Latest news with #Tribeca
Vogue
4 hours ago
- Entertainment
- Vogue
Maria McManus Resort 2026 Collection
Earlier this year, Maria McManus began experimenting with lace after coming across an Irish linen tablecloth her Aunt Bibi had made. 'I'm not a super floral crochet person, but I was like 'OK, this is meaningful,'' she said at the time, and three seasons later, it's been a thrill to see how that discovery begat a round of experimentation and pushing of the creative boundaries for the designer. 'I think it allowed me to think about sustainability differently, not being like, 'Oh my God, it has to be recycled,' but that there can be more things to the story.' she explained during an appointment at her Tribeca home which often doubles as a showroom. Artisanal French Dentelle de Calais-Caudry lace, which is 'certified and protected by the French government' continued to play a starring role in her resort collection, trimming slinky slip dresses made from her favorite Naia Renew fabric, and in delicate floral-patterned skirts. But its influence could also be felt elsewhere, as in the light-as-air cardigan knitted with three different floral patterns inspired by the lace itself, or even in the pair of organic cotton jeans with a 'shredded' detail on the waistband and pockets. They were still beautifully finished, and lined in her trademark grosgrain ribbon, but the layers had been left unfinished, fraying—a kind of proof of the handwork that goes into actually making them. But that doesn't mean McManus has stopped her tireless search for new materials and new sustainable technologies. This season she introduced a recycled polyester curly 'shearling,' used on a very cool—and glamorous—long statement coat; and a biodegradable nylon with a scuba-like feel that became extra-long leggings turned-wardrobe-essential thanks to the addition of belt loops(!). 'Most nylon comes from the fossil fuel industry—specifically coal—and can take anywhere from a hundred to a thousand years if not longer to biodegrade,' she explained. 'This is made from a fruit polymer, so it reacts more like a paper or a cotton, and will biodegrade in five years in an industrial landfill. The mill was started by this woman named Regina and she is amazing, everything she does is sustainable in some way.'
Vogue
8 hours ago
- Entertainment
- Vogue
Kaia Gerber Braves the Summer Storm in a Foolproof Outfit Formula
There may be no worse occasion to dress for than a summer storm. But yesterday, Kaia Gerber braved the muggy, post-monsoon conditions in an outfit that could withstand New York's flooding subways and also work for dinner at The Odeon. Gerber and a friend stopped by the Tribeca eatery where she wore a black long-sleeve sweater, scrunched to the elbows. On the bottom, she added some contrast, both in color and sense of occasion, with a low-waisted navy mini skirt. (Clearly, we know where Gerber stands on the black and navy debate.) The model and actor paired her thigh-skimming mini with a pair of tall, calf-high black boots, so shiny they rival SpongeBob Squarepants. She finished off her look with a lowkey black baseball cap with red text, silver hoops, and a leather shoulder bag. JosiahW / BACKGRIDUSA Kaia Gerber isn't the only famous fan of mixing ultra-short hemlines with tall boots. Olivia Rodrigo has taken the outfit formula for a spin on multiple occasions recently, first in Sydney, Australia last October, where she wore a dark brown mini skirt with her buttery Frye boots. This summer, she reminded us that the mismatched look fares just as well with shorts, styling a pair of white polka-dot hotpants with black boots. So, if you're feeling stuck with your styling—or need to come up with an outfit that will survive a summer rainstorm, consider trying out the classic miniskirt and knee-high boots combo for an instant boost. Olivia Rodrigo in June 2025. Olivia Rodrigo in October 2024. Media-Mode /
Yahoo
a day ago
- Entertainment
- Yahoo
Kites Director Walter Thompson-Hernandez on Violence the Poetry in the Favelas of Rio de Janeiro
In the favelas of major Brazilian cities like Rio de Janeiro, it's common to see colorful kites punctuating the skies. The informal settlements, or slums, have become synonymous with their kites and kite festivals, where residents use bamboo and paper to keep the traditional activity alive. That image was a memorable one for filmmaker Walter Thompson-Hernandez, who was struck by the juxtaposition of the innocent activity with the police brutality happening in the same areas. It was enough to inspire him to craft the Tribeca entry Kites, which made its world premiere during the festival. 'I knew there was a story here, a film that speaks to the complexity of how heartbreaking but how beautiful life can be,' he tells MovieMaker. 'On one hand, there's kite flying and how earnest and how pure that is. On the other, there's death and police violence. For me, Kites is a long visual poem that isn't rooted in traditional acts. It's vignettes about three or four different people who live in this community.' Kites took five years to make. Thompson-Hernandez put together $100,000 and convinced a group of friends in Brazil to star. He had another friend do the music, and used a constantly evolving outline to follow the characters in the most natural ways possible. There was no script and plenty of improvisation, and what emerged were themes of life, love and duality. We spoke with Thompson-Hernandez about his unique process for this film, shooting in Brazil, and the importance of representing these characters and real-life favelas internationally. Amber Dowling: Did this process take longer than you potentially anticipated because of how you shot it and put it together? Walter Thompson-Hernandez: It took as long as I think it was supposed to have taken. We took six different trips to Brazil and each time we stayed for five or six days. After the third trip, I thought we were done. But then I would go to edit and find more beats and more discovery. Eventually, I realized there could be a really beautiful component of protection if we saw these guardian angels in heaven. So it just continued to grow in a way that feels beautiful and interesting and provocative. Amber Dowling: The scenes of angels and magical realism tie your vignettes together. Tell me more about threading them into the film. Walter Thompson-Hernandez: They arose from conversations with my friends who had relatives and people they knew who were victims of police violence. It led to these deep, late night conversations about what protection looks like and what safety looks like and what God looks like in spirituality. I came to the conclusion that so many of us believe in protection and have a guardian angel of sorts. Well, what would it look like if our protective angel smoked cigarettes in heaven or got their hair braided by an angel friend? It's just so ridiculous, but also so beautiful and so honest, like the movie. It's imperfect and it's beautiful and it's unpolished, and it just feels like a really honest, longer poem. Amber Dowling: For a film that took half a decade to make, your friends don't seem to age onscreen. Did you use any tricks? Walter Thompson-Hernandez: No, it's funny, because the actors look so great. The children, though, their voices really evolved over five years. Sometimes I'd go back to Brazil and someone's voice was a little deeper. Or their personalities had evolved. We never knew what kind of child we would get. Amber Dowling: What does it mean for you to bring this film out of Brazil? Walter Thompson-Hernandez: I have so much fondness for the work that my friends did. They're all first-time actors, and they're really excited to watch this movie. It just feels really special. This is a story that is both rooted in the specificity of a place, of Rio, of a neighborhood there, but it also has an incredibly universal message. Of hope, of protection, of redemption. It asks this question about our deeds: How are they understood in the eyes of God and the eyes of each other? What does it look like for us to try to do well sometimes and hope for the best? Also Read: Nobu Documentary Director Matt Tyrnauer on Capturing the Beauty of a Food Revolution Amber Dowling: Your main character is a drug dealer but also the funder of a community kite festival. What messages were you going for with that duality? Walter Thompson-Hernandez: This movie is an incredibly existential film. We start the movie right in the middle of what I imagine is this existential crisis. Someone who was a drug dealer but also wants to do well and is kind. He has a mother and a family that he thinks he's doing right by. It's asking deep questions about life and our roles and what we do with our time on earth. Amber Dowling: How did you want to represent the kites themselves in the film? Walter Thompson-Hernandez: Every favela has a kind of annual kite festival that is probably one of the most important days of the year outside of Carnival. I wanted to structure that as the sort of endpoint. It was important to show that these favelas have this beautiful, multi-generational experience in a way that most neighborhoods in the US aren't as connected to each other in terms of generations. There are men and women and boys and girls who fly kites every day and really love kites. That's the most beautiful thing in terms of the importance of people like our main character in an underserved community. Amber Dowling: Why premiere at Tribeca, and what are your next goals for the film? Walter Thompson-Hernandez: It just feels like a city and a festival that is incredibly international. I've always been a fan of Tribeca, and it felt like the right place to have a world premiere. We're still waiting to hear back from a bunch of other festivals, but this was the first. There's already some interest for distribution, and we're hoping to make that happen. I hope people are drawn to the poetry of the movie. It's not a movie that is traditionally made or traditionally structured. If someone is hoping to find a clean and neat three-act structure, they're not going to find that here. It's a long visual poem that is slower in some moments, but there's an interesting moment towards the end where it brings everything together. I'm excited for the conversations that we can have. Main image: Kites, courtesy of Tribeca. Related Headlines Goldfinger: 12 Behind the Scenes Photos of James Bond at His Best 8 Horror Movie Remakes Nobody Really Needed 13 Slasher Movies to Watch for Friday the 13th
Time Out
a day ago
- Entertainment
- Time Out
NYC legend Robert De Niro is getting his own immersive exhibition at Mercer Labs
New York is about to enter its De Niro era—again. But this time, it's not just on screen. It's around you. Opening today, June 19 at Mercer Labs, Museum of Art and Technology in Lower Manhattan, De Niro, New York is a first-of-its-kind immersive film installation that reimagines the legendary actor's career through 360-degree projection, spatial audio and mind-bending scale. The 20-minute experience is part of Summer Nights at Mercer Labs with Tribeca, running Thursday through Sunday evenings through July 13. Originally premiering in the Hexadome at the 2024 Tribeca Festival in honor of De Niro's 80th birthday, this new iteration of the film pulls audiences into the heart of De Niro's cinematic world. Directed by Sam Gill and Luke Neher and produced by Tribeca Studios and Little Cinema, the piece condenses scenes from more than 40 of De Niro's films into one continuous visual and emotional journey. For Roy Nachum, co-founder and creative director of Mercer Labs, the project was personal. 'Working with such an incredible talent—an icon—was a dream come true,' Nachum told Time Out exclusively. 'I've been admiring De Niro for a long, long time, and it was a great moment to work with Tribeca on that because that can open people's eyes to see how we can create a film in 360.' Mercer Labs, already known for pushing boundaries in experiential art and tech, had never hosted a fully immersive film until now. 'I think what's surprising is the mistakes,' Nachum said. 'We have 26 projectors and directional sound—that's equal to 26 cinema rooms. When you see things in different scales and the conversation between one wall and how it would react with the floor, the magic happens in the space. It's like something you've never seen in your life.' Tribeca CEO Pete Torres echoed that sentiment. 'You could experience it from different sides at all times. I've seen the piece probably 700 times, and every time it's impressive,' he said. Beyond the tech and artistry, the experience is a love letter to New York—and to De Niro's role in its post-9/11 cultural revival. 'There's this moment in the film when De Niro moves downtown and people are asking, 'Where is Tribeca?'' said Torres. 'Now look at it. This project carries that same spirit—bringing people back downtown, inviting them to explore something new.' (De Niro co-founded the Tribeca Festival with producer Jane Rosenthal in 2002, helping to restore the cultural vibrancy of Lower Manhattan in the wake of the September 11 attacks.) The biggest challenge? Editing down decades of cinematic brilliance into a tight 20 minutes. 'You could do four, five, even 10 hours of this,' said Torres. 'But we had to get it down to 20 minutes. The team from Little Cinema and the Tribeca Studios side did so much work to bring it down to a reasonable time. It just shows how impactful his career has been.' Tickets are $70 and include a drink and a souvenir. (Guests under 21 will receive a non-alcoholic beverage.) Mercer Labs and Tribeca Fest also hinted that this may be just the beginning, with plans already in motion to expand immersive collaborations. But for now, catch De Niro, New York only in New York—and only for a few short weeks.
Yahoo
2 days ago
- Entertainment
- Yahoo
Justin Baldoni Drops Taylor Swift Subpoena in Blake Lively Lawsuit
Taylor Swift no longer has to worry about being dragged into Justin Baldoni's ongoing legal action against his It Ends With Us co-star, Blake Lively. The Wrap reports that on Thursday, he dropped his subpoena against the singer. Baldoni had claimed that Swift was present at Lively's Tribeca penthouse during discussions of rewriting one of the movie's pivotal scenes. Baldoni's suit further claimed that Lively called Reynolds and Swift her 'dragons' à la Game of Thrones in a text message. More from Rolling Stone Neil Young Stands With Taylor Swift, Bruce Springsteen in Trump's Musician War: 'You Work for Us' Taylor Swift's 'Look What You Made Me Do (Taylor's Version)' Featured on 'The Handmaid's Tale' Blake Lively's Lawyers Move to Penalize Justin Baldoni's Team After Taylor Swift Extortion Claim A rep for Swift refuted this description of events earlier this month when news of the subpoena first broke. 'Taylor Swift never set foot on the set of this movie, she was not involved in any casting or creative decisions, she did not score the film, she never saw an edit or made any notes on the film,' the rep told Rolling Stone. The rep said the subpoena was 'designed to use Taylor Swift's name to draw public interest by creating tabloid clickbait instead of focusing on the facts of the case.' Swift's law firm, Venable, described the subpoena as an 'abuse of the discovery process.' 'There is no reason for this subpoena other than to distract from the facts of the case and impose undue burden and expense on a non-party,' it said in a statement. Baldoni's lawyer, Bryan Freedman, then alleged in a legal filing that Lively was attempting to extort a statement of support from Swift. He claimed that Lively's lawyers contacted Swift's legal team asking 'that Ms. Swift release a statement of support for Ms. Lively, intimating that, if Ms. Swift refused to do so, private text messages of a personal nature' would come out. Lively's lawyer described these claims as 'categorically false.' Her legal team then moved to penalize Baldoni's team in the form of sanctions and fees over the extortion claim. Three days later, Baldoni's team withdrew the subpoena. Freedman did not immediately return Rolling Stone's request for comment. 'We are pleased that Justin Baldoni and the Wayfarer Parties have withdrawn their harassing subpoenas to Taylor Swift and her law firm,' a rep for Lively said, according to the Wrap. 'We supported the efforts of Taylor's team to quash these inappropriate subpoenas directed to her counsel and we will continue to stand up for any third party who is unjustly harassed or threatened in the process.' In December, Lively accused Baldoni of sexual harassment and spearheading a smear campaign against her; she filed a lawsuit before the year was up. He countersued in January, alleging defamation, extortion, and invasion of privacy. A trial is scheduled for March. Best of Rolling Stone The 50 Best 'Saturday Night Live' Characters of All Time Denzel Washington's Movies Ranked, From Worst to Best 70 Greatest Comedies of the 21st Century
