Kristen bei der Today Show - Video

Den Foto-Post dazu gab's schon (hier), schließlich war die Aufzeichnung am letzten Dienstag ;) Heute Morgen aber wurde das Interview ausgestrahlt und wir können es uns nun ansehen:

via

Personal Shopper - Q&A 6. Oktober

Man kann sagen, Kristen ist definitiv auf den Geschmack von Blazern gekommen.. und zwar, nur Blazer ;) Denn zum Q&A von Personal Shopper am Donnerstag trug sie als Oberteil nur einen schwarzen Blazer, dazu eine gelbe lange Hosen. Wer sich erinnert, ein ähnliches Outfit hatte sie auch schon 2012 in Cannes an - und damals waren wir schon begeistert!

On the Road Press Conference, Mai 2012

Videos zur Fragerunde gibt's leider keine bzw. nur kurze Ausschnitte, aber The Hollywood Reporter hat all das Gesagte auch schriftlich festgehalten. Den kompletten Artikel könnt ihr nach dem Klick lesen.

Großes Kristen-Interview im W Magazine

Das W-Magazine, vielleicht erinnert ihr euch, waren auch die, die 2011 dieses gewaltige Photoshooting mit Kristen umgesetzt haben:

Nun gibt's ein sehr lesenswertes Interview bzw. einen langen Artikel über Kristen. 

KRISTEN STEWART, UNFILTERED AND UNAPOLOGETIC

To say 2016 is treating Kristen Stewart well would be a gross understatement. Earlier this year, the 26 year-old became the first American to win a César award (the French equivalent of an Oscar) for her performance in Olivier Assayas’s filmClouds of Sils Maria. Since then, she has starred in no less than five movies, including Woody Allen’s Café Society and the dystopian love story Equals. And at theNew York Film Festival at Lincoln Center right now, she appears in three projects: the sister of a soldier returning from Iraq in Ang Lee’s Billy Lynn’s Long Halftime Walk, a celebrity assistant and medium mourning the death of her twin brother in Assayas’ metaphysical thriller Personal Shopper, and a Montana lawyer-cum-teacher who captures the affections of a lonely rancher in Kelly Reichardt’s Certain Women (opening October 14th).

On a balmy fall day, Stewart, whom Assayas recently deemed “the best actress of her generation,” sits in a hotel room nursing a cold and speaking in a fast-paced stream of multi-clause, expletive-dappled sentences that suggest her mouth can barely keep up with the thoughts racing through her head. Dressed in a biker jacket, white tee and tweed short shorts, she seems as unfiltered and candid as the often raw image she projects onscreen.

Your character Beth in Certain Women is a bit of a cipher. We only really see her through the lens of someone else [Jamie, the rancher]. What was the draw for you in that respect? And how do you approach someone who is unknowable to the audience?

There is a remoteness that I had to step outside of myself to acquire. Certain characters that you play can either reveal aspects of yourself that just aren’t apparent to you until you go, “Oh wow, I do have a bit of that.” [Beth] is somewhat at this stage of her life [where] she’s not giving a whole lot to other people. She’s had to insulate [herself] and not in a malicious way, but I think she’s super fucking self-absorbed, you know what I mean? So tired and self-protective. Beth is super... not cagey, but very quietly guarded. And I think her presence is somewhere inside. Which is to me, I’m, like, splattered. I’m completely not like that. She’s quiet, she’s really still, she’s exhausted and totally desirous of something she feels like she’ll never have, which to me is validity. She wants to feel valid. I think that’s a through line in the movie. They all want something they can’t have. Or they’re all up against an immovable object. They’re all on a grind. And it’s not self-aggrandizing. It’s not like a more typical commercial female story where it’s like, “These women are fighting for a great cause and it’s moral.” It’s small. They are stories you wouldn’t typically focus on — they’re not mundane, they’re so beautiful in their regularity. There’s this opposition to structure, the way things are. You have one woman [played by Michelle Williams] in a marriage who’s obviously toying with the conventional dynamic of that or messing with it. And then you have one woman [played by Laura Dern] who is acknowledging the illogical nature of bureaucracy and how men don’t really listen to women when they speak in that environment. And then you have a girl who just wants a friend and is looking in the wrong place. And then a girl who just wants to be fucking valid and is looking in the wrong place. And nobody really resolves anything. None of them. [Kelly Reichardt] shows you this quiet struggle and it’s over. And that’s so true to life. Not all things worth making a movie about find a resolution. Or, not all things worth making a movie about are easy to describe in a slug line. It’s so hard for me to tell people what this movie’s about. Like, I don’t know, women in Montana? Like living there? Living lives?

Jamie may be looking for a friend in Beth, but there’s also an undercurrent of romance there.
She’s not quite sure how she feels about her, but she has a crush on her, for sure. And doesn’t know why she feels so weird around her.

Do you think Beth has any clue whatsoever to the impact she has on Jamie?
I genuinely think when [Jamie] comes to her [office] at the end, that she’s like, “What the fuck.” It’s so painful. Oh man, it’s so fucking painful. It’s not an unrequited love story, but it has the gut-punching effect of one. [Lily Gladstone, who plays Jamie] is so good in that scene. And it’s so small. She doesn’t do much of anything, it’s just, “Well, I knew if I didn’t start driving I’d probably never see you again.” And I’m like, “Yeah… bye!” It’s fucking terrible! It’s like, 'Aww, man!' I really don’t think that Beth ever looks at her. I barely look at her. I’m looking at my food, I’m looking at my phone, I’m wondering what time it is, I’ve gotta get in the car… and I usually play the person who’s quietly watching someone.

I was thinking that when I was watching it and wondering if that was tough for you to be the one who’s…
… Talking shit! Yeah, it’s painful. It’s weird because as an actor, most of my experience has been just being incredibly observant and it was weird to have to shut off and recede into myself. But not in the way that I normally recede into myself. This was a receding that was cold — it was really cold. I feel bad for people like that. Something’s going to happen to Beth and she’s gonna realize how deeply she’s buried herself inside and she’s not just okay with everything.

Kelly’s films are so, so quiet. So little happens, but so much happens. You’ve been in much bigger, more demonstrative films and roles. What was it like to work with a director whose aesthetic is so quiet?

I love her movies. I think they don’t feel like anybody else’s movies. It’s super vulnerable to do nothing on screen or on a set. Most actors, you just grow accustomed to showing stuff. You show people how you’re feeling. You tell a story. And in this case it’s just so much more vulnerable and telling when you just sit in something. She’ll roll for a really long time; the takes go on forever. There is something really beautiful about mundane things. And there’s something really, really beautiful about living. You can write a story and then really deliver it to someone, but that in itself isn’t true. So the only way to capture something that feels super authentic is to sit around and wait for it to happen. Most people don’t have the patience for that, most people aren’t willing to take risks like that. It’s a risk. And she really does create an environment and instills it with this faith. She allows you to be comfortable not being in control in any way. There’s no expectation. Usually on a movie set you have sides, you have scenes and marks on the floor, and there are things that are supposed to happen by the time we call “Cut!” And for her it’s just not like that. And what you end up seeing is people just living.

In Certain Women, you’re part of a very small slice, whereas in Personal Shopper you’re in practically every scene. How exhausting was the a role of Maureen? She’s going through so much emotionally.
It was a lot. I had just finished Café Society in New York, which was lovely, just fun. But still somewhat taxing. I didn’t have a day off in between. I got on a plane and we were shooting two days later. I think we kind of grossly underestimated the workload. The movie ended up being really fucking hard. We worked six-day weeks, 16-hour days. And it’s good because you have to earn that look. I look like I’m fucking so exhausted and crazy in the movie, which is so perfect! Traumatic loss, especially for someone who is already too neurotic and contemplative and contemplating infinity — but a traumatic loss like that, especially the death of a twin... She cannot make sense of any of her existential questions. Nothing has an answer and she’s not okay with it. For anyone who’s dealt with anxiety or just been not able to process space and time and having a physicality and a soul and all those basic questions — “Are we alone?” and “Is this fucking real?” — those questions are scary, but they’re ones you kind of push down. This is a movie about somebody who has lost herself completely to a point where those things are debilitating. And god, that would suck. I’ve gotten — not close to that, but I can understand that mental struggle. But I’ve never hung so low. So that was isolating and terrible, and also I never stopped running around. It was freezing fucking cold and lonely. She’s the loneliest person I’ve ever played. She’s completely fucking alone. She’s isolated herself utterly. And it’s sad. And then [she] has weird identity issues? She’s like, “I’m attracted to those things, but I don’t respect it.”

Yes, she has a tough relationship with all of the high-end fashion she pulls for her celebrity client. On the one hand, she’s enthralled by it; on the other, she’s scared of it. I’m curious how that plays out for her, but also how it plays out for you. You’re someone who is in the world of fashion, modeling for Chanel, but it doesn’t define you. How do you feel about dipping your toe in there and then stepping back out?
In fashion, the people who do it really well and love doing it and are naturally doing it, it’s the reason they’re the most successful ones doing it. Because they’re fucking artists, man, and one of the coolest things about my job is being able to be around other people making shit. And it’s not what I do. But it all kind of comes from the same place. So for me it’s fun to be a part of someone’s vision. It’s something I’ve always enjoyed. And, not to sound ridiculous, creating iconic images that say something. I know it sounds silly, but telling a story with a garment, putting it in the right environment, walking it the fuck around correctly — it’s beautiful to me. And also these people, they’re really fucking smart. Everyone that works at Chanel and all the costume designers I find to be beautiful artists are some of the coolest people I’ve ever met. It’s not what I do, but I love to be around it. So it just works out for everyone. But I also acknowledge and fucking disdain the other aspect that that world attracts, which is fucking blatant... not just superficiality, but, like, mean people. Fucking really aggressive c---ts! I’m sorry. Really aggressive people. People who would walk over your dead body. So those people are not artists. But that’s why fashion gets a bad rap. But it’s a pretty diverse world, I have found. But in the movie, [Maureen] loves that shit. She really, really admires it. And at the same time, doesn’t think she’s worth it. And is like, 'What the fuck am I thinking? Why do I think I could ever…?' But then is so obsessed with it. And then looks at herself and is like, 'I’m not that. I want to be that. But I will never be that.' So then she resents it and calls it bullshit. But wants it.

You mentioned vulnerability earlier with regards to working with Kelly. There’s a different kind of vulnerability in Personal Shopper, in terms of your nudity, the sex scene. Was that something you hesitated on at all?

I wasn’t apprehensive. I feel super great with director Olivier [Assayas], as well. The scenes in which I don’t have clothes on or the scenes that seem "risqué" from an outsider’s perspective, there was no acknowledgment on his part. They’re very fucking French. We are weirder about shit like that. You kind of have to take yourself personally out of it. My personal feeling about that is that I’m really unashamed, but within the context of the story, there’s a lot of shame. She lives and breathes fucking shame and guilt. And so it’s kind of nice to see someone stripped and bare, totally bare. There’s a strength in it. There’s an aspect of sexuality in the movie that’s so lonely and that is just one of the saddest things. She’s not with anyone. Like the sex scene? Totally alone. She’s interacting with a fake person on a phone. And there’s just something so fucking raw about it, and without that stuff it would be a different thing. I think people are way, way, way too precious about that. It is precious, that’s probably the wrong word to use. I still want women’s bodies and the way they want to reveal them, it should be a precious thing, I don’t want to de-sexualize it in some way. But at the same time, I’m not weird about it. I’m pretty open. I think people are a little too fucking weird about it, to be honest, but that’s kind of why I was like, “I’ll do it.”

You alluded to anxiety earlier on when you were talking about Maureen’s existential questioning. And you’ve spoken before about your anxiety issues. Being an actress and growing up in front of everyone the way you have is probably the worst thing a person who is anxious could do. It seems almost masochistic.
I am so fucking masochistic.

So has that anxiety abated for you? And what keeps driving you? You’re basically doing something that, as you’ve described it, is against what your nature would want of you.
It is. It really is. Honestly, I haven’t done a press day in a while and this is great and I’ve really enjoyed this. This is totally fine. But this morning I was like, “Fuck!” I really have to push myself. On a constant basis, I’m always like, “Okay, fucking just do this!” I feel that way about projects I choose. There’s one movie next year that I’m going to do. And I talked to the director the other day and I was like, “It’s really weird, I read the script and it’s so fucking easy for me, I should do it.” But then alternatively, there are parts where I’m like, “Oh god, this is gonna kill me.” And that’s what I’m most excited about. That’s when I really get amped.

Quelle: www.wmagazine.com 

Kristen bei der Today Show - 4. Oktober

Stellt euch jetzt also vor es ist Dienstag, der 4. Oktober :) Kristen war zu Gast bei der Today Show. Die Ausstrahlung gibt es erst am Montag, aber immerhin können wir euch schon zeigen, wie Kristen aussah; nämlich sehr sehr süß. So find ich ihre Haare am schönsten. Leicht gewellt und offen. <3

Diese hochgezogenen Socken kann auch echt nur Kristen cool aussehen lassen :P

 Die Sendung besuchte sie gemeinsam mit Laura Dern.

Anscheinend wollten die Moderatorinnen sie auch nicht ohne ein gemeinsames Gruppenfoto gehen lassen :)

Bilder via KStewartNews

New York Film Festival - Certain Women Premiere - Interviews

Premieren bedeuten Interviews. :) Kristen spricht natürlich über den Film, über die Arbeit mit Kelly Reichardt und wie sie ihre Rollen aussucht.


Associated Press

 ET Canada

 

 Behind the Velvet Rope

Kristen auf dem New York Film Festival - Certain Women, Teil 1

Wie von uns schon angekündigt, gibt's heute die volle Dröhnung Kristen-Posts! Seit Montag ist Kristen in New York, um auf dem sehr beliebten und wichtigen New York Filmfestival, kurz #NYFF, ihre 2 bzw. mit Billy Lynn nächste Woche, sogar 3 Filme vorzustellen. Dies umfasst nicht nur Premieren, sondern auch immer sehr schöne Q&As, Dinners, Talkshows und natürlich viele viele Fototermine :) Dazu aber später mehr.

Um die vielen Ereignisse wenigstens ein bisschen zu ordnen, werden die Posts nach Film sortiert kommen. Angefangen mit Certain Women, dann Personal Shopper und zum Schluss noch ein paar "dies-das-Posts". Einverstanden?

Am Montag, 3. Oktober, ging's los mit der Premiere zu Certain Women. Letzte Woche zeigte sich Kristen ja mit ihren neuen platin-blonden Haaren. Wir waren sowohl von der Farbe, als auch von dem Styling nicht hellauf begeistert.. Glücklicherweise ist der orangen-gelbe Farbstich nun aus ihren Haaren verschwunden! Ihr Haar trug sie im sehr engen Seitenscheitel, sodass man fast meinen konnte, sie hat sich ihre Haare nochmals abgeschnitten - aber ein Glück nicht ;) Die Frisur wirkte zwar etwas streng, aber passte super zum wirklich supertollem Outfit! 

Kristen trug einen weinroten Blazer + Hose von der Marke "Sandro". Rot steht ihr generell echt toll. <3 Nur den Blazer als Oberteil zu tragen ist zwar sehr gewagt, aber Kristen kann es definitiv tragen, ohne dass es nuttig aussieht (wenn ihr versteht, was ich mein ^^)

Auch das recht dezente Make-Up und die knallroten Lippen sahen schick aus - Applaus an Kristens Stylistin & Make-Up Artisten! 

FRAUENPOWER indeed! Kristen mit ihren Co-Stars Michelle Williams, Laura Dern & Lily Gladstone. Vorne steht Regisseurin Kelly Reichardt. 

2 Ikonen der Indie-Film-Szene: Michelle Williams & Kristen <3

Und nach dem Klick gibt's noch einen Haufen weiterer toller Fotos der Certain Women Premiere.

Neues Kristen Interview mit der LA Times

Kristen ist in dem Interview wie eigentlich immer sehr sehr ehrlich und offen. Besonders den rotmarkierten Teil, in dem sie über ihre Beziehung zur Öffentlichkeit redet und darüber, wie sie ihre Haltung dazu geändert hat, fand ich toll - Aber lest selbst :) Das Portrait ist übrigens auch neu!

For a long time, it seemed like Kristen Stewart was hiding. Under hoodies and flat-brimmed caps. From flashbulbs. Even her voice, because silence couldn’t betray her.

Back then, when she was known as the star of the “Twilight” films, the idea of living in a world without emotion might have perhaps appealed to her. That’s the premise of her new film, “Equals,” which is about a futuristic society where humans have been stripped of feelings because they cause too much physical and mental anguish.

But now, at 26, Stewart is repelled by the idea of withholding emotion. In fact, it’s something she’s often not even capable of.

“People used to think I was really expressionless,” she said. “But I’m such an oversharer. Recently, I was puking before a Chanel show in Beijing; I ate fried rice or something that was not good. And when I walked in, I just started telling everyone I didn’t feel well. It was the grossest thing, but I prefer them thinking I’m gross then wondering, ‘What’s wrong with her? She’s being weird tonight.’ ”

She’d just thrown down her backpack and slid into a booth next to Nicholas Hoult, her co-star in “Equals,” which opened nationwide on Friday. Drake Doremus, their director, sat across from them.

Stewart removed her ball cap and ruffled her hair, which was platinum blond with purposefully dark, exposed roots. Her outfit was a mix of grungy hi-and-low: mesh socks with sneakers, a Chanel watch, tons of smudged black eyeliner. Hoult, meanwhile, had flown in the night before from England and looked sleepy, like he’d thrown on whatever happened to be packed at the top of his suitcase.

In “Equals,” the two play lovers. Though their characters are supposed to be unfeeling, each is afflicted with S.O.S. -- Switched-On Syndrome -- which means they’re fully emotional beings often crippled by sexual desire, fear and sadness. When they start to fall for each other, they must keep their relationship a secret or risk being treated for S.O.S. and being stripped of emotions again.

The movie is something of a departure for Doremus, an indie naturalist who tends toward messy relationship dramas. Though “Equals” again finds him working with two young actors -- his most successful film, 2011’s “Like Crazy,” provided a launching pad for Felicity Jones and the late Anton Yelchin -- it also marks the first time he’s explored the world of science fiction. The film was shot in Japan and Singapore and has a colorless, sterile aesthetic. And Doremus stuck loosely to a screenplay (written by Nathan Parker), even though in the past he’s typically used only a scrappy outline.

Despite the changes, Doremus retained his familiar rehearsal process, asking Hoult and Stewart to spend a week doing exercises together before filming began. Some of the drills were trippy: In one, the actors had to stare at one another for an hour, saying nothing but “hello” back-and-forth. The goal, the filmmaker said, was to get the actors to think about what it would be like to be blank slates.

“It was all about stripping things down, which is sort of the opposite of how you normally approach movies -- trying to add layers and complexity,” said Doremus. “There’s no backstory here, so essentially, we just had to rebirth and start over.”

“This was the first time a director has turned around and been like, ‘Do nothing. Do less,’ ” said Hoult, who starred in “About a Boy” when he was 12 and has since appeared in the “X-Men” films and “Mad Max: Fury Road.”

“The hard part was finding how base of a place we were supposed to be starting from,” Stewart chimed in. “I was so close to that, especially then, that I was like, ‘It's just going to hurt so badly to do this movie if we do it right.’ I was terrified. How could we possibly look at things with baby eyes?”

It was a hypothetical the trio explored at length during the rehearsal period in Japan. The premise led to discussions about online dating (is it causing us to separate from one another?) and the over-prescription of drugs (are we all too numb?).

“I was on Ritalin and Dexedrine as a kid, and I’m still mad at my mom about it,” recalled Doremus.

“Have you taken Adderall as an adult?” Stewart asked. Doremus shook his head no.

“I’m sorry,” Stewart continued, “but I took an Adderall once and I was like, ‘Children take this?’ It’s speedy, to be honest with you. I was on a road trip and I was just lockjawed.”

Hoult, seemingly surprised by her admission, mimicked picking up the tape recorder on the table and tossing it across the room.

“No, that’s OK,” Stewart said. “People can know that. I’ve done -- well, never mind.

Hoult, who is also 26, is far quieter and more careful with his words than Stewart. The two have both been in high-profile relationships -- Hoult with Jennifer Lawrence, Stewart with Robert Pattinson -- but the actor is more guarded about his off-screen life.

“I feel protective of anything personal,” he said.

“I wouldn’t talk about who I [have sex with] and how I [have sex with them] unless I was friends with you. That’s weird,” agreed Stewart, who also stars in Woody Allen’s “Cafe Society” this summer. “But then, at the same time, I’ve discovered a way to live my life and not feel like I’m hiding at all. And I think that’s pretty apparent for anyone who cares -- not that everyone does. But I think that if you had been tracking it in any way, it’s more apparent that I’m more relaxed than I used to be.”

She seemed to be referring to paparazzi photos of her holding hands and kissing women like French musician Soko over the last year. For someone who used to guard her private life so fiercely, it’s been a marked shift in attitude.

“Somehow, as I got older, I reoriented my mind,” Stewart said, “I’ve gotten better at assessing people’s motivations. It’s not something I have to overtly think about -- what I share and what I don’t share. It’s a natural thing. Whereas, when I was younger, I was like, ‘You’re gonna screw me over.’ Now I’m like, ‘Whatever. You can’t.’ ”

Though Hoult may not be as willing to share his feelings with the public, he does enjoy having a rich emotional life. Like Stewart, he said he finds the idea of living in an “Equals”-esque society terrifying.

“I quite like feeling [crappy] sometimes and then putting on a record and wallowing in self-pity for the day,” he said. “Because you’ve got to have the lows to have the highs, haven’t you really?”

“Did you just say ‘Haven’t you really’?” Stewart asked. “You just sounded really English. Have you been home for a while?”

“Yeah,” he replied with a laugh.

“I agree with Nick, though,” she said, finishing the thought. “I can’t lie and say that in darker moments I haven’t been like, ‘No! I don’t want to feel this!’ But I know that’s not really true. I feel really blessed to put a lot of stock in what I feel, and it’s led me to really good places. Like he said, you can’t have the highs without the lows.”

Link zum Artikel: http://www.latimes.com/entertainment/movies 

Café Society Premiere&Afterparty in New York

Neben einer Premiere in L.A. gab es auch Eine in New York - auch das ist schon ein, zwei Tage her - die Bilder wollen wir euch aber trotzdem nicht vorenthalten :)

#Premiere

 

#Afterparty

 

WEITERE BILDER: kstewartnews

Kristen zu Gast bei Live! mit Kelly - 14. Juli

Kristen war gestern zu Gast bei Live! mit Kelly und wir haben die ersten Bilder und das Interview über Café Society für euch :)
Hier sehen wir Sie beim Weg zum Studio bzw. von ihrer Abreise aus New York.

   

   

Und hier ein Schnappschuss aus dem Studio - auf diese High Heels mit Socken Variante scheint Kristen gerade zu stehen :D Wer, wenn nicht sie, kann so etwas tragen.

...und das komplette Interview ist auch gleich dabei ;)

via source / source / youtube

Kristen Interviews frisch aus Cannes

Wir hatten ja schon etliche Bilder von den letzten Tagen auf dem Blog - nun kommen auch noch einige Videos dazu.

Im ersten Video/Interview, sieht man eine erste Szene aus "Personal Shopper" und einige Interviewauszüge mit Kristen. Sie sagt, dass sie sich in Cannes und der Filmszene Frankreichs zu Hause fühlt. Hier werden Filme aufgrund ihrer kulturellen Wirkung und Wichtigkeit gemacht und nicht weil man da viel Geld machen kann (á lá Hollywood Maschinerie). Außerdem ist sie sich sicher, dass das nicht die letzte Zusammenarbeit mit Olivier gewesen sein wird :)

via Twitter / Youtube

Auch hier gibt's wieder Szenen aus dem Trailer --> also Spoiler!
Kristen: "Ich fühle mich wohl in meiner Haut. Es hat ein wenig gedauert, aber ich fühle mich wohl." 

via Associated Press YT

Die Synchro macht es immer etwas schwer sie zu verstehen. In jedem Fall geht es wieder um die Arbeit mit Olivier und wie sehr sie es liebt, mit ihm Filme zu machen. Außerdem geht sie kurz darauf ein, was die Arbeit an Personal Shopper von der an Café Society unterscheidete.

via source

Ab 1:53 min. gibt's das Interview mit Kristen. Die Arbeit mit Olivier, der Vergleich mit großen Produktionen in Hollywood und ob sie damit klar kommt sich auf der Leinwand zu sehen, sind auch hier wieder Thema. (Trailerausschnitte inklusive)

via source

Chanel hat außerdem folgendes Video von Kristen in Cannes veröffentlicht.

HIER könnt ihr es finden. via Chanel

Personal Shopper - Photocall, Interview, Pressekonferenz in Cannes - 17. Mai

Und weiter geht es mit einem Pic Spam vom Photocall und der Pressekonferenz zu "Personal Shopper" heute. Den Trailer findet ihr HIER. In knapp einer Stunde läuft Kristen dann erneut über den Roten Teppich in Cannes. 22 Uhr beginnt dort das Screening von Personal Shopper. Den LiveStream seht ihr wieder bei TV Festival de Cannes.

PHOTOCALL

                  

Holy Moly - ich weiß gar nicht, welches Bild ich als erstes als meinen Desktop-Hintergrund einstellen soll :D :D :D

      

Kristen trug ein Chanel Outfit aus deren Herbst 2016 Kollektion.

Das INTERVIEW nach dem Photocall findet ihr, wenn ihr auf den Link klickt ;)

PRESSEKONFERENZ

      

Kaum zu glauben, dass zwischen diesem Bild und den oberen schon 8 Jahre liegen °-° Da stellt die Bruni fest, dass sie alt wird *haha* via google

via kstewartnews / kstewartnews2