Stunning as always: Keira Knightley turns in a great performance as Anna Karenina
Keira Knightley, as Anna Karenina, emerges from the mist, her gaze focussed on her husband — and her lover — played by Jude Law and Aaron Johnson, respectively.
The actress is wearing an embroidered coat that sweeps the floor, a hat trimmed in fox fur — and 1 million worth of Chanel gems, dangling from her ears.
The costume designer, Jacqueline Durran, has at the request of director Joe Wright, created a hybrid look for Keira, in which 1870s style meets fitted Fifties couture, and the result is stunning.
Big screen starlet: Keira Knightley
Anna Karenina is Tolstoy’s giant meditation on the aspects of love, and Keira, now 26, is clearly up to the task of playing one of the greatest heroines in literature.
I’ve been following Keira’s career for years, but as I stood looking at her on the set of Anna Karenina, something had changed. The film’s hair and make-up designer Ivana Primorac articulated my thoughts. ‘Keira looks like a proper woman,’ she says
Director Joe Wright, who is filming the train station scene at Shepperton studios, tells me: ‘There’s fire in Keira’s belly.’
He’s directing her for the third time, having worked with her on Pride And Prejudice and Atonement.
And he agrees that Keira has grown up. ‘She’s her own woman — she’s got so much fight in her at the moment,’ he says, as he watches her being framed by Seamus McGarvey, the director of photography, and camera operator Peter Robertson.
She's a star: The actress puts in a star turn as Anna Karenina
He tells me that Keira’s taken a lot of stick in England, in the years since they last worked together.
‘A lot of young actors would have gone “Up yours!’ and gone off to Hollywood. But she braved it out, and it has made her stronger — and fiercer,’ Wright adds, with a slightly nervous laugh.
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Art's sake: Sandro Kopp and Tilda Swinton pictured at Istanbul '74 Presents Sandro Kopp 'There You Are' at Lehmann Maupin Gallery, New York
‘On average, I would need people to sit for at least three hours,’ Kopp told me.
‘I’d be in Scotland and the people could be on the other side of the world, or just upstairs.’
His models included Kirsten Dunst, Willem Dafoe — and his own mother.
Upstairs at the gallery, there was a video installation showing Kopp going through the creative process.
After her Manhattan sojourn, Tilda will star in Joon-ho Bong’s film Snow Piercer, a psychological thriller set 20 years in the future. ‘It’s the end of the world, and a group of people are stuck on a train on a snowy landscape,’ Tilda explained. She wouldn’t say much about her character, except that she’s quite funny.
Following Snow Piercer, Tilda will make Jim Jarmusch’s as-yet-untitled next picture. And just as I was being given this information, I saw Jarmusch in the flesh, studying his Skype portrait.
Rom-com: Rashida Jones who co-wrote and stars in Celeste and Jesse Forever
Rashida Jones, who co-wrote and stars in the movie Celeste
And Jesse Forever, a beautifully observed romantic comedy which had a
good reception when it screened at the Sundance Film Festival. Jones and
Andy Samberg play a divorced couple who still live together. Celeste is
razor sharp; Jesse, less so.
Celeste co-owns a design/branding company with Elijah Wood and she’s
brutally honest, with a deliciously fiery temperament. For me, she was
the heart of the film — the heat went when she wasn’t on screen.
Ari Graynor, who is hilarious in For A Good Time Call . . ., another
Sundance film. She plays a young woman who runs a telephone sex line
from her New York flat. But her sideline is in danger of being cut off
when she’s forced to take in a prim flatmate (Lauren Anne Miller, who
co-wrote the film with Katie Anne Naylon). It’s Bridesmaids-style
silliness, but Graynor’s superior comic performance makes you take
notice. She’s like a young Bette Midler.
Quvenzhane Wallis, an eight-year-old who plays six-year-old Hushpuppy, a
bright and inventive girl at the heart of the Cajun fairy tale Beasts
Of The Southern Wild. Set in southern Louisiana, it’s an incredible
movie and is the stunning directorial debut of Benh Zeitlin. John
Cooper, director of the Sundance Film Festival, told me it was the one
movie that would tell me the most about the state of America. I hope
Clare Stewart, the new director of the BFI London Film Festival, secures
it this year, although I suspect it will turn up at Cannes first. It’s a