Entertainment
Saoirse Ronan's two new films are worlds apart. Their costumes? Not so much
No matter the century, Saoirse Ronan is going to dance. When the four-time Academy Award nominee moves to the music in her two films this season, the fabric of a blue-striped dress or a vintage silk black top with a rose print becomes one with the choreography. Despite being set more than 70 years apart, London nightlife scenes in the World War II drama “Blitz” and “The Outrun’s” 21st century tale of alcoholism and recovery each display a 1930s influence.
In “The Outrun,” adapted by director Nora Fingscheidt from Amy Liptrot’s 2016 memoir of the same name, Rona is a fictional version of the author. Charting a decade or so of Rona’s life, Ronan (who also produced the film) has around 80 costume changes, from carefree partying and the subsequent spiral in Hackney to practical outerwear after moving home to the remote Orkney Islands as part of her sobriety journey. In Steve McQueen’s big-budget “Blitz,” Ronan plays resilient single mother Rita, whose 9-year-old son, George, goes missing from an evacuation train to the countryside. Like many other Londoners, Rita kept up appearances during the war.
Here, costume designers Grace Snell and Jacqueline Durran discuss how the locations and turbulence in each story inform the vibrant looks.
For the first “Outrun” fitting, Snell arrived at Ronan’s home with five suitcases of options, including a garment steeped in personal history. “This silk vest I have had for as long as I can remember in my adult life. It was given to me by my auntie,” says Snell. “It was made by my nanny in the ’80s. They’d found a piece of fabric in a jumble sale together. It’s a 1930s piece of fabric.” Snell’s aunt wore it “during her Bananarama phase,” and in the late 2000s the costume designer partied in London nightclubs wearing the same rose top. Next up, Rona.
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1. The look costume designer Grace Snell created for the character’s sobriety journey in nature for “The Outrun.” (Apple) 2. Snell chose a vintage tank for Soairse Ronan’s partying days in “The Outrun.” (Apple)
Ahead of nature becoming a lifesaver back home on the Scottish island, florals hold significance in the city. Rona wears the ’30s silk tank when a dreamy summer day morphs into first kisses at a nightclub — before benders and breakups. “I think it was one of our first costumes that Saoirse and I were like, ‘This is it!’” Snell says. It was easy to envision its impact as “The Outrun’s” hair and makeup designer, Kat Morgan, had dyed Ronan’s hair a bold shade for the first fitting. “With the turquoise hair, I thought a monochromatic top would work brilliantly,” Snell says. In the dark nightclub, the top isn’t trying to pull focus: “It’s her face that is illuminated.”
A cozy black hoodie with a white unicorn (coincidentally, Scotland’s national animal) graphic “ties in with the myth and legend elements of the film,” appearing at low points in both locations. “You have a London wardrobe, an Orkney wardrobe, and then a crossover of a few bits that bounce around,” Snell says.
Snell pulled a coat from her father’s closet that Rona wears back home and the designer borrowed from Orkney residents: “Rona’s wellies were given to us by one of the women on the farm, and I bought her a new pair as a thank-you.” No need to walk around muddy fields for authenticity: “That’s real sheep poo.” “It was important to me that lots of the clothes were lived and worn in; clothes that people have experienced wearing in those environments,” adds Snell. Overalls, oversize knits and a faux fur hat that Snell sourced but didn’t end up using for the Tilda Swinton movie “The Eternal Daughter” are part of Rona’s contrasting rural aesthetic.
Like Rona, Rita experiences bliss on the dance floor in “Blitz.” For this pivotal, joyous moment with boyfriend Marcus (CJ Beckford), before prejudice and then war tear her family apart, Rita’s striped blue frock with a shorter hemline is typical of late ’20s-early ’30s trends: “We copied it from an original, and it was very fitted from the waist over the upper hip, and then it flared so it was good for dancing.”
Rita’s dedication to looking her best in the present, whether at work in the munitions factory or going on a night out wearing a leopard-print coat, is inspired by photographic evidence. “It was almost part of the war effort to keep the front up, to keep your appearance together as much as you could, to keep morale high,” says Durran. “Putting your best foot forward even though it’s the war.”
“Blitz” is Durran’s fourth collaboration with Ronan across 17 years since they first worked together on “Atonement.” The nine-time Oscar nominee (Durran won for “Little Women” and “Anna Karenina”) observes that Ronan “has become one of our greatest movie stars,” and a showstopping “highly tailored, bold jacket” reflects the cultural status. Inspiration from adventurous late-’30s silhouettes makes Rita stand out at the train station in a sea of children ready to evacuate. “I think that’s part of movie storytelling, but I also was very conscious that I didn’t want it to be unbelievable, even though it looks like an extraordinarily big statement,” Durran says.
Costume designer Jacqueline Durran found not everything was drab during the Blitz, red was also “in the fashion ether at the time.”
(Parisa Taghizdeh/Apple)
Far from all Londoners falling back on dull neutrals, Durran found red was “in the fashion ether at the time”; makeup designer Naomi Donne also goes crimson for Rita’s lipstick. While the diagonal-striped jacket and skirt are custom-built, the contrasting red polka-dot blouse and shoes are vintage. Durran pushed the period-accurate look “a touch” but didn’t want to lean too glam with Rita’s headwear. “We did try some other more classic ’40s hats on,” she says. “Because we were already doing the red jacket, I wanted to play the hat down a bit.” Crochet provided the solution: “I went for a hat that felt like you could make at home.”
Using patterns from the era, “Lots of the headscarves in the factory were also crocheted.” These details show East End women “still express themselves” even in an expected uniform environment. The same applies whether on the bus, sheltering in a tube station or sorting through the rubble. “It was about London and the multiplicity of people and realities that are there,” Durran says. “I always felt that with Rita, or with any of the principals, you were just zooming in on one aspect of life in London at that moment, of which there were millions of versions.”
Depictions of the U.K. capital wildly differ in the Ronan double bill. Yet flashbacks highlight a sartorial connection within the cityscape Rita and Rona inhabit before one leaves the metropolis behind.
Movie Reviews
Bandar Movie Review: Bobby Deol roars in Anurag Kashyap’s unsettling legal thriller that refuses to spoon-feed
Name: Bandar
Director: Anurag Kashyap
Cast: Bobby Deol, Sanya Malhotra, Sapna Pabbi, Saba Azad, Jitendra Joshi, Raj B Shetty
Writer: Sudip Sharma, Abhishek Banerjee
Rating: 3.5/5
Plot:
Bandar follows Sameer Mehra’s character, essayed by Bobby Deol, a fading star who is desperately clinging to his past glory. Just as he attempts to rebuild his life and finds solace in a new relationship, his world comes crashing down. A former girlfriend files a heinous allegation against him, dragging him into a vicious, high-profile legal battle. Written by Sudip Sharma and Abhishek Banerjee, the film moves away from standard Bollywood courtroom setups. Instead, it dives straight into the murky waters of social media trials, public perception, and a sluggish judicial system where the truth gets buried under layers of gray.
What works:
Known for his chaotic energy, Anurag Kashyap takes a remarkably mature and controlled approach here. He avoids sensationalizing a highly sensitive topic, choosing instead to focus on the psychological claustrophobia of the protagonist. The prison sequences are exceptionally well-shot. They create a suffocating, raw atmosphere that makes you feel the weight of the character’s confinement. The script successfully avoids preachy, black-and-white monologues. It bravely forces the audience to confront their own biases regarding modern-day public trials and the digital judge-and-jury culture.
What doesn’t:
Clocking in at nearly two hours and twenty minutes, Bandar feels heavily weighed down in the second half. The narrative stretches thin, and a few subplots demand too much patience, making you wish for a tighter edit. The film stubbornly refuses to take a definitive moral stance or offer a neat resolution. While film enthusiasts might appreciate the complexity, mainstream viewers looking for a clear-cut ending or emotional payoff might walk away feeling detached and frustrated.
Performances:
- Bobby Deol is the beating heart of this film. Stripping away the massive macho swagger and menacing villainy of his recent hits, he delivers a deeply vulnerable, understated performance. He plays Samar with a mix of arrogance, confusion, and raw helplessness, proving his immense range.
- Sanya Malhotra anchors her screen time with her trademark reliability, turning in a grounded and impactful performance.
- Saba Azad and Sapna Pabbi excel in their respective roles, bringing genuine nuance to characters that could have easily been sidelined.
- Jitendra Joshi is an absolute scene-stealer, commanding your attention every single time he steps into the frame.
- Indrajith Sukumaran and Raj B Shetty are absolute show stealers with their raw acting.
Final Verdict:
Bandar is an unsettling, morally complex thriller that refuses to spoon-feed its audience. It isn’t a comfortable watch, nor does it try to be. While the sluggish pacing in the second half prevents it from being an absolute masterpiece, it is worth a watch for Bobby Deol’s spectacular acting reinvention and Anurag Kashyap’s gritty, thought-provoking storytelling.
Disclaimer: The views and opinions expressed in this article are solely those of the author and do not reflect the official policy or position of Pinkvilla. No statement in this article is intended to defame, harm, or malign any individual or entity.
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Kathy Hilton will no longer be the grand marshal of West Hollywood’s pride parade.
The city and WeHo Pride on Wednesday released a joint statement, announcing that “The Real Housewives of Beverly Hills” star would no longer serve as the Grand Marshal Icon for the 2026 WeHo Pride Parade. The event is scheduled for Sunday.
“After thoughtful discussions, the City of West Hollywood, the WeHo Pride production team, and Kathy Hilton have determined that the 2026 WeHo Pride Parade will not designate a Grand Marshal Icon honoree,” read the statement.
The decision comes less than a week after Hilton was announced. That May 28 announcement was met with swift backlash from the LGBTQ+ community and allies, who called out Hilton’s ties to President Trump and alleged MAGA-leaning politics. Critics also cited accusations that the socialite had used a homophobic slur while on a trip with other cast members of “The Real Housewives of Beverly Hills,” an action she has previously denied.
In their joint statement, West Hollywood and the WeHo Pride team expressed their appreciation for “the respectful and sincere dialogue” around both the event and the “role and significance” of Pride honorees.
“The City of West Hollywood has always believed that Pride belongs to the community,” the joint statement said. “Since its earliest days, Pride has served as both a celebration and a platform for activism, visibility, resilience, and the ongoing pursuit of equality, dignity, and justice for LGBTQ+ people. … These conversations reflect the passion people have for WeHo Pride and underscore the importance of ensuring that WeHo Pride continues to honor the history, values, and diverse voices of the LGBTQ+ community.”
In a statement, Hilton expressed gratitude for being considered for grand marshal and reaffirmed her commitment to the LGBTQ+ community and causes.
“My reason for wanting to be involved in this year’s WeHo Pride weekend was simple: to celebrate, support, and share in the joy of a community that means a great deal to so many people,” Hilton said. “Pride is, and always will be, about celebrating and uplifting LGBTQ+ voices, experiences, and achievements. … My support for the community and WeHo Pride is unwavering.”
She also mentioned several queer advocacy organizations and events she has supported over the years, including GLAAD, the Elton John AIDS Foundation, the Elizabeth Taylor AIDS Foundation, Dr. Mathilde Krim, God’s Love We Deliver and Project Angel Food.
The latest Pride-related dust-up follows the abrupt cancellation of the Long Beach Pride Festival in May. The city’s Pride Parade took place as planned.
Both snafus have occurred as conservative politicians and advocates continue to attack LGBTQ+ rights and visibility nationwide. Some Republican governors have even pushed for conservative alternatives to Pride month festivities. A recent Gallup poll has found that after years of steady gains, support for marriage equality and same-sex relationships has slipped, particularly among Republicans.
Movie Reviews
Movie Review: Travolta’s “Propeller: One-Way Night Coach” is One for the Ages — All Ages
Back in the good ol’days — the ’90s — John Travolta would love to get off the topic of “Michael,” “Pulp Fiction” or “Get Shorty” in interviews with film journalists like me and regale us with how utterly besotted he had been with his first flying experience, how that drove his passion for piloting and buying planes and airfield-adjacent luxury houses.
He didn’t even seem to mind having to move house when this or that development balked at him flying his Boeing 707 out of there on the way to locations.
Travolta would tell any journalist who asked that he was writing a kid-friendly book, “Propeller: One Way Night Coach,” based on his first flights as a child in old propeller driven airliners — cheap red-eye overnight treks with too many connections for your average jet age traveller to tolerate.
I remember picking up the book when it came out later in the ’90s — at an airport gift shop — and thinking “Well, that’s as cute as I figured.”
And now, decades later and trapped in the B-movie hell of his post “Gotti” career, Travolta’s turned that cute book into the most delightful, fanciful and colorful bon bon of a movie.
“One Way Night Coach” is a child’s fantasy of flight and flying the way it used to be — with pristine, uncrowded, futuristic airports, an early ’60s era of jets and prop planes with over-uniformed stewardesses in white gloves, the days “Back before every Joe Sweatsock could wedge himself behind a lunch tray and jet off to Raleigh-Durham,” as Sideshow Bob memorably sneered on “The Simpsons’.”
It’s a fictionalized account of Travolta’s childhood about an only child (at least two Travolta siblings have bit parts in this movie) of a never-made-it/never-will actress/single-mom (Kelly Eviston-Quinnett) who indulges her aviation-obsessed eight-year-old with a cheap cross-country overnight flight.
Little Jeff (Clark Shotwell) will revel in almost every Idlewild to Pittsburgh to Dayton to Chicago to Kansas City to Denver and Los Angeles minute. He strolls into the cockpit to meet pilots, charms the stewardesses and checks out the sleeping bunks on the TWA Lockheed Super Constellation, loving even the delays if not the Chicken Cordon Bleu he’s offered on legs of the journey that offer a meal.
And as he’s an observant child, he comments (Travolta narrates) on his 50ish mother’s vamping and posing, her choice of cigarettes (Newports) and drinks, the solo traveling men whose attention she pursues and earns.
“I was her best audience,” adult Jeff remembers of the mother who’d read him plays as bedtime stories and delusionally hopes that this trip to Los Angeles might be her “big break” even though she’s pushing 50.
“Hollywood called,” she’d explain about their overnight cheap flight arrangements to ticket agents and crew. “They told me to take the next flight!”
At every turn, Jeff meets or sees kindness — stewardesses who indulge his many questions and bump them up to first class on the mostly-empty planes, a captain who fixes his toy model of a Constellation, a mentally ill flyer who flips out but is calmed by a flight attendant who isn’t overworked and frazzled in jet-powered tin-can jammed with Joe and Jane Sweatsocks who think nothing of traveling in their pajamas.
Normally, I cringe at pictures this reliant on voice-over narration. I recoil from stars who populate their picture with Sandler etc. offspring. But “Propeller” is unfailingly sweet and never cloying.
Sure, it’s fictionalized. But if you’ve followed Travolta’s life and career, a lot of him is in this — his raptoruous engagement with flying, an indulged child who developed a taste for fine food and creature comforts, a mother who was his guiding star as an actor.
I get why there are less adoring reviews than mine floating around “Propeller.” It’s unfailingly sweet. Mom’s man-hunting is seriously dated. This TWA tale is decorated with Gershwin’s majestic “Rhapsody in Blue” — United Airlines’ signature tune. And Travolta’s been around long enough for recent generations to come up and not feel a connection to the “Saturday Night Fever/Get Shorty” star whose career has fallen off and life has been visited by too much tragedy.
But I’d hate to be seated next to anybody who doesn’t appreciate this adorable, pristine and nearly perfect aviation fantasy on any flight, much less an overnight one.
Rating: TV-PG
Cast: Clark Shotwell, Kelly Eviston-Quinnett, Ellen Travolta, Ella Beau Travolta, Olga Hoffmann and John Travolta.
Credits: Scripted and directed by John Travolta, based on his book. An Apple TV+ release.
Running time: 1:01
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