It’s the Super Bowl of fashion, and Andrew Rossi (Page One) takes us backstage at the Metropolitan Museum of Art’s annual celebrity-studded fundraiser. Positioned in the cellar, the Met’s Costume Institute appears to be operated by a vampire academy of haute couture zombies, scuttling under the spell of gala chairperson, editor of Vogue, and all around malignant spirit Anna Wintour. She’s the Wintour of her hirelings’ discontent, colder than an igloo filled with Kubricks and quickened by a snap-to-it stride more determinedly menacing (and reiterated) than Lee Marvin’s in Point Blank. Unless it’s a slideshow you’re after, uninhabited apparel, no matter how stunningly stitched, doesn’t lend itself to cinema. Juxtaposing Her Dourness with a clip from Shanghai Gesture that highlights fashionista/dragon woman, “Mother” Gin Sling is a good indication of director Rossi’s eye for satire. It’s a view he quickly obstructs in favor of coverage as conventional as his leading lady’s trademark pageboy bob. With Wong Kar-Wai (The Grandmaster) as “the Artistic Director.” (2016) — Scott Marks
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