and essential for us to bring into this project,” Hack explains.
Without a doubt, the station is one of the city’s busiest travel hubs. But not only that, it also represents the pivotal moment for those daring enough to pursue their dreams. Billboards and screen-based advertising sites featuring imageries and quotations from the artists stand amidst the station's bustling environment. These large-scale text pieces and slow-motion portraits serve as powerful yet silent invocations. An Invitation To Dream celebrates those who embody passion and belief.
Arsham tells us more as he reflects on the concept of dreams and manifestation, and how it might help him in his creative processes. From childhood inspirations to the subconscious realms where ideas germinate, Arsham's narrative offers a glimpse into the inner workings of a visionary artist.
ESQUIRE SINGAPORE: Do you consider yourself a dreamer? Are you a dreamer?
DANIEL ARSHAM: Yeah, I believe in the power of manifestation. When I was younger, I didn't fully grasp this concept or its reality, but looking back, I see how I've manifested many opportunities in my life. For instance, when I applied to Cooper Union, I wasn't accepted initially, but I kept pushing for it until it happened. Similarly, working with Merce Cunningham was a dream I actively pursued.
ESQ: You have a lot of notebooks and that you sketch a lot. It's interesting how dreams often start in the mind before taking tangible form. How do you document your process of manifesting ideas? Do your dreams directly influence your work?
DA: There's that 5- to 10-minute period right before you fall asleep where you're kind of in between sleeping, lucid dreaming, where you're partially in control of the vision that you're having in your dream and part of it's taken over by your subconscious. And you can’t differentiate what’s real and what’s imaginary. I often find inspiration in that liminal state right before sleep. There are moments, especially during air travel, where I enter a state between wakefulness and sleep, and ideas emerge. I rely heavily on note-taking and sketching to capture these fleeting thoughts.
ESQ: It's interesting how much our subconsciousness can help recontextualise the conscious mind in a way it can be a freer space. You know, you have an idea, you sketch, you look at ideas, but then when you're in that kind of dream world, you're able to kind of rethink things, or things are presented to you without bias.
DA: Yeah. Ironically, I sometimes do this thing to document an idea where I'll text it to myself. I woke up the other morning from a dream and saw this text I wrote to myself and it said, "Have you ever woken up out of a beautiful dream 30 minutes before your alarm, and you really just want to get back into that dream? Make your life feel like that."
ESQ: Creative flow and dreaming share similarities in their meditative nature. Do you experience a flow state while creating?
DA: Yeah. My studio practice feels like capturing an existing idea rather than inventing one. The idea behind it has already passed. So it's about capturing an idea rather than implementing it. I don't know how exactly to say this, but when I'm painting, It's almost as if the idea is kind of already there and I'm just finding it. Does that make sense?
ESQ: So are you able to kind of paint and not think about what you’re doing? How would you describe that, that feeling of being in a flow state?
DA: I've been making paintings now for 30 years, and I've gotten into a process that almost feels, I wouldn’t say mechanical, but it's very regimented. I know exactly where all of my paint is, the types of brushes that I like to use, and I've refined all of that, even down to the point where I only use a specific kind of paint now.
ESQ: It's interesting because I think that that kind of discipline and rigour is akin to a meditation practice where you're doing something very mundane, but you're doing it very precisely, over and over again, like raking the Japanese garden in your big installation.
DA: Yeah.
ESQ: It does something to the mind. It does something to the creative mind, that practice...
DA: That's why we call it studio practice, because you're constantly trying things out. You're still learning and there's routines that get built up within that that I think are productive, actually, even if they feel like you're doing the same thing over and over again. But, you become better at those things through that kind of practice.
ESQ: Has there ever been a kind of an epiphany moment in that studio practice where you've just done a left turn or you’re shaking things up and thought, okay, I'm going to re orientate what I'm doing here?
DA: I often find it really difficult to trace the origin of particular ideas in my work because they flow from one another. They're kind of iterative. And, I recently started this new series of paintings that are these kinds of split face paintings. We were talking about them earlier and somebody was asking, where did the idea originate from and I can't even remember.
ESQ: So very much like a dream it's fragmentary, right? You know, it could come from the past and could come from, a moment in history or another life and it could also be a premonition of the future, something that you're projecting or wanting to manifest?
DA: Right.
ESQ: I think by saying I don't know where my ideas come from, I start to question whether they are from me or are they from another kind of source in a way that I'm channelling. Have you thought much about that? Where does inspiration come from in general for you?
DA: I think every artist is a product of the era they live in. It is the artist’s job to interpret and reveal new potential things within that reality that often go unseen or overlooked. Oftentimes when I create a work that has a big impact, it feels as though it already existed in the world, waiting to be expressed. This sense of inherent presence gives the work a significant impact and a sense of purpose fulfilled.
ESQ: There's definitely recurring symbols and motifs in your work. Are there recurring symbols and motifs in your dream world?
DA: Oh, I have tons of recurring dreams. One of them that's very strange that I can remember going all the way back to high school is, being in a kind of empty landscape with a single tree and there are these cylinders floating in the air and as I go to grab them, they shrink down into a pencil and then just disappear. Then I often have dreams where I'm in my childhood home where I kind of relive my childhood memories.
ESQ: And how does that make you feel?
DA: It's a beautiful thing to go back to your childhood. And, I could probably draw a very accurate floor plan of it even today. I haven't been in that house in over 30 years, but I know it very well. Space has a way of influencing our psychology that I think imprints a lot in childhood.
ESQ: In what way?
DA: I think your childhood bedroom or the space that you spend a lot of time in as a child imprints on you differently than the way an apartment in your 30s might. There's just a different character about it.
ESQ: I'm just imagining younger you in your childhood home, dreaming of what you might be in the future. What were some of the things that you were looking out for that gave you a sense of inspiration or confidence about taking the path of being an artist?
DA: I grew up in a really suburban neighbourhood where all the houses are literally identical with the same floor plan. They might do a mirror image where the house is in reverse of itself. I started getting into photography around age 10 or 11 when my grandfather gifted me a camera. One of my early artistic endeavours was a series of photos capturing the doors of these houses. Even though the houses were the same, the doors ended up being different. The paint of the door. Some people put a flower pot outside their door, or a cross, or something that gave that sameness a unique character. This experience sparked my recognition of an artist's ability to capture the distinctive aspects of everyday life that others may overlook.
ESQ: It's amazing because I can imagine you sort of looking through the frame and then it altering your sense of reality and perspective on the world. I'm really interested in this idea of how you think about reality and perspective. Obviously, our dream world allows us to play with one of those concepts because it is nonlinear, experimental. It's an unreal world. In some cultures, they would say the real world is an illusion and the dream world is the world. But obviously when you're making art and your artworks are also about world building and creating alternate worlds for yourself to inhabit, I wonder if this idea of reality shaping is something that interests you in your work.
DA: Yeah, I think for most people, they accept reality at face value and they accept the limitations of that. Right?
ESQ: The literal physics.
DA: It's not just about the physics; it's about where we're born, the options presented to us, and what we believe we're capable of achieving. For me, the essence of creating art goes beyond a career; it's about realising the potential to bring my visions to life authentically. It can be unsettling to recognise that much of what we perceive as reality are human constructs. Somebody made them, you know. I have my two young sons, Casper and Phoenix, and I often emphasise to them that behind every design decision lies the possibility for change. There's a lot of potential in realising that reality is malleable.
ESQ: So your motivation is about looking at the world and seeing how you can improve on it or change it. Or is it more about seeking some kind of answers to unrealised questions?
DA: Yeah, I think making art is more about trying to find the answer to something, but actually it's really revealing more questions in some ways.
ESQ: That's super interesting. I like that we talked a lot about childhood and your children as well. I think also part of it seems to me that you are always open to change and new possibilities. You said earlier, always learning is also a little bit about staying in a childlike state?
DA: Yeah. Children have this unique ability to perceive things differently.
ESQ: How do you maintain that sense of freshness and openness to new experiences? What are some of your techniques?
DA: I try to relive my own childhood through my sons. This is a bad example, but they've been wanting to get these go karts. Obviously, cars are a big part of my life, so I got them these really fast gas go karts that are probably not even legal today. I have a paved area behind my garage and you can fully drift these things. They kept telling me ‘you're going too fast’ and I was like ‘I got it under control!’ And eventually, like a child, I pushed it over the limit and fully flipped the thing, tore up my arm and knee, and it was funny. Casper, who's the older one, said ‘you know, I told you not to do that.’
ESQ: How have you showcased "pushing the limits" in your work?
DA: As an artist, we often engage in series, and the public often perceives artwork through repetition. It's like pages of a book that you're putting together, but knowing when the book is finished and how it progresses to the next chapter or book is a constant consideration. I often have too many ideas that I'm always waiting to realise. I don't know if that really answers the question. But yeah, I always have too many things on my list to make, too many ideas.
ESQ: Was there an experience, an artwork that's made such an incredible impression on you, the kind of impression you hope your work would have on the public when they encounter it?
DA: Right around the time that I was shooting those photographs, when I was 10, 11, 12, there was a hurricane in Florida that completely destroyed the childhood home that I grew up in. The house was reconstructed back in exactly the way that it had been before, except obviously, the wallpaper was different. The tiles on the floor were different. The furniture was different. But it was the exact same space. It also gave me the experience of seeing how architecture was put together. The structure, the electrical lines, the plumbing, the drywall, the paint. Understanding that, yeah, somebody thought about that, somebody made that, it was a considered idea. I think that really had a major impact on the way that I think about everything. Something being destroyed, something being reconstructed. The use of different materials for different possibilities and its manifested in my work in so many different ways.
ESQ: That's a great story. Last question, what’s an unrealised dream or ambition for you?
DA: Ummm.. an unrealised dream? Film is certainly something that I've played with in the past and I think never really realised in its full potential. Made some short films. But I think at this phase in my life, I keep coming back to the most interesting things that constantly draws me back. I have made a big return to painting after almost a decade. It's become not only a part of my art practice, but also a significant aspect of my daily life in the studio.
Following nearly 16 years of development hell, The Crow is finally ready to seek vengeance once again. Based on James O'Barr's 1989 comic book series of the same name, the upcoming film was first announced in 2008. Various actors were in talks to lead over the years, including Bradley Cooper, Jason Momoa, Tom Hiddleston, and Luke Evans. Now, Rupert Sanders (Ghost in the Shell) will direct the film, which will star Bill Skarsgård and FKA Twigs.
Skarsgård will play Eric Draven, a murdered man who seeks to avenge the deaths of himself and his fiancėe (FKA Twigs). "A crow carries their soul to the land of the dead," the narrator says in the first trailer for the film. "But sometimes something so bad happens, that the soul cannot rest until you put the wrong things right." The trailer also shows the grittier and bloodier direction for The Crow. Danny Huston (Succession) plays the main villain. The Crow premieres in theatres on 7 June, 2024.
The original The Crow (1994) film was famously mired with tragedy. A prop gun disaster fatally wounded star Brandon Lee, the son of legendary action star Bruce Lee. Though Lee had already filmed most of his scenes, the rest of the movie was recut and edited with stunt doubles and digital effects. The Crow later went on to become a cult classic. It grossed USD94 million at the box office on a USD23-million budget. Three more The Crow films were subsequently released, including two direct-to-video sequels.
Though the upcoming reimagining of The Crow is technically the fifth film in the franchise, it marks the first time that the story of Eric Draven will be retold for a new audience. "I was a huge fan of the original film growing up as a kid and was so honored to take on the role of Eric Draven," Skarsgård said in the official press release for the new trailer. "But really what drew me to it was what Rupert Sanders wanted to do with it. He wanted to completely reimagine the story and the character and tailor it towards a modern audience... I felt a responsibility to Eric’s story and endeavored to stay true to the spirit of the source material."
Sanders hopes that the new film pays homage to Lee's iconic role. That and forging a new direction for the influential series. "What drew me to this was the opportunity to make a dark romance, something that dealt with loss, grief, and the ethereal veil between life and death and reaching through that," the director told Vanity Fair. "I grew up listening to Joy Division and The Cure, and this movie is a bit like a Cure song—the beauty of melancholy."
Originally published on Esquire US
(Editor's Note: This was originally posted last year but we've re-up this write-up due to Oppenheimer's Oscar sweep.)
Get sucked in by the drama and Cillian Murphy's stare.
Now this is a story all about how / the world got flipped turned upside down / with a bomb from the Manhattan Project cadre / here's the life of Oppenheimer (and his thousand-yard stare).
Christopher Nolan isn't making films, he's creating an experience. For his latest trick, he presents the biopic of the father of the atomic bomb, J Robert Oppenheimer. Adapted from American Prometheus written by Kai Bird and Martin J Sherwin, the film chronicle the famed theoretical physicist's life, from student life at Cavendish Laboratory in Cambridge to being the director of the Los Alamos Laboratory to getting his security clearance revoked due to tenuous communist ties.
It seemed strange for Nolan to take up a profile like Oppenheimer (played by Cillian Murphy). Especially, when it's shot in Nolan's preference for the IMAX experience. There are no action scenes, nothing that befits the movie being shot on large format film stock—IMAX 65mm and Panavision 65mm film—(there was an estimated 17.7km worth of finished film stock) but Nolan sees it apt to highlight Oppenheimer on such a scale.
It's quite amazing how it all came together. There's nary a dull moment throughout the film's three-hour running time thanks to Nolan's deft direction, stellar ensemble and immaculate sound engineering. Not content with a linear re-telling of Oppenheimer's life, the film jumps back and forth to key moments and not only that it switches between the perspectives between Oppenheimer and Lewis Strauss (Robert Downey Jr), a senior member of the U.S. Atomic Energy Commission (AEC); one in colour and the other in stark black-and-white, respectively.
The sound and music for Oppenheimer is something to behold. Faithful to the physics, the sound follows after we see the explosion. This is also true during a storm, where we see the flash of lightning, followed by the boom of thunder. When the first nuclear weapon test started, the expected sounds of the explosion were sidelined by Oppenheimer's breathing as he saw the conflagration of fire and billowing smoke. In the theatre, we sat transfixed by the near-silence of the explosion before the sound kicked in.
In his second time working with Nolan, Ludwig Göransson took Nolan's advice in using the violin as Oppenheimer's central theme. Göransson said that the stringed instrument could go from "the most romantic, beautiful tone in a split second to neurotic and heart-wrenching, horror sounds".
The best example is the nuclear explosion at Trinity (the codename of the site where it took place). We were at the edge of our seats in the lead-up to the experiment. Which is weird because all the historical accounts said that the experiment went off without a hitch. But how it was edited and soundtracked, you hope the experiment will be successful.
Cillian Murphy, who is well-known for his tenure in the TV series, Peaky Blinders, puts on a defining performance as Oppenheimer. Demonstrating the complexity of Oppenheimer with nuance would hobble a lesser actor but not in Murphy's hands. With Murphy, Oppenheimer comes across as a sympathetic Frankenstein (the doctor not as most erroneously would assume, the monster), a man who witnessed the mysteries of the atoms with awe and, later in the film, as a nuclear shade who is now the self-appointed martyr for ushering in the Atomic Age.
Furthering adding to fleshing out Oppenheimer, Murphy went on an intense transformation by reading up on the Bhagavad Gita, a Hindu religious text that Oppenheimer would quote from and going on a diet that reduced him to his character’s stick-thin frame.
Downey Jr gives one of the better performances of his career as the embittered Strauss, who has a fractious relationship with Oppenheimer. Driven by ambition, Downey Jr displays a man who is an imposing figure in America’s nuclear program but dwarfed by his pettiness against a slight from Oppenheimer. Emily Blunt plays Oppenheimer's wife, Kitty, and she holds her own in this movie. Her deathstare towards her husband's ex-colleague or her bemused reaction during an interrogation, Blunt conveys the hidden pillar of strength in Oppenheimer's marriage.
I'm just glad that Murphy is back to playing the lead for a major film. To my limited memory, the last movies that he headlined were Sunshine and 28 Days Later.
Because there's something mesmerising about the way he stares at you; as though vacant but yet arresting at the same time. I'm pretty sure if there was a short film of just the camera pushing in slowly into Murphy's haunted mien, people would pay money to see it.
I mean, look at him. Now imagine if this was in colour, you will DIE IN THOSE POOLS OF BLUE.
Seven words: NOT SEEING CILLIAN MURPHY'S DONG ON IMAX.
I'm joking. Mostly. I'll explain.
This is Nolan's first R-rated movie and it includes Oppenheimer's love life with Jean Tatlock (played by Florence Pugh). Nolan felt that the intimacy between Oppenheimer and Tatlock were necessary to showcase the couple's connection. There were rumours that this might show full frontal nudity from both actors but, alas, nothing from Murphy. Not even a bare buttock. (We are all about having male actors go the full monty on the big screen. CHILL IT WITH THE DOUBLE-STANDARD, HOLLYWOOD.)
I get that Nolan doesn't want to shy from Oppenheimer's intimate moments but it felt gratuitous. Instead of the sex scenes, maybe it would be nice to have more insight into Tatlock's life and motivations. The character does not seem fully fleshed out and even Emily Blunt's Kitty barely escaped this bare-bones characterisation.
The number of established actors that are part of this cast. Aside from the marquee names like Matt Damon as Lieutenant General Leslie Groves and Florence Pugh as Jean Tatlock, there are other notable faces to spot. Personalities like Jason Clarke as Roger Robb; Josh Hartnett as Ernest Lawrence; Dane DeHaan as Kenneth Nichols; Benny Safdie as Edward Teller; James Urbaniak as Kurt Gödel; Jack Quaid as Richard Feynman; Olivia Thirlby as Lilli Hornig; Casey Affleck as Boris Pash; Kenneth Branagh as Niels Bohr; Gary Oldman as President Harry S Truman and so on.
The only notable person not in the cast is Sir Michael Caine. Having appeared in all of Nolan's production since Batman Begins in 2005, this is the only film that doesn't feature him.
Also, don't forget the end-credit scene that sets up the Oppenheimer sequel. JK.
Oppenheimer was out in theatres and now lives rent-free in our collective heads.
Leave it to the Internet to turn the biggest movie of the year into a meme factory. Over the past few days, the world wide web has been ablaze with any and all wisecracks pertaining to little film called Dune: Part Two. The much-anticipated sequel stars Timothée Chalamet as Paul Atreides, a warrior who unites with Chani (Zendaya), the (literal) woman of his dreams, to defend the Fremen and defeat the evil House Harkonnen. The sequel also features newcomers that include Austin Butler as Feyd-Rautha; Florence Pugh as Princess Irulan and Christopher Walken as the Emperor Emperor Shaddam Corrino IV, the 81st representative of House Corrino. The film premiered in theatres and has amassed a kingly sum to the tune of USD97 million at the global box office.
The full synopsis is far more complicated (we highly suggest that you simply start reading Frank Herbert's Dune novels), but I’ll spare you the details. That isn't what you came here for. If you want to learn more about Dune, you can read up on it here. Also, here for those fashion-savvy readers. If you’re interested in what the Internet has to say about director Denis Villeneuve’s latest feat, then stick around. Because there's no better way than to keep your finger on the beating pulse of pop culture than to see what others have meme-fied.
Below, Esquire has rounded up the best Dune: Part Two memes so far. Below, you'll everything from red carpet jokes to sandworm shuffles—and, yes, the viral Duneussy. (Don't ask, OK?) You'll also see an individual riding a makeshift sandworm through an AMC theatre. Take from that information what you will.
Before we part, beware: there are some spoilers ahead. If you haven’t seen Dune: Part Two, scroll at your own risk. We'll see you on the other side.
Not joking when I say that this meme fundamentally changed the way I hear/process the DUNE score forever to the point that I ONLY think it is Kurt Hummel from GLEE singing it. Fully prepared to laugh when I hear while watching DUNE 2 todaypic.twitter.com/YfuQv4FTYX
— Emmy Potter (@emmylanepotter) March 1, 2024
me when the Dune desert mouse made his return in Part Two pic.twitter.com/FIr8NG0SmN
— paul (@paulswhtn) March 4, 2024
Value Alert: if you don't have a cat cone the lid to the Dune Popcorn Bucket is a great substitute pic.twitter.com/8gN7yDoHxe
— gaz (@gazpachomachine) March 2, 2024
Someone made a full Fremen suit & rideable sandworm to go to the theater in to watch ‘DUNE 2’. pic.twitter.com/58omtu4oZL
— DiscussingFilm (@DiscussingFilm) March 4, 2024
lady jessica in the first movie: i will do anything to keep paul safe
— twltter user (@up2anth) March 4, 2024
lady jessica in dune 2: pic.twitter.com/WE7Scz9v3J
this is kinda what sand walking looks like in dune ngl pic.twitter.com/wI44c4BJ5l
— hunter harris (@hunteryharris) March 2, 2024
This how you walk on the sand so you don’t alert the worms pic.twitter.com/83TQ5J27ni
— Russell (@RussellFalcon) March 1, 2024
Timothee called ahead this time and asked her what she’s wearing 😭 https://t.co/oisVcRXEJS
— Ashley K. (@AshleyKSmalls) February 21, 2024
#DunePart2 without context pic.twitter.com/1T4RtfWFgM
— BLURAYANGEL 🦇 (@blurayangel) March 1, 2024
Me talking about Dune 2 all weekend pic.twitter.com/jKfOhXLeRn
— RICKY (@Rickyismsss) March 1, 2024
I will love you as long as I breathe…then proceeds to ask for another woman’s hand in marriage #Dune2 pic.twitter.com/W2zkEv08My
— Amanda (@amandaalives) March 3, 2024
real footage of me leaving the cinema after watching dune part 2 pic.twitter.com/XLLoAWNRcm
— babs (@illicitsffairs) March 4, 2024
Me in the theater every time lady Jessica used the voice #DunePart2pic.twitter.com/2nVdRfjtKH
— em 🪐🍋🪻 (@_EMMinem) March 3, 2024
Yeah I’m interested in Dune 2… Dune 2 others as I would have others do unto me
— caitie delaney (@caitiedelaney) March 3, 2024
Originally published on Esquire US
Although Madame Web boasts the superpower of seeing into the future, there’s no way she could’ve foreseen this disaster…
To date, Madame Web has generated USD57 million worldwide. Yikes.
The Hollywood Reporter published that this is the worst opening for a Sony movie that features characters directly from the Spider-Man ethos. And unfortunately for those with ‘I Love The Multiverse’ in their LinkedIn profile, the carousel of underperforming superhero movies—both Marvel and DC—is only continuing, if not speeding up.
Madame Web is laughably bad. The script is FULL of clunky lines like the memeified "He was in the Amazon with my mom when she was researching spiders right before she died," the action is shoddy, the characters are dull. It desperately wants to be a Spider-Man movie, but it isn't pic.twitter.com/Ing2amf56n
— molly freeman (@mollyrockit) February 13, 2024
With a shocking 13 per cent score on Rotten Tomatoes, this may very well be the beginning of the end for the reign of superhero films.
“Madame Web is riddled with mistakes that will be noticeable to even somewhat mindful viewers, like anachronisms with the movie’s 2003 setting, questionable medical knowledge, obvious product placement, camera angles that overtly reveal that scenes make no sense and a seeming ignorance of the film’s own established plot points,” notes KCENTV.
But is the film the only one to blame? Or are there additional factors that have contributed to the film’s shameful descent into cinematic Armageddon?
As someone who spends copious amounts of time at the movie theatre, there was surprisingly little promo for the film. Especially since this was not some indie flick but rather a new instalment in the biggest franchise ever. To my memory, the only time a Marvel film has received such little attention, was 2021’s Eternals. That film, perhaps until now, was the biggest Marvel flop to date. Not even a star-studded cast including Angelina Jolie and Kumail Nanjiani’s recently acquired biceps could keep the film afloat. And what’s perhaps even more surprising is that Madame Web was clobbered by the recent biopic Bob Marley: One Love. Despite Bob Marley being an icon of music, few could foresee him toppling Spider-Man.
Dakota Johnson has also generated some serious flack online. Mostly for her indifference not just toward the film, but toward any form of promotion, having gone viral for saying she “isn’t good at talking to journalists.” I'm going to make a bold claim here. That nobody who has to use spreadsheets likes to use spreadsheets, but we do it because we have to.
One is instantly reminded of the current backlash Rachel Zegler faced for her souring comments about her upcoming Snow White remake. Many suspect that, due to the public outrage over her disreputable comments on the iconic Disney character that literally built the foundation on the which the company now stands, Disney is secretly in talks to not just reshoot large parts of the film, but to recast Zegler as well, but alas, I digress.
In an interview leading up to the film, Johnson struggled to name a single Tom Holland Spider-Man film. She'd admit later that she’d personally only seen less than five per cent of any of the superhero movies. Considering the current fanbase for these flicks, that probably isn’t the best way to get people on your team. Adding that "drastic changes" were made to the script throughout the press tour, again, isn’t the biggest insinuator that the movie is going to be a hit.
Online, memes have already been posted about how Madame Web is even worse than Morbius. Remember Morbius? Not only was it the worst superhero film ever made, but one of the worst movies of all time.
Morbius waking up seeing the Madame Web reviews... pic.twitter.com/Tyo562DQT4
— ScreenTime (@screentime) February 13, 2024
What many don’t know is that Madame Web isn’t actually part of the MCU, but rather a standalone Sony picture. The company still partly owns the rights to Spider-Man, and is understandably not looking to give those up anytime soon. Another film not part of the MCU but slyly promoted as so? Morbius. Perhaps we’re catching on to a pattern here. Say what you will about the Marvel films, but they have a winning formula. And when they deviate from that formula, not just story-wise but with productional backing, well, then perhaps you get Madame Web and Morbius, two of the (sorry) least exciting characters from the Spider-Man universe.
In 2014’s Birdman, Michael Keaton’s character is putting on a Broadway play, and when he suggests actors for consideration, he realises that everyone is busy with superhero movies. “They put him in a cape too?!” he laments. Ironic coming from Batman. Especially one who reprised his role in last year’s horrendous The Flash. But the point of all this is that if you put on a cape, you’re guaranteed a fat paycheck. Edward Norton admitted that he was only paid USD4,200 for Moonrise Kingdom. And when you take that into consideration, one can sympathise with the decision of every major movie star lunging at the opportunity to do karate in front of a green screen. Even if the movie sucks.
Originally published on Esquire ME
With the release of Dune: Part Two right around the corner, the cast has been on a press tour the world over. There's no denying that they're taking the fashion seriously too. From red carpet premieres to photocalls, Timothée Chalamet and Austin Butler—portraying Paul Atreides and newly introduced Feyd-Rautha Harkonnen, respectively—have been showcasing a diverse array of looks. Each outfit chosen had been statements in their own right, and are deserving of as much hype as the movie itself.
At CinemaCon 2023, Chalamet was decked out in a grungy look as he wore an edgy leather vest by Helmut Lang over a white T-shirt and skinny leather motorcycle trousers with built-in knee pads. To finish off the biker aesthetic, a pair of pointed black leather boots was the footwear of choice.
At the casts’ appearance on Jimmy Kimmel Live!, Chalamet's edgy outfit consisted of a sleeveless black sweatshirt with grommet detailing by Junya Watanabe x Stüssy, leather trousers from Alexander McQueen and black boots. However, he switched things up with a cozy knit from Hermès during the taping.
Butler arrived in a black unbuttoned shirt, wearing a matching black pinstriped suit over, and boots. He also had on a thin silver chain necklace, proving that it's what one needs to complete any suit look.
Chalamet wore a sleeveless calf hair top from Hermès' yet-to-be-released Autumn/Winter 2024 menswear collection, matched with trousers and chunky leather boots. Butler, on the other hand, opted for something a little more relaxed with a simple white T-shirt under a grey unbuttoned three-piece by Givenchy.
The duo kept it smart in Mexico City. Chalamet wore a custom Prada suit and a black poplin v-neck shirt with what is decidedly his more experimental look thus far. The blazer was tucked in and accessorised with a double tour Prada belt.
Butler rocked a striking pinstripe suit from Saint Laurent’s Spring/Summer 2024 ready-to-wear collection with cutting shoulders. Completing the look, he opted for a gold-buckled belt—not too excessive but also not too modest.
In Paris, the Dune lead stayed rather safe with a black turtleneck and sleek leather pants (notably a recurring trend with the actor) from Bottega Veneta's Spring/Summer 2023 collection. Cartier jewellery and a pair of Oliver Peoples sunglasses completed the easy look.
Butler exuded effortless style in a monochromatic Fear of God ensemble, featuring loose-fit clothing with relaxed shoulders—a departure from his usual tailored suits. He completed the look with understated David Yurman jewellery.
Chalamet wore a custom shiny metal breastplate from Givenchy with a graphic turtleneck. He had also worn a black wool jacket featuring a notch lapel with matching wool trousers. Cartier accessories such as a platinum Cintrée timepieces from the Rééditions collection and a sizeable silver ring.
Butler dressed smart in yet another Louis Vuitton ensemble, which consisted of a sharply tailored black jacket over a crisp white dress shirt, and a striking pair of flared pants reminiscent of the '70s. He kept it easy with a pair of black dress shoes, and a ring for a little hint of jewellery.
Chalamet's fish scale wool sweater was from Bottega Veneta’s women’s collection, reiterating that clothing has no gender. And if his legs looked longer than usual, that's all thanks to the chocolate brown leather pants matched with a set of Ripley Boots by Bottega Veneta as well.
Butler was wearing a custom three-piece double-breasted suit by Louis Vuitton in an offbeat shade of grey. The unusually wide-lapel blazer and waistcoat, once again, blends a sense of timelessness with a contemporary twist that Butler tends to favour.
Chalamet reunited with designer Haider Ackermann, donning on metallic trousers that were difficult to not miss, and paired with an oversized black shirt. For accessories, he wore a custom Cartier necklace featuring invert-set diamonds in orange, yellow, brown, and white hues, designed to mimic the desert landscape in Dune.
Butler's penchant for tailoring saw him taking on a black Sabato de Sarno for Gucci overcoat paired with a white vest. It's perhaps simple in execution but sleek and dramatic all the same.
Chalamet was seen sporting powdery blue overalls from South Korean designer Juun.J's Spring/Summer 2024 collection, in a deliberate move to twin with fellow lead Zendaya. He finished off the look with simple silver necklaces and a pair of Chelsea boots in the same exact shade, sticking true to the runway look.
Butler was also dressed in blue, opting for a Valentino suit with a silk shirt of a lighter shade. But instead of keeping to the monochromatic tones of the clothes, the footwear of choice was a black pair of dress shoes. A silver necklace completed the entire look.
For Seoul's premiere, Chalamet chose a sleek white suit paired with black leather boots, both courtesy of Gucci. Continuing his partnership with Cartier, he wore a single Cartier diamond necklace for a touch of elegance—just one of his many moments with the luxury brand throughout the press tour.
Butler kept it classic with a black pinstriped double-breasted suit layered over a white dress shirt, matching the entire ensemble with a black tie and black dress shoes.
Dune: Part Two will show in cinemas on 29 February 2024.
