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Angelina Jolie's Six Kids Wear Yellow Flowers to NYC Premiere

Angelina Jolie's Six Kids Wear Yellow Flowers to NYC Premiere

Angelina Jolie walks the red carpet at the premiere of her new film First They Killed My Father on Thursday (September 14) in New York City.

The 42-year-old actress, who directed the movie, was joined by all six of her kids – Maddox, 16, Pax, 13, Zahara, 12, Shiloh, 11, and nine-year-old twins Knox and Vivienne – who wore yellow flowers pinned to their clothing.

Zahara was the unique one of the group and put the flower in her hair!

Also in attendance at the event were the film’s young stars Mun Kimhak and Sareum Srey Moch, writer Loung Ung, and producer Rithy Panh, among others.

Make sure to see photos of the full family at the premieres in Toronto and Telluride!

FYI: Angelina is wearing a Dior Haute Couture dress.

20+ pictures inside of Angelina Jolie and her family at the premiere…

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  • Malf

    Thanks for the id. I had no idea who the white haired rotund dude was beside JV. LOL.

  • Beedyq

    They look alike in the face but JV is so much taller. Chip is the youngest of the 3 brothers…

  • Malf

    Did they get the Asians right this time? Guess, they didn’t want to be accused of being always discriminating against Asians so they got the white girls mixed-up! DF…never change. ROTFL.

  • Beedyq

    “Zahara, 12, looked to be enjoying herself in a black lace top and black trouser combination, while Shiloh, 11, opted for a grey suit minus a tie.

    Finally, twins Knox and Vivienne, aged nine, also looked to be having fun, with Knox donning a classic black suit and his sister choosing a black vest and trouser look.”
    DF failing LOL

  • Malf

    They did get Madd & Pax correct for once.

  • Beedyq

    “Maddox, who was actually born in Cambodia, was invited by his mother to participate as an executive producer, and shined on the red carpet in a black suit paired with a simple white t-shirt.

    Pax served as the set photographer, and looked equally dapper in a black on black ensemble”

  • Beedyq

    Wonder where Jamie is, he has disappeared.

  • Jen

    Stop using your children to promote your movie!!

  • toastie postie

    Seth‏ @sethkhon 1h1 hour ago
    Check out “First They Killed My Father” on Netflix starting 9/15 2 am pt

    Also, if you have Amazon Prime, you can watch The Lost City of Z Sept. 15th also.

  • toastie postie

    Angie, Z, Knox, Maddox and Pax

  • Beedyq

    Thanks TP.

    Is this them leaving?

  • Chrissy

    Thank you Beedyq. I didnt recognize the flower so I looked it up and actually is has significant meaning indeed.
    The flower is sacred and blooms in the most unlikely of places such as the mud or murky river water. Roots based in mud it submerges every night into the murky waters and undeterred by its dirty environment it miraculously reblooms the next morning without residue on its petals.
    The white symbolizes purity the yellow is associated with spiritual ascension, or enlightenment and rebirth.
    The flower mainly is from Australia or Southern Asia ..Vietnam, also India.
    It is sacred to several religions as a rebirth or an enlightenment. I like that.

  • Roxana fan jp

    Angelina esta muy bella -aunque el vestido de Dior no me gusta mucho…jamas me gustaron los vestido que Dior hizo para jennifer lawrence. y este es parecido a todos aquellos….

  • Chrissy

    I enjoyed reading about it and learning something new. Interesting and appropriate flower selection.

  • Roxana fan jp

    quien es este hombre que esta junto a Angielina ??????????”’ perece conocido .pero……..

  • toastie postie

    I think that was them arriving.

  • toastie postie

    Netflix Guy – Scott something…Stuber????

  • toastie postie

    ChildrenArmdConflict ✔ @childreninwar
    SRSG for #children & armed conflict Ms. Gamba at premiere of Angelina Jolie movie on child soldiers #FirstTheyKilledMyFather in NY @netflix
    6:21 PM – Sep 14, 2017

  • Roxana fan jp

    ah gracias TP..
    pero yo quisiera decirle a el que saque su puta mano de la cintura de Angi.

  • toastie postie

    Jon Voight, Huggy Bear and some cutie too young for me.

  • Itsumi

    Her huge forehead needs its own zip code!

  • GetOffMyLawn

    Anorexia Jolie is malnourished and emaciated.

  • hotmesss

    I wonder if that could be Rithy’s son? He’s married but not sure if they have kids.

  • 81a

    Me three 😔

  • 81a

    Keep hope alive!

  • bap

    AFP news agency

    Angelina Jolie helped Namibia become a favourite for travellers the world over almost overnight

    11:24 PM – Sep 14, 2017

  • TaraTeller

    Looks like her bio daughters don’t want to be girls. Very sad.

  • bap

    Entertainment Weekly

    9 Photos of Angelina Jolie and Her Kids at the Red Carpet Premiere for First They Killed My Father

    10:54 PM – Sep 14, 2017

  • sandra

    On my way to Zurich. FTKMF is available in Netflix. I will see it tomorrow in a big TV. My ipad is too small.

  • sandra
  • 81a

    Oh wow! Her shoes!!!

  • The Ring

    pity is a drunk

  • The Ring

    pity is a drunk…..

  • The Ring

    awwwwwwwwwwwwwwwwwwwwwww cute Mad Chivan Jolie,Pax Jolie,Shi Jolie,Viv Jolie,Zee Jolie and Knox Jolie

  • The Ring

    jolie is single darling

  • The Ring

    jolie is single darling

  • The Ring

    and the flops of ptiy darling?

  • Malf

    Thanks. Safe travel to your new home.

  • DorisTLewis

    Finally! There is a great way how you can work online from your home using your computer and earn in the same time… Only basic internet knowledge needed and fast internet connection… Earn as much as $3000 a week…
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  • neer

    A LOT ( I mean A LOT) of people have already said that AJ is truly MORE beautiful in person.

    How could that be possible when she is already THIS beautiful?

    I wonder what does she really, really look like in real life…. yeah we
    know that already that she is beautiful….. but how??????

    Is that really possible?

    AJ has a different glow and I like this kind of glow.
    Her eyes are beginning to have a different spark.
    Her children too, they are all glowing.
    They are happy.

    The older boys/ sons are protective of their mom. ..and gentlemen too.

    I am glad to know that AJ’s father actor Jon Voight and her uncle Chip Taylor, American Songwriter, have attended the premier of FTKMF in NYC.

  • ali7

    I’m on lunch break just want to post this

    After a casting director was anonymously quoted last week as saying that “Asians are a challenge to cast because most casting directors feel as though they’re not very expressive,” the hashtag #ExpressiveAsians took over Twitter as users shared their outrage on the comment.

    But on Thursday night, this was all new information to Angelina Jolie, whose latest directorial drama First They Killed My Father features a cast composed solely of Asian actors, many of whom are nonprofessionals and appear onscreen for the first time.

    “Who said that? What’s wrong with them?” she told The Hollywood Reporter, dropping her jaw in surprise. “I hadn’t heard that, but it just sounds completely ignorant. Wow, it’s just insane.”

    When asked about what the controversy’s naysayers could learn from Jolie’s Netflix title, she explained, “I hope people see this film and they do recognize the great artists that made this film and the extraordinary performances. … I hope they recognize the talent from Southeast Asia. All artists express in different ways — I find all people to be artistic and expressive — and I find Cambodian people extremely creative and expressive!”

    Adapted from Loung Ung’s memoir, First They Killed My Father recounts Ung’s harrowing survival story under the Khmer Rouge regime, as her hometown was overtaken, her family was separated and she was forced to become a child soldier. The genocide included the deaths of one-quarter of the country’s population.

    “Cambodia is a very special country — I hope when you see this, you do understand what they’ve gone through but you also not only see the hardships, you see the resilience of these extraordinary people,” Jolie told attendees after an introduction from Netflix film chief Scott Stuber. To Ung, she said, “Thank you for allowing us to tell your family’s story.”

  • Lesley Starkey
  • ha

    Jolie film 71 Metascore a 83% Rotten Tomatoes perfekt

  • Lesley Starkey

    Angelina Jolie wants ‘love and family’ to come out of her new film on Cambodia’s brutal past

    Angelina Jolie hopes the new film “First They Killed My Father,” which she produced and directed, depicts the suffering, and resilience, of the people of Cambodia, “in a way that they deserve to be seen.”

    The film, debuting today on Netflix and in select theaters, is based on the 2000 memoir by Cambodian author Loung Ung, a survivor of the Pol Pot regime.

    “For any country, it’s important to understand … your past,” Jolie told ABC News’ Juju Chang. “Cambodia has a beautiful, ancient, thousands-of-year-old, you know, glorious past, but also a past that is, has, war and genocide. And it’s something that isn’t spoken about.”

    Jolie said she thinks it was “really important” to open up a discussion about the darker aspects of the country’s history.

    “First They Killed My Father” is an unflinching account of the Cambodian genocide as told through the eyes of a child.

    “I think people sometimes when they talk about genocide and crimes against humanity and war,” Ung said. “They forget that the most vulnerable victims in all of this are the children.”

    Jolie, who previously directed the film “In the Land of Blood and Honey,” which is set during the Bosnian War, said she makes war films in an effort to educate others, so that history does not repeat itself.

    “I want to know how people get to a place where they do such harm to each other,” Jolie said. “This is not 40 years ago. This is today. We have 45 million people displaced today. We have so many ongoing wars. We’re seeing ethnic cleansing. We’re seeing murder, death, starvation.”

    “What is worse is then, we could say, ‘If we knew, if we knew … we would have done so much,’” she said. “We know so much now … It is something we must be very conscious of today.”

    Cambodia is also a country that is very close to Jolie’s heart. She is a citizen of the southeast Asian nation, and her oldest son, Maddox Jolie-Pitt, was adopted from Cambodia.

    Maddox Jolie-Pitt, 16, serves as an executive producer on the film. Jolie said that having her son connect with his home country and learn more about his identity is one of the most important things that came out of the making of this film.

    “This wasn’t as much about him becoming a filmmaker as him working with his countrymen,” Jolie said. “When I see him on set working with everybody, and when he says to me, ‘Well, Mom, it’s because I’m Cambodian,’ or … something about ‘my home,’ or … I say to him, ‘are you proud?’ And he says, ‘I’m very proud to be Cambodian.’”

    “That is him understanding who he is, and that’s the most important thing … that came out of this experience,” Jolie said.

    “I met Maddox and I felt … I felt connected to the country,” Jolie said. “I felt that I should be a family from that country … when I saw his eyes, I knew.”

    Jolie said that if there is one thing she hopes fans take away from this film about the country it is “love and family,” but “most of all, dignity.”

    “This is a country that deserves … for people to know about its people in … a way that they deserve to be seen,” Jolie said.

    On her health, life as a single mother: ‘I’m very happy’

    The Academy Award-winning actress made headlines earlier this year when she announced that she was separating from Brad Pitt, her husband of three years and the father to her six children.

    When asked how director, actress, and humanitarian handles life as a single mother, she said it is something women around the world do everyday.

    “It’s kind of put that way as if it’s something exceptional. There are women that are working three jobs and single mothers, and don’t have the resources and don’t have the support,” Jolie said. “They’re a marvel … I’m not.”

    The actress also spoke out about her recent health battles earlier this year, discussing her struggles with hypertension and bells palsy.

    Jolie said she is feeling “fine, right now.”

    “I’m very happy,” she added. “My children are healthy, I’m healthy.”

  • bap

    Good Morning America

    WATCH: Angelina Jolie on her new passion project; star steps back behind the camera for latest film:

    – @JujuChangABC

  • bap

    Hollywood Reporter

    Angelina Jolie talks #ExpressiveAsians controversy at ‘#FirstTheyKilledMyFather’ premiere

    8:30 AM – Sep 15, 2017

  • bap


    Angelina Jolie hit her film’s after party with her sons Maddox and Pax!

    7:36 AM – Sep 15, 2017

  • Lesley Starkey

    Matt Zoller Seitz on (4 stars):

    Angelina Jolie’s “First They Killed My Father” is far and away her best work as a director: a rare film about a national tragedy told through the eyes and mind of a child, and as fine a war movie as has ever been made. Adapted by Jolie and co-writer Loung Ung from Ung’s memoir about her family’s experiences after the Khmer Rouge took over Cambodia, it stands apart from most work in this vein not just because of what it does so well, but because of what it refuses to do.

    There are emotionally powerful moments, particularly near the end when you start to see some light at the end of the tunnel, but there’s little in the way of canned Hollywood uplift. But every image and feeling are anchored to the point-of-view of Ung, played by the remarkable young actress Sareum Srey Moch. She was five when the Khmer Rouge captured Phnom Penh and seven when she made it out, her young mind stained by memories of hunger, brutality and sudden death. She learned skills that no child should know, like how to plant land mines, fire an AK-47, and drive a spear into a Vietnamese soldier’s chest.

    The movie kicks off with a prologue alluding to how American carpet bombing of Cambodia during the closing years of the war helped create a power vacuum that vicious people rushed to fill. This is related through documentary and news clips of bombers incinerating forests, U.S. troops understandably expressing little interest in or animosity toward Cambodia, then-President Richard Nixon insisting that there is no American war there, and then-Secretary of State Henry Kissinger callously promising a “final solution” in the region. The blend of languages in this section reinforces the idea that this era was a tragedy of international significance, regardless of whether people who were alive at the time paid attention.

    Luong’s story begins in relative peace, with the heroine and her bourgeois family, headed by a military police officer father (Phoeung Kompheak), in the capital, wondering what changes the end of the U.S. war will bring. The Khmer Rouge, a splinter of the Vietnam People’s Army of North Vietnam led by future dictator Pol Pot, rolls into the city, crushing the remnants of the country’s weak official government and initiating a purge that would claim millions of lives. Loung’s father sees the writing on the wall and leads his wife (Sveng Socheata) and children from the city.

    From that point on, “First They Killed My Father” becomes a survival story about a suddenly powerless family doing whatever it takes to get through the day. Their efforts are shadowed by the knowledge that not all of them will make it out alive, and that even outwardly unremarkable interactions could lead to the family being separated, imprisoned, brutalized or murdered. The early scenes of Luong’s mother, father and siblings divesting themselves of most possessions (including some beloved dresses and toys) are all the more vivid for being underplayed. This dry-eyed reportage continues throughout the film, ratcheting up toward operatic or tragic heights only when Loung is at her most distraught.

    It’s impossible to properly appreciate the impact of this story without acknowledging the filmmaking’s role in summoning it. More so than almost any recent American feature made at this budget level, “First They Killed My Father” creates a distinct visual vocabulary that seems to emerge organically from the story, then pursues it consistently, never breaking away without reason. With the exception of a few aerial or crane shots that provide a sense of geographical context, and some high-angled overhead shots that evoke the eye of an indifferent God, most of the film is captured with a handheld camera that communicates anxiety or dread but never tries to generate phony action-movie “excitement.” Shot after shot after shot amounts to a simple record of actions: she walked over there; this person spoke to that person. They’re all captured by cinematographer Anthony Dod Mantle in smartly composed but unfussy images, some in third person (with the heroine in the frame), others in first (the camera representing what Loung sees). The editing, by Xavier Box and Patricia Rommel, reconciles these perspectives in such a supple way that we seem to be outside and inside the story all at once, thinking about it even as we’re feeling its impact.

    Every now and then, Jolie gives us a flashback or fantasy, often focusing on the heroine’s memories of a time when the family were comfortable, healthy and carefree. The color in these shots is oversaturated, aglow with yearning. When the film snaps back into present tense and rejoins Loung and her family in an agrarian work camp/”re-education” facility where the earth, sky and trees seem to have been bled of color, the loss of pigmentation stands in for the loss of hope.

    In time, the reason for this meticulous style becomes clear: this is a tale recollected in tranquility from some point in the future, so of course it would switch on a dime between immediacy and detachment. When you remember trauma, you see a dark picture but also the philosophical frame you’ve built around it. Everything seems to be happening a long time ago but also right now.

    The script mostly avoids the particulars of Cambodian-Vietnamese animosity, presenting re-education sessions filled with anti-Vietnamese invective as examples of wartime conditioning and mind control. The Khmer Rouge’s constant praising of the utopian ideals of Communism is undermined by what the heroine sees: the vegetables and rice being taken from the camp workers and sent to the front lines to feed combat soldiers; the meager spoonfuls of broth that the farm slaves stir in their bowls at night; the crude pleasure that low-level flunkies take in humiliating underlings, their sadism empowered by allegiance to the state; the plump beetles that the father roasts over a fire, then serves to his starving family like chestnuts. The script is less interested in what it all meant, geopolitically speaking, than how it felt to live through it: the sense of dislocation and uncertainty, the deprivation and fear, the artillery shells tearing through treelines at night and jolting sleepers awake; the mines blasting bodies into the air and setting them down without legs.

    The ace in Jolie’s deck here is the knowledge that a girl as young as Loung can’t comprehend the larger meaning of what’s happening to her, and is therefore unlikely to expend precious emotional energy connecting cause-and-effect dots or lamenting what was lost. It’s an almost entirely experiential movie. Whatever occurs automatically becomes the new normal for the heroine, and she does her best to adapt to it, even when she’s stricken by grief, panic or rage. Whether Luong is hearing her mother warn her and her sisters that they can’t take party dresses on the road, watching a camp worker beat a hungry child for stealing vegetables, or inspiring a group of kids to kill, skin, roast and eat a snake, the film maintains a culturally neutral attitude. It’s never, “Oh, how horrible” or “Isn’t that strange and different?” but simply “Here’s what happened next.”

    This is not a “triumph of the human spirit” movie with syrupy strings and inspirational speeches. Marco Beltrami’s score never appears unless it has something to add to the images. The majority of scenes play out with natural sound: marching boots, helicopters, gunshots, bombs, birds, insects, cheering crowds, whispered conversations, shrill propaganda speeches, river water flowing downstream. There are no awkwardly inserted scenes with U.N. observers, doctors or journalists, devised to justify casting American or English actors in a film that doesn’t require their presence.

    It’s a film that recreates a bleak time and place with a journalistic eye for detail, catching fleeting, at times surreal instances of humanity amid horror—particularly when it catches kids acting like kids, playing in river water, stretching a hand up towards a military helicopter soaring overhead, becoming fixated on the soft clang-clang of a teakettle bouncing against a knee during a walk. There are many moments where somebody who has no practical reason to smile at Loung smiles at her. She smiles back because that’s what kids do, even when they know the adult standing over them could kill their sister, mother or father for no reason at all.

    The movie channels the hardest parts of some of the toughest great films ever made: the scenes in “Los Olvidados” and “Pixote” of slum kids playing in ruins; the gallows humor of World War II films built around kids, especially “Hope and Glory” and “Empire of the Sun”; the documentary-immediate sections of “Platoon” that showed the tedium and indignity of war: mud, rain, leeches, insomnia.

    Jolie and her collaborators move through Loung’s story so economically—never lingering on a scene or image longer than is necessary to make a point—that the fear and pain inherent in the material is always counterbalanced by the intellectual excitement of seeing a world re-created in detail, from the ground up. Jolie is certain to be criticized for being a rich white American directing a film about Cambodian genocide, and not without cause, but it’s also obvious that she’s done everything possible, short of not directing the movie, to remove herself from center stage, put the spotlight on her heroine, and keep it there. The cast is comprised of Cambodian actors whose names mean nothing internationally, and they don’t speak English with a vaguely “Asian” accent, but subtitled Khmer. The opening and closing credits are presented simultaneously in Khmer and English; Khmer always comes first.

    That this movie even exists is a small miracle. That it seems to have been made without compromise and largely without ego makes it even more rare.

  • bap

    Great and insightful review. Thank You !

  • Passing Through

    I actually like this outfit…although I think the skirt is still about 3″ too long. The glittery shoes show some personality and pop. Not that boring bland tan-beige shite. It’s still a neutral color without being boring.