Few collaborations have evolved as naturally as Natalie Portman‘s enduring relationship with Dior. Returning once again as the face of Miss Dior, Portman leads the fragrance’s latest campaign directed by Manu Cossu, photographed by Lachlan Bailey, and set to Chappell Roan‘s “Good Luck Babe!,” embodying a heroine who moves through Paris gathering flowers as declarations of love. The campaign accompanies a new interpretation of Miss Dior Eau de Parfum—a creamy chypre composition layered with Grasse rose, vanilla, almond, and luminous woods, inspired by the legacy of Catherine Dior and the House’s enduring connection to Provence.
At the same time, Portman takes on an entirely different role in The Gallerist, Cathy Yan‘s dark comedy thriller set against the spectacle of Art Basel Miami Beach. Ahead of both releases, Whitewall spoke with Portman about the evolution of Miss Dior, discovering the realities of today’s art market, embracing physical comedy, and why great art deserves to be experienced rather than stored away.
Natalie Portman, courtesy of Dior Beauty.
Courtesy of Dior Beauty.
WW: As the face of Miss Dior, you’ve embodied a vision of femininity that has evolved over many years. How does this latest campaign reinterpret that spirit for today, and how has it reflected your own journey?
NATALIE PORTMAN: I think she’s still exploring her independence, femininity, romance, and joy. I’ve been so lucky to have this relationship with Dior over so many years and to have this character almost act as a mirror alongside my own journey. It’s always been about continuously seeking joy, passion, and love.
“It’s always been about continuously seeking joy, passion, and love.”
Natalie Portman
WW: The Gallerist places you in the role of a complex art dealer navigating ambition, spectacle, and chaos. How did immersing yourself in the contemporary art world shape your understanding of its power structures?
NP: It was so fun to explore the art world. I met so many incredible artists and gallerists and gained a much deeper understanding of the market, which is really the central conflict of the film—what happens when art and commerce meet, when products of the soul become commodified.
I was incredibly moved by so much of the art I experienced, but I was also surprised to learn about hedge funds collecting paintings and storing them in warehouses to trade almost like gold bars. That side of the business was a fascinating insight.
When Commerce Meets Creativity
Courtesy of Dior Beauty.
WW: The film unfolds during Art Basel Miami Beach, where art, commerce, and performance collide. What interested you most about that intersection while playing Polina Polinski?
NP: I think Polina genuinely loves art. She’s there because her soul needs it and because she wants to connect with artists. But she also desperately wants to succeed. Watching someone wrestle with those competing desires—what happens to your soul when you’re constantly making decisions driven by commerce—was the most interesting part of the role for me.
WW: Through your production company MountainA, you’ve championed both emerging and established filmmakers. What makes you want to support a story today?
NP: There are really two questions that Sophie and I always ask ourselves.
First, does this director have something meaningful to say? Do they have a vision of the world that we want to experience?
Second, is this a story that needs to exist right now? Sometimes something is good, but it doesn’t necessarily feel urgent. Other projects feel incredibly timely. It’s really a combination of those two questions.
Finding Freedom in Comedy
WW: The Gallerist also introduces a more comedic—even camp—dimension to your performance. What did you discover by embracing that tonal shift?
NP: I worked a lot on physical comedy, which I’d never really done before. The film ultimately becomes quite a physical heist movie, so I spent a lot of time learning that kind of movement and performance.
WW: How was that different from the action films you’ve done previously?
NP: In action movies, you’re usually supposed to look cool—you do everything really well. In comedy, it actually works if you’re clumsy, ridiculous, or clownish. There’s much more freedom in that.
Art Meant to Be Seen
WW: Did playing an art dealer change your own relationship to collecting?
NP: I don’t really like to think of myself as a collector anymore because that word has started to signify something commodified about art. I’d only want to own something if it moved me and if I could actually share it with people.
I would never want to buy something simply to keep it in storage.
WW: Like keeping it in a freeport?
NP: I don’t want to be too judgmental, but I do think it’s a sad story when incredible works by wonderful artists aren’t being experienced by people.
Even having something in a private home rather than a public museum is a complicated conversation. But at least in a home, someone is seeing it and enjoying it.
A New Chapter for Miss Dior
Courtesy of Dior Beauty.
Courtesy of Dior Beauty.
WW: This campaign also marks your first Miss Dior collaboration with Jonathan Anderson. How did that experience feel?
NP: It was wonderful. The spirit of Miss Dior is always there, and it’s so fun to be reunited with everyone. We’ve made several films together now with Manu directing, alongside so many of the same creative team, camera crew, and executives. It really feels like one big family.
“The spirit of Miss Dior is always there,”
Natalie Portman
Courtesy of Dior Beauty.
