#A Hauting in Venice

[shinehalley]

Well, well, well, Kenneth Branagh's Poirot really has a specific weakness for sarcastic and affronting women, doesn't he?

[mateopoznan]

Duchy w Wenecji (2023, org. A Haunting in Venice)

Najciekawszy z tej współczesnej serii. Mocno wychodzi z własnej strefy komfortu i balansuje na granicy między korzenną dla siebie logiką, a odległą i nielogiczną strefą spirytystyczną. Może plot twist nie zaskakuje, może i łatwo rozszyfrować supły intrygi, a jednak klimatyczność i brak wtop fabularnych zapewnia przyzwoitą rozrywkę bez momentów zażenowania. Miejscami irytują decyzje operatorskie, drugi plan dość płaski - nie przysłania to jednak odbioru całości.

[sultryana]

Lipgloss and iPods, I’m gonna get what I want

[graveyardfullofstars]

[witchesroad]

JENNA ORTEGA at the 2024 VENICE FILM FESTIVAL paying homage to looks from the original ‘BEETLEJUICE’ film, styled by ENRIQUE MELENDEZ.

[365dressestome]

2024 Favorite Red Carpet Dresses 227/366

Winona Ryder Wore Chanel Haute Couture To The ‘Beetlejuice Beetlejuice’ Venice Film Festival Premiere

[madeleineengland]

Taylor Russell wearing vintage Chanel 1993 at Venice film festival 2024

[fancyschmancyopinions]

LADY GAGA at the premiere of “Joker: Folie à Deux” at the 81st Venice International Film Festival on September 4th 2024 wearing DIOR HAUTE COUTURE and PHILIP TREACY

There’s so much going on with this look, and I’m obsessed. Lady Gaga looked flawless in the look. The dress and fascinator worked so well together. Both were beautiful and eye catching, but the fascinator really stole the show. It was so beautiful and delicate. This was the first look for this press tour, and I know Lady Gaga will have many more great looks.

[jeeez-louise]

Taylor Russell in Chanel SS 93 Couture at the Beetlejuice Beetlejuice premiere at the 2024 Venice Film Festival

[chicinsilk]

"Ligne Naturelle L'Ovale"

Christian Dior Haute Couture Collection Spring/Summer 1951 Afternoon dresses, “Pantomime”, “Dordogne” and “Quiproquo”. Models Alla, Angélina and Lucky. Trip from the House to Italy to Venice in June 1951.

Christian Dior Collection Haute Couture Printemps/Été 1951 Robes d'après-midi, "Pantomime", " Dordogne" et "Quiproquo". Mannequins Alla, Angélina et à Lucky. Voyage de la Maison en Italie à Venise en juin 1951.

[puttain]

Marchesa Luisa Casati. ‘Nuff said.

[shinehalley]

One of my main problems with the film Death on the Nile is that it tries to follow the same suspenseful dynamic as Murder on the Orient Express, but since the endings are completely different then the film is just a big meaningless mess. For example, it makes perfect sense that the viewer doesn't understand what exactly is going on in the first movie because the clues don't make sense since it's a big conspiracy involving ALL the people on the train, but in the second movie we have culprits and people unrelated to the crime in the same environment, so the right thing would be to eliminate suspects throughout the film and see the logic in the clues so that in the end we have that feeling of "Ah, now it makes perfect sense!", but we don't have that! 

We spent 90% of the movie with everyone being a suspect, although most of the scenes that serve as suspense make no sense at all (like the chase scene where Poirot can't establish who the culprit might be because everyone leaves nearby where the murderer discarded the gun, but Jackie is accompanied when she appears so I don't even think the script will convince me that she ran all that from Poirot, she didn't get out of breath and the person who found her by chance leaving where the murderer discarded the weapon gun wouldn't rat her out) and in the end the result is only thrown in our faces because Poirot went crazy and decided he was going to find out the culprit by elimination. It's almost a lesson in how not to make a suspence. 

In my opinion the characters also leave something to be desired since in the first film we may not like them, but we want to follow along to try to understand what they think and what the conclusion of the mystery will be, but in the second all the interactions of the love triangle leaves me uncomfortable and the other characters are just, I don't know, whatever. They're all related to the victim right off the bat and there's very little about them that makes me think they have a life other than existing to be a suspect in that murder. None of them really interested me. 

Oh, and I hate that they brought Bouc back. He was a funny character in the first movie, but basically giving him the role of Hastings didn't win me over. Plus one of my favorite parts of the book was the conversations Poirot and Colonel Race had so losing it made me kind of unhappy as soon as they announced the movie. 

Anyway, I know there's going to be another Poirot movie released this year and it made me remember the problems of the previous movie. While I hope things get better, I don't have high expectations.

[tayrussellfiles]

taylor russell wearing vintage chanel spring 1993 haute couture at the venice film festival opening ceremony 🪽

[imsovoguesblog]

Mother is Mothering ~

Lady Gaga has arrived at the Venice Film Festival giving us DEMURE

Lady Gaga gaga stuns the crowd at the 'Joker: Folie a Deux' red carpet today at the 81st Venice Film Festival, wearing custom Dior Haute Couture, paired with a beautiful Philip Treacy lace headpiece and Tiffany&Co Jewelry. .

[artdecoandmodernist]

The Venice Simplon-Orient Express celebrates art deco glamour. 

The Paris Suite and The bathroom inside the Paris Suite, Simplon-Orient-Express luxury train.

The Paris Suite

Taking inspiration from Paris' historic love affair with the art deco movement, Wimberly Interiors has adorned the Paris Suite onboard the Simplon-Orient-Express luxury train with exquisite decorative touches and a light and crisp colour palette. The city's haute couture and gastronomic excellence is channelled through elegant furnishings, delicate fabrics, crystal barware and Lalique crystal panels.

Architectural Digest India

[tina-aumont]

August/September 1952 - Teresita Montez attending at the International film Festival in Lido, Venice. In the second picture we can see her with Bennatti (center) and Yves Manuel, they married that February and he was the father of their baby girl Raïna Paris who was born between 1956 and 1958.

Very special thanks to @74paris for sending me the second photo.