Rachel Brosnahan & Willem Dafoe Join 'Dead For A Dollar' Cast at Venice Photo Call

(where Sydney Sweeney ) to (which we're covering all over ), your favorite actors have been jet-setting around the globe. But there's nothing like in Los Angeles, which bring together the best in television for a weekend of celebration and achievement, culminating with the awards ceremony (its 74th!) on . But for the last three years, there hasn't been much celebration given the pandemic.

Sydney Sweeney showed off her classic and elegant side as she attended the special Glamour x Tory Burch Luncheon earlier on Saturday in West Hollywood. The Euphoria star, 24, donned a long, floral dress as she posed for photos once she arrived at the event which took place at the social club, Holloway House. Other celebrities were invited to celebrate the upcoming Emmys, including Issa Rae, 37, who donned chic pants while Rachel Brosnahan, 32, showcased a vibrant skirt.    Exciting day: Sydney Sweeney, 24, Issa Rae, 37, and Rachel Brosnahan, 32, looked stunning as they attended the Glamour x Tory Burch Emmys luncheon on Saturday in West HollywoodSydney slipped into a long, flowy dress with thin straps that comprised of a black and cream-colored floral pattern. The gown fell down towards her ankles, showcasing a pair of fashionable, black boots to complete the look. The talented actress was pictured holding a black Tory Burch shoulder bag in her hand as she posed for a few snaps when she arrived at the star-studded luncheon in Hollywood. To accessorize her look, the beauty added a pair of gold-colored, dangly floral earrings to bring her outfit together. Her blonde hair was parted to the side, allowing her long locks to fall down straight past her shoulders, with the ends slightly curled.   Celebration: The Euphoria star was pictured for a group photo with other talented celebrities such as Nasim Pedrad, Samantha Barry, and Arden Cho Sydney is currently nominated for an Emmy Award for Best Support Actress in a Drama Series for her role as Cassie on Euphoria.

Nick Vivarelli International Correspondent “I see a lot of rich people here!” said Jodie Turner-Smith as she took to the stage to open the Venice Film Festival AmfAR gala and auction held Wednesday evening in the Arsenale, a former shipyard complex on the edge of the city’s Grand Canal. Urging guests to be generous, Turner-Smith, who looked stunning in a yellow corset top, reminded everyone that, “It’s easy to forget that AIDS still remains one of the world’s most serious health threats.”  Though undoubtedly lower key than the event held at Cannes, AmfAR Venice had its fair share of glamour and star power with Heather Graham, Patricia Clarckson, Marisa Tomei and Rachel Brosnahan among chairs. 

For many years now Venice has been a respectful platform for those big-name directors of the 1970s and early ’80s who are happy to go back into the fray long after those juicy studio budgets dried up: Brian De Palma, William Friedkin, Paul Verhoeven, John Carpenter and — to a lesser extent — George Romero all found a home here for their late-period passion projects. Walter Hill, now 80, joins their ranks with an improbably youthful horse opera, and while it shows up the limitations of both writing and shooting a Western in the modern age (concessions to modern sensitivities have to be made, and digital cinematography somehow just doesn’t cut it with the subject matter), it’s nevertheless a wickedly enjoyable genre romp and full of violent surprises.

Tilda Swinton is gracing the red carpet at the 2022 Venice Film Festival!

Jodie Turner-Smith stepped out in another colorful look for the 2022 amfAR Venice Gala held at Arsenale on Wednesday night (September 7) in Venice, Italy.

EXCLUSIVE: Emmy and Tony winner Cherry Jones (Succession), Luis Guzmán (Shameless), Hong Chau (Watchmen) and Tony winner Reed Birney (Succession) have joined the cast of Peacock’s Poker Face, a mystery drama series starring Natasha Lyonne, from Rian Johnson, his T-Street banner and MRC Television.

Willem Dafoe and Christoph Waltz have joined the raft of famous faces making appearances at the Venice International Film Festival. The Hollywood heavyweights were pictured in apparent good spirits, as they arrived for the event on Tuesday evening ahead of the premiere of their film Dead For A Dollar. The pair star in the Western, which is written and directed by Walter Hill, alongside actress Rachel Brosnahan.

Christoph Waltz and Willem Dafoe buddy up on the red carpet for the premiere of their movie, Dead For A Dollar, during the 2022 Venice Film Festival on Tuesday (September 6) in Venice, Italy.

Tilda Swinton takes over the red carpet in a dazzling lavender gown at the premiere of The Eternal Daughter during the 2022 Venice International Film Festival on Tuesday (September 6) in Venice, Italy.

and her playful eye for elegant, avant-garde designs, there’s a reason she’s become an enduring muse to filmmakers and fashion designers alike. But today in Venice, while attending a photocall to promote her new film The Eternal Daughter, Swinton’s look held a deeper meaning. At the film’s press conference, Tilda Swinton both wore a blue Loewe button-up and dyed her signature crop bright yellow.

“I need a drink,” offers a character (who shall remain nameless to avoid spoilers) as the final line of “Dead for a Dollar,” director Walter Hill’s return to the Western. It’s a note of exasperation, not triumph, following the genre’s inevitable shootout.

Owen Gleiberman Chief Film Critic The title of Walter Hill’s “Dead for a Dollar” makes it sound like a spaghetti Western, and the picture opens with stunning vistas and a wistfully valorous neo-Morricone score that gives you the impression — maybe the hope — that it will be. It ends on a very different note: a series of titles explaining, with precise dates and details, what happened to each of the main characters, as if the film were based on a true story. It’s the “American Graffiti” gambit of treating fictional characters as though they were real, only in this case it ends up revealing something essential about the drama we’ve been watching. Namely, how it could be so avid, specific, and scrupulously carpentered…yet remote.

Tilda Swinton is switching up her look.

There’s always been a haunted mood in Joanna Hogg’s films, felt both in the deceptively mundane domestic rhythms of the likes of “Exhibition” and “Archipelago,” and in the exquisite memory pieces, “The Souvenir” and “The Souvenir Part II.” Like the best and most personal of storytellers—Chantal Akerman comes to mind as a creator with akin sensibilities—Hogg is a filmmaker possessed by the slivers of her recollections.

Filmmaker Joanna Hogg, who is behind the award-winning “The Souvenir” films returns this week at the Venice Film Festival with a new film, “The Eternal Daughter,” which stars Tilda Swinton (“Three Thousand Years of Longing“). The pic is described as a ghostly story slightly influence by Hogg’s own relationship with her late mother that explores the fraught and powerful bonds between mother and daughter but with otherworldly elements.

Tilda Swinton is back on the Lido, this time with director Joanna Hogg’s Venice competition title The Eternal Daughter.

“I made a new life for myself from flowers,” marvels the green-thumbed Narvel Roth. “How unexpected is that?” To be fair, it’s about the only plausible thing that happens in Paul Schrader’s Venice Film Festival out of competition entry Master Gardener, an incredibly silly but fitfully entertaining noir-tinged drama that follows so neatly on from First Reformed and The Card Counter that it’s almost as if Schrader has patented his own sui generis subgenre, a mix of the sublime and the ridiculous that just about works if you’re prepared to walk the line with it.

“The Kingdom: Exodus,” lurching unnaturally back to life nearly twenty years since Lars von Trier first plumbed the depths of madness contained within Copenhagen’s Rigethospitalet, has returned, and it is swarming with ghosts. The five new episodes serve as a continuation of the auteur’s ‘90s-era surreal gallows comedy while looking inward, making conversation with its own past as well as the sinister penumbra of history itself.