Dont’ Look Up out now on Netflix; and interviews
Posted on
Dec 26, 2021

Dont’ Look Up out now on Netflix; and interviews

Happy Holidays, everyone!

Don’t Look Up is now available to stream on Netflix (worldwide). Screencaptures from the movie are now available on our gallery, and a few interviews with Cate has been released. Enjoy!

Conversation with Cate Blanchett; Nightmare Alley Clip and Featurette
Posted on
Dec 22, 2021

Conversation with Cate Blanchett; Nightmare Alley Clip and Featurette

Hello, everyone!

A new interview between Cate and Pete Hammond from Deadline has been released plus Nightmare Alley clips and featurettes. Costume designer, Luis Sequiera also talked about working with Cate in Nightmare Alley.

Costume designer Luis Sequeira speaks to L’OFFICIEL about outfitting Cate Blanchett

Guillermo del Toro’s new film, Nightmare Alley, sees Bradley Cooper as con man Stan Carlisle, who learns the tricks of faking clairvoyance at a rundown carnival. His ambitions take him and his girlfriend Molly, played by Rooney Mara, to the big city, where his drive for fame and fortune become entwined with the delusions of his act, leading to dangerous consequences. Cate Blanchett, Toni Colette, and Willem Dafoe round out the stellar cast.

Based on a William Lindsay Gresham novel from 1946 that was made into a film noir the following year, the dark story returns to the big screen in an adaptation that retains a vintage quality. This is largely thanks to costumes by Luis Sequeira, who reunites with del Toro following their Academy Award-winning work on 2017’s The Shape of Water, which snagged four Oscars, including Best Picture, and was nominated in nine other categories, including Best Costume Design. 

L’O: The other character who perhaps has the most striking costumes is Dr. Lilith Ritter, played by Cate Blanchett. How closely did you work with Cate to create her wardrobe?

LS: I’ve collected a lot of references in hopes of doing a ’30s movie one day. So I had a pair of sketchbooks that I had collected some years ago and we looked through those. There are specific details to that two year period that we both felt was right for the character. I was also lucky to have her in Toronto filming Miss America and we were able to have a preliminary measurement-taking and create a block for her, which was quite instrumental. We created the suits, blouses, and dresses knowing exactly what the fit was, which you don’t often have. You get an actor a few weeks before they go to camera and you’re trying to get it all together very quickly. With this film, we had the luxury to have a bit of time to really refine those lines.

L’O: The fit really is impeccable, and it shows on-screen.

LS: Here’s the thing about Cate. She knows how to wear the clothing. It didn’t wear her, she wore it. And then she moved; I was quite taken in the fitting when she would kind of doing some movement to feel how the clothing felt in the way she would recline, or the way she would sit. And that would inform us about how tight we could go without being too tight or was there gonna be a problem when you foreshorten the front of your body when you sit, so that suit had to sit pretty in a very distinctive way to not buckle up. Those are all things that were really helpful from the standpoint of Cate and I working those things out in the fitting room.

Source: L’Officiel

Cate Blanchett AACTA International Nomination; 032c Magazine Photos; & New Interview and Nightmare Alley Featurette
Posted on
Dec 19, 2021

Cate Blanchett AACTA International Nomination; 032c Magazine Photos; & New Interview and Nightmare Alley Featurette

Hi, Blanchett fans!

Cate has been nominated at the AACTA International for her performance in Don’t Look Up. A new Nightmare Alley featurette has been released. Check out some of the photos from 032C photoshoot below.

AACTA International Nomination

The 2021 AACTA International Awards will be presented virtually at 7 a.m. AEDT on Thursday, Jan. 27 (12 p.m. PT on Wednesday January 26).

Nightmare Alley Featurette


A double dose of the great Cate for the holidays

This morning I had the opportunity to interview Cate Blanchett, whose latest film Nightmare Alley opens today. I got to see that in a packed preview screening earlier this month at the spectacular Academy Museum theater and it looked stunning (not sure howI would have reviewed its considerable visual glories off a link). I brought up the fact that it is so great to see this Guillermo del Toro film opening exclusively in theaters, and it is great to see people going back, however cautiously.

“It is crazy times but I doubt there is going to be a non-crazy time in the near future,” she said. “I really think people, well I can speak for myself, but I think the one thing I missed, even though we are not out of the woods yet, the one thing I missed in the epicenter of the pandemic was gathering in the dark with strangers, because it does add to the experience when other people you don’t know are all joined in that experience.”

Blanchett had high praise for her director, working with del Toro for the first time, saying, “Guillermo is a singular filmmaking creature. There is no one like him making movies.” This two-time Oscar winner has obviously worked with a lot of great directors, so that is saying something.

Nightmare Alley is a delicious period film noir in which the psychiatrist she portrays goes toe to toe on the dark side with a devious Bradley Cooper in this remake of the 1947 Tyrone Power classic and reimagining of the controversial book that came out in 1946. It is a film that has strong entertainment value but also a timely message. In some ways you could say, even though this film is set in 1939 and early ’40s, it talks about things Blanchett thinks are a global problem today, including the Big Lie.

“It is a big problem today, this relationship with the truth, and something that obviously the film deals with absolutely is the most dangerous part is when the liar starts to believe the lie,” she said. “It is sort of relevant to the old Soviet era, the systems we labored under, where we know they are lying, they know that we know and don’t give a damn, and we don’t give a damn either…I think it is very nightmarish.”

Usually film noir is in black and white, but this was shot in color. However, as we were chatting this morning I told Blanchett, who was Zooming in from England, that it was just announced there will be a special black-and-white version of the movie released to select theaters in January. I for one can’t wait. “Guillermo talked about it when we were shooting saying ‘Oh maybe this should be in black and white but they’ll kill me,’ but it is so great they finally are getting to do that,” she said. “I don’t enjoy watching myself on screen, but I loved watching this movie so I will queue up and buy a ticket.”

Blanchett not only has Nightmare Alley this holiday season, but also the hilarious, timely and pertinent Don’t Look Up, the all-star Adam McKay comedy in theaters and hitting Netflix next week. The pic uses the premise of an impending comet about to destroy Earth as a wry comment on the lack of urgency by many for the distinct dangers of climate change.

I wondered if she was now picking movies like these two that not only have great entertainment value, but also have something important to say; both films were nominated this week for Best Picture by the Critics Choice Association. “It is very rare that two movies come along like this in relatively quick succession and you get to be a part of it,” she said. “Both of them have such exceptional casts, with two incredibly distinctive directorial voices, and you’ve got all of these people working at the top of their game in films that deal with very contemporary relevant issues but doing it in a way through allegory and metaphor and satire, so that there’s no agitprop preaching quality to either film at all. They are there to hold the audience’s hand and entertain them and hopefully leave them feeling more deeply, connecting maybe. It is very rare. I feel pretty blessed to have been a small part of both.”

032c Magazine

Source: Variety, Deadline

Cate Blanchett covers 032C Issue #40; & Don’t Look Up and Nightmare Alley updates
Posted on
Dec 9, 2021

Cate Blanchett covers 032C Issue #40; & Don’t Look Up and Nightmare Alley updates

Hi, Blanchett fans!

Cate appears in one of the covers of 032c Issue #40 with Riccardo Tisci, who is the current chief creative officer of Burberry. A new character poster of Cate as Brie Evantee in Don’t Look Up has also been released plus a new clip from Nightmare Alley. Both movies are on National Board of Review (NBR) and American Film Institute (AFI) top 10 movies of 2021. There’s also a short interview with Cate published by The Guardian.

032c Issue # 40 – Winter 2021/2022

The 032c Issue #40 cover dossier, “The Road to Burberry,” explores how 47-year-old Italian creative director Riccardo Tisci came to the 165-year-old British heritage label Burberry. Joining along the way are actress and two-time 032c cover star CATE BLANCHETT, photographers Mert & Marcus, artist Thomas Jeppe, and poet Caconrad, for an 80-page journey charting the course of 21st century fashion. Elsewhere, two generations of UK Rap Royalty collide as Skepta and Little Simz don Bottega Veneta in London for a shoot by Gabriel Moses. Ilya Lipkin shadows the Supreme team as they skate Berlin. Political scientist Mark Leonard explains The Age of Unpeace – and how the global systems that once connected us have come to tear us apart. Bodies revolt in the works of German artist Alexandra Bircken, outerwear reaches peak genius in the hands of Moncler CEO Remo Ruffini, and the films of Michael Mann flood our world with blue in a treatise by Mahfuz Sultan. Jordan Barrett is airbrushed to bootlegged perfection for a countryside shoot with Bruno Staub and Vittoria Ceretti sparkles in the night for Vito Fernicola in two features styled by Marc Goehring. Power duo Ana and Danko Steiner couple architecture and desire. Ana Ofak revives the legacy of Svetlana Kana Radevic, the unsung heroine of Balkan brutalism. Voices from the cosmos reflect on the monstrous, alien, infectious, clairvoyant, shape-shifting, devious, and transcendent present in our new X-FILES section.

The magazine is now available for order on 032c website.

Click image for bigger size:

Don’t Look Up and Nightmare Alley on NBR and AFI Top 10 films of 2021

NBR – The honorees will be feted at the NBR Awards Gala, hosted by Willie Geist, on Tuesday, January 11, 2022.

Top Films (in alphabetical order)

Don’t Look Up
King Richard
The Last Duel
Nightmare Alley
Red Rocket
The Tragedy of Macbeth
West Side Story

AFI AWARDS – The honorees include 10 outstanding films and 10 outstanding TV programs deemed culturally and artistically representative of this year’s most significant achievements in the art of the moving image. The honorees will be celebrated on January 7, 2022, at a private reception, and beginning on January 8, 2022.

Here’s a short clip from Nightmare Alley:

Don’t Look Up Character Poster – Brie Evantee

Cate Blanchett on her end-of-the-world plans

If a massive meteor were expected to collide with Earth in six months’ time, what would our leaders do? Everything in their power to stop it? Or everything possible to leverage it for political and financial gain?

How about the rest of us? How would we cope with the prospect of impending apocalypse? By facing the end of the world with sobriety and compassion? Or drowning ourselves in sex, drugs and celebrity gossip? Might some of us even enjoy the drama?

Adam McKay’s new film, Don’t Look Up, is a starry satire addressing these questions with a broad brush – and fresh urgency. It is that rare thing: a mainstream movie that seeks genuinely to engage with the issues dominating the news and plaguing our dreams.

Jennifer Lawrence and Leonardo DiCaprio play the misfit scientists who spot the comet; Meryl Streep is the Trumpian president who seeks to sweep this species-ending event under the carpet until it is expedient.

Cate Blanchett and Tyler Perry are the remorselessly lightweight hosts of a US daytime talkshow on which the news is broken, Mark Rylance the creepy tech billionaire with ambitions to be the messiah who saves humanity.

Here, Blanchett answers questions about how she would face the end of the world as we know it.

If extinction were imminent, which daily chore would you stop immediately?

Stockpiling toilet paper. I do find routine strangely comforting, though. So I might, sadly, go into routine overdrive. Baking like there’s no tomorrow – when there actually wouldn’t be one.

Where would you want to see in the apocalypse – and with whom?

I guess dancing up a storm in the living room with my husband and children, and the farmer from across the way. Man, that farmer can dance.

What do you find terrifying?

Leaf blowers. They encapsulate all that is wrong with us as a species.

Do you think Covid has brought into focus how rich many people’s lives used to be?

I’m not really a believer in “the good old days”. Richer before? I’m not so sure. Things weren’t working for millions of people before the pandemic. Systems were already broken, or breaking open. You could say the pandemic just made these fissures and inequities undeniable. It certainly brought into focus how possible it would be to implement a basic living wage.

Do you subscribe to any conspiracy theories?

Conspiracy theories freak me out; I mean, the fact that they are believed at all keeps me awake at night. I relish them in movies and novels – where they belong.

What is the most propulsive thing that has ever happened to you?

Giving birth. That and spending 36 hours in the eye of a hurricane off the coast of Greenland.

Source: The Guardian, NBR, AFI

Cate Blanchett in Porter Magazine; & New Nightmare Alley Clips, and Don’t Look Up Still
Posted on
Nov 29, 2021

Cate Blanchett in Porter Magazine; & New Nightmare Alley Clips, and Don’t Look Up Still

Hello, everyone! Feeling ecstatic with this new Cate update!

Cate covers Porter Magazine. We have updated the gallery with the editorials and the outtakes. There are new footage from Nightmare Alley clips, and Vogue published an article on the costumes in the movie. Also, new still from Don’t Look Up has been released.

Leading Light with Cate Blanchett

Few actors have the cachet of CATE BLANCHETT, but what really drives the multi-Oscar-winning star these days? She talks to AJESH PATALAY about choosing projects that provoke, overcoming parenting challenges and why she’s not interested in ‘winning’ the scene

Click image for higher resolution

When Cate Blanchett finds her groove, it’s like a wind catching in her sails – and a wonderful thing to behold. She’s currently in Berlin, where she’s shooting Tàr, a movie written and directed by Todd Field, in which she plays an eminent music conductor. Having just come off a night shoot when we speak, the actor takes a few minutes to revive. Talking about Berlin, a city she adores, instantly warms her up. “There are so many expat Australians living here,” she effuses. “I feel very at home.”

Next, Blanchett moves into enthusiastic discussion about Tàr, in which she gets to conduct (or pretend to) a full orchestra: “It’s been astonishing. Just to be vibrating in that space with that many musicians.” This leads her on to a rhapsody about a National Trust performance that was broadcast live during the first UK lockdown in 2020, for which five musicians in different locations began playing as daylight broke where they were, building from a solo to a quintet. “My husband and I lay there – we’re sort of on a hill…” Blanchett says of the manor estate in East Sussex (which includes an orchard where, naturally, she presses apples in her downtime), where she lives with her playwright/director husband Andrew Upton and their four children. “We just watched the dawn, in russet mantle clad, emerging,” she says, quoting Shakespeare, “knowing there were about 5,000 other people listening to this music. It was the most beautiful gift that came out of the pandemic.”

Five minutes later, we’re on to climate change and Blanchett is firing on all cylinders. The subject is her next release, Don’t Look Up, a boisterous satire from writer/director Adam McKay about two astronomers (played by Leonardo DiCaprio, himself a fierce advocate for climate action, and Jennifer Lawrence) who try to warn mankind about an approaching comet that will destroy Earth. Everyone, from clickbait pundits and tech billionaires to inept presidents, is subject to ridicule in a story that becomes an obvious metaphor for global warming. Blanchett plays a TV talk-show host, a model of artificiality with bleached-blonde hair, blinding white teeth and impossibly bronzed skin. “Actually, it’s a revolting moment when you wash that makeup off and see the sludge going [down the drain],” she recalls. “It’s quite confronting.”

On the environmental matters that inform the film, she doesn’t sugar any pills. “Everyone is trying to be positive, talking about 1.5 degrees of global warming,” she says. “But 1.5 would still be disastrous. We need to be fucking scared… and demand change; be collectively courageous enough to face that fear and do something about it.” The movie, for all its doomsday messaging, is actually a laugh a minute. And there’s a particular thrill in seeing so many Hollywood stars onscreen at the same time. One pivotal scene in the White House Situation Room brings together five Oscar winners and one Oscar nominee: Blanchett, DiCaprio, Lawrence, Meryl Streep (who plays a catastrophically useless president), Mark Rylance and Jonah Hill.

What was it like being in that room? “It did feel like a Last Supper,” Blanchett says, but this was less a measure of the star wattage than of the strict Covid protocols that were in place, along with the film’s apocalyptic plot. Still, she concedes, getting to high-five Streep (which is the extent of their interaction onscreen) “was great”.

At the same time, Blanchett stars opposite Bradley Cooper in Guillermo del Toro’s Nightmare Alley, a period noir set in the world of a traveling carnival that follows the “rise and fall of a liar”, according to del Toro. Many will see the film (like Don’t Look Up) as a response to the Trump era. “I definitely think this was something boiling in Guillermo,” says Blanchett. “[The film] is a real dark night of the soul. You watch a man breaking the rules, getting away with it… and refusing to show sympathy or compassion.”

McKay has said Don’t Look Up was inspired by a litany of “disastrous presidents”. And Blanchett points to other populist leaders, remarking on the common thread. “I’m hoping it’s a white-male ghost dance,” she says. “They realize they’re on the edge of extinction and they’re panicking. We’re witnessing them in their death throes, which is why it’s so aggressive and destructive.” I ask if, on the contrary, such leaders could see a resurgence. “That’s why people have to vote,” she fires back. “And exercise their power. I’m sounding like I’m on a soapbox, which I’m not interested in, but it’s important to not give in. I’m not giving up hope. As I say to my kids [on climate change], if we’re going out, how do we choose to go out? It’s a terrible conversation to have with your 13-year-old, isn’t it? But anyway. We do laugh around the dinner table. That’s what’s good about Adam’s film. You have to laugh.”

Understandably, Blanchett prefers discussions about her work and not to be caught soapboxing. “I couldn’t be less interested in agitprop [or] telling people what to think,” she says. But she is drawn to films that “ask provocative questions” and she isn’t afraid to get behind causes she believes in, such as Prince William’s Earthshot Prize, which awards contributions to environmentalism. She also recognizes how fraught being outspoken in public can be. “You have to be judicious,” she says. “I’ve been asked to do things by people and I’ve said, ‘I think I’m going to be a liability’.” Her presence can derail a debate, she acknowledges, as she draws the focus over the issues.

She also sees how polarized – and mired by point-scoring – public discourse has become. “I’m very sad about the loss of genuine debate,” she says, “where leaders, public intellectuals and everyday citizens try to find common ground, try to understand the issue, rather than try to win… Even in acting, people talk about [how] to ‘win’ the scene. No, we have to make the scene come alive. And we might have to lose a bit here, win a bit there.”

iven how social media is sharpening the debate, I wonder how much that comes up in conversations with her teenage children Dashiell, Roman and Ignatius, and her youngest, Edith. “A lot,” she says. “Because so much of our so-called information comes through social media. I’m old enough to have been taught at school what a primary, secondary and tertiary source is. I say to the children when they mention something, ‘Where did you read it? Who has [authenticated] that? You have to learn how to read an image and article. And if you’re going to share something, you’d better make sure you have checked the sources.’ Of course, they roll their eyes. But when you hear them talk to their friends, I think they’re responsible. My son is studying physics and philosophy, so he is really interesting to talk to about [technology]. I don’t want to become a separated generation, because I also feel responsible for the landscape he is about to emerge into as an adult.”

On to lighter topics and there’s still one question of vital, global importance I have yet to ask: what did Blanchett make of Adele holding her up as ‘her style icon’ in a recent interview for Vogue? The actor laughs. “I was absolutely chuffed! I think she is amazing. So down to earth. Our paths crossed when she came to Australia on tour.”

As for her own style icons, Blanchett cites Iris Apfel and Fran Lebowitz. And her regard for fashion can be traced back to her early years playing dress-up with her sister: “My sister would dress me up and I would pretend to be whatever the costume told me to be,” she recalls.

She’s clearly not lost her appetite for childish play because, when asked to name the role she’s most enjoyed playing across her illustrious career, it isn’t the historical dramas, fantasy epics or action blockbusters that first spring to mind. It’s “voicing a monkey” in Guillermo del Toro’s upcoming version of Pinocchio. “That was hilarious,” she says. “I’d listen to a lot of different chimpanzees, then try everything out. You go back to being six years old. I mean, I have a six-year-old, so [I did] a bit of work with [her] too.” That must have been fun for her daughter. “Actually, she got rapidly sick of my noises,” Blanchett smiles. “Hopefully, the audience won’t.” As if we ever could.

‘Don’t Look Up’ is in cinemas from December 10 and on Netflix from December 24. ‘Nightmare Alley’ is in cinemas from December 17 (US) and January 21 (UK)

Porter Magazine

Creating the Costumes for the Charlatans, Hustlers, and Con Artists of Guillermo del Toro’s Nightmare Alley

Nightmare Alley is Del Toro’s homage to classic film noir, where a character’s alluring façade can mask ulterior motives. Take Dr. Lilith Ritter, a glamorous psychiatrist who attempts to expose Stanton as a fraud before getting tangled in his web of deception. She’s played by Cate Blanchett in full femme fatale mode, and her collection of stylish gowns and velvet capes reveals more about the character than any verbal description.

“Luis designed a reality with his costumes that reflect personality and help tell the story,” Del Toro says. “Leather, wool, embroidery—they all define character and integrate visually to a color and texture palette, seamlessly.”

Ahead of Nightmare Alley’s December 17 premiere in theaters, Sequeira shared some of his costume sketches with Vogue and spoke about bringing Del Toro’s sinister world to life.

Dr. Ritter represents the world of distinguished old money that Stanton wishes to inhabit. Sequeira cites her as his favorite character to dress in Nightmare Alley, drawing inspiration from Paris fashion sketches from the ’40s for Blanchett’s designs. “It was all about working with Cate’s body frame and making her look as beautiful as possible, which isn’t difficult,” he says. The designer culled materials from various archives across Spain, Italy, and the U.K., pulling different types of velvet for Dr. Ritter’s collection of glamorous eveningwear. “There’s one gown that had little brass stitching throughout, so in the low lighting of the Copa, any kind of movement really made the fabric sing.”

Click image for higher resolution and more concept art photos:

Check these two new clips with some unseen clips from the movie.



Don’t Look Up

Don’t Look Up offers plenty of comedic knives for Trumpism (the title is the rallying cry of science deniers), but it’s also a brutal send-up of the media. Cate Blanchett’s take on a morning show anchor for a show called The Daily Rip is as close to Mika Brzezinski as one could get without being an impersonation. Even The New York Times comes in for a spanking.

Vanity Fair

Cate Blanchett wins Satellite Award, and Staged Extended Version released & more videos
Posted on
Feb 20, 2021

Cate Blanchett wins Satellite Award, and Staged Extended Version released & more videos

Hello, blanchetters!

Cate has won her first award for her role in Mrs. America and Staged has released an extended version of their series on DVD and there’s almost 2 minutes of added appearance with Cate. One of our former admins, Mary, found a video from July 2020, and STC has released a short video interview with Cate and Andrew. Enjoy!

Satellite Award for Best Actress in Limited Series

Staged extended version is also currently streaming on ABC Australia. We’ve cut it from the beginning of Cate’s appearance to the last but this is an extended version of it. This is the episode that was initially released.

Episode 7 – The Loo Recluse (Extended) Caps

Memories of the Wharf: Cate Blanchett & Andrew Upton

Former Artistic Directors’ Cate Blanchett and Andrew Upton have a history with The Wharf that starts well before their directorship, with Cate receiving her first role out of NIDA here, and Andrew Upton working as a Resident Director. Continuing in our series of Memories of The Wharf, watch them reflect on how their careers have been impacted from their time at The Wharf, and how walking down that long walkway feels like coming home.

Memories of the Wharf Caps

YOU MATTER – ABF Covid-19 Assistance

Cate along with other Australians actors and entertainment industry professionals appeared in a short video encouraging “actors and entertainment professionals both past and present and of all ages” to reach out to the Actors Benevolent Fund if they need assistance especially during the time of a pandemic.

You Matter – ABF Covid-19 Assistance

Cate Blanchett News Compilation
Posted on
Nov 21, 2020

Cate Blanchett News Compilation

Hi, everyone!

We’ve compiled the latest new on Cate these past weeks. She narrated a short video for Beirut, Lebanon and participated in Experience Camps’ Talk About Grief (TAG). New image for Armani Beauty Holiday Campaign is out.

Risposta affermativa. Intervista a Cate Blanchett

Dal 2013 Cate Blanchett e? la testimonial di Si?, la fragranza di Armani. E anche se non ci tiene a lanciare messaggi planetari, non rinnega l’impegno. Perche? «viviamo in tempi molto introspettivi, c’e? davvero bisogno di aprirsi agli altri»

«Non mi permetto di dire alle donne cosa debbano fare. Ognuna deve essere fedele alla sua natura: e? quello che conta di piu?. Solo se sei davvero onesta con te stessa, quando ti chiedi perche? dovresti dire Si? o No, sai cosa risponderti. E comunque, parlando in generale, preferisco i Si? ai No. Viviamo in tempi comprensibilmente molto introspettivi e c’e? davvero bisogno di essere aperti».

Anche se non e? un periodo facile per fare la testimonial di un profumo che e? una dichiarazione d’intenti esplicita e un po’ rischiosa (dire Si? significa infatti aprirsi al mondo e alle opportunita?), Cate Blanchett prosegue con imperturbabile entusiasmo la sua missione di volto ufficiale della fragranza piu? intrepida di Armani, arrivata ormai al suo settimo anno e a una versione in rosso metal (Si? Passione) dedicata a donne forti e assertive. Che dicono Si?, insomma, solo a quello che pare e piace a loro.

A proposito di donne assertive, e? arrivata di recente in Italia (su Timvision) l’ultima serie di cui lei e? protagonista, Mrs. America, incentrata sulla parita? dei diritti delle donne nell’America degli anni 70. Come e? cambiato il femminismo da allora a oggi?

La serie parla di politicizzazione dell’equita?, di come la richiesta di parita? e uguaglianza sociale da parte delle donne sia diventata una richiesta politica. E? la stessa cosa che sta succedendo adesso con le mascherine. Indossarle si sta trasformando in un gesto politico che, alla base, non lo sarebbe: dovrebbe riguardare soltanto la responsabilita?, il rispetto e la democrazia.

Di recente ha dichiarato che preferirebbe essere chiamata attore e non attrice.

Mi riferivo a un episodio successo a Berlino (la controversa decisione del Festival del Cinema di Berlino di non assegnare premi di genere, ndr). Quando ho iniziato la carriera, la parola “attrice” aveva un senso peggiorativo ma non ho mai pensato che il mio lavoro fosse diverso da quello che faceva un uomo. Il femminismo e? questo: la richiesta di un’uguaglianza genuina, sofisticata, orientata al futuro.

Cos’e? la bellezza per lei? Crede ci siano parametri universali?

Non credo che la bellezza abbia tanti significati diversi. Adesso, pero?, mi sembra piu? evidente che, quanto in passato si considerava bello in un senso mainstream, forse non lo sia cosi? tanto. Ho sempre fatto mia la visione giapponese in base alla quale la bellezza deve avere delle imperfezioni per essere tale. Non sottoscrivo invece l’estetica plastificata: la perfezione non e? perseguibile. E ogni cosa diventa piu? interessante proprio quando inizia a decadere. E per quanto riguarda i parametri universali: no, la bellezza deve sorprendere.

Che rapporto ha con Armani?

Condividiamo l’amore per l’oceano. Per questo sono cosi? contenta di vivere in Australia. E dopo averne parlato svariate volte con lui, alla fine sono riuscita a convincerlo a venire a visitarla. Mi venne anche a trovare nel teatro dove stavo lavorando e fu generoso e gentile, volle incontrare tutte le persone che erano li? con me. Erano tutti eccitatissimi all’idea di conoscere Giorgio Armani e lui fu disponibile con tutti.

Cosa le piace del suo stile?

Quando ero adolescente ero attratta, e lo sono tutt’ora, dagli abiti con una silhouette maschile, e Armani e? stato uno dei primi a proporli. Lo ha fatto anche Yves Saint Laurent, ma in un modo diverso, Armani e? stato capace di sfumare quella linea di demarcazione tra i generi in un modo fluido, sensuale e libero.

You can listen to the dubbed podcast below:


Why You Need to Watch This Beirut Film By Cate Blanchett and Nadine Labaki

Lebanese director and actor Nadine Labaki has long been friends with Hollywood superstar Cate Blanchett, with the pair having more than philanthropic endeavors and movie experience in common. So, it was inevitable that the talented duo would join forces for something incredibly powerful, and that’s exactly what they have done creating an impactful film depicting the on going crisis in Lebanon.

The #keeptalkingaboutbeirut film reveals the brutality of the explosion at the Port of Beirut on August 4, 2020. The raw footage edited by Nadine Labaki, in collaboration with Lebanese filmmaker Elie Fahed, was captured by citizens and journalists, and shows the real state of Lebanon’s capital. The film’s script, which is narrated by actor Cate Blanchett, was written by Labaki and political activist Sara El-Yafi.

Celebrities Talk About Grief

With millions more people grieving due to Covid-19, Talk About Grief (TAG) is a national campaign to create a more empathetic, grief-aware culture – for each other and for our kids. On National Child Grief Awareness Day, November 19, Experience Camps is coming together with hundreds of partners nationwide to encourage people to share their grief.

Cate’s part starts at 00:52

Stateless dominates 2020 AACTA with 18 nominations

Refugee drama series Stateless earned 18 nomination in the TV category, including best telefilm or miniseries and acting nominations for Blanchett, Asher Keddie, Yvonne Strahovski and Jai Courtney, but co-star Dominic West missed out.

The show also scored multiple screenplay and directing nominations, as well as being nominated for editing, cinematography, casting and costume design.

2020 Armani Beauty Holiday Campaign, British Vogue Photoshoot, Corriere Della Sera Interview

Source: Vogue Italia, Vogue Arabia, Nine.Com.Au

Cate Blanchett interviews Gregory Crewdson, New Sì Campaign Ad, & Earthshot Prize Council Member
Posted on
Oct 8, 2020

Cate Blanchett interviews Gregory Crewdson, New Sì Campaign Ad, & Earthshot Prize Council Member

Hello, everyone!

A new promotional photo for Sì has been released and new interviews with Cate.

Click on the image for bigger size.


Cate Blanchett joins Prince William on the Earthshot Prize Council



The list of people joining the Duke of Cambridge on The Earthshot Prize Council has been unveiled.

On Thursday, Prince William announced the launch of the environmental prize, which aims to incentivise change and help to repair the planet over the next 10 years. It is hoped that the money will provide at least 50 solutions to the world’s greatest environmental problems by 2030.

William will be joined by a host of high-profile leaders from the environmental, philanthropic, business, sporting and entertainment worlds to form The Earthshot Prize Council.

The organisation states that each member is committed to championing positive action in the environmental space.

The list of influential figures includes natural historian David Attenborough, actor and humanitarian Cate Blanchett, singer Shakira, Her Majesty Queen Rania Al Abdullah, professional footballer Dani Alves and basketball player Yao Ming.

Other names highlighted on the list are former UN climate chief Christiana Figueres, environmental activist Hindou Oumarou Ibrahim, former chairman and CEO of PepsiCo Indra Nooyi, philanthropist Jack Ma, economist Dr Ngozi Okonjo-Iweala and former astronaut Naoko Yamazaki.

In the coming months, additional members of The Earthshot Prize Council will be announced as the global coalition supporting the Prize expands.

To mark the launch of the prize, a short film has been released which shows William and Sir David at Kensington Palace, speaking about their passion for the environment and the critical role that The Earthshot Prize can play in repairing the planet.

The film also features each of the 11 other announced members of The Earthshot Prize Council, who explain their motivations for becoming involved in The Earthshot Prize and the differing environmental challenges faced globally.

Speaking about The Earthshot Prize, Blanchett said she feels “extremely honoured” to have been selected for the council.

“I feel humbled and invigorated to be amongst such extraordinary activists, experts and leaders in the environmental sector,” she said.

“All around the world, science and community-based initiatives are leading to ground-breaking inventions and solutions which, if provided with the platform and resources to be implemented on a larger scale, could have a significant and positive impact on the environment and global economy.”




Gregory Crewdson and Cate Blanchett in Conversation about his latest work An Eclipse of Moths



Source: The Independent, Earthshot Prize

How Cate Blanchett Embraced a New Era of Red Carpet Beauty
Posted on
Sep 29, 2020

How Cate Blanchett Embraced a New Era of Red Carpet Beauty

Hello, Blanchetters!

Here’s a short interview with Cate Blanchett and her friend and make-up artist, Mary Greenwell with new behind the scene picture from Venice.

It’s not yet October, and the fall calendar is already three film festivals in, with the current one in New York mostly playing out across virtual screenings and drive-in movie theaters. It’s refreshingly democratic, watching premieres (or a teenage Laura Dern in Smooth Talk) from the easy reach of one’s living room or car. The mood is triumphant, and the dress code casual, even for a director piped in for an onscreen appearance. Still, it’s easy to miss the usual pomp of festival proceedings—the sartorial snap to attention after an under-the-radar summer.

Last month’s Venice Film Festival—with its cautiously orchestrated red carpets and glittery faces intermittently covered by masks—was the exception. And at the center of that fanfare was Cate Blanchett, who presided over the jury. She also set a high-water mark for red carpet beauty in this new era, with amped-up eyes and an unflappable sense of cool.

“It felt courageous—on all levels,” Blanchett wrote by email. “With the challenges ahead for reopening cinemas and allowing filmmakers and audiences alike to think big, a festival like Venice became not only an important test of how this might happen, but an important symbol to the industry at large that we can and will find a way through these murky waters.” Part of that business-as-usual spirit—the bright light through the murk—was Blanchett’s quintessential poise within the star machinery, with help from her longtime makeup artist, Mary Greenwell.

The two women have been working together for a few decades, Greenwell estimates. “My first job with her was with Annie Leibovitz for a Vanity Fair cover,” the makeup artist explains in a call from London, where that initial shoot took place. Blanchett was in ascendance, following her well-powdered turn in 1998’s Elizabeth. Now Hollywood royalty in her own right, Blanchett is the kind of actor who doesn’t need to shift personas on the red carpet, let alone at Venice this year. “It was very much her show, in a sense,” Greenwell says. “Cate is so professional and so beautiful that she just kind of gets on with it.”

That’s how a matter-of-fact Blanchett approached her pandemic-era makeup. “I didn’t overanalyze it, but certainly the way one reads a face with a mask on is different,” notes the actor. “The eyes obviously become a major focus.” With Blanchett a longtime Armani Beauty ambassador, Greenwell’s kit is well stocked, beginning with the Eye Quattro shadow palette. “Taupes and browns are the most flattering colors for everybody because they are the most natural to one’s skin tone,” says Greenwell, who adapted the makeup to Blanchett’s rotating fashion looks, whether a wash of color across the lid or a softly dimensional eye. “Because of the mask situation, I find it quite important to accentuate the underlid as well—underneath the lower lashes,” Greenwell points out. Plus, of course, “loads of mascara—always, always, always.” The classic Eyes to Kill is her go-to. “Unless you’re going swimming in the sea, why wear waterproof mascara?”

“The most important product of all, to me, is concealer—especially in the time of COVID,” continues Greenwell. As masks concentrate the focus above the bridge of the nose, the first focal point is the undereye area, where all secrets of jet lag or lost sleep are spilled. The makeup artist swears by the creamy Luminous Silk concealer (“beyond fabulous”). On top, she layers on Neo Nude powder—a modest antidote to the humid exhales inside a mask. (The effect is weightless, says Blanchett: “After months of wearing little to no makeup, I didn’t want to look or feel artificial. Mary is the master of layering.”) The eyebrows are the last exposed element. Greenwell doesn’t abide by “a heavy brow on anybody, unless you are Cara Delevingne, who has a naturally gorgeous heavy brow.” She skips overly darkened arches in favor of subtle definition, brushing on a formula akin to cream eye shadow.

Finally—on the carpet, in front of the flash—the mouth gets its due. Armani’s latest Venezia lip collection, with a liquid-to-matte formula in a range of warm tones, arrived right on time. “It won’t dry the lips, but it will stay on longer than any kind of gloss or wet lipsticks,” says Greenwell, who wanted to forgo the need for touchups.

It all amounted to the right tonal shift in a complicated year. Blanchett in embroidered Alexander McQueen and a quiffed updo conveyed a kind of modern panache; behind big-personality sunglasses and a mask, she played a lighthearted Invisible Man. Projected confidence—in oneself and in the industry—has the power to linger, even if the future is uncertain. “In this COVID time, we just never know when we’re going to be working again,” Greenwell says. While the two women await the next red carpet, they did just spend an off-duty Sunday at the beach—the rare time for a slick of waterproof mascara.



Source: Vanity Fair

77th Venice Film Festival Behind the Scenes; The Four Temperaments and more
Posted on
Sep 26, 2020

77th Venice Film Festival Behind the Scenes; The Four Temperaments and more

Hi, Blanchetters!

We’ve updated gallery with stills from The Four Temperaments and behind the scene photos from 77th Venice Film Festival and some of them at a higher resolution. Cate also interviewed photographer, Gregory Crewdson, for the Gagosian Quarterly which you can read below. You can watch a part of The Four Temperaments and an interview for Stateless below. Enjoy!


Cate Blanchett Stars in a High Culture Project You Can Watch on Your Phone

What’s an actor to do during a pandemic? There are Zoom plays, homemade music videos about the trials of love in lockdown, or, if you’re Cate Blanchett, avant-garde video projects exploring the human condition. As of Friday, at the Michael Fuchs Galerie in Berlin, you can watch Blanchett turn inside out two simple phrases—“I love you” and “I don’t love you”—in Marco Brambilla’s video The Four Temperaments. (If you’re staying closer to home these days, you can also experience the work, as of today, via the augmented reality app Acute Art.)

Blanchett’s pulsing iterations of the phrases are filtered through four different colors, her face bathed in a carmine yellow glow one minute and traffic-light green the next. The colors are meant to evoke the four humors as described by the ancient Greek philosopher and medical writer Galen, with each tone corresponding to a specific temperament: sanguine (yellow), choleric (red), melancholic (blue), and phlegmatic (green).

This is not the first time that Blanchett has participated in a project more at home in a museum than a multiplex. In 2016, the actor starred in 13 short films, simultaneously projected in the cavernous Park Avenue Armory in Julian Rosefeldt’s Manifesto. That work transplanted the texts of historical manifestos—by visionaries ranging from the Dadaists and Russian abstract artist Kazimir Malevich to filmmaker Jim Jarmusch—and the effect was disorientingly powerful. Dated didacticism, when animated by a genre-bending character (a woman resembling an elementary school teacher, or a wandering homeless man—all played by Blanchett), felt fresh and eye-opening.

That work, it turns out, provided fodder for Brambilla’s project, which plays out on a smaller but no less compelling scale. Brambilla came across Albrecht Dürer’s Melencolia in the course of some research; this led him to Galen, and then to the idea of having one person attempt to embody all of the philosopher’s temperaments. While Manifesto’s effect was dependent on unexpected contrasts and evocations of whole historical landscapes, Brambilla set out to test, as he puts it, “something far simpler”: “Would you be able to create drama using only two lines of dialogue and four basic character types in dialogue with one another, and all performed by the same actor?” Of course, not just any actor would suffice. Having seen Manifesto, Brambilla knew he wanted to work with Blanchett. “Cate performing all the characters made the piece compelling since her range and ability to recede into the character is unique even among the most experienced actors,” he says.

Though it was filmed in the artist’s studio in the midst of the pandemic, the process of creating the work, says Brambilla, was not actually that different than it would have been in more normal times. The film was conceived as a virtual experience as much as a physical one. “I think art will have to engage with people beyond gallery and museum walls,” says Brambilla. “With the advent of virtual reality and now augmented reality, we can bring artworks into almost any setting, public or private, and the engagement can in some cases be even more powerful than a conventional museum installation.”

Stateless Interview

Gregory Crewdson discusses his new work with actor Cate Blanchett

CATE BLANCHETT I have to say, without sounding stalker-ish, that I’m a huge admirer of your work. There are a thousand questions I want to ask you. Your works have really affected the way I look at the world, but I suppose specifically how I look at America. I think it’s hard not to find, or to search out, social commentary in art, even at the best of times. Everything seems so resonant to this strange, vertiginous time that we find ourselves in at the moment. And I’m wondering, given that you’re about to unveil a new body of work, how you feel about the way that it might be received? Do you think about your work in a social-commentary way? One work in particular from An Eclipse of Moths really struck me, and that was Red Star Express [2018–19], with the teenagers looking at a truck on fire, each seemingly unaware of their relationship with one another. Where do you sit in terms of social commentary and how the work might be received?

GREGORY CREWDSON Well, it’s very interesting to me because I made this series of pictures in 2018 and 2019. And I knew that I was dealing with certain particularly American themes about isolation and a certain kind of brokenness, I would say. But for the most part I was just building on my own iconography, making what I hoped would be beautiful and mysterious pictures.

My central intention is to make a picture that feels moving on some level, but also haunting. I’m really interested in what I call the uncanny. That is, I’m trying to explore what, on the surface at least, seems to be everyday life, and trying to find within that some unexpected anxiety, or fear, or wonder, even. In that way the pictures are very much in line with all my previous pictures, but as with anything else, context, the period we’re in, shapes a work of art. The pictures can’t help but take on new meanings as time passes; that’s just part of how art works. I feel that all art functions in reference to other pictures while at the same time referring to your own particular story, you know, the story that we all have within us. And then, finally, it makes some kind of connection to the moment we’re in. So I’m hoping that these pictures, in one way or another, do all those things.

CB Speaking of the uncanny, your titles are so enigmatic, unexpected, and often mysterious. I mean, why An Eclipse of Moths?

GC Well, it’s an actual term to describe the congregation of moths to a light. I thought that was such a beautiful metaphor on many levels, starting with the fact that I think all my pictures at their foundation are concerned with light. All of the narrative codes in my pictures use light as a way of transforming the subject or making the picture.

And then one of the themes that run through the pictures is the streetlamp. It’s in almost every single picture. I’ve thought of the photographs’ lone figures wandering through empty streets in that way: they are drawn to the streetlamp almost as a kind of force, or for some sense of the possibility of redemption.

CB A woman walking alone at night thinks of a streetlamp as a place of refuge, but there’s also something sinister and alien about the iconography of the streetlamp. In Starkfield Lane [2018–19] the lamp has actually collapsed—there’s something very vulnerable about the streetlamps in the series, they’re not places of refuge. And the streets themselves seem like the streets of Los Angeles and every major city around America right now [during this lockdown]. It’s almost like you’ve got second sight or something. There’s no comfort in the light, somehow, in the ways there perhaps had been in previous works of yours.

GC One of my primary interests in these pictures was the theme of emptiness. Where a lot of my previous work was more predetermined in terms of the story lines, I wanted these to feel open-ended and unresolved in terms of what’s happening, what happened before, and what will happen after. I’m really hoping these pictures feel somewhat outside of time, and yet, almost paradoxically, relevant to the moment we’re in. If you notice, there are no signs of contemporary life in the pictures. There are no cell phones. There are no new cars. I want everything in the pictures to feel both nondescript and slightly worn, slightly broken. So I look for locations that can accommodate that narrative or that state, and we put in our own prop cars and our own street signs, and we work closely with the city to make sure that no streets are paved and that all the grass remains unmowed. We want the feeling of a place that’s been somewhat forgotten and neglected. We change out all the streetlamps—we actually put different bulbs into the streetlamps, and we work with the fire department to wet down all the streets, and we use fog machines. All this is part of an effort to create a world that feels both familiar and enchanting at the same time.

So if the pictures have a social commentary, it’s elliptical. It doesn’t reveal itself overtly; it should remain a mystery. All photographs do that in a way—no still photograph can fully reveal its meaning, it’s always left as a question. That’s part of why I respond to photography in the way I do, unlike other narrative forms like movies or literature.

CB I find myself returning continually to works of yours, and it’s really interesting that the meaning and the reference points resonate with different pockets of my life. In both theater and film, when the set designer or the director prepares a mood board, there’s so often a Gregory Crewdson photo on it to say “We want this type of atmosphere.” Your images are so loaded with atmosphere that you can place your own reference points on top.

Do the concepts crystallize as images for you in an almost dreamlike moment? Where do they begin?

GC The process always begins with location. I drive around endlessly—I think being removed from the place, slightly detached, is important, and through that process of returning over and over to a place, an image will come to mind. And usually a quite simple one. I work early to write descriptions with Juliane [Hiam]. We write a one-page description of what’s happening in that picture. That becomes the guidepost for the process. Then I work very closely with my director of photography, Rick Sands, whom I’ve worked with for many years. Slowly but surely, through a long process of preproduction and then production and postproduction, we build up to the making of the picture.

CB I don’t know if this has ever happened to you, but being Australian, when I drive long distances there’s this strange vertiginous thing that happens: even though the steering wheel is here, it could be seven or eight meters away. I often get that vertiginous relationship with your work, too—I’m only arrested from completely falling in by the players, the personas who are in there. And it’s interesting, in this new body of work, the players seem dwarfed by the environment—they seem more inconsequential than they’ve ever been in your photographs. Why is that?

GC I really wanted the pictures to be first and foremost about place. These figures exist in a place that feels meaningful and specific and particular. The figures are centrally important, but it’s their scale in relationship to the larger world that really establishes those themes of dislocation and isolation: the figure gets lost in an expanse of the larger world, or figures are isolated from each other. That dynamic of social distance exists in all of the pictures.

CB In some of your earlier work, the figures somehow seem to be experiencing entrapment. But there’s a slightly different quality here: they’re at bus stops, they’re on doorsteps, they’re on stoops. It’s not being trapped, it’s a profound sense of waiting. Maybe I feel that acutely because of the state we’re finding ourselves in globally, but I found that really resonant in the images.

GC You named something I’m maybe not even conscious of but I think is absolutely correct—that moment of deliberation or waiting. I think that’s key to the work, that psychological paralysis of some sort. It wasn’t something I was really conscious of when I was making the pictures, but looking back at it now, I see a connection of sorts to a series of health issues I was facing. Onto all of my pictures, as all artists do, I project whatever fears or anxieties I’m having. It’s not conscious. Maybe part of what I was looking for in these figures is some version of myself: on some basic level I feel my pictures are revealing of my persona, my character, my biography.

CB There’s a strong relationship in your work between the inside and the outside. Is there a moment in your childhood or early on that you now look back on and think, “That was when I started to form a sense of myself in relation to my aesthetic, in relation to the outside world”?

GC Well, my father was a very powerful figure for me. He was a psychoanalyst, and when I was growing up, in Park Slope, Brooklyn, he had his office in the basement of our home, underneath the living room.

CB Oh, okay. You could hear the screams and the cries [laughs].

GC That was defining for me on many different levels. One of my earliest memories is of watching patients come up the street and go through the basement door, and then there’d be these sessions happening underneath our living room floor. We had to be very quiet during those times, and I remember I used to put my ear to the floorboards and try to overhear the sessions. I never was really able to do that, but that image of lying on the living room floor, trying to hear my father’s sessions with his patients, I think is defining for me: it’s trying to look in everyday life and search beneath the surface for a secret, something forbidden, you know, and trying to project an image in my head of what that might be. That runs through absolutely every one of my pictures, and I think I’ve carried it with me throughout my life—searching for meaning, searching for secrets, searching for mystery within everyday life from a certain distance. Like all photographers, I think, in one way or another I have a relationship to voyeurism. Photography gives you access to worlds that you wouldn’t ordinarily have. It gives you a license, an alibi, in a certain way.

CB It’s like a child’s knowledge that there’s a parallel reality that you can’t name, you don’t have the language to participate in, but you can start to visualize. And it makes me think of Alice Munro and Raymond Carver, those great North American storywriters, and how the work understands and harnesses the banality in which the child lives, but the child understands the cataclysmic, you know? The narratives that you capture and create—do they form between your present and that past? Do you feel there’s always an interplay between your memory and your present state?

GC Any readings I can make of the pictures usually happen retrospectively. I wasn’t even aware when I was making those pictures that maybe they had to do with either some sort of larger social issue or something about my past or present concerns. I had no idea. It’s only now, when I look back at them, that I’m like, Oh yeah, I never really noticed these themes emerging, you know? Because I’m entirely invested in the singular moment, and I look at it so myopically, like my obsession with getting every blade of grass correct. I don’t really have the luxury, in a way, of looking on a larger scale and figuring out for myself what the pictures are about. Even now, I could hazard a guess, but I don’t think I’d really be interested in the pictures if I knew precisely what they were about. Ultimately, the picture has to lead to the next picture. It’s always a search to try to find something that’s continually slightly outside your grasp.

CB There’s a writer, Michael Chekhov, who writes about acting and atmosphere, and in one story he describes a group of revelers coming into a haunted house, and either the atmosphere of the haunted house will gradually subdue the revelers or the revelers will change the atmosphere of the haunted house. There seems to be the same tension between your version of the revelers and the atmospheres that they find themselves in. And I’m wondering, sometimes you place professional actors inside your frames and other times the people are less well-known, almost found faces who are more incidental to the frame. The atmosphere has overwhelmed them. How do you talk to the people who populate your pictures? How do you lead them to understand the world they’re in and their part within it?

GC Well, in this series, all the figures are from the area. We sometimes cast them hours before the picture, or we’d find someone on the street who I thought would be perfect, or I noticed them while we were location scouting a week before. They’re primarily people who live in these areas. We give them a description, and by the time they come on set, I know exactly how they’re going to be positioned. I know exactly what they’re going to be wearing and their gesture, it’s all in my head. I know exactly what I want from the figures and it’s usually almost nothing in terms of a gesture. I want less. I want a moment that feels almost emptied out.

CB We were talking before about the notion of inside and outside. To go at it another way, I always think about the sublime when I look at your work, because there’s something about the towns always bordering the natural world. The relationship to nature that the towns have—towns are built to eradicate nature, but then we see nature’s coming back in. Particularly when the figures are either in the ground or in the water or by the water, they seem almost like fish out of water, returning to something but not knowing how to return. That relationship with nature is really powerful, and I wonder if it links for you to dormant, recessed, deep images from childhood.

GC I’m so glad you mentioned the theme of nature because it’s central to the work. These pictures were made during the height of summer, which is critical. The relationship between these industrial landscapes and impinging nature—there’s a certain underlying suggestion of anxiety in that. But in the end it’s about renewal, and I think that’s really key: nature persists. I do think that ultimately the photographs offer some sense of hope, or beauty, or even redemption.

Source: Vogue, Gagosian