The term "couture," or “haute couture,” usually brings to mind high fashion—a symbol of elegance and sophistication through clothing. It also often suggests the industry surrounding this art form, which began with sewing but has since taken on a broader meaning encompassing “stitches” or, figuratively, “connections,” particularly when referring to the women who represent it. Over time, these women have formed a diverse group linked by their role as fashion symbols and as individuals involved in an industry where they are often exploited. It’s a complicated mix of factors that the latest film from director Alice Winocour struggles to capture through a drama set during Paris Fashion Week. The result is mostly unfocused, with plotlines that barely scratch the surface of what they could be and don't really bring those connections to life. This makes “Couture” less profound than it seems to want to be. The main story follows American filmmaker Maxine Walker (Angelina Jolie), a director known for independent horror films who is hired to create a film for PFW’s opening ceremony. While doing this, she discovers she has breast cancer and must decide between her work and treatment—a conflict that's mentioned often but not shown in detail. Another storyline examines the career of South Sudanese model Ada (Anyier Anei), who unexpectedly finds herself chosen for Ms. Walker’s film and slated to appear at the opening festivities. As someone new to this world, she feels out of place, unsure if this is what she wants or knows how to do, and wondering if she'd rather return to Africa to study pharmacy. Finally, there's the story of Angèle (Ella Rumpf), a makeup artist who dreams of becoming a writer. However, none of these stories are developed well, often presented in a disconnected way with many loose ends. Furthermore, its central themes—the fashion industry’s workings, dealing with breast cancer, and disrespect toward women—have been explored in numerous other films, and more effectively, especially since they're awkwardly connected here (if at all). By the time the opening ceremonies arrive, the film becomes overly pretentious (almost surreal), featuring self-important voiceovers that are difficult to take seriously. To its credit, Jolie delivers a strong performance, likely influenced by her own experiences with this subject matter. Considering the material she’s given, she does well in the role and continues to build on the comeback she began with “Maria” (2024). But beyond that, there's not much else to praise. It’s unfortunate because "Couture" could have been a more interesting and insightful film with better writing, editing, direction, and supporting performances. However, given how disappointing it turned out, significant improvements would be necessary.

Source on TMDB