Anthony Vaccarello

Anthony Vaccarello’s name might ring a bell for fashion junkies, but lately, the guy’s been popping up in the world of cinema too. And not just dipping his toes in—he’s making some serious waves. Let’s talk about his 2024 run: three movies, each a total vibe, and each one giving off its own weird energy. First up, Emilia Pérez—this one’s got people talking. It’s not your standard crime flick; it’s more like a wild, genre-mashing ride that whips between drama and surreal musical moments. Picture a cartel lawyer with a secret, a double life, and some seriously messy moral choices. It’s gritty and dreamy at the same time, kind of like if Almodóvar decided to direct an episode of Narcos while listening to a pop opera playlist. Vaccarello’s aesthetic fingerprints are all over the costumes. You can totally tell. Then there’s The Shrouds. Weird title, right? Honestly, the film’s even weirder. It’s a Cronenberg joint, so you know you’re in for some body horror and mind-bending tech. The plot’s this whole meditation on grief, tech obsession, and our weird relationship with death—plus, some truly bizarre visuals. Vaccarello brings a cold, almost clinical edge to the look of the film, making everything feel stylish and a little bit off-putting. Finally, Parthenope. This one’s like a love letter to Naples, all sun-drenched nostalgia and bittersweet memories. The story follows Parthenope herself as she navigates love, heartbreak, and the wild chaos of growing up Italian. It’s lush, it’s romantic, and yeah, there’s a definite high-fashion touch in how every frame looks like it belongs in a glossy magazine spread. Vaccarello’s not just window dressing here; he’s adding to the emotional punch. So, 2024? Vaccarello’s all over it. Fashion’s cool and all, but he’s proving he’s got some serious storytelling chops too.