December 5, 2021

She made her name as the quintessential big screen bombshell, but now, at 57, Monica Belluci is heading to the West End stage for the first time. She talks about how she lives la dolce vita — a younger man and plenty of pasta help

Photo: Sonia Szóstak

‘What really moved me in this project was the duality between the diva, the immense talent and at the same time a woman with a simple heart … ” Monica Bellucci is talking about the late opera singer Maria Callas, from whose diaries and letters she will be reading excerpts on stage in London for one night next April (the show has been rescheduled from later this month due to Covid). But she could be talking about herself. She is so beautiful that it is almost ridiculous, her hair black and lustrous, her skin pale and flawless. It is certainly hard to imagine that she is normal, like the rest of us, concerned with mundane issues such as taking out the bins. It was this notion that Bellucci explored so cleverly in her comic cameo in the Netflix hit Call My Agent!, playing herself as we might imagine her to be, so gorgeous that she has to wear a disguise to move among lesser mortals, so pampered and aloof that she does not know how to boil a kettle.

“Do you know how to boil a kettle?” I ask.
We are talking over Zoom. Monica is in her agent’s office in Paris, sitting at his desk. I repeat the question.
“Yes, of course! I have two kids, you know.”

Photo: Sonia Szóstak

Bellucci, 57, is one of Europe’s most celebrated actresses. Born and raised in Umbria, Italy, she studied law in Perugia, moved to Milan to work as a model, but soon segued into film. Her break-out role was in The Apartment in 1996, a European arthouse film of the sort that she has gone on to juggle successfully with big-budget Hollywood numbers such as The Matrix Reloaded, in which she played Persephone, an amped-up fantasy of a gorgeous European woman who makes Keanu Reeves snog her before she will assist him. But Bellucci has also taken roles that utilise her physicality in a less conventional way, such as the character she plays in 2002’s Irréversible, who is raped in a pedestrian underpass in an extended scene that had audience members at Cannes (and elsewhere, no doubt) walking out. It remains, she says, the most difficult role she has ever performed. “We touch the most horrible subjects, but the film is not just violent, it is also very poetic, it is a love story between the couple. We talk about love and children and desire and intimacy.”

Bellucci’s Irréversible co-star was her husband at the time, Vincent Cassel, whom she met on the set of The Apartment and with whom she has two daughters, Deva, 17, and Léonie, 11. The couple announced their divorce in 2013 but remain on good terms. “We have been separated for a long time, but at the same time when you are a parent you are parents for life. It is beautiful to have a relationship for the kids when it is possible.”

Cassel, 54, married the model Tina Kunakey, 24, in 2018, while Bellucci has been connected to the sculptor and former model Nicolas Lefebvre, 39, for several years. It is a relationship she has never formally acknowledged, even though the two have been photographed strolling hand in hand in various European capitals. “Oh, I can’t believe you ask me that!” she says, laughing and clapping her hands at the impudence of my inquiry about the current status of her love life. “I think I have an age right now, this age, that gives me the right not to answer.”

In the past Bellucci has stated that love and sexuality are about energy, not age. I wonder whether she means this literally, in other words having enough energy to not want to go to bed at 8pm, or something more fundamental. “Energy is about love and passion,” she says. “But passion can be everything, the love that you have for your work, for your family, for everything around you. It is a state of mind, the way you relate to things. For me instinct is the first thing. When I read a script I need to be moved by it, it is the same thing for relationships, for friendship, for everything. This is energy — it is something you can’t describe.”

Photo: Sonia Szóstak

It is at this moment that my nine-year-old daughter chooses to crash the interview (she is at home with a nasty cold), which Bellucci notices before I do. “Your child is coming … ” says Bellucci, pointing. “You see, we are talking about energy, about beauty, about passion, about love, and one second later, she is there.”

Most of Bellucci’s spare time, her happiest and most relaxed moments, are spent with her girls, who love their mum’s spaghetti carbonara almost as much as they love raiding her wardrobe, which is full of Dolce & Gabbana (Bellucci’s longtime fashion collaborator). Deva has herself recently started modelling, including for Dolce. “There are many different moments in life,” Bellucci muses. “When you are very young, you have what in France they call la beauté du diable, the beauty of the devil, which is just natural, it is the beauty of youth, the beauty of a biological moment in your life. And life goes on. The physique, it gets old and we have to deal with that. There is nothing we can do. At the same time we are lucky, because if we get old it means we have a long life. As the body goes down, the soul grows.”

From left: Bellucci on the Dolce Gabbana catwalk, 2018; her daughter Deva Cassel
From left: Bellucci on the Dolce Gabbana catwalk, 2018; her daughter Deva Cassel

This mindset means that Bellucci is not particularly rigorous when it comes to her beauty regime. She doesn’t go to the gym, do juice cleanses or meditate, preferring wine, pasta and a spot of Pilates. “I exercise of course a bit, I diet a bit when I have to work, but I am not obsessed. I’ve always been a curvy woman, never so skinny, that’s my nature. And I want to get old in a peaceful way — when you are 50 or 60 you don’t have the same needs as when you are 20. You change, like when your baby comes into the room, you see that the first thing is her. We come in second. This gives us another perspective.”

The industry has transformed during her career, and one positive aspect is that older women are now much more visible on our screens. Bellucci herself played James Bond’s oldest love interest when she starred in Spectre, aged 50, opposite Daniel Craig, then 46 (for context, the actress playing Bond’s latest squeeze, Léa Seydoux, is 17 years younger than Craig). “That is a big change,” agrees Bellucci, who preferred to be known as a Bond woman rather than a Bond girl. “There are so many women who are feeling free to get old in a different way.”

Another change is in the way that women of all ages can expect to be treated on set. “I went through some times, moments that were not always perfect,” Bellucci says. “But I started to work when I was already 18, 19 … I wasn’t 14. And then when I did cinema I was coming from a situation in fashion, so I was already economically independent. I was lucky because I was never in a situation that I couldn’t deal with. That is a matter of luck, sometimes you just can’t defend yourself.”

Despite celebrating the advances of the #MeToo movement, Bellucci sounds a note of caution. “We have come a long way, and today we have the courage to say things because there are women that did this before us, but at the same time I don’t believe in a war between men and women, I think we have to find a common ground of communication. I don’t want to teach my girls to be full of hate, it doesn’t bring anything. We have to find a way to talk.”

Fortunately women’s voices are increasingly being given equal weight to those of men — and in terms of the creative industries this means women are allowed to tell their own stories, rather than seeing them reflected through the creative lens of a man. In this spirit she has launched a production company. Her first project is a documentary about the life of Anita Ekberg, the star of La Dolce Vita, in which Ekberg’s character famously cavorts in the Trevi Fountain in a strapless black gown, a sort of urban Aphrodite emerging from the spume. But the reality was less glamorous. “She had a difficult life as a person,” Bellucci says.

And of course there is the Maria Callas show, which Bellucci will also be touring across Europe. This is one of the first times Callas’s own words have been used to tell the story of her extraordinary life. “In the play we depict more Maria than Callas, from her hopeful youth to her success and her maturity tainted with the difficulty of finding a balance. And then the last years of her life, where she handled her melancholy with extreme elegance.”

Photo: Sonia Szóstak

The show is a first in another way too — it is Bellucci’s theatre debut. “I was scared, of course. But I could not say no, because this woman inspired me so much. She had the courage to live the life she wanted. She fought for her freedom, she divorced when divorce in Italy was forbidden. She was uncompromising. She dedicated her life to her work, body and soul. Not so many women are able to live life with such strong emotion.”

I cannot think of a more perfect person to channel that kind of indomitable spirit than Monica Bellucci.

Monica Bellucci: Maria Callas “Letters & Memoirs”, Her Majesty’s Theatre, London SW1, will now take place on April 24, 2022;

Styling: Verity Parker. Hair: John Nollet at the Wall Group. Make-up: Letizia Carnevale at Green Apple Italia. Set design: Victoria Salomoni at the Magnet Agency. Talent: Monica Bellucci at D’Management Group

Gavanndra HodgeSunday December 05 2021, The Sunday Times

Published by Admin
December 1, 2021

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Публикация от Fred Film Radio (

Published by Admin
November 29, 2021
November 22, 2021

Российская оперная дива посетила модную постановку с участием прославленной актрисы и модели. Анна Нетребко познакомилась за кулисами с Моникой Беллуччи (Monica Bellucci).

Monica Belluchchi, Anna Netrebko & Tom Volf

Анна Нетребко посетила нашумевшую постановку Тома Вульфа «Мария Калласс: письма и воспоминания» (Maria Callas: Lettres et mémoires).

Премьера состоялась в театре Manzoni в столице итальянской моды. Главную роль исполнила великолепная Моника Беллуччи. Анна пришла в восторг от встречи со знаменитой итальянской актрисой. «О, Моника! Она женщина неземной красоты! Не только в кино, но и наяву. Моноспектакль на итальянском языке “Письма Марии Каллас”. В следующий раз накрашусь побольше для фотки с Моникой Беллуччи», — отметила в своем инстаграме оперная дива. (c)

video – @anna_netrebko_yusi_tiago

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July 5, 2021


La figlia ha sedici anni, la madre è la diva italiana del cinema. Per la copertina di Vogue Italia posano assieme per la prima volta. Questa è la storia di due generazioni allo specchio, un pomeriggio a Parigi

Il 30 settembre del 1964, quando Monica Bellucci veniva al mondo, il mondo non emetteva un fremito e anzi pensava ad altro. Al funerale di Togliatti. Al primo film dei Beatles sul culto della celebrità: “A Hard Day’s Night”. A Martin Luther King in visita dal Papa e alla Ferrero che lanciava la Nutella. Quarant’anni dopo e sedici anni fa invece, quando veniva al mondo la sua primogenita Deva Cassel, il mondo l’ha saputo subito. Il mondo “pensava a lei”. I media annunciavano l’evento e tutti per un istante abbiamo cercato di comporne a mente le fattezze, addolciti da un lampo di probabile assoluto in un mondo dove bellezza e bruttezza, adesso come allora, si scambiavano costantemente di posto: la strage dei terroristi ceceni nella scuola di Beslan. Le prime voci su una novità chiamata Facebook. La mancata ratifica della Costituzione europea. Le speranze di pace in Medio Oriente defunte insieme al leader palestinese Yasser Arafat. 

Foto di Paolo Roversi

Tutto scorre così velocemente che entrambe le loro vite, entrambe le loro storie, appaiono ugualmente distanti. Tanto che nel dileguarsi rabbioso del passato, nella sua prospettiva schiacciata, potrebbero essere quasi coetanee. Mentre nell’accelerazione spietata del presente, le due sono ormai irriducibili: da una parte una pubertà che sta portando a termine la sua schiusa, dall’altra la più graziosa delle maturità che si compie e finalmente si placa.  Monica e Deva. Deva e Monica. Creature ora riunite in uno studio fotografico di Parigi davanti alla Hasselblad formato 6×4.5 di Paolo Roversi, che Monica l’ha fotografata tante volte, mentre Deva mai. Il risarcimento che giunge ora, però è grande: insieme, non le aveva ancora immortalate nessuno. «Tempo fa Monica mi aveva mostrato una foto sul telefonino ed è stato colpo di fulmine. Deva possiede in volto il sogno e il mistero. Monica invece l’ho sempre vista e fotografata come “la Bellucci”, come un bambino che la ammira proiettata sul grande schermo, come m’accadeva da ragazzo con Lucia Bosè e le grandi dive», dice il fotografo. Monica e Deva, nel frattempo, sono uscite dall’ascensore. Sono passate al trucco e ora, davanti all’obiettivo, vorrebbero fondersi, vulcanizzarsi l’una nell’altra. Monica in particolare, lo vorrebbe da morire. L’ha sognato e ne ha parlato a tavola la scorsa sera. Ma quando arriva il momento agognato, per qualche motivo la fusione non si verifica, la materia e l’anima – pur in questa loro evidente consuetudine di carezze – risultano meno permeabili del previsto. È la legge della vita. L’ineluttabile principio di individualizzazione: Deva è una giovane donna che irrompe, Monica un corpo sacro venuto oggi a lasciar spazio all’affermarsi di una nuova creatura, ed è bello vederglielo fare con questa fiera naturalezza mediterranea imparata osservando madri, nonne e zie abbassare lo sguardo. Deva e Monica. Monica e Deva.

Deva e basta.  «Sinceramente m’immaginavo qualcosa di diverso: lei abbandonata sulle mie gambe e i nostri capelli al vento che diventavano una cosa sola», dice Monica davanti alla bacheca con tutti i look: Dolce, Valentino, Armani, Dior, Scervino, Chanel. Novanta per cento Italia, dieci per cento Francia, esattamente come le loro ossa. «Deva è nata a Roma, e quando parliamo in genere non usiamo il francese. L’italiano è la sua lingua madre», rivendica Bellucci, che prima di accettare questo servizio fotografico ne ha voluto parlare con la secondogenita Léonie, 11 anni compiuti da poco. Anche Deva a un certo punto appare quasi contrariata: «Non so, sono troppo distaccata, troppo seria», si arrovella, di fronte a un’immagine bellissima nella quale in un certo senso troneggia, e inconsapevolmente vede il proprio Dna liberarsi e scivolare giù dalle spalle come polvere, e forse se ne spaventa. Monica osserva protettiva e curiosa questo piccolo patire, comprende e accompagna il tormento del passaggio. Le ha persino chiesto perché avesse voluto fare questo servizio fotografico assieme, e Deva le ha dato una risposta meravigliosa: perché l’ultima volta che ci hanno fotografate insieme ero nella tua pancia (a fotografare Monica al settimo mese fu Fabrizio Ferri, ndr). Adesso che sto cominciando il mio viaggio, mamma, voglio che accada ancora. «Ed è esattamente questo che desidero per mia figlia: respiro, indipendenza, aria». 

Posano ancora. Monica allunga naso e bocca verso le ciocche ondulate di sua figlia, gode nell’inalarne il profumo, e allungando sempre più voluttuosamente il collo mostra il platino, l’onice e lo smeraldo di un orecchino Cartier. Oltre a qualche punto esclamativo lasciato sulla sua pelle dal tempo. Guarda Roversi e dice qualcosa di quasi impercettibile, accentuando il movimento delle labbra per mantenere il segreto del messaggio: «Paolo, guardaci, siamo carne viva».  Pausa. Monica indossa una veste da camera bordeaux mentre Deva giochicchia con l’applicazione di Apple Music in accappatoio bianco. S’avvicina: «Io e lei non abbiamo scontri, mai. Sono una madre dolce, cerco di prenderla sempre dal verso del pelo». Puntini sospensivi. Si torna sul set. Quando posa mamma, Deva non viene a guardare mai. E viceversa, medesimo trattamento. Anche se Monica, incrociandola nel corridoio, d’impulso abbandona questo piccolo fair play e forse un po’ esagera: «Mamma mia, ma che cos’è questa ragazza!», esclama, facendo girare tutti e contemporaneamente registrando il disappunto di Deva, che la guarda un po’ torva, un po’ imbarazzata, mentre cerca di allentare la morsa alla gola di un colletto Tudor firmato Dolce&Gabbana. Monica cambia tono, le cede il palco con un «Amore, that’s you now», e s’allontana dal set con gesto sottolineato: «Non voglio metterla in imbarazzo, e in più lo so benissimo come posa» dice orgogliosa e partecipe, un po’ custode e un po’ arco per questa figlia-freccia che ha già scattato due campagne e cinque copertine internazionali. E presto – la notizia non è ancora stata divulgata – diventerà ambassador per la maison Christian Dior. Vedere gli scatti materializzarsi sul computer è interessante ed ermeneutico. Analizzare il confronto tra la consapevolezza interpretativa di Monica Bellucci e quel modo ancora stupito che ha Deva nel farsi catturare, da cerbiatto sorpreso tra le foglie: «Lei è così, libera da sempre, prende aerei da sola da quando ha 13 anni e parla cinque lingue. Ha visto come tiene lo sguardo? Non ha paura di nulla».


Foto in apertura. Monica Bellucci e la primogenita Deva in uno scatto di Paolo Roversi dal servizio di copertina di questo mese. Monica: tubino di raso. Deva: tubino di raso e orecchini. Tutto Dolce&Gabbana. Styling Ibrahim Kamara.

Leggete l’intervista integrale sul nuovo numero di Vogue Italia è in edicola dal 6 luglio

Published by Admin
July 5, 2021


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Публикация от Monica Bellucci (@monicabellucciofficiel)


Published by Admin
June 7, 2021

Carole Bouquet et Monica Bellucci pour «Les fantasmes»


📺 🍿 C’est parti pour la tournée promo: @monicabellucciofficiel et Carole Bouquet en direct sur le plateau de @qofficiel pour parler de (leurs?) 🎞 LES FANTASMES , de David et @funkynozze Foenkinos
Sortie au cinéma le 19 Août 😃
Produit par @mandarin_prodtv , @gaumont_ avec un casting

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