Video: Kristen and Woody Harrelson talk 'Full Phil' and more with Deadline at Cannes

 

In Quentin Dupieux’s Full Phil, Kristen Stewart had to a eat a lot on screen — without a spit bucket.

In an interview for Deadline’s Cannes studio, Stewart said, “I only puked once. It was when they had filled this cauliflower mash with butter and they were like, ‘There’s no butter. It’s all vegetal oil.’ And I was like, ‘Vegetal oil?’ Woody’s vegan and I was like, ‘You can smell the butter.'”

“I’d have had a spit bucket,” co-star Woody Harrelson said. “I wouldn’t care.”

In Full Phil, Harrelson and Stewart are a father and daughter who’ve taken a trip to Paris in an attempt to reconnect. As his daughter consumes more and more delectable food from room service and a dinner at a restaurant, Phil finds himself in a symbiotic nightmare, feeling the effects of everything she eats and drinks.

“They had a very talented and willful French man making the food,” Stewart explained. “Our process means that I have to eat all day long. They wanted it to taste really good and reflect the French cuisine. And I was like, ‘I’m going to die. I’m not supposed to actually perish.'”

However, she embraced the challenge in terms of how it informed her process. “The eating’s cool because it’s nice to have obstacles,” she said, “like kind of hurdles that you don’t think about when you’re running lines… It’s a metaphor. It’s very symbolic. She’s a voracious bottomless pit, eating her feelings.”

Dupieux said he was inspired by the fact he himself has an 11 year-old daughter. “She’s quite someone, ” he said. “But it’s nothing like the movie. It’s not like that. But I guess it’s almost like a nightmare version of what I’m living with my daughter. I’m living a dream with my family and my daughter… It seems obvious that I may be talking about me and my daughter, plus I’m getting fat.”

I don’t think since I saw Ruben Östlund for the first time — I hadn’t really seen anyone with whom I thought, ‘Whoa, this guy is his own master.’

Harrelson said of Dupieux, “I think he’s got an extraordinary sense of humor, but he also just has a way of shooting things that just heightens or magnifies the experience for you. I don’t think since I saw Ruben Östlund for the first time — I hadn’t really seen anyone with whom I thought, ‘Whoa, this guy is his own master.’ And ‘Whoa, OK!’ He is a true maestro and I think his vision is extraordinary. And if you don’t like the film, there’s only one guy to blame. He’s the writer, the director, the cinematographer and the editor, but he’s great.”

Dupieux explained the philosophy behind the film thus: “I was just making fun of Americans visiting Paris, my version of it, because what you see in Emily in Paris, for example, is not real. I don’t want to say too much, but no, there’s no message. It’s just like I’m making fun of humanity.”

Harrelson said he’d met Stewart some years back when they were considering working together on another project that ultimately didn’t pan out. “I met her when she was about 17. She had just worked with Sean Penn and he was raving about her. And then I saw the movie and she was great in that. And then we hung out.”

“It was love at first sight,” Stewart said of first seeing Harrelson in White men Can’t Jump. “I was just a little guy going, ‘God, he’s f–king cool.’ He took me to a vegan spot in the valley and we totally bro-ed down and then never got to make the movie. And so when this popped up, I was like, ‘I’ve wanted to work with this guy forever.'”

With regard to what she’s doing next, Stewart said, “I’m writing two movies right now and I’m going to go shoot this Amazon show called The Challenger. I have some balls and they’re all in the air and I think I can hold them all. I want to make two movies basically by the end of May next year, I want to be figuring out what festivals they’re going to. And they’re really different. They’re really cool. I want to make an exploitation film and I want to make it for nothing and I want to distribute it myself. I want to make something teeny-tiny and let it trickle and just not be a part of a system that doesn’t behoove me.”

Harrelson said, that in addition to upcoming Apple TV series Brothers with Matthew McConaughey, he has Jason Bateman’s Netflix film Cackling of the Dodos.

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Tara Swennen talks styling Kristen for Cannes 2026 with Vogue Magazine

Since attending her first Cannes Film Festival back in 2012, actor and director Kristen Stewart has become one of the event’s main red carpet fixtures. There is a heightened sense of glamour and extravagance that comes with attending the event, and over the years, she and stylist Tara Swennen have leaned into the challenge by delivering many, many memorable looks—from silvery Chanel couture (the year she famously removed her Louboutins!), to pink tweed skirt suits. “I love Cannes because it’s a world stage—it draws more attention than a lot of other festivals or red carpets,” Swennen tells Vogue. “Besides the Oscars—where I do think there’s a little bit of restraint—Cannes really nurtures a mixture of glamour, art, and beauty. People really take the opportunity to go big.”

This year, then, Stewart and Swennen were ready to deliver yet another winning Cannes wardrobe, one to match Stewart’s buzzy new project. In town to promote the Quentin Dupieux film Full Phil, in which she stars alongside Woody Harrelson and Emma Mackey, Stewart brought two striking, high-spirited outfits to the Cannes carpet this weekend.

And as an enduring face for Chanel, it’s no surprise that they were both courtesy of the French label. “There is a beautiful relationship between Kristen, Chanel, and Matthieu Blazy, because she activates his pieces in a different way,” says Swennen. “He’s really loosened Chanel up. When you look at his clothes, the tweeds are a little lighter, the tailoring is slouchier, and the silhouettes feel a little less rigid and lived-in. That is very much the arena that Kristen likes to live in.”

For the film’s photo call this weekend, Stewart first venture onto the Cannes Croisette saw her sporting a sheer gray “tweed” top and skirt from Chanel’s spring 2026 couture collection. “It was a lightweight take on a classic tweed. It had these frayed edges and jeweled buttons—we loved the delicacy of it, and the tension of the sheerness,” says Swennen. Though the look appeared totally-transparent, turns out, it was all an optical illusion. “It actually had these little boy shorts underneath, and a tiny, delicate camisole, so it looked more revealing than it was,” says Swennen.

Later in the evening, Stewart slipped into a more evening-ready option—a red and black knit Chanel gown from Blazy’s fall 2026 collection. “I loved the color. We just threw it on, it fit perfectly,” says Swennen. “It had these delicate crochet leaves. It felt very Chanel—but very modern and cool.”

Stewart also opted to forgo her signature makeup look. “I love that she went a little bit different in her glam as well,” Swennen says. “You don’t normally see a red lip on her, and it worked really well with her new pixie cut.” They finished off the graphic ensemble with Chanel’s High Jewelry pieces, including an itty-bitty red timepiece.

Punctuating both her daytime and nighttime looks? A signature Stewart touch: comfy sneakers by both Nike and Converse, directly plucked from the star’s own wardrobe. “We wanted to have a youthful and effortless vibe, but also have it be grounded in real movement, rather than polished perfection,” says Swennen. “It had a sophistication, but also was a bit rebellious.”

Such a footwear choice was an intriguing one, given Cannes still holds a strict dress code that discourages flat shoes, as well as sheer and voluminous designs. For Swennen, the (somewhat archaic) Cannes dressing rules are something to consider—but both she and Stewart clearly love pushing the envelope. “If it’s not trashy and people remain polished, I think [the rules are] malleable,” says Swennen. “Now, there are plenty of people circumventing the dress code—whether it be heels or transparency. It’s nice that there’s a loosening up of it. People should feel free to go and enjoy themselves and promote their art—and be authentic to themselves.”

Having worked with Stewart since she was 14, Swennen says such an attitude is precisely why the duo continue love working together. They both see red carpet dressing as an opportunity for self-expression and individuality. “It’s the ultimate collaboration, because she’s never afraid to try new things, which is great because I love a good challenge,” says Swennen. “For me, it really is always about embodying your authentic self wherever you go. She looks her best when the clothes feel instinctive to her. She never wants to feel over-rehearsed. The one thing I’ve learned about this woman is she is always going to be effortlessly cool.”

While the star’s whirlwind Cannes trip is already coming to a close (she’s back to filming her next project), Swennen says you will be seeing Stewart on a red carpet again very soon—this is not the end of their stellar France run, by any means. In late June, Stewart will be acting as the president for the Biarritz Nouvelles Vagues Festival in France. “We had virtual fittings for that while she was in Cannes,” says Swennen, hinting that “French Cruise” will be the sartorial vibe. This summer, Stewart will also be promoting her wife Dylan Meyer’s new film, The Wrong Girls, and she’s also working on a new TV show. The Stewart-Swennen partnership stays serving, all summer long.

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Kristen covers Gala Croisette for Gala France in Cannes 2026

 

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World premiere of 'Full Phil' at the Cannes Film Festival - Red Carpet - 16 May 2026

 

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HQ KSBR with thanks to Korita05