Angelina Jolie‘s daughter Shiloh Jolie-Pitt gave a nod to her famous mother’s style on Wednesday as she modelled a revamped version of one of her gowns.
The 15-year-old looked lovely in a floral dress as she joined her famous family at the Eternals UK premiere at the BFI IMAX Waterloo in London.
Shiloh, whose father is Brad Pitt, put her own spin on the Dior dress that Angelina famously donned while promoting her 2019 film Maleficent: Mistress of Evil.
Instead of rocking its original silhouette, Shiloh had the floor-length number altered to hit just above the knee.
Seeing double: Angelina Jolie’s (seen right in 2019) daughter Shiloh Jolie-Pitt (left) took a page out of her older sister Zahara’s book by wearing one of their mother’s past gowns to the Eternals premiere at the BFI IMAX Waterloo in London
Shiloh looked in good spirits as she supported Angelina, 46 and her siblings Zahara, 16, Vivienne, 13, Maddox, 20, and Knox, 13.
The fashion moment comes after Shiloh’s sister Zahara also took a leaf out their mother’s style book this month.
On October 19, Zahara attended the Eternals LA premiere clad in the Elie Saab Couture dress that Angelina wore to the 2014 Oscars.
The famous family have been on the Eternals press tour for Angelina’s new superhero movie – where she plays Thena.
Designer dress: The 15-year-old, whose father is Brad Pitt , modeled a black-and-white print Dior dress that Angelina famously donned while promoting her 2019 film Maleficent: Mistress of Evil
Shiloh has been venturing away from her former boyish style as of recently by opting to wear dresses and a bit of makeup while accompanying Angelina at events.
Shiloh debuted her new style when she joined her mum at the LA premiere last week, where she sported a pretty cream dress for the event alongside her siblings.
At Sunday’s Rome premiere, she wore a black dress with a full skirt alongside neon trainers with an animal print while her hair was stacked into an elegant chignon and she wore hoop earrings.
Stepping out: The superstar offspring, whose father is Brad Pitt, could be seen smiling as she arrived with her family to the event
Raiding her closet: On October 19, Zahara stepped out in the Elie Saab Couture dress that Angelina wore to the 2014 Oscars as she joined her famous mother and siblings at the Eternals Los Angeles premiere
Last week’s style and image over haul comes a year after Shiloh’s father Brad was said to be ‘so proud of Shiloh and who she had become’ as he celebrated the teenager’s 14th birthday.
A source told Entertainment Tonight: ‘Brad is so proud of Shiloh and who she has become, He loves that she always stays true to herself and is so good to her brothers and sisters.’
Meanwhile, Angelina spoke out about Shiloh’s androgynous dress sense, saying her daughter considered herself to be ‘one of the brothers’.
Family affair: Shiloh supported her mother Angelina, 46 – who appears in the film as as elite warrior Thena – with her siblings Zahara, 16, Vivienne, 13, Maddox, 20, and Knox, 13
‘She wants to be a boy,’ she told Vanity Fair in 2011. ‘So we had to cut her hair. She likes to wear boys’ everything. She thinks she’s one of the brothers.’
Apparently coining a new fashion term, she said: ‘Shiloh, we feel, has Montenegro style. She dresses like a little dude. It’s how people dress there. She likes tracksuits, she likes [regular] suits.’
Back in 2008 it was revealed that Shiloh had requested she be addressed as John since the age of two.
In style: Angelina ensured she stood out as she walked the red carpet in a black satin dress with a long flowing train
Brad told Oprah Winfrey: ‘She only wants to be called John. John or Peter. So it’s a Peter Pan thing. So we’ve got to call her John. “Shi, do you want…” “John. I’m John.” And then I’ll say, “John, would you like some orange juice?” And she goes, “No!”
‘So, you know, it’s just that kind of stuff that’s cute to parents and it’s probably really obnoxious to other people.’
Addressing the name change at the time, Angelina said that there was no need to ‘interpret’ anything from the request.
Changes: Shiloh looked trendy at the Rome Eternals premiere last week where she wore a black dress with a full skirt alongside neon trainers with an animal print
Evolving: Angelina told Vanity Fair in 2011: ‘She wants to be a boy. So we had to cut her hair. She likes to wear boys’ everything. She thinks she’s one of the brothers’ (Shiloh pictured in 2014)
In an interview with The Daily Mail, Angelina said: ‘I don’t think it’s for the world to interpret anything. She likes to dress like a boy and wants her hair cut like a boy and she wanted to be called John for a while.
‘Some kids wear capes and want to be Superman and she wants to be like her brothers. It’s who she is. It’s been a surprise to us and it’s really interesting, but she’s so much more than that – she’s funny and sweet and pretty. But she does love a tie…’
Eternals is a 2021 Marvel movie based on the fictional race of humanoids of the same name which appears in the American comic books.
Suited up: At previous events, Shiloh has opted for androgynous looks (pictured in 2018)
The flick sees the Eternals, an immortal alien race, come out of hiding for thousands of years to protect Earth from their evil counterparts, the Deviants.
The cast also includes MCU’s first deaf superhero (Lauren Ridloff as Makkari) and its first openly gay superhero (Brian Tyree Henry as Phastos) who shares the franchise’s first onscreen same-sex kiss with Haaz Sleiman, who plays his husband.
In ELLE’s 2021 Women In Hollywood issue, Angelina – who is an advocate for refugees – discusses her upcoming movie and praises The Eternals’ director, Oscar-winner Chloé Zhao for her choice of casting.
‘A lot of times as an actress, you’re that individual strong woman, or you have one sister; you don’t often have this family where you really get to know women and see all the different strengths,’ she explained.
Praising her co-stars, she continued: ‘Gemma’s grace and elegance and the way she walks through the world. Salma’s motherhood and power, and Lauren’s connection and intelligence. Everybody came as themselves.
‘Maybe there’s something to that, that the characters weren’t as far off [from ourselves]. I think there’s a secret that we don’t know that our director knows, because if you look at her films, she casts a lot of real people as their roles and it shapes her films.’
Star: Shiloh is seen with her dad Brad and brothers Pax and Maddox in 2014
She reveals in the issue that when she was first contacted about the movie, she thought it was going to play a ‘grandmother’ type role.
‘I never thought I was going to be one of the Eternals. It doesn’t happen. It’s never happened to me like that before without a fight and like, ‘I can do this, please hire me!’ When she told me I was one of them, I was like, ”Me, Mexican, Middle Eastern? Me, in my fifties? I’m going to be a superhero in a Marvel movie?” Sometimes as a woman, as a woman of colour and with the age, you feel so overlooked,’ she said.
Commending Zao for ‘having balls’, she championed the director for ‘acknowledging’ her within the industry.
Ridloff, whose character Makkari is deaf like her and the first deaf superhero within the Marvel universe, reveals she jumped at the chance to ‘show representation’ on screen in a ‘refreshing’ way, while Chan praises Marvel for showing diversity on a global scale with its movies.
Oh dear: Ahead of its release Eternals was branded ‘disappointing’ and ‘ultimately unmemorable’ by critics in first reviews of the hotly anticipated MCU blockbuster (above Angelina Jolie as Thena in the film)
Ahead of its release, Eternals has already been branded ‘disappointing’ and ‘ultimately unmemorable’ by critics in its first reviews.
The superhero flick was lambasted by critics over its ‘miserably undernourished’ script, deluge of underdeveloped characters and ‘overloaded’ storyline.
Critics were torn as the ‘refreshingly diverse’ cast of characters resulted in a group of ‘navel-gazing superheroes’ that signalled ‘two steps forwards for representation but three steps backwards for dramatic ingenuity.’
The Times critic Kevin Maher gave the film two stars and took aim at the 157-minute flick’s script and its ‘strange self-sabotaging energy.’
Not good: The film was lambasted by critics over its ‘miserably undernourished’ script, deluge of underdeveloped characters and ‘overloaded’ storyline (pictured left, Don Lee as Gilgamesh, Kumail Nanjiani as Kingo – and right Lauren Midloff as Makkari)
He wrote: ‘It is the characters, however, who represent the biggest shift away from the swaggering, mostly white, mostly male, mostly straight, mostly neurotypical and mostly hearing ensembles (think Iron Man, Captain America, Thor, etc) that have defined the Marvel brand thus far.’
Adding the ‘reinvented heroes work’ he continued: ‘But they are also, to paraphrase Pirandello, ten characters in search of a script. Because the one they have now, co-written by Chloé Zhao, the director (Nomadland), is derivative, messy and miserably undernourished.
‘Eternals is two steps forwards for representation but three steps backwards for dramatic ingenuity.
Variety critic Owen Gleiberman branded the film a ‘disappointment’ over lacking the ‘raw and real’ signature quality Zhao has brought to her other films.
He wrote: ‘Yet as I approached Eternals, the question I was most curious about was whether Zhao, who in Nomadland and The Rider defined her filmmaking style in a unique poetic way, would carry any remnants of that mode over to the blockbuster universe… Eternals has none of that. It’s clear that that’s something of a disappointment.
He added the film feels ‘very standard’ in comparison to ‘top-tier’ team superhero films (the first Guardians of the Galaxy, Zack Snyder’s Justice League, and ‘Avengers: Infinity War) and that the film ‘never transcends its conventionality’
He did however laud the diversity of the cast, writing: ‘Four of the Eternals are white, three are Asian, two are Black, and one is Latina. One is gay, one is deaf, and one is an androgynous tween who never grows up.
‘Any troll who surveys this lively medley of backgrounds and temperaments only to gripe that the movie is too ‘woke’ might have lodged the same complaint about Star Trek 55 years ago.’
The Telegraph critic Robbie Collin again gave Eternals two stars, writing: ‘The answer is the problem with Eternals in miniature: it’s constantly engaged in a kind of grit-toothed authenticity theatre, going out of its way to show you it’s doing all the things proper cinema does, even though none of them bring any discernible benefit whatsoever to the film at hand.
‘The more muted tone rules out Marvel’s fast and flippant house style: instead, Eternals opts for solemnity peppered with wackiness, which occasionally gives it the feel of a Japanese anime series.’
Criticism: The Guardian critic Steve Rose scored the film two stars once again and likened it to a ‘sophisticated PowerPoint presentation’ due to its comprehensive mythological storyline
Empire critic John Nugent gave Eternals three stars, as it was ‘unable to escape the clichés of superhero storytelling’ but praised Zhao’s ‘assured and ambitious’ MCU debut.
He wrote: ‘There’s a fascinating tension in Eternals between the unstoppable force of the Marvel project and the immovable object of Zhao’s artistic sensibilities. In many ways, this looks and feels nothing like any Chloé Zhao film we’ve seen before
‘And yet in many ways, this film looks and feels nothing like any previous Marvel film. There are, for example, at least a couple of firsts: a genuine sex scene, and an onscreen gay kiss — unheard of in the normally rather chaste MCU.
‘More frequently, though, it seems to fall into familiar traps about saving the world and learning to work together as a team; when a giant, CGI-heavy battle begins to thwart another potential apocalypse, you start to feel a formula being leaned on.’
Actors: Evening Standard critic Charlotte O’Sullivan praised the film and gave it an impressive four stars, heaping praise on the cast, bar Gemma Chan’s ‘wooden’ turn as Sersi (above with Kit Harington as Dane Whitman)
Eternals: What the critics said
‘But they are also, to paraphrase Pirandello, ten characters in search of a script. Because the one they have now, co-written by Chloé Zhao, the director (Nomadland), is derivative, messy and miserably undernourished.
‘Eternals is two steps forwards for representation but three steps backwards for dramatic ingenuity’ – The Times critic Kevin Maher
‘Yet as I approached Eternals, the question I was most curious about was whether Zhao, who in Nomadland and The Rider defined her filmmaking style in a unique poetic way, would carry any remnants of that mode over to the blockbuster universe… Eternals has none of that. It’s clear that that’s something of a disappointment’ – Variety critic Owen Gleiberman
‘At times if feels like you are watching a very sophisticated PowerPoint presentation.
‘That’s the problem: there’s just too much going on: it’s all headed towards yet another ‘race against time to stop the really bad thing happening’ climax’ The Guardian critic Steve Rose
‘Perhaps the hope was that Marvel’s 26th film might rattle the franchise out of its comfort zone. But the franchise is nothing but comfort zone, which renders its latest entry an instant white elephant’ – The Telegraph critic Robbie Collin
‘More frequently, though, it seems to fall into familiar traps about saving the world and learning to work together as a team; when a giant, CGI-heavy battle begins to thwart another potential apocalypse, you start to feel a formula being leaned on’ – Empire critic John Nugent
‘But considering that this sci-fi saga is directed by Zhao, and that its story spans the creation of the Universe and the fate of the planet, it would have been reasonable to expect it to prompt slack-jawed wonder rather than the grudging appreciation of an efficient, workmanlike job.
‘Eternals may not be the worst of Marvel’s movies, but it’s undoubtedly the most disappointing’ – BBC Culture critic Nicholas Barber
‘The whole cast are fabulous, with one exception. Chan’s a bit wooden. As far as the script’s concerned, she’s the chosen one. But I wish Zhao hadn’t chosen her.
‘Anyway, the fights, especially in the film’s last third, are astounding, beautifully paced and crammed with detail’ – Evening Standard critic Charlotte O’Sullivan