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Nicole is featured on the cover of the July issue of InStyle magazine … they highlight how her star is being reborn this year.

She may be at yet another peak in her storied 30-plus-year career, but the greatest character Nicole Kidman has ever built is her own.

Take a seat at a suburban Nashville diner on a random morning and you may see a tall, curly-haired Australian actress eating an egg-white omelette amongst the regulars. On this particular spring morning, waiting in the corner booth of Noshville, I hear a hoot of laughter and then Nicole Kidman appears, casually escorted by country singer Vince Gill. Before sitting down for a full breakfast one booth over, he drops her off with me and announces that he’s turning 60 the next day. “Say hello to my boyfriend,” he says to Kidman, referring to her husband, Keith Urban.

Noshville is quite something. It’s a NewYork–style deli in Green Hills populated by a demographic that makes Kidman and me look as if we belong at the kids’ table. “Oh, I love this place,” she says, bopping around like, yes, a kid. “I do everything here.”

Kidman, who turns 50 this summer, is in her element, both physically and metaphorically. At the start of a four-month break from back-to-back projects, she’s taking a breath and spending time with Urban and their two daughters, Sunday and Faith. After a three-decades-plus acting career—both amply rewarded and deliberately esoteric—she is in the unusual and glorious position of coming off the massive HBO hit series Big Little Lies, which, in this age of binge-watching, was addictive appointment viewing. The miniseries, co-produced by Kidman and Reese Witherspoon, among others, and co-starring Laura Dern and Shailene Woodley, was pretty mainstream for Kidman, and its success gave her an old-fashioned kick. “I was like, ‘Yeah, I’ll do this because I want to work with my friends.’ ” She laughs. “And, luckily, my friends are talented.”

June 23 sees the release of Sofia Coppola’s gothic Civil War drama, The Beguiled, a remake of the 1971 Clint Eastwood classic. Kidman plays the headmistress of a girls’ school faced with a wolf in Colin Farrell’s clothing. Buttoned-up but ballsy, her character is the opposite of Kidman herself, who is the dictionary definition of sensitive. But I guess that’s why they call it acting.

To read the entire highlight of the article visit our press library.

May 29, 2017   Ali   Events, Images Be first to comment

Added over 2,000 images to the gallery from the events that Nicole attended in 2010.

Gallery Links:
Nicole Kidman Online > EVENTS and APPEARANCES > 2010

May 29, 2017   Ali   Awards, Videos Be first to comment

Nicole was honored with an award from the Cannes Film Festival for their 70th Anniversary Jury Prize.

She wasn’t able to be there to accept the award in person but she filmed the following:

and posted these pictures also recognizing her directors’ for their awards!

May 27, 2017   Ali   Guest Appearances, Images Be first to comment

Last weekend Nicole and Keith did a guest appearance on the Graham Norton Show and I have added captures from their appearance to our gallery.

Gallery Links:
Nicole Kidman Online > CAPTURES > 2017 > May 20 | The Graham Norton Show – Show

May 27, 2017   Ali   Images, Upside Be first to comment

I have added two images of Nicole from the filming of her film Untouchables to our gallery.

Gallery Links:
Nicole Kidman Online > Untouchable > On the Set | Miscellaneous

May 27, 2017   Ali   Articles & Interviews Be first to comment

Nicole Kidman has been a household name for nearly 30 years now, but her star never seems to wane. Rocketing to fame in the ’80s, she survived the spotlight of a high-profile celebrity marriage to Tom Cruise and emerged triumphant from trial by tabloid. While her peers, and some of her predecessors, chased box-office success in romcoms and franchises, Kidman went for the interesting role, starting in 1995 with Gus Van Sant’s mordant black comedy To Die For. Since then, Kidman has been very much a director’s actor, collaborating with established names—Stanley Kubrick, Lars Von Trier and Anthony Minghella—while supporting visionary newcomers.

Perhaps unsurprisingly, it is overwhelmingly the latter that brings Kidman to Cannes this year. There are projects that reunite her with her Rabbit Hole director John Cameron Mitchell (How to Talk to Girls at Parties) and Portrait of a Lady’s Jane Campion (Top of the Lake: China Girl), while new partnerships come in the form of Greek “weird wave” auteur Yorgos Lanthimos’s The Killing of a Sacred Deer and Sofia Coppola’s The Beguiled.

What all of these films have in common is nothing except Kidman’s bravery and spirit, born of a love for acting that has burned in her since she was young and starting out. “My mother said I was an intense child,” she notes. “She still says it.”

You’re starring in four movies in Cannes—and then there’s also Big Little Lies. It’s very hard to come up with a project that really gets people talking, but this is one of them.

I’d hoped it would be, but you never know. I think when it first aired, I was like, ‘Oh, maybe it’s not gonna catch on like we’d hoped it would,’ and then it just built momentum through the whole season. I would get texts and calls and emails, and that’s when I knew it was really penetrating. Particularly when my husband was saying, “Oh, my friend just texted me and they were like, ‘What’s gonna happen next week?’” I haven’t had that for years, so it’s been an extraordinary journey.

How did you get involved as a producer?

I produced Rabbit Hole and then The Family Fang, and this came to me through Bruna Papandrea, who was with Reese Witherspoon and their company Pacific Standard. She called me and said, “I’ve just read a book that Reese and I love. Read it. It’s by an Australian author.”

I read it overnight and I said, “You won’t believe it. I’m going to Australia tomorrow. I’m gonna call Liane [Moriarty] and ask her if she’ll meet with me and let’s see if we can get the book.”

I went and had coffee with her and I said, “Liane, if you give us the rights to the book, I promise you we’ll get it made.” She said, “Oh, but you’ve got to play Celeste.” That was the genesis of it.

Was Celeste the role you envisioned playing?

I read it and I just went, “Whatever—I would just love to get this made.” If they’d said to me I had to play somebody else then I would have played that part, but when the author says, “This is the role that I envision you in,” then you honor that. It all came together perfectly. Reese called Laura Dern, and Laura called Shailene Woodley. Zoë Kravitz we all knew. It was friends creating opportunities for friends.

I don’t know of any actor that makes as many fearless choices as you.

It’s not fearless because there’s an enormous amount of fear at times. But it’s curiousity. I’m always interested in exploring human nature and the human condition. I actually feel safer and closer in the world when I do that, if that makes sense.

You’ve worked with an amazing list of world-class directors over the years—Stanley Kubrick, Park Chan-wook, Lars Von Trier…How do you choose your roles?

I’m so random. I would love to say that I have this really decisive way of working, but I am just completely random and spontaneous. If I feel it, I do it. If there’s something in the story that I love, if there’s a director that I just love, then I don’t even need to read the script. I’ll do favors for friends. That’s how I work.

May 26, 2017   Ali   Events, Images Be first to comment

Last night Nicole looked beautiful in a black sequins and feathered gown designed by Chanel which she accessorized with a pink belt, sandals by Giuseppe Zanotti and jewels by Harry Winston.

Gallery Links:
Nicole Kidman Online > 2017 > May 25 | Cannes Film Festival – amFAR Gala

May 25, 2017   Ali   Events, Images Be first to comment

Last night Nicole attended the Cannes Film Festival Premiere of her film The Beguiled. She wore a stunning silver beaded fringe gown from Michael Kor’s Transeason 2017 Collection.

Thank you to Claudia & Gabby for sharing some of these images with us!

Gallery Links:
Nicole Kidman Online > 2017 > May 24 | Cannes Film Festival – The Beguiled Premiere

May 24, 2017   Ali   Beguiled, Events, Videos Be first to comment

Here is the official video footage of The Beguiled Press Conference held earlier today.

May 24, 2017   Ali   Beguiled Be first to comment

Vanity Fair writes a review of Nicole’s film The Beguiled which premiered today at Cannes!

Sofia Coppola’s Cannes competition entry is a trim and titillating tale of women in wartime./i>

As tends to happen in the second week of a film festival, Cannes had worn me down. Too many early mornings and late nights, too much bread and wine, too many ponderous political allegories—in the films and in real life, all the Croisette’s opulence alarmingly guarded by policemen carrying machine guns. I felt done, like I just wanted to go home and not watch a movie for a long time. But then came The Beguiled, Sofia Coppola’s competition entry premiering here on Wednesday, and, hallelujah, my spirit was renewed. Coppola has made a swift, gorgeous chamber thriller, an efficient and refreshingly straightforward film that crackles with wicked humor. It’s given this festival a delicious jolt of energy.

Which is a bit surprising, considering all the whispering I’d heard that the film—which will open in the States next month—was not one of Coppola’s best. I suppose I can see why some early viewers—who caught private screenings in Los Angeles or here in Cannes—didn’t take to it. The film is decidedly small in scale, and is largely devoid of Coppola’s signature rambling dreaminess. And the film’s plot has been seriously pared down from Thomas P. Cullinan’s novel, which was previously adapted into a 1971 film starring Clint Eastwood. (Which was slated to go to Cannes that year, until the film’s producers nixed that plan.) There’s not a ton in the film that’s likely to overwhelm, to bowl you over with one of those sensory Coppola waves, which may have alienated some viewers. But I love the spareness of Coppola’s interpretation, its curt but still expressive manner of speaking. It has snap and vigor where so many other Cannes entries this year have been leaden and overstuffed.

The Beguiled is probably Coppola’s most narrative film to date. The film tells a gnarly tale about the residents of a girls boarding school in Civil War Virginia, whose cloistered, uneasy existence is disrupted when the war arrives on their doorstep in the form of a wounded Union soldier played by Colin Farrell. His Killing of a Sacred Deer co-star Nicole Kidman plays Miss Martha, the proprietor of the white-columned rural school, with Kirsten Dunst as the lone teacher, Miss Edwina, and Elle Fanning and Oona Laurence among the few remaining students. The dynamic between Yankee soldier and Southern ladies is wary at first, but soon enough a sexual tension fills the house’s dim rooms as the film coils around its characters.

Coppola has never done a thriller before, and in The Beguiled she doesn’t seem all that interested in building suspense in any formal sense. At a trim 94 minutes, the film instead has a loony bluntness to it, scenes jutting into one another (minus a few old-school fades) as plot developments are introduced with a fast offhandedness. Despite the lack of any traditional foreboding, Coppola conjures up a heady mood, half-comical and half-sinister. There are moments in the film that I wish Coppola lingered on a bit longer, but for the most part I quite like The Beguiled’s clipped pace. It gives the film a kicky verve, its flinty little story arcing and dipping and then disappearing as quick as it came. It’s a compact piece of filmmaking, but is no less rich for it.

The cinematography, by Philippe Le Sourd, is downright stunning, though Coppola never preens over elaborate visuals. She employs a more still and staid aesthetic than she has before, giving the film the look of portraiture lit by candlelight. Which is just right. Too much feverish camerawork and billowing music, and The Beguiled’s canny mien becomes camp. Ryan Murphy gives us enough of that on TV. It’s much more satisfying, and more entertaining, to spend an hour and a half admiring the restrained, elegant sinews of Coppola’s film.

She’s served well by her actors. Kidman is arch and watchful, doing a lot with small lifts of an eyebrow or a pursing of lips. Her lilting Southern accent is a little wobbly, but otherwise she’s commanding and, in a few scenes, deviously funny. Kidman has always been good at playing up her imposing iciness to a point just shy of droll—she’s not making a joke of herself, but there’s a winking self-awareness rippling along her fine-boned edges. The true standout, though, is Dunst, who gives poor Miss Edwina a quiet dignity that rescues her from outright sad spinsterhood. Pinched and forlorn, Edwina is pitiable without being pathetic, a balancing act that Dunst—who’s just doing a lot of great work these days (let’s pray this project actually comes to fruition)—pulls off with understated aplomb.