** Janhvi Kapoor and Ishaan Khatter turned heads at Cannes 2025 during the premiere of *Homebound*, with Janhvi making her debut in a striking Tarun Tahiliani gown and Ishaan looking sharp in a Gaurav Gupta bandhgala. Their glamorous red carpet moment didn’t just wow the crowd—it also set social media ablaze, with fans clamoring for the duo to be cast in *The Royals*, a rumored upcoming project.

What This Mean: ** Red carpet moments often spark fan theories and casting dreams, but this one’s got extra heat. Janhvi and Ishaan’s chemistry and style at Cannes have fans convinced they’d be perfect for *The Royals*—whether that’s wishful thinking or a hint at future roles, it’s keeping the buzz alive. For Bollywood watchers, it’s a fun mix of fashion, speculation, and star power.

Janhvi Kapoor turned heads at her Cannes debut in a rose-colored outfit that instantly reminded fans of Aishwarya Rai Bachchan’s iconic look from the 1998 film *Jeans*. The side-by-side comparisons went viral, with people pointing out the similar color palette and dupatta styling. Aishwarya, a Cannes regular, has yet to make her appearance this year, but the throwback comparison has already set social media abuzz.

What This Mean: Fashion at Cannes is always a big deal, especially for Bollywood stars. Janhvi’s choice seems like a subtle homage to Aishwarya, who’s practically royalty at the festival. It’s a fun nod to nostalgia while keeping the spotlight on the next generation of stars. Plus, it’s just another reminder of how iconic Aishwarya’s style moments remain, even decades later.

** Josh O’Connor is having a moment at Cannes—again. After last year’s buzz for *La Chimera*, he’s back with two Palme d’Or contenders: *The Mastermind*, a stylish art heist flick from Kelly Reichardt, and *The History of Sound*, a romantic drama co-starring Paul Mescal. Oh, and he casually mentions a secret Spielberg project and how co-star Harris Dickinson has him itching to step behind the camera. Busy guy.

What This Mean: ** O’Connor’s rising star power isn’t just about his acting chops—it’s about his taste in projects and collaborators. With back-to-back Cannes appearances and whispers of directing ambitions, he’s shaping up to be one of those rare actors who bridges indie cred and mainstream appeal. For film buffs, this is a signal to keep an eye on what he does next.

** Halle Berry had to ditch her original red-carpet look for the 2025 Cannes Film Festival after organizers flagged her gown for breaking the event’s strict dress code. While she didn’t reveal specifics, it’s a reminder that Cannes enforces its fashion rules with zero wiggle room—even for A-listers.

What This Mean: ** Cannes isn’t just about films—it’s a high-stakes fashion stage with unapologetic rules. Berry’s last-minute swap shows how even Hollywood icons play by the festival’s old-school playbook, sparking debates about tradition versus self-expression on the red carpet. For fans, it’s a peek behind the glamour curtain at who really calls the shots.

** The 2025 Cannes Film Festival delivered its usual mix of glamour and audacity, with Scarlett Johansson and other A-listers turning heads on the red carpet. Some looks were showstoppers, while others… well, let’s just say they sparked debate. Think bold, think daring, and occasionally, think "what were they *thinking*?"

What This Mean: ** Cannes isn’t just about films—it’s a runway for Hollywood’s elite to push boundaries (or occasionally miss the mark). Fashion here sets trends, fuels gossip, and gives us all something to talk about, whether we’re gasping or applauding.

** Mario Martone's new film *Fuori* tries to spin an unusual premise—jail time as a creative spark—into a biopic about Italian writer Goliarda Sapienza, who served a brief stint in prison for theft in her 50s. But despite the intriguing setup, the movie falls flat, failing to make Sapienza's story or her supposed artistic revival feel compelling.

What This Mean: ** Biopics about artists often lean on dramatic transformations, but *Fuori* struggles to justify its central idea—that a few days in jail reignited Sapienza’s creativity. For film buffs, it’s a reminder that novelty alone doesn’t guarantee depth, and even fascinating real-life stories can feel dull if the execution misses the mark.

** Spike Lee's latest film, *Highest 2 Lowest*, just premiered at Cannes 2025—and it’s not going over well. Critics are tearing it apart, calling it "cringe trash" and questioning whether Lee has lost his touch. There were even rumors of behind-the-scenes drama with festival organizers about whether it belonged in the Main Competition. Not exactly the triumphant return fans might’ve hoped for.

What This Mean: ** Spike Lee is a legend, but even legends stumble. This kind of harsh backlash matters because it’s not just about one bad movie—it’s about whether a celebrated director is losing his edge. For film buffs, it’s a bummer; for casual viewers, it’s a warning to maybe skip this one. Either way, it’s got people talking.

** Scarlett Johansson proves she’s just as talented behind the camera as she is in front of it with her directorial debut *Eleanor the Great*, starring the brilliant June Squibb. Early buzz from Cannes suggests the film is a standout, with Squibb’s performance being hailed as "perfect." While many actors stumble when transitioning to directing, Johansson seems to have nailed it—adding her name to the short list of multitalented stars who excel at both.

What This Mean: ** Actor-turned-director projects often feel like vanity experiments, but when they work—like Johansson’s *Eleanor the Great*—it’s a win for audiences and the industry. This isn’t just another celeb side hustle; it’s a legitimately exciting film with Oscar-worthy performances. For film lovers, it’s proof that fresh voices (even from familiar faces) can bring something special to cinema.

** Valeria Golino delivers a standout performance in *Fuori*, Mario Martone’s new biopic about a lesser-known literary pioneer fighting personal and professional battles. The film, premiering at Cannes, avoids the usual pitfalls of stuffy literary dramas, offering something raw and human instead—a refreshing take in a genre often bogged down by pretension or box-office struggles.

What This Mean: ** Biopics about writers rarely break into the mainstream, but *Fuori* seems to crack the code by focusing on emotional truth over dry historical reverence. Golino’s performance could spark buzz, and Martone’s approach might just make literary history feel alive—and relatable—for audiences who usually skip these kinds of films. For cinephiles, it’s a reminder that even niche stories can resonate when told with heart.