Haley Lu Richardson wore a striped sweater and denim overalls for a casual portrait session at the IMDB Studio during the 2026 Sundance Film Festival.
At the IMDB Portrait Studio during the 2026 Sundance Film Festival , Haley Lu Richardson brought a rare kind of ease to the press-week whirlwind. Lounging across a caramel-brown sofa, she lifted one boot toward the ceiling, laughing mid-pose as if mocking the formality of festival portraits. Her striped sweater –soft, fuzzy, confident–mixed with dark denim overalls , a pairing that told more truth about warmth and comfort than any brand-led outfit might.
Ash-blond hair, loosely curled, framed her grin. A pair of solid black ankle boots grounded the playfulness, giving the look quiet edge. The pillows–burnt mustard, white, and mint green–set a cozy frame around her, rustic but still studio-clean.
Kristen Stewart appears in The Sunday Times Culture’s January 2026 issue, reflecting on fame, filmmaking, and feminist fury.
The January 25, 2026 issue of The Sunday Times Culture features Kristen Stewart in a stripped-down black-and-white portrait. White tank, black blazer, Calvin Klein underwear. Necklace, glasses. No fuss. The styling is minimal, but the mood is sharp. She’s not posing–she’s just there.
The interview dives deep. Stewart talks about method acting, calling it a male performance trick. She’s done pretending to be impressed by press-ups before a take. She’s more interested in clarity now. Calm, even. She recalls a moment when a male actor dismissed her critique of method acting as “crazy.” Years ago, she’d have boiled over. Now she just finishes her point.
She’s 35, but it feels like she’s lived three lives. From Panic Room to Twilight to Spencer. From tabloid chaos to César wins. Her directorial debut, The Chronology of Water, is raw, moody, and personal. It took eight years to fund. She’s engaged to screenwriter Dylan Meyer, producing the film together. The story–based on Lidia Yuknavitch’s memoir–is dark, tangled, and full of psychological grit. Abuse, swimming, fantasy, shame. Stewart doesn’t flinch.
She’s not chasing redemption. She’s building something else. A career that doesn’t ask permission. A voice that doesn’t soften.
This Sunday Times Culture spread works because it doesn’t try to dress up the moment. The styling is blunt, the tone even more so. The insight is that Stewart’s editorial presence is no longer about reinvention–it’s about refusal. She’s not performing. She’s directing.
Does this editorial feel like a portrait of transformation or a quiet declaration of creative control?
Jenna Ortega, Cathy Yan, and Natalie Portman posed for a stylish group portrait at the Los Angeles Times studio during the 2026 Sundance Film Festival.
At the Los Angeles Times portrait studio during the 2026 Sundance Film Festival , three distinct presences– Jenna Ortega , Cathy Yan , and Natalie Portman –sat together against a cool, dreamlike setting of white faux fur and pale blue light. The texture of the space felt soft, almost weightless, as if the set itself wanted to dissolve into quiet.
Jenna Ortega wore a green check shirt dress with black tights and pointed patent heels–practical, a little school-uniform, but sharpened by her posture and that steady expression she always brings. Cathy Yan anchored the center in a chocolate brown leather jacket and studded pants tucked into tall black boots. Her look had toughness, industrial charm, but still matched the cozy mood of the frame. Natalie Portman balanced the composition in a plush gray-and-white faux fur sweater that played easily against the icy backdrop, her smile warm yet unforced.
