couture

Shia LaBeouf’s alleged stalker has been arrested after posting a video of the actor asking to be left alone.

According to Orleans Parish Sheriff’s Office booking records, Alyssa Lee Couture, 40, was arrested Monday night and booked on a misdemeanor charge of stalking. Hours earlier, Couture had posted a video of a confrontation with LaBeouf in what appeared to be a grocery store parking lot. The “Honey Boy” actor is shown speaking to Couture through the window of a car.

“Leave me alone. God bless you. Leave me alone,” LaBeouf says calmly in the video. “You’re scaring my dad. You’re scaring my people. Leave me alone.”

Couture has posted more than 5,000 videos on her Instagram, most of which feature the woman addressing the embattled actor, whom she appears to believe is her husband. In a GoFundMe launched in May, Couture wrote that she was hoping to raise $70,000 to find permanent housing and that she had been living in her car and staying with family members. She also wrote that she had schizophrenia, among other disabilities.

Although the New Orleans Police Department does not identify Couture’s stalking victim as LaBeouf due to privacy policies, the timeline of her booking appears to line up with the confrontation with LaBeouf.

According to People, LaBeouf left Los Angeles after his split from actor Mia Goth last year and relocated to Louisiana to be closer to family.

In June, he pleaded guilty to three counts of simple battery, months after he went viral for his involvement in a Mardi Gras altercation in New Orleans. The actor, 39, was arrested in New Orleans on Feb. 17. At the time, New Orleans police confirmed LaBeouf was charged with two counts of simple battery for allegedly assaulting two men near a bar in the French Quarter. TMZ published bystander video of the incident and footage of LaBeouf walking through the French Quarter hours before the brawl.

The actor was released from jail shortly after his arrest and posted $100,000 in bond. More than a week after LaBeouf’s initial arrest, the New Orleans Police Department issued a second warrant for the actor’s arrest in connection with the same incident, and he racked up an additional simple battery charge. Prior to the second arrest, a New Orleans judge ordered LaBeouf to begin substance abuse treatment and undergo weekly drug testing.

Times staff reporter Alexandra Del Rosario contributed to this report.

DETAILS from Taylor Swift and Travis Kelce’s elaborate wedding have been revealed, including the custom dress the singer wore and who stood beside them on their big day.

The couple exchanged vows on Friday at Madison Square Garden in New York City in an extravagant ceremony.

The U.S. Sun obtained a press release from Taylor’s rep shortly after the nuptials, which revealed some specifics about the special occasion.

Both the bride’s and groom’s looks were created by Christian Dior Haute Couture, designed by Jonathan Anderson, Creative Director of Dior Women’s, Men’s, and Haute Couture Collections, in close collaboration with the newlyweds.

Their shoes were custom-made by Christian Louboutin, and Taylor wore Cartier jewelry, per the release.

Some fans had already suspected that Taylor would wear a Christian Dior gown after she appeared to drop an Easter egg during an outing in April.

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Taylor stepped out with a buttercup yellow Dior bag from Anderson’s debut show in the spring, leading many to speculate that she’d chosen him as the designer for her wedding dress.

The “royal wedding” is the designer’s first couture wedding dress for a world-renowned celebrity.

The lovebirds also did not have the traditional bridesmaids or groomsmen; instead, Taylor’s brother, Austin Swift, served as her Man of Honor, and Travis‘ brother, Jason Kelce, served as his Best Man.

It was a day to remember for the pair and their guests, as comedian and friend Adam Sandler officiated the ceremony.

Screens outside The Garden flashed signs that read, “JUST&T MARRIED!” about an hour after the ceremony began.

Fans showed their love for the beloved couple, gathering outside the venue and singing Taylor’s hit song, Love Story.

The reception is currently underway, continuing the three-day wedding festivities with 1,000 guests in attendance.

Rumors previously circulated that Taylor and Travis had already tied the knot in a private ceremony in Tennessee.

However, The U.S. Sun exclusively spoke to a relative of Taylor’s before the ceremony, who assured that the NYC bash would be the couple’s first wedding.

It was previously believed that Taylor’s BFFs, Selena Gomez and Gigi Hadid, were a part of the songstress’s bridal party.

It was also thought that Taylor’s childhood best friend, Abigail Anderson, would serve as her Maid of Honor.

Abigail made a major faux pas with her wedding ensemble when she was seen wearing the exact same $800 Sau Lee dress as Laura Kruk, the fiancée of New York Giants wide receiver Juju Smith-Schuster.

Hundreds of other celebrity guests stunned in their “black tie” ensembles, including Ed Sheeran, Karlie Kloss, Bradley Cooper, Dakota Johnson, and Ellie Goulding.

Many of Travis’ NFL buddies and their wives also attended the big event.

The high-profile affair prompted a massive police presence, street closures, and parking restrictions around the venue.

The U.S. Sun exclusively revealed that some NYPD cops expressed their frustrations over the large-scale event taking place during a near record-setting heat wave and the July 4 holiday.

Police have also posted up outside of Taylor’s $50 million Tribeca compound, which served as the headquarters for the wedding day.

It doesn’t appear the chaos will die down anytime soon, as the festivities are expected to continue into the weekend.

No other public events have been booked at the venue until next week.

In the last decade or so, Angelina Jolie has been on screen less frequently. So when she is — and not in forgettable tentpoles like “Eternals” — it’s worth paying attention. There seems to be a thoughtful intentionality to the roles she now chooses, almost as if this astoundingly famous woman wants to tell us something vital about herself, offering clues into her understandably guarded personal life.

Take 2015’s “By the Sea,” which she wrote and directed. Coincidentally or not, that pained study of marital dissolution, co-starring Jolie’s then-husband Brad Pitt, intersected with the couple’s real-life breakup — not to mention Jolie’s grief over the death of her mother, Marcheline Bertrand. Two years ago, Jolie portrayed a version of the elusive, emotionally closed-off opera singer Maria Callas in “Maria.” The conception of the role, marked by a dim view of stardom’s suffocating alienation, was something Jolie clearly understood. Moviegoers should be careful not to read too much autobiography into an actor’s creative choices, but Jolie makes such speculation tantalizing, adding additional layers of drama to her films.

The intermittently affecting “Couture” feels similarly close to her heart, depicting a filmmaker whose life is interrupted by a cancer diagnosis — a reality Jolie knows all too well. In 2013, she underwent a preventive double mastectomy over concerns of her likelihood to develop breast or ovarian cancer. (Bertrand died of cancer in 2007.) Knowledge of Jolie’s circumstance will inform a viewer’s reaction to her wounded, resilient performance, but our inherent sympathies can only take French writer-director Alice Winocour’s ensemble piece so far.

Jolie plays Maxine, an American indie director hired to create a flashy opening film for Paris Fashion Week. Newly arrived in the City of Light, she has only a few days to put together the short, assisted by her trusted cinematographer Anton (Louis Garrel). As we deduce from the phone calls Maxine makes back home, she’s also going through an acrimonious divorce and has trouble connecting with her blasé teenage daughter. At least this Paris paycheck gig will bolster her finances — and get her ready for the feature film she’s been wanting to make for years.

Just then, though, Maxine’s future gets a rewrite. A French doctor (Vincent London) tells her she has breast cancer and needs a double mastectomy immediately. Maybe she can finish the Fashion Week film, but her passion project must wait. An artist and mother who has spent her adulthood in constant motion will have to learn what it means to stop everything and be still.

The film’s title would appear to be a reference to the story’s setting, but in French, “coutures” can also mean “stitches,” and indeed Winocour sews together three thematically linked story strands. As Maxine wrestles with her cancer diagnosis, an inexperienced South Sudanese model named Ada (Anyier Anei) works Fashion Week so she can send money home to her family. (Ada has no interest in modeling, hoping instead to become a pharmacist.) Meanwhile a makeup artist, Angèle (Ella Rumpf), longs to be an author, although she cannot get anyone interested in her writing. Each one becomes a part of the fabric of Fashion Week, but their disparate problems are a far cry from the glitzy event’s self-importance.

Winocour has often made films about women balancing their public-facing life with their private selves In 2019’s “Proxima,” Eva Green played an astronaut missing her young daughter. In 2022’s “Paris Memories,” Virginie Efira starred as an interpreter recovering from the shock of surviving a terrorist attack. Winocour shows us the intimate, vulnerable spaces within her characters that those on the outside don’t have access to.

“Couture’s” three principals rarely interact with one another, but those meaningful exchanges argue that, amid the mad clatter of the everyday, a brief, unguarded moment with a stranger can be supremely restorative. Unfortunately, the juggling of storylines ends up being more schematic than insightful. Angèle’s narrative never catches fire and while Anei is striking as Ada, that section of the film feels slightly patronizing, reducing this immigrant tale to yet another strained salute to perseverance.

This leaves Jolie as the movie’s magnetic center, with Maxine drifting through despair as she ponders what to do. Her doctor insists that the surgery cannot wait, but putting her ambitions on hold means losing a part of herself — a different kind of death sentence than the one she’s now facing.

The character is underwritten but Jolie picks up much of the slack through her silently shattered expression. As she’s gotten older, the Oscar winner has become more comfortable doing less in her performances, allowing for a fragile serenity that is belied by the anguish and anxiety roiling underneath. It’s not just our recognition of the real-life parallels that make Jolie so touching in “Couture” — it’s that ineffable star power she’s possessed for so long. In a story about a potential tragedy, what’s saddest is that Winocour’s film cannot match its lead’s effortless command.