Natalie Portman Will Take Your Breath Away in This Nude Lace Dress on the Red …

11 Sep 2015 | Author: | No comments yet »

Hey Natalie Portman, Don’t You Dare Apologize For ‘Garden State’.

hit the red carpet at the 2015 Toronto International Film Festival premiere of her directorial debut, A Tale of Love and Darkness, on Thursday, Sept. 10, and the Oscar-winning beauty could not have looked more stunning! It’s kind of hard to imagine Natalie Portman—whose real life (as an Oscar winner married to a French dancer) always seems as though it must be as magnificent and otherworldly as the universes depicted in her Chanel ads—just slumping on a sofa, clumsily propping up a laptop to watch some episodes of television, half-finished seltzer can on the coffee table in front of her.She really has been the woman of the moment in recent days, and Natalie Portman was out again on Thursday this time putting on some high octane glamour.I had an interesting first timer’s experience at TIFF this week, watching two films back-to-back (although not intentionally) about the tensions of Israel and Palestine, past and present, and the women who experience the emotional devistation of living through it.

Back in 2004, Natalie Portman played the adorkable quirky crush in a fun little indie called “Garden State” — which, unbeknownst to anyone at the time, was also the first onscreen appearance of the archetypal female character who would be known as the Manic Pixie Dreamgirl. Making her first major appearance since Cannes in May—and thus, our Friday that much prettier—Portman, 34, shimmered in a champagne-hued lace dress by Lanvin, topped with a bedazzled star brooch. Natalie had her hair slicked into a side parting and kept her make-up simple with a splash of plummy lip gloss while in her ears she wore a pair of sparkling diamond earrings. The conversation had turned to Portman’s Garden State—made by Zach Braff—which has become perhaps the foremost representative of a certain “emo,” divisive subgenre of film. Her caramel coloured locks pulled back off of her face, she posed elegantly at the charity event where she was going to also be discussing her film career.

Portman said that she thoroughly enjoyed the experience of making the film (she filmed it during her senior year at Harvard), but that Broad City has actually altered her thinking a little bit. “I’ve been insecure about [Garden State] recently because of Broad City. Portman, who shares son Aleph, 4, with her husband, dancer Benjamin Millepied, chose a slicked-back low ponytail, blushed cheeks, and a berry statement lip, adding even more romance. She had to overcome plenty of obstacles to get the film made, telling The Independent recently: ‘Amos is an extremely kind, warm human being and so he didn’t make me feel like I was on trial. Not only is he retelling the story of the mental breakdown and ultimate suicide of his mother, but there is a sense that he is doing so in order to make sense of these formative events in his life.

Adding more about her Israeli background, the actress shared, “When you say, ‘I’m for Israel,’ everyone wants to have a 10-hour political conversation. Tying these family experiences to the times before, during, and after Israel was named a Jewish state makes for an interesting historical place-marker, especially when considering the life (and limitations) afforded women and mothers at this time. I donated all my money to Zach Braff’s Kickstarter.’ And I’m like” — Portman buried her head in her hands — “‘Oh my God.’ So now, because the people I think are the coolest think it’s really lame I’m kind of insecure about it.” Which is totally understandable, except that it’s also ridiculous. And the way it shows the absolute confusion of these larger political ideas (and trying to understand the cause of tension between Arabs and Jews) is told alternatively from a child’s perspective or old man’s perspective first exposed to such darkness as a child.

I mean, I appreciate that people are writing characters that are interesting and unusual, rather than some bland female character as the girlfriend in a movie, but when the point of the character in this movie is to, like, help the guy have his arc, that’s sort of the problem, and that’s why it’s good that they’re talking about it, because it certainly is a troubling trope.” Meanwhile, we can only hope Abbi and Ilana have reached out to Natalie for a guest role. . . . That empathy towards the citizens whose daily lives are so intimately and regularly impacted is also present in Dégradé, although the movie is more focused on the daily, gritty lives of individuals. The women in the film are as wide a spectrum of diversity in such a small place one could imagine, although all clearly following the rules that in public, and in the company of men, women must be covered.

In the privacy of beauty shops however they are free not only to take off their covers and expose their heads and arms to other women, but to talk about their lives in ways they may not with their husbands or fathers. There are the friends, one very conservative in dress and behavior, the other a loud mouth (often both the comic relief and giving voice to the film’s political and social ideas).

For example, as soon as a pregnant woman walks in, you know she’ll be in labor by the end of the film (kind of like Chekov’s gun for female ensemble movies). But there are other, more everyday events which really are compelling; the lack of electricity in the city of Gaza, frustration with the police, and very identifiable awkwardness that comes from having someone doing such an intimate service job.

In fact, these were the scenes I found most compelling to watch, especially watching the difference between the abusive woman towards the waxer, and the more agreeable but still uncomfortable balance between service and friendly face. Including these scenes show an understanding of dynamics which is so often missing with films which aim (but sometimes miss) to have big political ideas. And it is why the directing debut of twin brothers Tarzan and Arab Nasser feels like such a find…because they aren’t just telling a story about women as a gimmick, they seems genuinely interested in observing and understanding the most intimate moments of their lives. Both look at motherhood in a specific time and place, and relish the opportunity to share their secret lives, which they have to hide from the public lives of men. Both films are shining a light on events that have such large, political ramifications, by looking at people rarely considered anything more than casualties…which makes these flawed but worthy films worth seeking out when they are finally in theaters in the future.

When not doing that, she’s writing books on classic Hollywood, including Lew Ayres: Hollywood’s Conscientious Objector and her new book Hitchcock’s Stars: Alfred Hitchcock and the Hollywood Studio System.

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