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The full archive of Monica Bellucci posts, galleries and news.
NEWSCesar Revelations 2018
Monica Bellucci attends the 'Cesar Revelations 2018' Party at Le Petit Palais on January 15, 2018
NEWSJune, 1998
On the set of "Comme un poisson hors de l'eau", June, 1998
NEWS2 photosGQ Men Of The Year Awards, 2003
GQ Men Of The Year Awards, 2003
NEWSAt home in Rome
Italian actress and model Monica Bellucci at home in Rome, 6th June 1991.
NEWS2 photosVogue Italia, 1994
Monica Bellucci by Walter Chi, Vogue Italia Ottobre 1994
GALLERY6 photosGQ, Italia, August 2015
GQ Italia dedicated the cover of its August 2015 issue to the gorgeous Monica Bellucci. Monica Bellucci by Bettina Rheims for GQ, Italia, August 2015
NEWSParis Fashion Week, France
Monica Bellucci At Chanel show, Spring Summer 2018, Paris Fashion Week, France
NEWSMonica Bellucci, 1993
Italian model and actress Monica Bellucci presents a new creation by Guy Laroche on January 22, 1993 in a preview of the Spring/summer 1993 high-fashion collections in Paris.
INTERVIEWS2 photosAll you need to know about Monica Bellucci movie “On The Milky Road”
How she transcended her beauty in order to affirm her talent as an actress with the greatest directors ? UniqBeauties.com: You are gorgeous, shockingly beautiful… but don’t you ever get bored of people telling you that every five minutes? MONICA BELLUCCI: You can never have enough compliments. In life we're subjected to so many insults and unkind attacks that a nice word, from time to time, can’t do any harm. What are the pros and cons of being so sublime? Oh la la! Sublime, really! The pros? Well in the words of Oscar Wilde, “Beauty lasts five minutes in life if you don’t have other qualities to maintain the interest.” And you know being pretty when you’re an actress is like a painful banality. Do you know many ugly actresses? If I was an astronaut it would be more original. With your daring choice of movies over the years have you made an active decision to escape the archetypal “woman-object”? No. Let’s just say there is always a slight complex with women who have an advantageous physique to prove themselves as credible actresses. For me it’s been doubly difficult because I started out as a model. A double death defying leap. It’s as if beauty creates a sort of mask that stops emotions from showing. This prejudice is still very widespread. Your question confirms it. As soon as a beautiful woman plays a prominent role, people will say “Ooh isn’t she daring,” but they don’t bother saying that she acts well. What role are you playing in the much anticipated Twin Peaks: The Return of David Lynch? I can’t tell you anything at all, you’ll have to wait watch the series yourself. What I do in the show, well it’s a true moment of cinematic love. It’s quite dreamy … Obviously. Voilà, and if I instantly accepted the role it was of course to be part of an experience led by David Lynch. My relationship with movies has always been like that: I can shoot with Rebecca Miller for five minutes, as much as I can film for four years with Emir Kusturica. I go from one extreme to the next. I just took part in a project by Niccolò Ammaniti, an Italian writer and it took a day of work. What he asked me to do was so out there I just couldn’t refuse. The most interesting projects are like mosaics where each piece is equally important. That’s how I perceive movie making. How come the filming of On the Milky Road by Emir Kusturica took four years? There are two reasons. On one hand we only shot during the summer, and on the other hand Emir very kindly let me do other parallel projects during the filming. I’ve always loved Kusturica’s films, I first discovered his work with The Time of Gypsies. When I saw that movie I said to myself this is an absolute masterpiece that will mark the history of cinema forever. I’ve always respected Kusturica’s work immensely, and when he called me about shooting with him, I was over the moon. He explained the thread of the film over the phone, but it was only when I was sent a script much later on, I realised I was going to be playing a Serbian woman. I was a bit worried about that at the beginning but I went for it head on and I think it’s been worth it. I didn’t understand everything in the film, but then I didn’t understand everything in Maxtrix Reloaded either. I’m probably just an idiot. No I don’t think so. On the Milky Road is a very particular film that plays out against the Balkan war, an era that means a lot to Kusturica. But there is also a very poetic side to this love that unites this mature couple, like we rarely see on the big screen. The two characters aren’t that young anymore, they’re expecting nothing from life, but in spite of that they rediscover love, sexuality and sensuality in the magical moments when they meet each other. How has the film industry changed over the years you’ve been working in it? Today it is all about TV series. That’s the big difference. Series have taken on an unbelievable importance. I’ve even done an American TV show, Mozart in the Jungle, which was a very lovely experience for me as an actress, I was really able to express myself. When I did the dubbing in French and in Italian, the director said to me, “What a shame this isn’t for the cinema!” But for me that’s not really a subject. When I see my daughter watching films on her mobile phone, I realise it really is another way of watching fiction. We’ve moved into another world. What did you think about all that business with Netflix at the Cannes Film Festival? What exactly was the problem? Netflix was accused of not making cinema in the true sense of the word. But Cannes is above all a festival about communication, and refusing to select a film simply because it isn’t diffused in actual movie theatres strikes me as a little reductive. It’s like hiding from the major changes that are currently shaking up the film industry, like cutting yourself off from the world by sticking your head in the sand. How do you get elected Mistress of Ceremonies at the Cannes Film Festival – twice! Thierry Frémaux [director of the Cannes Film Festival] just called me and said: “We thought about you, and would be delighted if you’d be part of the adventure.” And I said to him: “Jeanne Moreau has done it twice and so has Isabelle Huppert, so I don’t see how I could possibly refuse!” And what happens if four members of the jury vote for Ozon and the other four for Dolan, what do you do? Pull straws? When I was on the jury in 2006, there weren’t enough prizes for all the films that deserved one. To the extent that we had to call ex aequo. Sometimes I was sad to see certain film makers leave empty-handed when the quality of their film was so outstanding. But it also means the selection that year was excellent. Numerous actresses have denounced the increasingly rare number of good roles for actresses over the age of 50. Do you agree? I don’t think that's the case. When I look at Kusturica’s film for example, I can see clearly how my physique has completely changed from when I made Asterix and Obelix: Mission Cleopatra, Irréversible, Malèna andThe Passion of Christ. But with this new body I can tell other stories. I would have never been able to do On the Milky Road twenty years ago, because the women I play, Mlada, has such inner power, such passivity, and she is so attached to the land – even if she steals – I could never have brought her to life without the wrinkles around my eyes. It would have been fake and the film wouldn’t have been the same. Do you claim to be a feminist? Firstly, what does the word feminist actually mean? Often behind a badly behaved man is a mother who badly educated her son. You are very feminine, even if you’re not a feminist. We imagine you a little like Donatella Versace, spending your days in a bath of essential oils sprinkled with rose petals and floating candles. If only! Unfortunately, I don’t have that much time for myself, I have to take care of my kids and I have a politician’s schedule. I occasionally have a face massage, I have acupuncture and I do Pilates, but that’s pretty much it. So you’re not a narcissist? I probably am a little bit, otherwise I wouldn’t be doing this job. Production: Irina Marie, A. Production : Fernando Damasceno. Haircut: John Nollet, Suite 101, hôtel Park Hyatt, Paris-Vendôme. Make-up : Letizia Carnevale at B Agency. Numeric : Dope Paris. Production : Iconoclast Image Source: Numero
INTERVIEWS5 photosMonica Bellucci finding herself in her 50s
Most actors nowadays only give interviews if they have a new project to sell. But Monica Bellucci is not your average actor. Like Sophia Loren, Gina Lollobrigida, Silvana Mangano, she has Italian film-star glamour – dark hair, voluptuous, a sensuous beauty. Unlike the post-war icons, however, Bellucci has been in regular work beyond her 40s. At 51 she made headlines as the ‘oldest Bond girl ever’ for her role as Lucia Sciarra, widow of a notorious assassin, in Spectre. Bond meets Lucia at her husband’s funeral, where she is dressed in 5in heels and a black veil. Their romance is brief but, after all of 007’s trademark conquests of young things in bachelor pads, when the film came out in 2015 it was cause for celebration (except in India, where a kiss between Daniel Craig and Bellucci was deemed too long by the Central Board of Film Certification and duly shortened by half). We meet in her extremely large and beautiful house in Paris’s 14th arrondissement, where she lives with her two daughters, Deva, 13, and Léonie, seven. A housekeeper invites me into a magnificent sitting room with a high ceiling, large windows and a sumptuous sofa. I hear the sound of other staff in the kitchen. ‘Of course I have people to help me,’ Bellucci says, after she whirls in, chatting 19 to the dozen. She reminds me that she is now a single mother, since the break-up of her 14-year marriage to Vincent Cassel in 2013. She says she’s had to become ‘more structured, more grounded’ since their divorce. ‘I was just emotion before. This is a new part of me I am discovering now in my 50s.’ At 52, Bellucci has a compelling voice, is even more beautiful in the flesh than on film, and appears, rather stylishly, to be wearing an off-the-shoulder evening top at 10.30 in the morning. The fake eyelashes, it transpires, are not for my benefit. She was shooting a film yesterday to promote a song she’s made with a leading French singer. She explains she gets approached for work all the time, especially by photographers, and normally says no. But when Francesco Carrozzini called her for this Telegraph shoot it was different. ‘I knew his mother,’ Bellucci says, referring to the Italian Vogue editor Franca Sozzani, who died last year. They met in Bellucci’s previous life as a model. ‘She was one of the greatest women I ever met,’ Bellucci continues. ‘Such a strong woman. I had so much respect for her, the way she managed her professional life, her personal life. So when he called me, I said yes. It was a way to be in touch with her. That day we did the shoot in Chinatown in New York, I thought about her a lot.’ Success as a model came before success as an actress, and Bellucci still feels very much at home being photographed. The struggle, she admits, was being taken seriously in films at the start of her career, when in 1990 she was cast in the Italian-language film Vita coi figli (Life with the Kids) by the Italian director Dino Risi after he saw her picture in a magazine. ‘The most difficult period was when I transferred from modelling to acting,’ she has said. Perhaps this is why she has pursued ‘difficult’ roles such as that of a rape victim in the controversial thriller Irreversible, Mary Magdalene in Mel Gibson’s The Passion of the Christ, and the Mirror Queen in Terry Gilliam’s The Brothers Grimm. ‘When you are beautiful and you do something that is very strong, people say you are courageous, but they don’t say you are good,’ she says. ‘Now I am older, they say, “You are good.”’ Bellucci is upbeat about ageing. But then she hasn’t really aged. She hasn’t lost her looks (she credits acupuncture and facial massages) or her figure – ‘I do Pilates and swim, but I don’t wake up at six and go to the gym. Forget it!’ – and has a ready list of inspirational maxims: ‘It is not a matter of age, it is a matter of energy,’ ‘The body gets older but the soul younger,’ ‘You can be old at just 20,’ and so forth. ‘Sophia Loren, Lollobrigida, Silvana Mangano, could exist as icons after 40 but not as actresses. And I think today it is completely different.’ Look at Charlotte Rampling, Judi Dench, Helen Mirren, she says. ‘Women look at themselves in a different way today and because of that we are watched in a different way.’ She’s certainly been busy post-Spectre. She’s appeared in On the Milky Road, a magic-realism film set in the 1990s during the Bosnian War; and the Amazon comedy series Mozart in the Jungle, alongside Gael García Bernal; as well as the Twin Peaks revival (‘It was amazing to work with David Lynch’). ‘These are not stories I could do before,’ she says, delighted with the way life is turning out. ‘I had no idea when I was 25 that at 50 I would still be working. It is a great discovery for me.’ Bellucci grew up in a comfortable family, in the small Città di Castello, on the Umbrian border with Tuscany. Her father, Pasquale, ran a haulage company and her mother, Brunella, was a housewife and amateur painter. Bellucci was an only child – her parents didn’t want another one. ‘They had me when they were very young and although my mother was maternal, maybe she was too young,’ she says. ‘But she did what she could and she did well. ‘I think I missed having a brother or a sister,’ Bellucci continues. ‘That’s why I have two kids, because even though sometimes you can fight, it is better to fight than be lonely.’ She says she had lots of cousins, but remembers at eight or nine feeling very alone. Her personality – ‘So curious, so open, I want to know things’ – meant that in her early teens she longed for the big outside world. ‘A small town is something that can protect you but at the same time, it made me want to escape and look for other things.’ What happened, of course, was modelling. ‘I did my first pictures when I was 13. A friend of the family was a photographer and he said, “Can I have a picture of Monica?” And then when I was 16, another friend of my father, who was into fashion, came and said, “I would like to do fashion shoots with Monica.” So I did a fashion show in Florence and then in Milan, and actually while I was at school, I was doing fashion shows three times a year. And then I became professional when I finished high school at 18.’ Photographs of Bellucci as a teenager (‘I looked like a woman at 13’) show her with red lips, curled hair and a waistcoat that flops sideways to give a glimpse of her breast. What did your parents think about modelling? ‘Maybe because they were young they accepted it and understood.’ She says her mother, in particular, wanted something more for her daughter. ‘She wanted to push me away. Inside her was, “Oh my God, no, not the same life as me.”’ And so in her early 20s Bellucci lived in Paris, Milan and New York, where she worked in fashion after being signed by Elite Model Management, and partied with her new-found friends. ‘It was like my parents let me be free in a way that was almost incredible, almost maybe too much, but it was great.’ At 25, she married Claudio Carlos Basso, a photographer. The marriage lasted 18 months. ‘I haven’t seen him since.’ ‘Modelling came to me naturally, and I loved pictures. I loved the world of image. I didn’t do something I was forced into. When I was young, I had books by Helmut Newton, Bruce Weber; pictures were talking to me from an early age.’ In 1992, two years after Dino Risi was so entranced by an image of Bellucci that he cast her in his Italian TV film, Roman Coppola spotted her fiery sexuality in the Italian magazine Zoom and begged his father, the director Francis Ford Coppola, to offer her a part in his film Bram Stoker’s Dracula. She played one of Dracula’s brides. ‘It was just a moment, but I had to go to LA,’ she says. ‘I think my dream always was to be an actress, but I was coming from a place where cinema was so far away from me.’ Roman Coppola would not actually meet Bellucci in the flesh until some 25 years later, at the Golden Globe Awards, where Mozart in the Jungle, which he co-created, won an award. ‘He said, “Hey! You have to give me something because I am the one who discovered you.”’ But at 28 she was still just a wannabe, like thousands of models. She took acting classes to iron out her modelling ‘tics’ – ‘the way you walk, the way you talk, you lose that kind of natural way you need for cinema. There is an attitude in modelling.’ Her breakthrough came in 1996 with The Apartment, a moody French film noir about a romantic young executive who leaves his corporate life behind to search for his first love, played by Bellucci. It gave her the recognition she longed for. She was nominated for a César Award for Most Promising Actress, and met her husband-to-be, Cassel, the charismatic French actor best known for his roles in Ocean’s Twelve and Black Swan. Known as Les Glamours, the couple went on to make eight more films together. Women look at themselves in a different way today and because of that we are watched in a different way Although they are now divorced and living on different continents – he is in Brazil – she says their relationship is amiable. ‘When you have kids it’s important to have a relationship if it’s possible.’ She says Cassel is a good father but works and travels a lot, so the girls live with her. Life nowadays is bound up with her children. ‘The fact I had my kids late’ – in her 40s – ‘gives me the freedom to make one film a year and then I can spend the rest of my time with them,’ Bellucci says. She prepares their breakfast, walks her younger daughter to school; they mostly eat dinner as a family. ‘If I need to go out, I go out, but kids like it when their mother is there.’ She has houses in Rome and Lisbon, a relationship (she smiles, shakes her head and refuses to elaborate) and a new independence. ‘I am completely in charge of my life, 100 per cent.’ Source: The Telegraph
NEWSHonored in Rome with the Virni Lisi Award
Monica Bellucci flew into Rome for one night to receive the Fondazione Cinema per Roma’s Virna Lisi Award, which honors an actress who has made an impact in Italian and global cinema. Bellucci sat down with The Hollywood Reporter to speak about her career thus far, why the age conversation around her role as a Bond girl in Spectre was so important and why she thinks it’s so important now for women to come forward about harassment and assault. On accepting the award, Bellucci said, “It means a lot because Virna Lisi is an actress that I respect very much. She is an Italian international icon. For me, she represents an aspiration, for her talent of course, her intelligence, her beauty and her elegance. So I’m really honored and moved that I’m receiving this prize.” Bellucci’s career in many ways mirrors that of Lisi’s. As Italian actresses who achieved global fame, they worked to avoid being typecast as bombshells by seeking out complex roles. Bellucci is next scheduled to fly to Australia to film Nekromancer from brothers Kiah and Tristan Roache-Turner. “I’m playing a mean, mean, mean, horrible woman for the first time,” she said of the role, laughing. “I’m always very surprised to see how directors from so far away think about you for a role.” And next year she’ll head to the U.S. to promote the release of Emir Kusturica’s On the Milky Road, a film that required her to learn Serbian. Bellucci has also been making waves with American TV, from a role as an opera singer in Mozart In the Jungle to a cameo in Twin Peaks: The Return. And while her entry into the mind of Gordon Cole was just for one scene, she said it was a significant role for her. “With David Lynch, everything becomes magic. It is just a moment out of nowhere, talking about dreams." “I think that for me maybe it was important to do that because I think I am my dream. I was a little girl, dreaming about cinema, and I wanted to be an actress and this is what I do for a living. So of course I was ready to talk about dreams.” Bellucci, these days, is more focused on raising her two daughters than on her career, and limits her acting to one film per year, one that she says she chooses on instinct. And while she still wants to produce some day, she says she has no desire to direct. On whether she wants to return to the Bond universe and the role that made her an icon for actresses over 50, she said simply, “I can’t say anything about that.” She added: "Being in Bond was an amazing experience and I loved working with Daniel Craig. He was an amazing partner, so respectful.” She also believes that the conversation around Spectre, of a woman over 50 playing a Bond girl, was a huge step forward for women in the industry. “Today women can have great roles, strong roles, feminine roles after 50, 60, 70, even 80. So cinema is finally representing society,” she said. “It means that things are really changing.” Bellucci, who has worked since she was a teenager, first as a model and then as an actress, had much to say about the current wave of women speaking out in Hollywood against sexual assault and harassment. “I can say I am so happy that I have two kids, two girls, and they are born in this period of time,” she said. “It’s important that women now come out and have the courage to talk and to say things that surpass the fear, because our fear is something that is in our DNA.” She added that she hates how Harvey Weinstein’s accusers have been victim-shamed and criticized for not speaking out sooner. “People are asking, 'why didn’t these women come out before? Why didn’t they say something right away?' When a bird is in a cage for a long time, even when you open the cage, it doesn’t go out,” she says. “And so to come out from that is something that has to change inside. It takes so much time to come out and have the courage to talk." On whether she has experienced harassment over the course of her career, she replies, “Of course. I don’t think there is one woman in the world who hasn’t experienced this to some degree. So I think when you are a woman, you know from a very young age how to deal with those attitudes. In some cases, you think that it is almost normal because it happens so often. But it’s not normal. What we have to teach our children is that it’s not normal.” “As a mother we have to teach our kids how to see these situations before they can happen and how to face them. And don’t feel as if you are guilty of something,” she said. “When we were kids, sometimes they didn’t explain enough to us that it is not our fault. Because they teach us how to dress or how to behave in order not to provoke. But we have to explain to men that they can’t act like that,” she continued. “It’s not on women that we have to cover ourselves, or we have to avoid creating a situation that can provoke men. The men have to learn how to stay in their place.” Bellucci has worked on several Miramax films over the years including The Brothers Grimm and Malena. On her specific experience with Harvey Weinstein, she said, “I didn’t have to deal with those kinds of situations because I knew already how to handle them. Because when you are a pretty woman and you are in a type of work where your image is part of the work, of course you learn how to deal with situations.” “I spoke once with a very famous psychologist and he told me that sometimes with powerful men, it’s as if there are two personalities in one person. So one part is absolutely normal, even more than normal, even brilliant. And the other part is not normal, it’s like an animal,” she said. “So when you meet those kinds of people you have to try to deal with the normal part. Because I think sometimes when men are in power they think that everything is possible and there are no limits to their behaviors.” Bellucci said she feels that there has been significant change even already. “I think things are really changing in just a few months. Because as a woman, I don’t know about you, but as a woman when I go around I feel already that the attitude is changing,” she said. “Maybe the attitude is more ... aware. Things are changing already. When I go to the airport, when I go to restaurants, I start to feel something, more respect … people are more gentle.” “The attitude now is like, ‘We have to be careful.’ I can feel that it’s getting better,” she said, acknowledging also that it may be too soon to tell if there will be real change within the industry. “But then, of course, we have to see what is real, what is not real. We have to see everything.”
MOVIESMonica Bellucci Should Return To The 'James Bond'
According to The List, Daniel Craig has expressed a desire for Monica Bellucci to reprise her role as Lucia Sciarra, for his upcoming and final appearance as James Bond. This is unprecedented, for several reasons. Giving any former lover, especially one over the age of 25, even a second glance would be shockingly out of character for the aging rapscallion. Not to mention, Bellucci is 53 years old, and despite being almost supernaturally attractive, she is the oldest Bond girl in the history of the franchise, by a wide margin. In fact, she’s (gasp) even older than Craig himself. Whether the rumor is true or not, it’s an interesting idea that the producers should seriously consider. I’m pretty sure James Bond would find a woman his age terribly intimidating, but perhaps Craig understands that the character needs a new challenge. The world is changing, and Bond is an elderly character, with old-fashioned values. The recent films have even started acknowledging that Bond’s fast-paced lifestyle, steadied by a diet of hard liquor and casual sex, is something to be pitied rather than aspired to. The character’s life remains an escapist fantasy, but the polish has worn away, revealing a sad, lonely alcoholic. The face of Hollywood is changing too. Especially the ogrish face of Harvey Weinstein, whose totally secret (cough) and incredibly surprising (cough) assaults on women seem to have sparked a wave of sexual assault survivors to come forward and share their stories. Suddenly, every celebrity in Hollywood is “shocked and saddened” by the allegations against the sleazy producer who has been openly mocked for his predatory behavior for decades. Seems like it’s not okay to be a creep in the entertainment industry anymore. And as part of the attempt to scrub the filth off the glossy veneer of Hollywood, James Bond needs to clean up his act too. Because the image of a wealthy, powerful, middle-aged man constantly chasing vulnerable twenty-year-olds is starting to look a bit creepy. As one of the oldest and most consistent faces of cinema, it’s important that James Bond reflects the supposed values of the industry that spawned him. He’s always going to be the archetypical action man, but that doesn’t mean he has to maintain his misogynistic streak. Bringing Belucci back and expanding her role might lay the groundwork to transform the ultra-disposable Bond girl into a woman, with a more substantial part to play in Bond’s future adventures. Not to mention, it’s Craig’s last time in the tuxedo. No really, it’s the last time. If he’s forced to do another one, he really will slash his wrists. We all know the character will be modernized and rebooted with a fresh-faced actor the moment Daniel Craig leaves. Craig is undoubtedly thinking of the legacy he leaves behind him, which will soon be the longest-serving Bond in history, overtaking Roger Moore at 13 years. So it makes sense to not only go out with a bang, but with dignity. Craig’s story has touched on the “aging agent adrift in the modern world” theme several times; finally pairing with someone that shares his life experience and cynical outlook might be the happy ending his grizzled Bond deserves.
VIDEOMalena | Official Videos
Malena is the utterly unforgettable story of a boy's journey into manhood amid the chaos and intolerance of World War II. In a sleepy Italian village, Malena (Monica Bellucci), the most beautiful woman in town, becomes the subject of increasingly malicious gossip among the lustful townsmen and their jealous wives. But only her most ardent admirer, young Renato Amoroso (Giuseppe Sulfaro), will learn her mysterious untold story. Starring: Monica Bellucci, Luciano Federico, Pietro Notarianni, Matilde Piana, Giuseppe Sulfaro
ARCHIVEChanel Fashion Show in Paris
Monica Bellucci at Chanel Fashion Show in Paris, Chanel created a waterfall for its spring/summer 2018 collection, making raincoats and wellington boots chic again. Spotted in the front row were Chanel’s celebrity patrons, such as K-pop idol G-dragon, Chinese model Liu Wen and actresses Monica Bellucci, Clémence Poésy and Cindy Crawford.
ARCHIVE2 photosDonostia Award at 65th San Sebastián Film Festival
Monica Bellucci is a vision in breathtaking pink gown as she receives prestigious Donostia Award at 65th San Sebastián Film Festival in Spain She complemented the pleated number, which featured sheer sleeves and was cinched at the waist with a high band, with an elegant gold necklace... She affectionately greeted actor Jon Malkovich as he presented her award to her