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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Solo review – joyful yet heartbreaking story of drag artist consumed by toxic relationships

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Théodore Pellerin is outstanding as Simon, a performer navigating a bullying boyfriend and a distant mother in Sophie Dupuis’s sad and celebratory film

Théodore Pellerin is a star, and director Sophie Dupuis knows it. In their third film together, the rising Canadian actor is at once magnetic and utterly heartbreaking as Simon, a young gay artist honing a budding career as a drag queen. At night, he transforms into Glory Gore, a glittery vision dressed in exquisite costumes that have been lovingly designed by his sister Maude (Alice Moreault). Off stage, Simon is much less self-assured, despite his swagger. An unexpected visit from his absent mother Claire (Anne-Marie Cadieux), along with a toxic romance with fellow drag performer Olivier (Félix Maritaud), soon throw this sensitive soul into an emotional whirlpool.

Dupuis’s astute writing keenly conveys the paradox of falling for a narcissistic manipulator. At first glance Olivier is a perfect creative and life partner, but soon whittles down Simon’s self-esteem with jabs about the latter’s talent and looks. As the relationship grows more dysfunctional, Dupuis pushes Pellerin to the edge of the frame, a visual correlation of his isolation among his real-life and drag family. Pellerin, moreover, embodies the character’s turmoil with stunning physicality; his quivering gaze betrays a vulnerability that starkly contrasts with his larger-than-life stage persona – and yet, like a boiling frog, he also luxuriates in the attention of his cruel lover.

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