Marilyn Monroe’s Eye Shadow Trick Is an Optical Illusion

Ana de Armas is sharing all the details behind her extensive transformation into Marilyn Monroe for her new film, . ET's Matt Cohen spoke to de Armas at the film's Hollywood premiere, where she said she spent three hours in the hair and makeup chair to portray the blonde bombshell.«That was quite a journey every day,» the 34-year-old actress said about the physical transformation she underwent for the film.

Ana de Armas is opening up about her experience on the set of the highly anticipated Netflix film ‘Blonde’ and it seems things got a little strange. The Hollywood star revealed that she felt very close to Marilyn Monroe, while portraying the movie legend. “I truly believe that she was very close to us.

And you thought Don’t Worry Darling was the only film at Venice where the making-of would be more exciting than the actual movie!

Marilyn Monroe biopic “Blonde” starring Ana de Armas premiered at the Venice Film Festival Thursday, earning praise from several critics for its portrayal of the 1950s blonde bombshell. Adapted from the Joyce Carol Oates novel of the same name, the film runs nearly three hours and received a 14-minute standing ovation from the crowd, which caused de Armas to break down into tears, according to Variety.“Andrew Dominik’s Venice Film Festival competition entry ‘Blonde’ takes a blowtorch to the entire concept of the Hollywood biopic and arrives at something almost without precedent,” Deadline’s critic said.“[‘Blonde’] is simply inventing fresh indignities for the most positively, permanently persecuted heroine outside of a John Waters movie ever to have to suffer.” As Netflix’s first film with an NC-17 rating, “Blonde” sparked backlash almost instantly when it debuted its first trailer in July over the casting of de Armas due to the fact that she is Cuban and her accent was not “authentic.”Variety’s critic Owen Gleiberman disagreed in his review, saying the film is “built around a performance, by Ana de Armas, of breathtaking shimmer and imagination and candor and heartbreak.

movie about Marilyn Monroe for over a decade.The film wouldn’t be a biopic, but an experiential portrait delving into the psyche of Marilyn Monroe and Norma Jeane. It kept falling apart, but the New Zealand native couldn’t let it go. Then he found Ana de Armas, and, he said, the movie came alive.“It was like love at first sight,” Dominik said Thursday, before the world premiere of the film at the Venice International Film Festival.

during the Venice Film Festival, many attendees took this to heart: Celebrities chose looks that paid homage to Marilyn Monroe, the Old Hollywood star who is the subject of the new Andrew Dominik-directed film and played by . Some of the gowns were subtle odes to Marilyn’s style, while others were more in-your-face.The leading lady, de Armas, wore a pink halter-top gown by Louis Vuitton, complete with a hand-pleated satin mousseline skirt.

Ana de Armas chose to pay tribute to not one but two a classic Marilyn Monroe style moments. The Cuban actress hit the Venice Film Festival red carpet for the premiere of  'Blonde' where she plays the legendary 1950’s film star in the upcoming Netflix biopic.  Apparently Ana broke down in tears at the end of the screening, after receiving a 14-minute standing ovation for her dazzling portrayal of Marilyn.

Marilyn Monroe Biopic “Blonde” is already raking in the praise.

Blonde, Andrew Dominik’s long-awaited and anticipated Marilyn Monroe biopic starring Ana de Armas, just had its world premiere Thursday night at the Venice Film Festival, where the audience greeted it with an 11-minute standing ovation after the credits rolled.

Ana de Armas channeled Old Hollywood glamour at the Venice Film Festival premiere on Thursday, honoring her onscreen character, Marilyn Monroe, with an elegant pink gown and understated white jewelry. The film is a nearly three-hour adaptation of Joyce Carol Oates' 700-page novel of the same name. De Armas told this week that the film «changed my life,» adding that «I did this movie to push myself, because I thought it was a gift.» De Armas floated down the carpet in a flowing coral pink dress with a deep neckline and tie at the waist.

Sophie Monks Kaufman of IndieWire writes that Dominik doesn’t quite give enough effort in saying or showing something about the pop culture icon. “The film is Dominik’s finger pointed at everyone who had a hand traumatizing his leading lady, from her mother trying to drown her in the bath aged 7 to her death from an overdose of barbiturates at 36 after being used and abused by the Hollywood machine,” Kaufman adds.Vanity Fair’s Richard Lawson also points out the exploitation employed in the movie, noting the “boldly and complexly mounted” technique “could actually be in service of something far simpler and more base.”“‘Blonde’is a film partly about exploitation that might be exploitative itself. If the film is aware of that meta function, then there’s something interesting happening in it,” Lawson’s review continued.

“Blonde.” Start with a base of biographical fiction, add three parts mid-century photography, a heavy dash of bitters, a wash of bad taste and top with a Lynchian float. You’ll have something that kicks hard, if leaving you somewhat worse for wear once the intoxicants run their course. And to push this analogy further than needed (hey, “Blonde” is a film of excess), director Andrew Dominik’s long-awaited Marilyn Monroe biopic is somehow less about the actress and more about his own showmanship.

Forget Seberg, forget Mank, forget Judy — Andrew Dominik’s Venice Film Festival competition entry Blonde takes a blowtorch to the entire concept of the Hollywood biopic and arrives at something almost without precedent.

No film at the Venice Film Festival not called “Don’t Worry Darling” has attracted such morbid fascination as Andrew Dominik’s Marilyn Monroe not-a-biopic, “Blonde.” Turns out that “morbid” qualifier is soft, to say the least: to call “Blonde” relentless would be about as immense an understatement as one can conjure of a movie that subjects its lead, Ana de Armas’ fictionalized Monroe, to two hours and forty-seven minutes of unending sexual torture, leering voyeurism, and devastating dehumanization.  READ MORE: Venice Film Festival Preview: 16 Must-See Films To Watch Much has already been made about the X-ratedness of it all, but god, this is — by design — soul-sapping stuff, leaving you bloodied and brutalized.

Owen Gleiberman Chief Film Critic A good biopic invites the audience to experience, from the inside out, who the subject really was. That’s the level that “Blonde,” Andrew Dominik’s film about Marilyn Monroe, operates on for most of its 2 hours and 46 minutes. Based on Joyce Carol Oates’ 2000 novel, the movie is a hushed and floating psychodramatic Klieg-light fantasia, shot in color and black-and-white, that presents a fusion of reality and fiction. But most of it is torn from reality. In “Blonde,” we glimpse Monroe’s cataclysmic childhood, watch her shoot key scenes from her movies or stare up at them from the audience of a Hollywood premiere (where the red-carpet flashbulbs sound like guns), see her turn the incandescent Marilyn wiggle and pizzazz on and off, see her caught in a maelstrom of drugs, gossip, self-hate, and unfair studio contracts, and watch her melt into the glow of pregnancy only to lose one baby after the next. Mostly, we eavesdrop on her relationships with men (Joe DiMaggio, Arthur Miller, JFK) who become, for Marilyn, a dysfunctional daisy chain of honeymoon-turned-nightmares.

Blonde,” at the Venice Film Festival this week.While promoting the film by director Andrew Dominik, the 34-year-old actress arrived at the festival in black Gianvito Rossi heels and a royal blue Louis Vuitton number, her micro-shorts reminiscent of Monroe’s, Vogue reported.The blond icon, who became Hollywood’s epitome of sex in the 1950s, was known for often wearing the pinup-inspired Daisy Dukes. While de Armas’ shorts were a bit longer, she still brought Monroe’s classic style into the present day.De Armas, who was born in Cuba, gave another ode to Monroe while in Venice when she blew a kiss to the crowd — a gesture almost identical to Marilyn’s way of greeting fans.Despite the A-list backlash the “Knives Out” actress received over her casting — namely, critics spitting on her “bad” accent — the Monroe estate defended her being cast in the movie, based on Joyce Carol Oates’ 2000 novel.Marc Rosen, the president of entertainment at Authentic Brands Group which owns the Marilyn Monroe Estate, said de Armas has “big shoes to fill.”“Based on the trailer alone, it looks like Ana was a great casting choice as she captures Marilyn’s glamour, humanity, and vulnerability.

. And given that De Armas portrays the in the film, it was only fitting that she choose a glamorous outfit for her first stop on the press tour. Arriving on one of those signature wooden speedboats, the actor wore a blue shorts suit by Louis Vuitton, complete with golden nautical buttons, and black strappy Gianvito Rossi heels.