sofia coppola | archive

full look. Valentino
opposite
full look. Brioni
shoes. Loro Piana

full look. Valentino
opposite
full look. Brioni
shoes. Loro Piana

×

Credits

“Sometimes life doesn’t choose you, a role chooses you.” For Emanuela Postacchini, acting is more than just playing a character in front of the camera. Her journey, which began in a small town in the Marche region of Italy, now puts her in the same frame with giants like Jennifer Coolidge and Bill Murray. Her role as Marina in ‘Riff Raff’, which had its world premiere at the Toronto Film Festival, reveals both her vulnerability and her creative power.

jacket. Mordecai
jumpsuit. Ferragamo
opposite
jacket. Institution

jacket. Mordecai
jumpsuit. Ferragamo
opposite
jacket. Institution

×

Credits

‘Riff Raff’ made its worldwide premiere at TIFF to great buzz. What drew you to this project, and what was it like stepping into this gritty crime world alongside such a legendary ensemble cast? It feels like the kind of film that doesn’t come around often.

Absolutely—it really doesn’t. As you said, opportunities like this don’t come by very often. To be part of a film with so many legendary actors—people I grew up watching—was surreal. I remember showing up on set and just thinking, “Wow, they’re all really here.” When I first received the script, I loved it. I had never read anything quite like it in my entire career. I was already familiar with the screenwriter, John Pollono—I’m a big fan of his work. ‘Small Engine Repair’ was brilliant. The script for ‘Riff Raff’ was such a compelling blend of comedy and darkness, with these really raw and complex family dynamics running throughout.

What especially stood out to me was the relationship between DJ and Louis Coleman—there’s such emotional depth there. That father-son dynamic plays out in multiple layers and scenarios, and it was fascinating to explore. Also, Marina being pregnant drew me in—I had never played a pregnant character before. I thought it would be interesting to explore that physically and emotionally. I wanted to learn how a pregnant woman sits, walks, eats—just how she navigates the everyday. I talked to friends who had been pregnant to understand those nuances. And of course, the cast! Jennifer Coolidge was already attached, and I immediately thought, “Yes, this role was written for her.” No one else could’ve played Ruth the way she did. She brought that character to life in such a unique, hilarious way. Ed Harris was also part of the cast, and Bill Murray joined later. At the time of my audition, he wasn’t attached yet. But even being considered for a role in such a stacked ensemble felt like a dream come true. It was one of those rare opportunities.

Speaking of Marina being pregnant, what was it like navigating that, especially while acting alongside big personalities like Jennifer Coolidge and Bill Murray? What’s one memorable moment that really stayed with you from the set?

I absolutely adore Bill Murray. He’s such a gentleman, incredibly gracious, and really embraces everyone—even newer actors like myself. He pushes you to bring your A-game in the most supportive way. He’s humble and hardworking, and I had an amazing experience working with him. One moment that always makes me smile—we used to sit on the couch during breaks and flip through fashion magazines together, just chatting about trends. I would’ve never imagined that one day I’d be sitting on a movie set, commenting on fashion with Bill Murray! I think I even have a photo of that moment somewhere—it was hilarious and unforgettable.

Jennifer is also just… Jennifer. So authentic, so uniquely herself. I always say she reminds me of Marilyn Monroe—not in a direct comparison, but in that she has this rare charisma mixed with a kind of innocence and genuineness. She’s incomparable. And we share a deep love for pizza. We even promised each other we’d go on a pizza marathon one day. I hope we still do that!

full look. Ferragamo
opposite
jacket. Institution

full look. Ferragamo
opposite
jacket. Institution

×

Credits

From ‘The Alienist’ to ‘Riff Raff’, your roles span thrillers, satire, drama, and now crime-comedy. How do you approach choosing such diverse characters? Your choices reflect both range and boldness.

Honestly, I feel like the roles choose you as much as you choose them. Sometimes, something just clicks when you read a script, and that’s the beauty of acting—you get to live so many different lives you wouldn’t experience otherwise. Each role comes with its own color palette, emotions, and energy. The approach always depends on what the script makes me feel and what I believe I can bring to that character—or what that character might bring out in me. Sometime,s you connect deeply, sometimes, it challenges you in a completely new way. Ultimately, I think it’s a dance—part instinct, part preparation, part surrender.

You were born in Italy and now work extensively in the U.S. Has your cultural background influenced how you approach your characters? There’s a certain emotional sensitivity in your performances.

Definitely. Being Italian, there’s a natural passion I bring into everything I do. We’re very expressive, emotional people—we love deeply, argue loudly, and live fully. Interestingly, I’ve often been asked to audition for French roles. In fact, Marina was originally written as a French woman. I even did the first audition in a French accent! But when the director found out I was Italian, he said, “Wait—you’re Italian? Play her as Italian.” And that changed everything. I brought in that big-hearted, family-loving energy. Even little details—like how Marina cooks breakfast while having this sweet moment with DJ—I think those gestures felt very Italian. That cultural texture added something special to the role, and I was really proud to be able to bring that to the screen.

Which city are you from in Italy?

I’m from a small town called Sant’Elpidio a Mare, in the Marche region, on the east coast of Italy. It’s where my family still lives, and I go back every chance I get—especially for holidays. It’s home.

You’ve worked with filmmakers like Sacha Baron Cohen, Roman Coppola, and now Dito Montiel. Does your acting process change depending on the director?

Absolutely. Every director brings something different. Some are very specific and detail-oriented—they’ll tell you exactly what they want and how to get there. Dito, on the other hand, was incredibly trusting. He gave me space to explore, to bring my own ideas into Marina’s character. He wouldn’t say “do this.” Instead, he’d ask questions, lead me into discovering choices on my own. That’s so empowering as an actor. Even though we shot the film quickly, Dito made the process feel fluid and natural. When a director trusts your instincts, it opens up your performance in a completely different way.

You’ve had breakout roles—like in ‘The Alienist’—that introduced you to international audiences. What’s been your most creatively fulfilling role to date?

Definitely Marina in ‘Riff Raff’. Also, working on Who Is America? with Sacha Baron Cohen was incredible because it’s such a rare experience to do satire at that level. But Marina will always have a special place in my heart. It was my first leading role in the U.S., with a dream cast. Coming from a small Italian town, I never imagined I’d get that far—and working alongside actors I grew up admiring was deeply meaningful. When I read the script, I immediately saw Marina. I pictured her with red nail polish, baby bangs, wearing oversized cardigans—this mix of edgy and sweet. I even cut my own bangs to get into character! It was love at first sight.

full look. Mom’s Pants
opposite
full look. Loro Piana
skirt as belt. N21

full look. Mom’s Pants
opposite
full look. Loro Piana
skirt as belt. N21

×

Credits

And you’re acting in a language that isn’t your mother tongue. That’s a challenge on its own!

True, but I’ve been in the U.S. for a while now, and English feels natural to me at this point. It still isn’t my native language, but it doesn’t feel like a barrier anymore. Plus, I love playing with accents and characters from different cultures—I speak several languages, so it’s actually really fun for me.

You’ve been part of projects like Who Is America? that blend fiction with social commentary. Are you drawn to stories that challenge norms or provoke thought?

Yes, definitely. With Sacha Baron Cohen, for example, that kind of satire is unmatched—he’s a genius. Those kinds of projects don’t come along often. I believe that film and TV can—and should—reflect what’s happening in the world. Art can be a powerful way to give voice to what we’re all experiencing. I’m currently working on a vampire film with Alexandra Casavettes, which I’m also executive producing. It’s got a strong social commentary on the last few years, and I’m excited to see how audiences respond.

You’ve worked with legends like Liam Neeson and Ed Harris. What’s the biggest piece of wisdom you’ve picked up from working alongside actors like them?

Humility. No matter how big your career is, you have to keep showing up and doing the work. Bill Murray recently said something during press in New York—he corrected me and said, “Not just humility—false humility.” But the point is, you don’t rest on your laurels. You keep pushing, you keep bringing everything you have to every role.

Looking ahead, are there any stories you’re longing to tell—maybe something deeply personal or unexpected?

Oh, yes! There are so many stories yet to be told. But one thing I’ve been thinking about lately—maybe something comedic, like a cultural clash between Italian and Irish families. My partner is Irish, and the differences in our cultures are hilarious. Italians are so fiery and expressive, we take three-hour lunch breaks, we’re obsessed with food. Meanwhile, that’s totally foreign to other cultures. I think it could be really fun to explore that contrast in a comedy.

Sounds hilarious—and very real! Italians do it better.

(laughs) Thank you! I’ll take that.

full look. CHB by Christian Boaro
shoes. N21

full look. CHB by Christian Boaro
shoes. N21

×

Credits

‘Riff Raff’ is out now.

photography. Luigi Angelico
fashion. Francesco Baldassari
talent. Emanuela Postacchini
hair. Mamrez Abassi using Mr Smith Hair
make up. Eleonora Marotti
photography assistant. Andrés Juan Suarez
fashion assistant. Giulia Vian
interview. Alper Kurtel

LONDON, ENGLAND – MARCH 29: Usher performs on stage at The O2 Arena on March 29, 2025 in London, England. (Photo by Gareth Cattermole/Getty Images for USHER )

LONDON, ENGLAND – MARCH 29: Usher performs on stage at The O2 Arena on March 29, 2025 in London, England. (Photo by Gareth Cattermole/Getty Images for USHER )

×

Credits

Usher’s ‘Past Present Future’ tour proves that nobody does performance quite like a legacy artist. Celebrating 30 years of hits, his decades in the industry shone through as his star aura radiated throughout the stadium. The Atlanta R&B superstar will spend his spring 2025 touring in London, Amsterdam, Paris and Berlin. Usher’s sold-out stint at London’s O2 arena covers 10 shows which the singer told the crowd marks every year since he’d last played in the city. The show is an impressive two and a half hours long with Usher being on stage for a large portion of it.  Although the night is long, there is never a dull moment, making for an immersive experience.

The theatrical set design and interactiveness of the show keeps the pace of the evening exciting. Whether he’s roller skating around the stage in a bedazzled tracksuit or walking though the crowd dressed in nothing but some leather jeans and fur jacket with cherries in hand, Usher is a class act in bringing a show to life. His cherry act in particular has become an internet favourite since his 2024 Paris residency. Showing incredible stamina, he peruses several sections of the crowd in search of women he can feed a cherry too. The star knows how to play into the sensuality of his music, with projections on the screen showing hot and steamy re-enactments and talented pole dancers bringing the fun of an ATL strip club to the O2 as Usher sings ‘I Don’t Mind’ surrounded by women.

LONDON, ENGLAND – APRIL 01: Usher performs on stage with Naomi Campbell at The O2 Arena on April 01, 2025 in London, England. (Photo by Gareth Cattermole/Getty Images For Usher)

LONDON, ENGLAND – APRIL 01: Usher performs on stage with Naomi Campbell at The O2 Arena on April 01, 2025 in London, England. (Photo by Gareth Cattermole/Getty Images For Usher)

×

Credits

The show’s dynamic lighting radiates off the sparkly ensembles Usher adorns at the beginning of the show. When he eases into 2010s classics like ‘Climax’ the lighting mimics the flashing lights of a dimly lit club. Although there is always something going on, whether that be his extremely talented dancers doing back flips or Usher hitting a handstand, there is a coherent thread of storytelling throughout the show. The artist uses AI to look back on different eras of his career through younger versions of himself, travelling through time and his discography. He not only reflects on his musical journey, but of his personal one too, touching on themes like fatherhood and former relationships. 

On Sunday (6 April,) Usher thanked London crowds for their loud support and for being so welcoming to this “American boy” before bringing on special guest Estelle to perform her hit song of the same name. The show reminisced on his rise to the top while addressing the flaws he’s overcome on the way through hits like ‘Confessions.’ Although the audio quality was not always the best throughout the show, Usher’s vocals were studio perfect as were his signature dance moves, complimented by an ensemble of talented dancers who brought his music to life. Usher spent the evening effortlessly giving his all on his entire discography, meaning no fan was left disappointed. The ‘Past Present Future’ tour is a must see for anyone after a lively and memorable night of nostalgia. 

PrevNext

PrevNext

1

USHER’s ‘Past Present Future’ tour continues in London, Paris, Amsterdam and Berlin on selected dates in April and May.

photography. Gareth Cattermole/Getty Images
words. Shama Nasinde

“To dismiss data-driven art would be to overlook a burgeoning and profoundly relevant mode of creativity,” says Turkish-American media artist Refik Anadol. “Dismissing data-driven art risks ignoring fresh, vital methods of expression that speak directly to the digital realities that increasingly shape our lives and perceptions.” As more artists continue to explore cyber-technology, artificial intelligence (AI) and the Metaverse, it’s an exciting time to traverse the art market. All is to play for in this limitless realm of visual technology. Through his installations and ‘living sculptures’, Anadol has become a pioneer of digital art, and we were thrilled to speak to him about his immersive art installation as part of the Guggenheim Bilbao’s situ series, which features ambitious, site-specific works by contemporary artists. Named Living Architecture: Gehry, the groundbreaking project exploring the intersections of architecture and modern technology.

Running from March 7th to October 19th, 2025, Living Architecture: Gehry reimagines architect Frank Gehry’s iconic designs through dynamic AI-generated forms. The project is the latest of Anadol’s works challenging the notion that machine intelligence is something distant or impersonal. Rather, it positions AI as an active participant in the artistic process instead of a mere tool. “Data-driven art is not a fleeting trend; it represents a significant evolution in the continuum of artistic expression,” says Anadol. “One that is uniquely positioned to address the complexities of our contemporary world. One that inherently bridges the increasingly artificial divides between technology, art, and science.”

What once seemed far-fetched in an industry that has been slow to accept data-forward art, the partnership between a prestigious institute like the Guggenheim and Anadol is a testament towards the artist’s prevailing talents and an indication that traditional institutions are welcoming digital art with open arms. According to the artist, this was inevitable: “Throughout art history, the embrace of emerging tools has consistently led to paradigm shifts – consider the revolutionary impacts of photography and film, initially met with skepticism, yet now integral to our understanding of art.”

Born in 1929, Frank Gehry was a legendary architect who rose to prominence in the 1970s thanks to his distinctive style of blending everyday materials with complex, dynamic structures. Using the museum’s own archives to explore Gehry’s designs, Anadol built upon his kinship with Gehry’s love for sculptural expression that challenges traditional architectural forms. “I have long been captivated by the organic fluidity of his structures and the profound sense of movement they capture in static material,” he says. “To reimagine his work through the lens of AI felt like a conceptually rich and deeply meaningful dialogue – a meeting point between human artistic ingenuity and algorithmic perception.” Synthesizing these elements into a constantly transforming artwork, Anadol re-envisioned the famous curves and shapes of Gehry’s structures.

A significant feature of this installation is the launch of Anadol’s Large Architecture Model (LAM), a cutting-edge AI model developed by Refik Anadol Studio (RAS). Accompanying this milestone debut is a custom soundscape created by the artist’s long-time collaborator Kerim Karaoglu. “Sound is not merely an accompaniment to my visual installations; it is an intrinsic element, co-constituting the overall sensory experience,” says Anadol. “My collaboration with Kerim Karaoglu was guided by a desire to craft a soundscape that would serve as an auditory echo of both the architectural essence and the subtle emotional atmospheres inherent in the spaces.” 

According to the artist, the sonic composition was intentionally diverse. It was built upon a spectrum of electronic tones and ambient textures, many of which were algorithmically generated through the analysis of architectural blueprints. As well as “the subtle vibrations within structural materials, and even the environmental data surrounding Gehry’s buildings – the city’s hum, the wind’s whisper.” The resulting soundscape is deeply immersive, enveloping the audience through a profound sonic experience that enhances the emotional and intellectual impact of the visuals at play.

Anadol’s approach is not merely about replication but imagination. In previous works like WDCH Dreams (which transformed the archive of the LA Phil into a living, breathing artwork projected onto the iconic façade of Walt Disney Concert Hall) Anadol posed the thought-provoking question: Can buildings learn and dream? 

WDCH Dreams was indeed a pivotal project in my artistic trajectory. It served as a critical “exploration into the latent potential residing within massive archival datasets.” It was during this project that the artist solidified a methodology of harnessing machine learning and real-time data as raw materials of immersive art. The core principles of WDCH Dreams— “taking complex datasets, in this case, architectural data, historical references, and real-time environmental inputs,” is central to Anadol’s practice today. Where WDCH Dreams explored the archive of sound, the Gehry project “delves into the archive of form, pushing the boundaries of data-driven narrative in architectural space.”

It’s part of human nature to constantly advance forward, push against limitations and improve our understanding of the world around us. For Anadol, data-inspired art does all this and more; providing a portal for artists to access its “inherent, often unseen, poetry.” Early on in his career, the artist’s curiosity for the medium “was ignited by the realization that data, in its rawest form, could be alchemically transformed into the very essence of art – the pigment, the texture, the sculptural element.” Using computational tools, particularly machine learning and digital projections, he investigated their potential to “visualize data’s hidden dimensions.” As his practice evolved, Anadol expanded beyond the “confines of purely digital realms”; conceiving data “as a material in itself, capable of shaping physical space and sensory experience.”

This led Anadol to create the large-scale immersive installations or ‘data sculptures’ that have become highlights of major art fairs and exhibitions like Art Basel. As well as being visually mesmerizing, these sculptures liberate a universal artistic need to make the intangible palpable. According to the artist, “these works are designed to transcend the purely visual, translating the often-invisible currents of data – be it environmental, architectural, or cultural – into multi-sensory environments.” Perhaps it’s down to the sculptures’ complex coding, or their magnetic dioramas of colours and shapes, that each installation succeeds in engaging with a broad spectrum of audiences. Through his works, Anadol creates “spaces intended to resonate emotionally and intellectually, inviting audiences to engage with data not as abstract figures, but as tangible, experiential phenomena.” They represent his continuous pursuit “to sculpt with information itself.”

Anadol has embraced architecture’s potential as a chameleonic art form that fluctuates in appearance, structure and biology. “Where conventional forms often dictate a static, finite outcome, digital tools empower me to create works that are inherently dynamic, generative, and responsive,” he explains. “This shift is profound. Instead of producing a singular, immutable object, these digital processes facilitate a state of continuous transformation.” 

Rather than holding fixed identities, Anadol’s structures evolve in real time thanks to the constant influx of data. Through his studio RAS, the artist crafts living, breathing entities that reflect the pulse of their surroundings. “This fluidity offers an entirely new spatial and formal vocabulary,” he says. “One that positions the viewer not as a passive observer of a completed artwork, but as an active participant within an ongoing, evolving experience.”

Perceiving architecture and the natural environment as profound, living archives of human experience and history, Anadol feels both genres are fundamental to his artistic inquiry. Revealing the subtle yet powerful dialogues between the built and natural worlds has inspired the artist to create Dataland, the world’s first Museum of AI Arts opening later this year in Los Angeles. The project encourages viewers to “foster a deeper sense of awareness, empathy, and responsibility towards the spaces we inhabit.”

In a world where technology increasingly shapes our experiences, Anadol’s data-driven artworks open new doors for exploration and expression. “This process is not just about replication or imitation; it’s about pushing the boundaries of architectural expression itself,” he explains. Through this groundbreaking work, Refik Anadol continues to lead the charge in exploring the intersection of AI, architecture, and artistic expression, paving the way for a new era of creative possibilities.

For more information, visit the Guggenheim Museum Bilbao’s website or Refik Anadol Studio’s online platforms.

words. Raegan Rubin