‘The New Look’: Apple TV+ explores Dior-Chanel rivalry with flair

‘The New Look’ is on Apple TV+. (YouTube)
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Updated 22 February 2024
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‘The New Look’: Apple TV+ explores Dior-Chanel rivalry with flair

CHENNAI: Apple TV+ offering “The New Look” features a lot style and sheen in the 10-part series as it explores the rivalry between Coco Chanel (Juliet Binoche) and Christian Dior (Ben Mendelsohn) in wartime France and later.

In one scene that encapsulates the friction between the pair, Chanel, who is trying to come back at the age of 70 after an eight-year exile, rages about Dior: “You think Dior is fashion? His designs are extravagant – I have no time for extravagance … the dress shouldn’t wear the woman, the woman should wear the dress.”

“Dior ruined French couture and I’m coming back to save it,” she says with great flourish.

“The New Look” is superbly fictionalized and created by Todd A. Kessler. It has less of a focus on fashion than one might expect and more screentime is dedicated to the tension that engulfs the two pioneers in the world of haute couture. We learn how Chanel and Dior survived the dark and depressing days of the war: There is even a full episode on how the Third Reich asked Chanel to carry a message to British Prime Minister Winston Churchill, possibly to broker a peace accord. On the other hand, Dior played it cool and saved himself from brutal criticism by stating that he was merely carrying out the orders of his boss, Lucien Lelong (John Malkovich with an amusing wig).

The work is well-paced, exciting and lovely to look at. The gowns are simply divine and the colors magnificently lush while the performances are first class. Binoche conveys the acidity and wit of Chanel, and Mendelsohn carefully treads the line trying to make Dior a gentleman, soft spoken, cultured and exceedingly well mannered. The script though is not couture, not quite, but it is still a pleasure to watch.


Limitless Orchestra marks world premiere at Dubai Opera with show honoring Johann Strauss, Hans Zimmer

Updated 11 January 2025
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Limitless Orchestra marks world premiere at Dubai Opera with show honoring Johann Strauss, Hans Zimmer

DUBAI: Dubai Opera played host to a world premiere this week that reimagines orchestral music for a new generation of music lovers.

“Global Waltzing — from Johann Strauss to Hans Zimmer,” presented by The Limitless Orchestra, took place at the intimate venue at the heart of Dubai on Jan. 10 and 11.

The brainchild of Russian-German violinist and composer Aleksey Igudesman, the orchestra enjoys the distinguished patronage of legendary film composer Hans Zimmer, who also made a special guest appearance on stage on both nights.

The orchestra enjoys the distinguished patronage of legendary film composer Hans Zimmer, who also made a special guest appearance on stage on both nights. (Supplied)

Under Igudesman’s innovative “fail forward” approach, “The Limitless Orchestra” breathes new life into the traditional boundaries of symphonic artistry, blending timeless musical techniques with contemporary creativity to deliver an experience that is as daring as it is transformative.

“The world definitely does not need another orchestra, for sure, but I think the world needs this orchestra and other orchestras like it,” Igudesman said ahead of the show.

“The orchestra essentially has not changed, or an orchestra has not changed its format more or less for 150 years. It has become an institution, a very vital cultural institution. But everything that stays the same becomes stagnant and becomes a museum, and then dies eventually, and we do not want an orchestra to die. So, for me, I think launching the ‘Limitless’ orchestra with the help of my great friends is something that I just had to do, because I did not want to have the things that I love so much die, and I wanted to show a possible new way of doing things.”

The show sees the orchestra revitalize the timeless works of Johann Strauss. (Supplied)

The show sees the orchestra revitalize the timeless works of Johann Strauss, skillfully blending the cherished compositions of the Austrian king of the waltz with the epic film music of Hollywood legend Zimmer.

Zimmer, displaying his trademark humility, said: “I don’t think there are limitations to classical music. I would hate to go about ruining Bach or Mozart. That’s their music and we can have new music.

“I’m just a peasant of music. I write film music. But the weird thing is that every day I get to go out and hire an orchestra. I get to go out and play in arenas for 20,000 people. So, something is working with what I’m doing. I’m adding instruments to the orchestra, I’m adding playfulness.”

“Global Waltzing — from Johann Strauss to Hans Zimmer” took place at the intimate venue at the heart of Dubai on Jan. 10 and 11. (Supplied)

The program will showcase a dazzling fusion of classical and cinematic music through an innovative selection of compositions, including the opening piece, “Emperor Waltz, Sultan Style,” by Igudesman and Tristan Schulze, inspired by Johann Strauss.

Other pieces include “Sherlock Holmes Fantasy,” “From Time to Time — Inception Waltz,” and “The Banker’s Waltz.”

Igudesman, celebrated for his electrifying performances and whimsical approach to classical music, will perform original works and innovative compositions, accompanied by the mesmerizing voice of soprano Ekaterina Shelehova.


Saudi-backed film to screen at International Film Festival Rotterdam

Updated 11 January 2025
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Saudi-backed film to screen at International Film Festival Rotterdam

DUBAI: The International Film Festival Rotterdam this week revealed its line-up for the 2025 edition, featuring the Red Sea Film Foundation-supported “Dead Dog” by Lebanese director Sarah Francis.

The film follows Walid and Aida, a husband and wife reunited after his long absence abroad. As they confront the emotional distance between them, secrets come to light, including Aida’s silence about their beloved dog Punto. Set against a backdrop of shifting dynamics and unspoken truths, “Dead Dog” explores themes of estrangement, trust, and the complexities of marriage.

The festival is set to take place from Jan. 30 to Feb. 9.


Netflix unveils season 2 trailer for ‘Mo’

Updated 11 January 2025
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Netflix unveils season 2 trailer for ‘Mo’

DUBAI: Netflix this week released the trailer for the highly anticipated second season of Palestinian-American comedian Mohammed Amer’s award-winning series “Mo,” announcing its debut on Jan. 30.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Netflix MENA (@netflixmena)

The new trailer showcases the show’s signature humor and heartfelt moments as Mo Najjar, played by Amer, continues to navigate life as a Palestinian refugee in the US.

In season 2, he finds himself stuck on the other side of the border, desperately trying to make it back to Houston in time for his family’s important asylum hearing. With no passport and few options, he faces a series of unexpected challenges, including a new rival who jeopardizes his relationship with Maria and his signature falafel taco recipe.

 


Film Review: ‘Confess, Fletch’

Updated 10 January 2025
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Film Review: ‘Confess, Fletch’

  • In this story, Fletch, a former investigative journalist and current freelancer, is hired by a billionaire Italian count to investigate the whereabouts of his valuable art collection, which suddenly goes missing

Jon Hamm, renowned for his role in “Mad Men, steps into the elegant shoes of Irwin Maurice “Fletch” Fletcher in “Confess, Fletch,” a 2022 film that modernizes the classic 1980s character — which is based on a novel from the 1970s — originally portrayed twice by the beloved Chevy Chase.

In this story, Fletch, a former investigative journalist and current freelancer, is hired by a billionaire Italian count to investigate the whereabouts of his valuable art collection, which suddenly goes missing.

In true Italian fashion, Fletch falls in love with his boss’ daughter, Angela, while in Rome, and things get even more complicated when her father, the count who hired Fletch, goes missing.

The plot thickens further when Fletch finds the dead body of a mysterious woman at the luxury townhouse he is renting in Boston — a place Angela found for him. Fletch becomes the prime suspect in that murder investigation while simultaneously trying to recover the stolen paintings and salvage his now-strained relationship with the secretive and passionate Angela.

Jon Hamm as Irwin Maurice “Fletch” Fletcher.

The film offers several laugh-out-loud moments, particularly thanks to Fletch’s dry wit and the quirky characters he encounters. Some of the dialogue is cringey and goofy but presented in such an endearing way that you don’t even mind it.

Directed by Greg Mottola, this version of “Fletch” dials down the slapstick humor of the Chase versions in favor of dry wit and sharp dialogue. Hamm brings a suave, albeit slightly arrogant energy to the role, skillfully balancing irreverence with understated charisma.

Respected actress Marcia Gay Harden plays the count’s wife, Angela’s stepmother. Sadly, her stellar performance is overshadowed by her misstep in terrible accent work, which distracts from an otherwise competent portrayal of a key character in the film. Despite this, the other supporting performances in general remain strong, including the sergeant inspector — who often has his baby on his hip — and the junior detective who is trying, and sometimes failing, to prove herself.

Fletch also encounters a strange neighbor, a woman with an eccentric dog, whose odd behavior and mysterious presence add another layer of intrigue to the film. Meanwhile, Fletch’s rental house — where the dead body was found — showcases its own oddities, with the owner sneaking into the property unannounced and beating up Fletch — further fueling Fletch’s suspicion, and ours, about the situation.

Ultimately, “Confess, Fletch” offers a fresh and charming take on a beloved character. While its tone and pacing are more relaxed than its predecessors, it offers an enjoyable viewing experience for those who appreciate subtle humor and character-driven comedy.
 


Review: Wallace & Gromit make a cracking return in ‘Vengeance Most Fowl’

Updated 09 January 2025
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Review: Wallace & Gromit make a cracking return in ‘Vengeance Most Fowl’

DUBAI: It’s been a little over 16 years since we were last treated to a new “Wallace & Gromit” film from the brilliant stop-motion animation studio Aardman Animations. But now the eccentric UK inventor and his loyal, put-upon dog are back in a feature-length film that will delight fans old and new.

“Vengeance Most Fowl” is a straightforward enough story: Wallace, thinking he’s helping Gromit out, invents a robotic “smart gnome” called Norbot to help the dog with his gardening. Gromit isn’t impressed, but the neighbors are, and soon Wallace has set up a new home improvements business to help alleviate his financial struggles. Meanwhile, the duo’s arch-enemy, the villainous penguin Feather McGraw, whom they caught stealing the famous Blue Diamond from the city museum (back in 1993’s “The Wrong Trousers”), is serving a life sentence behind bars (in a zoo). But when he spots a news report about Wallace’s new invention, he sees a chance to take revenge. His plan starts with hacking Norbot and ruining Wallace’s new business — while making Wallace the prime suspect in a crime spree — and also involves breaking out of captivity.

Plot complexity isn’t — and never has been — the main draw of creator Nick Park’s “Wallace & Gromit” works, though. Their beauty lies in their extraordinary craftsmanship, gentle social commentary (this time, much of that focuses on our obsession with, and reliance on, tech, gadgets and AI), throw-away comic observations, and the sweet portrayal of the relationship between the main protagonists — long-suffering, stoic Gromit and his often-oblivious, exuberant owner. It’s a relationship in which the roles are often reversed; Gromit having to be the ‘adult’ taking care of the day-to-day tasks while Wallace loses himself in his own imagination. And, as ever, Wallace pushes Gromit’s patience to the limits before remembering that his dog is the only one who never loses faith in him.

The stop-motion animation skill displayed with Gromit, especially — given that he must convey everything with, basically, his eyes, ears and brow — is breathtaking, but then so is the whole world of “Wallace & Gromit.” It might all be constructed from clay, but it’s more authentic and engaging than 90 percent of what is put out with actual human actors.