Diane Keaton’s nail clippers for $960: what’s behind the new boom in celebrity estate auctions?

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With beloved stars’ personal items increasingly up for grabs after they die, a new generation of fans are bidding on everything from bowler hats to dog bowls From Diane Keaton’s bowler hats and polka dot scarfs, to Gene Hackman’s used paint brushes, to Terence Stamp’s love letters from Jean Shrimpton and even Matthew Perry’s black leather wallet (his credit cards and AAA membership card still inside), fans are being offered – at a price – increasingly personal items from the estates of dead celebrities. The growing trend for auctions of deceased famous people’s personal items – which has boomed ever since the hugely popular Marilyn Monroe estate sale in 1999 – has even attracted its own portmanteau: “deleb” as in dead celebrity. Continue reading... from Film | The Guardian https://ift.tt/4Yh215g via IFTTT
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In Whose Name? review – Kanye’s descent makes for grimly compelling watch

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More than 3,000 hours of footage filmed since 2018 by a teenager gets turned into a strange, revealing and unsettling look at a fallen star

“What was Kanye West thinking?” has remained a prevailing question since the Grammy award-winning rapper-producer pulled the rip cord on his spectacular descent into rightwing nihilism more than a decade ago. In Whose Name?, a cinéma vérité take on the tortured musical genius (who goes by just Ye now), offers fans and long-term observers a new artifact to pore over in search of answers – and reason to be disappointed all over again.

That’s not a knock on the 104-minute opus, an outcropping of more than 3,000 hours of footage – some of it never before seen, some of it a reverse perspective on the viral stunts and rants that have marked Ye’s dramatic nosedive. Director Nico Ballesteros – who started filming in 2018, at age 18, with nothing to recommend him (his stint as a second assistant director on a Jesus Is King concert video came later) – had sweeping access to Ye and made the distinctive choice not to layer it with any talking-head commentary for context. Mostly, he turns on the camera, holds a tight focus on his subject and lets the rest drift in and out of frame.

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