A chronicle of the interconnected lives of a group of people in the lead up to Paris Fashion Week.A chronicle of the interconnected lives of a group of people in the lead up to Paris Fashion Week.A chronicle of the interconnected lives of a group of people in the lead up to Paris Fashion Week.
- Awards
- 3 wins & 3 nominations
Anouk Aimée
- Simone Lowenthal
- (as Anouk Aimee)
Rossy de Palma
- Pilar
- (as Rossy De Palma)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaDanny Aiello and Lauren Bacall clashed during filming, with Bacall calling him a bully due to his behaviour towards other cast members.
- GoofsIn the hotel room, Anne Eisenhower lifts a glass of wine from Joe Flynn's dining cart with her left hand and takes a drink. Joe makes a comment and it can be seen that Anne's left arm is up to her face (she is visible from the chest down), but when we cut back to Anne the glass is in her right hand as she puts it down.
- Quotes
Kitty Potter: This is fucking fruitcake time. I mean - is that fashion, is it? I mean is there a message out there? I mean you got lot of naked people wandering around here.
- Crazy creditsThe film's opening scene where Sergei buys the 2 Dior ties is set in Moscow's Red Square and the first 2 lines of credits (a Miramax production and a Robert Altman film) appear solely in Cyrillic characters
- SoundtracksHere Comes the Hotstepper (Allaam Mix)
Written by Ini Kamoze, Salaam Remi (as Salaam Gibbs) & Chris Kenner
Performed by Ini Kamoze
Courtesy of Columbia Records
By arrangement with Sony Music Licensing
Featured review
Unfairly Maligned. Far better than people give it credit for
And that's not saying that it's great either. It is not. But it's tremendously low imdb rating makes me wonder who the heck is voting here. Pret-a-Porter is a pretty good Robert Altman film that is no better or worse than Short Cuts, which, while I feel it is a good film, I also think it is overrated. This one is, however, heavily underrated, and they both got the same imdb score from me: 7/10 = 3/4 stars.
This is another attempt to make another Nashville. There's a humongous ensemble cast of actors, some of the best on the planet, a couple of the best who ever lived. The screenwriter doesn't connect it all very well, and lots of the characters seem superfluous or underdeveloped, unlike in Nashville where even the characters who are only in a couple of scenes are as familiar to the viewer as a close friend. I would particularly have liked the Danny Aiello/Teri Garr section to have been removed. It falls pretty flat. The Sophia Loren/Marcello Mastrioanni section, the section that most film buffs are going to be excited for, also plops by its end. And Kim Basinger, a good actress, truly deserving her L.A. Confidential Oscar, is not very good as the Southern U.S. reporter: her accent is difficult to get around, and her character is often annoying, too. Sometimes, though, her pieces succeed.
Many other of the vignettes succeed quite well, although there are never any fireworks about to shoot off. The Tim Robbins/Julia Roberts plot is very funny. The three publishers, Sally Kellerman, Tracy Ullman, and Linda Hunt's attempts to sign photographer Milo (Stephen Rea) to their magazine are all very humorous. The love quadrangle between the two designers, Forest Whitaker and Richard E. Grant, and their lovers is very good, also. Anouk Aimee's section is also great, maybe the best part (Rupet Everett is good, also). I loved her so much in La Dolce Vita and 8 1/2. I was aching for her and Marcello Mastrioanni to interact.
The ending is truly fantastic. It is very well directed and filmed. It's a good film.
This is another attempt to make another Nashville. There's a humongous ensemble cast of actors, some of the best on the planet, a couple of the best who ever lived. The screenwriter doesn't connect it all very well, and lots of the characters seem superfluous or underdeveloped, unlike in Nashville where even the characters who are only in a couple of scenes are as familiar to the viewer as a close friend. I would particularly have liked the Danny Aiello/Teri Garr section to have been removed. It falls pretty flat. The Sophia Loren/Marcello Mastrioanni section, the section that most film buffs are going to be excited for, also plops by its end. And Kim Basinger, a good actress, truly deserving her L.A. Confidential Oscar, is not very good as the Southern U.S. reporter: her accent is difficult to get around, and her character is often annoying, too. Sometimes, though, her pieces succeed.
Many other of the vignettes succeed quite well, although there are never any fireworks about to shoot off. The Tim Robbins/Julia Roberts plot is very funny. The three publishers, Sally Kellerman, Tracy Ullman, and Linda Hunt's attempts to sign photographer Milo (Stephen Rea) to their magazine are all very humorous. The love quadrangle between the two designers, Forest Whitaker and Richard E. Grant, and their lovers is very good, also. Anouk Aimee's section is also great, maybe the best part (Rupet Everett is good, also). I loved her so much in La Dolce Vita and 8 1/2. I was aching for her and Marcello Mastrioanni to interact.
The ending is truly fantastic. It is very well directed and filmed. It's a good film.
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Details
Box office
- Budget
- $18,000,000 (estimated)
- Gross US & Canada
- $11,300,653
- Opening weekend US & Canada
- $2,026,295
- Dec 26, 1994
- Gross worldwide
- $11,300,653
- Runtime2 hours 13 minutes
- Sound mix
- Aspect ratio
- 2.39 : 1
- 2.35 : 1
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