Angelina Jolie Shines in Winocour’s Fashion Drama ‘Couture’

Alice Winocour’s latest film, Couture, showcases a compelling narrative centered on creative women navigating personal struggles in the high-stakes world of fashion. Premiering at the Toronto Film Festival before heading to San Sebastian, the film stars Angelina Jolie as Maxine Walker, a film director caught in a whirlwind of creativity and personal crisis.

Maxine is in the midst of producing a vampire short film for Paris Fashion Week when she receives the life-altering news of her cancer diagnosis. This unexpected revelation serves as a catalyst for her journey, intertwining her story with that of two other women: Ada, a South Sudanese model portrayed by Anyier Anei, and make-up artist Angèle, played by Ella Rumpf. Each character’s artistic struggles contribute to a rich tapestry of experiences, reflecting their search for solace and understanding in a competitive environment.

As Maxine navigates her new reality, she dons a striking black leather trench coat, immediately establishing her as a force within the narrative. Her urgent call from her doctor, played by Vincent Lindon, sets off a chain of events that complicate her preparations for the shoot with cinematographer Anton, played by Louis Garrel. The film delves into themes of womanhood and resilience as Maxine grapples with her ex-husband to maintain contact with her daughter, highlighting the challenges women face in both personal and professional realms.

Ada, an 18-year-old pharmaceutical student from Nairobi, faces her own hurdles as she prepares to walk in Fashion Week while starring in Maxine’s short film. With a disapproving father unaware of her modeling aspirations, Ada struggles to fit in among her peers, particularly with a fellow model from Ukraine. The only support she finds comes from Angèle, who faces her own battles as she grapples with being dismissed as an uninteresting writer by her male editor.

The film’s narrative structure shifts fluidly between the perspectives of these three women, creating a dreamlike quality that blurs the lines between reality and fiction. As Angèle reads her writing aloud, viewers are drawn into her world, but the film also anchors itself in the tangible realities of the fashion industry. Detailed scenes showcase a seamstress meticulously crafting Ada’s elegant ensemble, illustrating the scrutiny women endure regarding their appearances and identities.

Winocour’s direction ensures that Couture never resorts to easy emotional storytelling. Instead, it challenges audiences to engage with the internal struggles of its characters, demanding authenticity from each performance. Jolie’s portrayal of Maxine is particularly noteworthy, drawing on her own family history with cancer to deliver what many are calling the most vulnerable performance of her career.

The film culminates in a climactic fashion show that transforms into a gothic spectacle, offering a stark contrast to the pressures faced by these women. The pacing slows dramatically, evoking a sense of contemplation as the characters confront societal expectations and strive to be judged on their own terms.

As Couture continues its festival run, it promises to elevate Winocour’s profile among arthouse audiences while further solidifying Jolie’s status as a captivating force in contemporary cinema. The film is a testament to the strength found in female solidarity and creativity, resonating with viewers long after the credits roll.