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Associated Press
4 days ago
- Entertainment
- Associated Press
Secrets and longing surface as Saint Laurent menswear parades at Pinault's art palace
PARIS (AP) — It-designer Anthony Vaccarello on Tuesday sent out a Saint Laurent men's collection that felt both sun-drenched and haunted, set not just in the heart of Paris, but drifting somewhere between the city and the legendary queer enclave of Fire Island in New York. Staged at the Bourse de Commerce, the grand art palace and crown jewel of Kering 's Pinault family in the French capital, the show paid tribute to Yves Saint Laurent's own history of escape and reinvention. Star power in the front row, including Francis Ford Coppola, Rami Malek, Aaron and Sam Taylor-Johnson, and house icon Betty Catroux, underscored the label's magnetic pull. Oversized shorts, boxy trenches, and blazers with extended shoulders riffed on an iconic 1950s photo of Saint Laurent in Oran, but they were reframed for a new era of subtle, coded sensuality. Flashes of mustard and pool blue popped against an otherwise muted, sandy palette — little jolts of longing beneath the surface calm. Yet what truly set this collection apart was its emotional honesty. Vaccarello, often praised for his control and polish, confronted the idea of emptiness head-on. The show notes spoke of a time 'when beauty served as a shield against emptiness,' a phrase that cut deep, recalling not only Saint Laurent's own battles with loneliness and addiction, but also the secret codes and guarded longing that marked the lives of many gay men of his generation. That sense of secrecy was everywhere in the clothes: ties tucked away beneath the second shirt button, as if hiding something private; sunglasses shielding the eyes, keeping the world at a careful distance. These weren't just styling tricks, they were acts of self-preservation and subtle rebellion, evoking the rituals of concealment and coded desire that defined both Fire Island and of closet-era Paris. For generations, Fire Island meant freedom for gay men, but also the risks of exposure, discrimination, and the heartbreak of the AIDS crisis. Fashion rivalry and a famous venue If the installation of artist Céleste Boursier-Mougenot's pool of drifting porcelain bowls spoke to the idea of beautiful objects colliding and drifting apart, so too did the models: together on the runway, yet worlds apart, longing and loneliness held just beneath the surface. This season's blockbuster staging felt all the more pointed as Kering faces tough quarters and slowing luxury demand. The group leveraged one of its artistic crown jewels, Saint Laurent, and a dramatic museum setting to showcase creative clout, generate buzz and reassure investors of its cultural muscle. The venue itself — home to the Pinault Collection — embodies that rivalry at the very top of French luxury. The Pinault family controls Kering, which owns Saint Laurent, while their archrival Bernard Arnault helms LVMH and its Louis Vuitton Foundation across town. This season, the stakes felt especially high as the Saint Laurent show came just hours before Louis Vuitton's own, throwing the spotlight on a Paris fashion power struggle where every show doubles as a declaration of taste, power and corporate pride. If the collection offered few surprises and leaned heavily on crowd-pleasing shapes, it was undeniably salable, proving that when a house this powerful plays to its strengths, few in Paris will complain. A collection for those who have ever wanted more, and learned to shield their hearts in style.
The Independent
4 days ago
- Entertainment
- The Independent
Secrets and longing surface as Saint Laurent menswear parades at Pinault's art palace
It-designer Anthony Vaccarello on Tuesday sent out a Saint Laurent men's collection that felt both sun-drenched and haunted, set not just in the heart of Paris, but drifting somewhere between the city and the legendary queer enclave of Fire Island in New York. Staged at the Bourse de Commerce, the grand art palace and crown jewel of Kering 's Pinault family in the French capital, the show paid tribute to Yves Saint Laurent's own history of escape and reinvention. Star power in the front row, including Francis Ford Coppola, Rami Malek, Aaron and Sam Taylor-Johnson, and house icon Betty Catroux, underscored the label's magnetic pull. Oversized shorts, boxy trenches, and blazers with extended shoulders riffed on an iconic 1950s photo of Saint Laurent in Oran, but they were reframed for a new era of subtle, coded sensuality. Flashes of mustard and pool blue popped against an otherwise muted, sandy palette — little jolts of longing beneath the surface calm. Yet what truly set this collection apart was its emotional honesty. Vaccarello, often praised for his control and polish, confronted the idea of emptiness head-on. The show notes spoke of a time 'when beauty served as a shield against emptiness,' a phrase that cut deep, recalling not only Saint Laurent's own battles with loneliness and addiction, but also the secret codes and guarded longing that marked the lives of many gay men of his generation. That sense of secrecy was everywhere in the clothes: ties tucked away beneath the second shirt button, as if hiding something private; sunglasses shielding the eyes, keeping the world at a careful distance. These weren't just styling tricks, they were acts of self-preservation and subtle rebellion, evoking the rituals of concealment and coded desire that defined both Fire Island and of closet-era Paris. For generations, Fire Island meant freedom for gay men, but also the risks of exposure, discrimination, and the heartbreak of the AIDS crisis. Fashion rivalry and a famous venue If the installation of artist Céleste Boursier-Mougenot's pool of drifting porcelain bowls spoke to the idea of beautiful objects colliding and drifting apart, so too did the models: together on the runway, yet worlds apart, longing and loneliness held just beneath the surface. This season's blockbuster staging felt all the more pointed as Kering faces tough quarters and slowing luxury demand. The group leveraged one of its artistic crown jewels, Saint Laurent, and a dramatic museum setting to showcase creative clout, generate buzz and reassure investors of its cultural muscle. The venue itself — home to the Pinault Collection — embodies that rivalry at the very top of French luxury. The Pinault family controls Kering, which owns Saint Laurent, while their archrival Bernard Arnault helms LVMH and its Louis Vuitton Foundation across town. This season, the stakes felt especially high as the Saint Laurent show came just hours before Louis Vuitton's own, throwing the spotlight on a Paris fashion power struggle where every show doubles as a declaration of taste, power and corporate pride. If the collection offered few surprises and leaned heavily on crowd-pleasing shapes, it was undeniably salable, proving that when a house this powerful plays to its strengths, few in Paris will complain. A collection for those who have ever wanted more, and learned to shield their hearts in style.
New York Post
4 days ago
- Entertainment
- New York Post
How much are tickets to see Francis Ford Coppola discuss ‘Megalopolis' live?
Vivid Seats is the New York Post's official ticketing partner. We may receive revenue from this partnership for sharing this content and/or when you make a purchase. Featured pricing is subject to change. Following the theatrical release of 2024's 'Megalopolis,' the film somehow ceased to exist. Francis Ford Coppola's latest — his 23rd feature-length directorial effort and first since 2011 — did not hit streaming services. No physical media hit shelves. It seemed as if you missed the movie at the multiplex, you were out of luck. However, now a little less than a year later, we're starting to see why. The 86-year-old auteur recently announced he's striking out on a six-show 'Megalopolis' tour where he'll screen and discuss the divisive yet rewarding, challenging yet invigorating film live. 'This is the way 'Megalopolis' was meant to be seen, in a large venue, with a crowd and followed by intense interactive discussions about the future,' Coppola shared via Instagram. 'I'm bringing 'Megalopolis' to unique theatres in select cities across the country. Following the screenings, I will lead an interactive conversation about the future of humanity, along with a live audience Q&A.' On the brief trek, the Hofstra grad is set to make two New York and New Jersey stops to chat about the film that tells the story of an 'alternate United States' called New Rome where plans to build 'Megalopolis,' a utopian urbanist community is proposed. First, he'll hit Red Bank, NJ's Count Basie Center on Sunday, July 20. Soon after, the visionary behind 'The Godfather,' 'The Conversation,' 'Apocalypse Now' and 'The Outsiders' swings into Port Chester, NY's Capitol Theatre on Wednesday, July 23. If you want to be there to catch the cinema icon/American Zoetrope founder talk about the heady flick (which stars Adam Driver, Aubrey Plaza, Dustin Hoffman, Laurence Fishburne, Shia LaBeouf and so, so, so many more), tickets can be scooped up for most shows as of today. At the time of publication, the lowest price we could find on tickets for any one show was $55 including fees on Vivid Seats. Other shows start anywhere from $60 to $90 including fees. Not bad to see a one-of-a-kind, larger-than-life artist live. For more information, our team has everything you need to know and more about Francis Ford Coppola's 'Megalopolis' tour live. All prices listed above are subject to fluctuation. Francis Ford Coppola tour schedule 2025 A complete calendar including all tour dates, venues and links to the cheapest tickets available can be found below. Francis Ford Coppola tour dates Ticket prices start at July 20 at the Count Basie Center in Red Bank, NJ $60 (including fees) July 23 at the Capitol Theatre in Port Chester, NY $82 (including fees) July 25 at the Chicago Theatre in Chicago, IL $70 (including fees) July 27 at the Paramount Theatre in Denver, CO $55 (including fees) July 29 at the Texas Theatre in Dallas, TX N/A Aug. 1 at the Palace of Fine Arts in San Francisco, CA $90 (including fees) (Note: The New York Post confirmed all above prices at the publication time. All prices are in US dollars, subject to fluctuation and, if it isn't noted, will include additional fees at checkout.) Vivid Seats is a verified secondary market ticketing platform, and prices may be higher or lower than face value, depending on demand. They offer a 100% buyer guarantee that states your transaction will be safe and secure and your tickets will be delivered prior to the event. Still curious about Vivid Seats? You can find an article from their team about why the company is legit here. 'Megalopolis' trailer Didn't catch 'Megalopolis' on its initial run and can't quite recall the film's striking look, epic scope or moody tone? Take a look at the visually sumptuous, gripping trailer right here, right now: Film stars on tour in 2025 A handful of silver screen heroes are also going the Q&A route these next few months. Here are just five of our favorites you won't want to miss live. • Cary Elwes with 'The Princess Bride' • John Cusack with 'High Fidelity' or 'Say Anything' • William Shatner with 'Star Trek II: Wrath of Khan' • Chevy Chase with 'National Lampoon's Christmas Vacation' • John Waters Want to catch a concert too? Take a look at our list of all the biggest artists on tour in 2025 to find the show for you. This article was written by Matt Levy, New York Post live events reporter. Levy stays up-to-date on all the latest tour announcements from your favorite musical artists and comedians, as well as Broadway openings, sporting events and more live shows – and finds great ticket prices online. Since he started his tenure at the Post in 2022, Levy has reviewed a Bruce Springsteen concert and interviewed Melissa Villaseñor of SNL fame, to name a few. Please note that deals can expire, and all prices are subject to change
Chicago Tribune
20-06-2025
- Entertainment
- Chicago Tribune
Live at the Chicago Theatre: Francis Ford Coppola, ‘Megalopolis' and your questions
Want a better America? A very famous filmmaker would like your thoughts on that one. Hiding in plain sight, 'Megalopolis' is no longer streaming anywhere (it was available, briefly, as a digital download) and it's not on DVD. There's a reason. Its writer-director prefers that you experience his long-brewing, half-mad argument for democracy, aesthetics and a brighter future in a big way. Not a small, pauseable one. In July, one of modern cinema's towering figures will embark on a multi-city tour of 'An Evening with Francis Ford Coppola and 'Megalopolis' Screening.' The film presentation will be followed by Coppola's discussion, built around questions from the audience, on the topic 'How to Change Our Future.' The July 25 Chicago Theatre event follows engagements in Red Bank, New Jersey, and Port Chester, New York. After Chicago, Coppola and 'Megalopolis' move on to Denver, Dallas and San Francisco; Live Nation presents five of the six tour stops, with the Texas Theatre handling the Dallas engagement. 'This is the way 'Megalopolis' was meant to be seen, in a large venue, with a crowd and followed by intense interactive discussions about the future,' Coppola wrote in a statement for Live Nation. Coppola has wrestled with 'Megalopolis' for nearly 50 years. Covering much of the $120 million production costs himself, with money from his celebrated winery, the filmmaker's latest premiered at last year's Cannes Film Festival to wildly mixed reactions. After several months of searching for a distributor (Lionsgate, ultimately), 'Megalopolis' grossed $14 million in theaters, making it one of modern cinema's most brazen rolls of the dice. The film stars Adam Driver as visionary architect and inventor Cesar Catilina. A few decades in the future, this idealistic savior vies for urban redevelopment and design control of the Manhattan-like city of New Rome with its weak, corrupt mayor (Giancarlo Esposito). Evoking a metropolis on the brink of total collapse, New Rome's scheming politicians and half-ruined architectural monuments also suggest ancient Rome, just before Nero started fiddling. Catilina wants something better for the people, a utopian rebuke to mediocrity. His motto is unmistakably Coppola's as well: 'When we leap into the unknown, we prove we are free.' Now 86, the director will forever be best known for his 'Godfather' trilogy, 'Apocalypse Now' and smaller-scaled masterworks such as 'The Conversation.' His latest film, he has said, may too pass the test of time, long after the memes and the financial reports have faded. As Coppola posted on Instagram earlier this year, noting that director Jacques Tati risked all he had (or nearly) on his wondrous 1967 utopian/dystopian dream 'Play Time,' now considered a classic: 'Box-office is only about money, and like war, stupidity and politics (it) has no true place in our future.'
Gizmodo
18-06-2025
- Entertainment
- Gizmodo
Francis Ford Coppola's ‘Megalopolis' Is Returning to Theaters, in a Truly Mega Way
Megalopolis, Francis Ford Coppola's long-awaited dream project, came and went from theaters last year. Usually, after that, a film would show up on demand or for streaming but that wasn't the case here. What was happening with Megalopolis? Now we know. Starting July 20, Coppola's film will be taken on the road for a series of events called 'An Evening With Francis Ford Coppola and Megalopolis Screening.' It kicks off in Red Bank, NJ, before going to Port Chester, NY; Chicago, IL; Denver, CO; Dallas, TX; and San Francisco, CA. It includes a screening of the film, obviously, as well as an 'interactive discussion' with Coppola called 'How to Change Our Future.' 'This is the way Megalopolis was meant to be seen,' Coppola said in a statement. 'In a large venue, with a crowd and followed by intense interactive discussions about the future.' You can get tickets on Ticketmaster, which appear to cost around $40. Released last year, Megalopolis was the result of decades of planning and anticipation from the legendary director of The Godfather, Apocalypse Now, and The Conversation. It cost well over $100 million and was paid for almost exclusively by Coppola himself, but it proceeded to bomb at the box office, grossing a little over $14 million. Nevertheless, the film's huge ambition and beyond-weird performances, themes, and visuals gave it the beginnings of cult classic status. Physical versions of the film were released but nothing beyond that. Adam Driver stars in the film as a visionary architect who wants to push his city into the future, only to run into a hard-nosed mayor, played by Giancarlo Esposito. Nathalie Emmanuel, Jon Voight, Laurence Fishburne, and Shia LaBeouf all get in the fun along with Aubrey Plaza as a character named Wow Platinum. Yes, it's a movie where someone named 'Wow Platinum' makes total sense. We don't think Megalopolis is a particularly good movie, but it's certainly fascinating, worthy of discussion, and surely there won't be too many more cases to see Coppola discuss his work in public in the coming years. If you're a fan, take note.
