A Shaded View On Fashion Film Festival

The Grand Duchess of Fashion Films, Diane Pernet,presents the third edition of A Shaded View on Fashion Festival, the First Annual International Fashion, Style and Beauty Film Festival. This year there are 67 films in competition by established and young, up and coming artists including Glen Luchford, Steven Klein, The Quay Brothers, Wing Shya, Johan Renck, Stephan Blaise, Daniel Eskils, Miho Kinomura, Rain Li, Cyril Guyot, Alex Prager, Marcelo Krasilcic, Frod & Marcus, Tilda Swinton, Hannelore Knuts, and Bryce Dallas Howard. The prestigious jury members are Olivier Saillard (Musée Galliera) - President of the ASVOFF Jury, Mike Figgis (Director Leaving Las Vegas, Timecode), Elisabeth Quin,Michael Nyman (Composer The Piano), Dita Von Teese, Paolo Roversi (Photographer), musician Bryan Adams, Fabrice Brovelli (BETC Euro-RSCG), Nadja Romain (Independant Producer), Sara Maino (Vogue Italia), Emmanuelle Castro (Wild Bunch Distribution), and Zowie Broach (Boudicca). Out of competition films include directors Zoe Cassavetes, Bruce Weber, and Kenneth Anger. There will be special live performances by Rosey Chan, Sayoko Paris, and rock group My Name is Claude.
September 25, and 26th
Centre Pompidou
Metro: Rambuteau or Hotel de Ville For full schedule go to

The Movie New Year’s Eve – Review

There’s something magical about New Year’s Eve that makes the holiday something many people look forward to. It’s a day to forget about the past 364 days and forge a new path for the next year, to right what was wrong and move forward. Unfortunately New Year’s Eve will make you regret every single moment of the film’s running time and forge many resolutions to never see a film like this again.
Much like Valentine’s Day, New Year’s Eve is a multi-layer film revolving around a handful of storylines involving people getting ready to celebrate the end of one year and the beginning of another. And in the midst of all the chaos of Times Square on the holiday two dozen actors come together to push through a remarkably convoluted storyline that manages to give everyone a happy ending by the end of the film’s two hour running time.
The problem is that the film follows such a remarkably boring and pedestrian plot to get to all of them. We’ve seen all of these plots before, from Jon Bon Jovi and Katherine Heigl as a couple formerly together and now seeing if they can try again to Robert De Niro as a dying cancer patient wanting to see the ball drop one more time, it’s the summation of every bad sitcom plot about the holiday from the past 20 years rolled into one. And one thought keeps popping up that’s hard to shake.
What did everyone in this film do to deserve to be in such a poor film?
When you think about the sheer talent involved in making the film, and the sheer amount of prestige award nominations and wins in film and the theatre as well as on television, a film like this with virtually no redeeming action becomes that much sadder to watch. It’s as if everyone opted to combine their talents into one film, knowing it would be a hit because of the subject and not the material, in order to do other projects.
The film’s redeeming quality is that Garry Marshall has pulled together a strong visual presence for the film. He captures the feel of Times Square in terms of the sheer mass of people and excitement in the air. If this was part of a documentary then he would have the beginnings of a strong visual presence to it. As it is he’s just crafted a perfectly acceptable film in terms of being a striking production but has absolutely nothing redeeming to it beyond it.

The Skin I Live In – Review

Pedro Almodóvar’s The Skin I Live In is many things. It’s a dark, twisted tale that pays homage to several works. It is also a beautiful nightmare, as colorful as it is perverse. The film contains what his audience expects: flashbacks and conflicted souls. It also contains objects and acts one associates with a B-grade feature: mad scientists, strange costumes, rape, kidnapping, and murder.
With his beautifully crafted nightmare Almodóvar is a confectionary chef making bloody popcorn, taking a dash of Hitchcock’s Vertigo, Eyes Without a Face, and Frankenstein, with Antonio Banderas in a role that would have undoubtedly have been played by Vincent Price a half century ago.
Banderas plays Dr. Robert Ledgard, a brilliant facial transplant surgeon who is as proficient with a scalpel as a tailor is with needle and thread. Much like Almodóvar’s muse Penelope Cruz, who is at her best when working with the Spanish director, Banderas shows more here than he has in his many years working in Hollywood. Outside of playing a mariachi with a killer guitar case (Desperado), and more recently providing the voice behind the feisty feline Puss in Boots (which is his Mask of Zorro character turned up nine lives), Banderas has been undervalued as a leading man, relegating his talents for lame suspense thrillers and senseless action movies.
Audiences outside of Banderas’ native Spain, at first, may look at him and think Zorro, and thus be easily distracted as to what he really is: a mad scientist. With conviction he gives a lecture to a group of contemporaries that he has perfected a synthetic skin to be used in the treatment of burn victims. However, the skin isn’t completely synthetic nor is it entirely human.
Even the doctor’s living quarters hints that he is a mad scientist. His mansion in Toldeo is opulently furnished, and with walls adorned with elegant painting of beautiful nudes. He has a surgical suite adjacent to the house that’s nowhere near as elegant, keeping the cold and sterile illusion in tact. And he has a basement that is the perfect holding cell for victims he looks to cut into.
As the film begins, the beautiful Vera (Elena Anaya) is in one of the mansion’s many rooms. She looks comfortable, carefully performing yoga in a flesh-colored body suit. The visual is quite unexpected and could be viewed as disturbing, but could be easily explained as being a compression suit she uses to reduce muscle fatigue from various yoga movements. Receiving breakfast through a dumbwaiter by the servants would make her appear spoiled, which she is not. For Vera is not a guest of Dr. Ledgard. She is his prisoner. He watches her on closed-circuit TV, able to zoom the camera in to get a closer look at her beautiful face.
The question regarding the doctor’s sanity is not just speculated; it’s answered as a descriptor from the residing housekeeper (Marisa Paredes) – because every mad scientist needs an assistant. She tells us that Robert has made alterations to Vera’s face, making her have a strong resemblance to his deceased wife, who suffered severe burns from a car accident. When she later takes her own life the doctor is stunned. The trauma of dealing with his wife’s passing transfers to rage when his daughter is later raped. But rather than be a simple tale of revenge, where the doctor tracks down the rapist and kills him, Almodóvar has something more sinister in store.
A subplot involving the housekeeper’s criminal son, Zeca (Roberto Álamo), who eludes authorities dressed as a tiger during Carnival, returning to the mansion to lay low triggers a series of violent events that I hinted as B-grade feature truisms. More importantly, the actions allow us to see into the past to events leading up to Robert Ledgrad’s fanatical obsession with his current project.
Who Vera is and why she’s being held against captive will be revealed in due course. But any more hints will have to wait. For this is a psychological horror feature that’s better to be recommended than it is to fully explain. Because to go too far with the explanation would undercut the film’s emotional impact when that last reveal finally occurs. Calling it a whopper would be an understatement.
With The Skin I Live In being the first Almodóvar I’ve watched in full, I can only base my conclusions from other critical writings of his work, and that’s to say that this isn’t a typical Almodóvar film. Much like Martin Scorsese sampled with psychological pulp fiction with last year’s Shutter Island, Almodóvar takes the skeleton of Thierry Jonquet’s novel Tarantula and expertly applies his cinematic stamp. This is a cleverly plotted thriller of a simple horror story with strong complexion. It doesn’t need a single nip or tuck.

The Twilight Saga: Breaking Dawn – Part 1 – Review

Twilight is a phenomenon I don’t think I’ll ever understand. What began as a quartet of very successful, if poorly written novels, became a movie franchise where its sole purpose seemed to visually stimulate undersexed moms and frisky teens that fell in love with novels. It may be the biggest novel-to-screen adaptation since Harry Potter, but the two are farther apart when it comes to building audiences. There’s a reason why the Twilight films are so frontloaded and drop like stones in succeeding weeks; it can’t sustain viewership. Some women may be willing to exhale over and over again at vampire Edward’s hair or Jacob’s singular six-pack shot, but once it’s over they don’t come back for seconds.
Author Stephen King made an on-point comparison between the two franchises when he wrote, “Harry Potter is about confronting fears, finding inner strength and doing what is right in the face of adversity. Twilight is about how important it is to have a boyfriend.”
In the case of The Twilight Saga: Breaking Dawn – Part 1, the franchise now shows why it’s important for an 18-year-old girl to marry and sleep with her new husband, who just happens to a vampire.
With each successive release, the franchise has been a revolving door for directors. After Catherine Hardwicke was removed from the series, unable to commit to a quick turnaround and have New Moon ready for the following year, Summit Entertainment went with hired hands Chris Weitz, then David Slade. The sequels seemed to lose the gothic romanticism that Twilight instilled, but Slade’s Eclipse proved to be progressively better than the previous entries.
Coming on board this time is a director venturing far outside his cinematic wheelhouse, Bill Condon. He last directed once-announced Oscar host Eddie Murphy to his first and probably last Academy Award nomination in Dreamgirls. With Condon in the director’s chair he’ll also hold the distinction of being the only filmmaker to make it through two Twilight movies and avoid teeth punctures to the jugular.
The usual players are back, led by Kristen Stewart as Bella Swan, Robert Pattison as Edward Cullen, and Taylor Lautner as Jacob Black. The rest of the Swans, Cullens, friends, and, um, Wolfpack are there as well, but they see their roles greatly diminished this time around. Bella’s dad (Billy Burke) adds some much needed comic relief with his little screen time, and Jasper, by far the most interesting character – living or dead – doesn’t say much.
We open on Bella and Edward taking the next steps in their relationship, marriage. Jacob, who was the other suitor in the romantic triangle is there as well, seemingly unable to know when to concede the loss and allow the once threesome be a twosome for good. For such a lavish affair, surprisingly it doesn’t last long. The honeymoon off the coast of Rio De Janeiro is even more elaborate, with romantic interludes and poses you’d see gracing trashy romance novels. Then the unthinkable happens: Bella is accidentally impregnated. And with such a development, Bella makes a statement that seems to sum up this entire franchise:
“I know it’s impossible, but…”
Of course, it’s impossible. The series has done its best to destroy the mythos of the vampire by having him go from exploding in direct sunlight to sparkling. Now they’re telling us that dead guys with Rigor Mortis “downstairs” can impregnate teenage girls. And to have the deed be done to bad emo, college rock music is a sad turn of events. At least take a page out of The Lost Boys soundtrack and have them knock boots to Gerald McCann’s “Cry Little Sister.”
What’s really disappointing with Breaking Dawn is that for the first time it looks like the series is regressing when it should be intensifying to a thrilling conclusion. We’ve come to expect wooden acting from the players involved, but you’d imagine that after three movies the familiar cast matched with strong direction the series would continue to progress to the ultimate finale. With Breaking Dawn – Part 1, however, audiences don’t even get a movie. It opens on a wedding and climaxes with a birth. The cliffhanger is only revealed if you stay and watch a short scene before the credits roll.
Films like The Lord of the Rings trilogy can get away with a cliffhanger, because they are part of a large literary work, with each release acting as a part of the epic narrative. Here, like Harry Potter and the Deathly Hallows, the decision to break the final novel up into two films was a pure financial windfall and nothing more.
In terms of the acting, Pattinson and Stewart are more aloof than ever. By now it’s trying in how to determine the difference between Stewart as Bella and Stewart as Stewart. Most of Pattinson’s performance is visual, as if director Bill Condon was giving him posing cues (“Okay, now give me brooding.”). Lautner has an increased role this time around, but sadly the additional screen time does not mean more ab shots. Instead, he has to make the best of his animal instincts as an actor.
If you have stuck with the Twilight series thus far my above observations will do little to sway you. Obviously this was more about a paycheck for Bill Condon – a check with a lot of extra zeroes is hard to turn down – and for some reason there’s a sense that his direction wasn’t all that different than Gus Van Sant on the set of Good Will Hunting 2: Hunting Season (as seen in Jay & Silent Bob Strike Back). It’s just a sad turn of events, to see an acclaimed director go from making such features as Gods and Monsters and Kinsey to film something Brett Ratner could have churned out.
Breaking Dawn – Part 1 is stiff and lethargic. It never seems to strike the right balance of gothic and romance, and instead seems to give the impression that teenage pregnancy is okay if it’s with a vampire. To put it bluntly, this movie, like Edward on a hunger binge, bites hard.

Scarves Played An Important Roles in Fashionable Movies

Scarves and shawls have played bit roles in a number of Hollywood movies. Many movie characters have donned scarves and shawls to add flair of style in their appearance and at the same time igniting a fashion trend that appealed to many moviegoers. Here are just some of the most memorable movies that featured characters wearing scarves and shawls.
The Devil Wears Prada:
A movie about the fashion industry is not complete without lively characters projecting great fashion sense and what better way than the characters of Meryl Streep and Anne Hathaway donning scarves and shawls to inject a newfound style in their character.
Doctor Zhivago:
This classic movie shows fashion style that still exists today. The Russian inspired looks for both the women and men are cool, stylish, trendy and sexy. Julie Christie's character was added with a new spice when she wore scarves and shawls to compliment the fine fashion costume design of this timeless motion picture masterpiec.
Sex and the City:
A movie about four single ladies in New York who always look fashionable and attractive is not complete without the characters donning scarves and shawls especially in the cold weather of New York City. Carrie is known for being bold and dazzling at the same time, Samantha is the high class fashion goddess, Charlotte the ultra hot girl with urban appeal and Miranda is the corporate chic that completes the foursome. All of them do incorporate scarves and shawls as part of their wardrobes in the movie.
The Changeling:
Angelina Jolie plays the role of a mother who lost her child in the great depression era. The movie calls for a dramatic setting but the character's looks complimented by the use of scarves and shawls highlighted the fact that even in depressing times and in times of sadness, a true heroine still projects style and grace.
Breakfast at Tiffany's:
Women still look up to Audrey Hepburn's character in the classic movie Breakfast at Tiffany due to her absolutely wonderful portrayal of a timeless beauty donned with grace and timeless style. She look wonderfully amazing wearing the best outfits in the history of motion picture while also using scarves and shawls as complimentary to the different kinds of wardrobes she used in this movie. The use of scarves and shawls has surely added that unique look in Audrey Hepburn's character making it one of the most popular female characters in motion picture history.

Alvin And The Chipmunks 2 Sucked

Last night I got into the Savoy Theater to see a musical comedy, which was great and did very good of it’s 1st Movie. “Alvin and the Chipmunks- 2” was incredibly unsuccessful of grabbing its audience.
One wrong thing that the movie importer did to support its unsuccessfulness was to bringing in 2 animated movies in a close time frame. When they are still screening AVATAR at the Liberty Cinema, they started screening Alvin at Savoy. Forgetting that the returning crowed from Avatar will be walking into Alvin, so they definitely are going to compare the two in their mind.
But I should mentioned that I really enjoyed the 1st movie and it was awesome, I think what went wrong in the 2nd movie is they removed Dave from the movie by hospitalizing him, and introduced someone else to take his place which I find not entertaining at all.
Honestly I never had a idea about this movie, when I took the DVD to my hand, I just had a idea that this going to be a just another candy movie, but to be honest I felt so guilty about feeling that way, coz this is a wonderful movie, I love this movie, and hats off for the Producer/Director Aamir Khan, that his investment became a creation that touches people’s heart about a forgotten subject on the society, as members of that society where people are trained and put into the race track of life, we forget everything in the middle and we just care about the winning that race, and when we are done, we push our children into the same race track forcing them to win.
how unfair, if you haven’t watch it..? watch it today.. that’s all I can comment, coz I do not want to go through the story,
A Child Labour
But one thing I should mention, if we don’t stop running this race for our children, the children we love so much, are going to hate us as they realize that their parents stole their childhood forever.
and there are so many innocents, waiting, praying and hoping that the help would reach them someday and they would be free.

Do You Know What are the best fashion movies ever

　　Some movies are light comedies which make you even more passionate about becoming a part of the fash-pack, others may push that aspiration far, far away.
　　With no further ado, here are 10 chic movies, which should be on every fashionista’s “to watch” list.
　　10. Head over Heels (2001)
　　Don’t be discouraged by reviewers who say this film was silly or banal – people tend to overanalyze the basics. Just sit back and laugh your heart out at the adventures of a regular girl who moves in four models. Amongst all the parties, plastic surgeries and dreamy outfits, Amanda (Monica Potter) is lured into a mystery…
　　9. Raising Helen (2004)
　　If you want to have a nice laugh with your girlfriends or an appropriate yet funny family movie – this is the one to choose. Follow the life of Helen (Kate Hudson), a fashion scene’s VIP , whose sister dies leaving her to raise three children, or would it be the children who are raising Helen?
　　8. Zoolander (2001)
　　Ever wished seeing Ben Stiller, Owen Wilson and Mila Jovovich in one movie? Then opt for Zoolander – incredibly goofy, dumb but oh-so hilarious! Just remember that “behind every political assassination… there is a male model”!
　　7. Funny Face (1957)
　　Indulge in this romantic take on fashion. Watch Audrey Hepburn marvel in a wide array of stunning costumes. This naïve and beautiful film takes us to fantasy Paris – where all you really need is pizzazz.
　　6. The Devil Wears Prada (2006)
　　The ultimate chick flick classic. Get a taste of what’s behind the glossy pages of fashion magazines, from editors from hell to wardrobes from heaven.
　　5. The September Issue (2009)
　　Although not at all a comedy, this documentary is no less entertaining. The film is a display of Anna Wintour and the rest of the Vogue team’s preparations for the September 2007 issue. Perhaps you won’t see any “devils in Prada” here, but you will certainly see all the hard work put into the production of a magazine.
　　4. Valentino: The Last Emperor (2008)
　　Another brilliant documentary about one of fashion’s deities – Valentino. The film gets us one step closer to the emperor himself – Valentino. This sometimes sad and satiric piece is worth more than one view – it will get you thinking about the seriousness and absurdity of the fashion business.
　　3. Fashion (2008)
　　Now to the more sad and dramatic part of fashion. This innovative Bollywood flick will leave you glued to the screen, showing that no one is immune to what’s going on behind the runway stage. The story is based on a middle-class girl, who decides to be a model and who is adamant that her career will not change who she is. But of course, she is wrong.
　　2. Factory Girl (2006)
　　This movie is based on the life and times of a 60’s model and socialite Edie Sedgwick. Be inspired by the outfits and jewellery (who doesn’t like chandelier earrings?) that Edie is wearing and witness the rise and fall of the “poor little rich girl”.
　　1. Gia (1998)
　　Angelina Jolie portrays Gia Carangi, a late 70s supermodel, whose short life was destroyed by drug abuse. This movie will leave a bad taste in your mouth as it shows how cruel and destructive the fashion industry can really be.
　　Feel free to add more movies to the list in the comment section.
　　Inspired by the fashion movie list? Why not pop into HMV at The Bentall Centre and find these flicks on DVD?

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The Fashion Movie Review

　　Fashion has been directed by Madhur Bhandarkar who is known for his realistic movies like Page 3, Chandni Bar and Corporate. Madhur Bhandarkar made the movie Fashion to expose the dark side of the fashion industry too. The movie went through a lot of controversies and the movie even received an “A” rating from the censor board. It was expected that the film would touch the sex, sleaze, drugs, compromise and all other negative aspects of the fashion industry. Many people in the fashion industry also felt that this pessimistic view of the industry might give a wrong impression to the masses about the industry.
　　But Madhur Bhandarkar has again showed brilliance in directing realistic cinema with absolute flawlessness. The story is about Meghna Mathur (Priyanka Chopra) who wants to become a supermodel and she walks the ramp for various designers and makes it to the top in the fashion industry. But she has to pay the price soon and her decline from the position starts very soon. She also meets a lot of people during this period especially Shonali Gujral (Kangana Ranaut) and Janet (Mugdha Godse). But she does is not ready to give up so easily. The storytelling, screenplay and cinematography are excellent in the movie. There is skin show in the movie to some extent but the script demads it and it is not unnecessary glamour and skin show as used by Bollywood filmmakers. There are some great situations in the movie like Shonali’s wardrobe malfunction and Janet marrying a famous gay designer (Samir Soni) even after knowing about the situation.
　　All the actresses in the movie have done absolute justice to their roles. Mugdha Godse is natural although she is a newcomer while Kangana Ranaut has performed brilliantly and might be in nominations for supporting actress award next year. But Priyanka Chopra stole the show with a career best performance. She is excellent throughout the movie more towards the second hour. She is not only gorgeous but has acted exceptionally well in the movie. The best scene according to me is the one when she falls in her own eyes and breaks down infront of the mirror.

Fashion Movies

　　well guys you know the fashion industry. some like it some don’t, well it doesn’t matter what I amgonna talk about is the new Hindi movie “Fashion”, I got a chance to watch it last day.. well honestly I’m not a hindi movie lover but I went for it. so I write what I feel about it.. first thing that I felt about the movie is it’s flow.. I don’t knw I felt that it’s out of it’s flow and the movie is so fast. the objective of the movie is no where it suppose to be. If you guys have seen the movie “The Devil Wears Prada” you will feel that this looks the same.. try it and see.But I like the costume design and the colors.
   Fashionis a 2008 Indian film co-produced, co-written, and directed by Madhur Bhandarkar. The film has a massive star cast which includes Priyanka Chopra, Kangana Ranaut and newcomers Mugdha Godse and Arjan Bajwa. Based on the dark side of the world of fashion, the movie depicts it through the protagonist's eye. Kangana plays a former supermodel who faces downfall and comes to the streets; though the story resembles the biography of Geetanjali Nagpal, the director has denied that it is based on her life story. Priyanka Chopra and Kangana Ranaut won awards for Best Actress and Best Supporting Actress, respectively, at the 2009 National Film Awards for their roles.
    Aspiring model Meghna Mathur (Priyanka Chopra) expresses her wish to go to Mumbai and pursue her dream of becoming a supermodel. Against her dad's wishes, Meghna leaves her house with dreams in her eyes to strike it big in the modeling world but it is not a path of roses for her. She experiences some major difficulties in her initial days auditioning several times but being rejected. But she gets a good helping hand with an old acquaintance, Rohit (Ashwin Mushran), an aspiring gay designer who assists big shot designer Vinay Khosla (Harsh Chhaya).
      She keeps bumping into another struggling model, Maanav (Arjan Bajwa) while making the rounds of modeling agencies for auditions.She visits Rahul Arora's fashion show where she comes face-to-face with reality of the major people in the industry including the reigning supermodel Shonali Gujral (Kangana Ranaut). She is mocked by the show choreographer Christine and is advised to visit hotshot photographer Kartik (Rohit Roy) for her portfolio. To pay Kartik's high fee she attends functions and even shoots for a lingerie advertisement, all the while mentored by another smalltime model Janet (Mugdha Godse). Subsequently, Meghana's lingerie pictures appear on the cover of a magazine found by her relatives. Meghna becomes good friends with Maanav and even starts sharing his apartment after she faces accommodation problems. Meghna is noticed by a top official Anisha Roy (Kitu Gidwani) of a major modeling agency Panache who brings her to her boss, Abhijit Sarin’s (Arbaaz Khan) notice. Abhijit gets impressed by her ambitious nature and go-getter attitude. Panache’s face is Shonali but though very successful, her drug abuse starts becoming a problem for her and subsequently for Panache.
   Abhijit decides to terminate Shonali’s contract and ropes in Meghna as Panache's new face. Shonali warns Meghna that she will just lose herself as she did.An angered Meghna, unable to believe what happened, resorts to alcohol to relieve herself. She gets into a verbal fight with Janet, when she tells her that she's ruining herself and on the same night attends a rave party where under the influence of cocaine, she unknowingly ends up in bed with a black male bouncer. Later when she comes to her senses, she feels guilty of her act and realises how low she had fallen. She leaves Mumbai to return to her parents in Chandigarh.