Elizabeth Olsen looked stunning in a daring look as she attended the screening of her latest film Eternity, in New York City on Saturday, Daily Mail reports.
The actress, Elizabeth Olsen, 36, who stars alongside Miles Teller and Callum Turner in the romantic comedy, wore a risqué bralette.
The film, which is set for release on November 26, sees Elizabeth’s character Joan choose between her first love (Callum) or her husband (Miles) in the afterlife.
Joining her at the screening, Miles, 38, wore a charcoal suit which he paired with a navy blue shirt.
Walking the red carpet he was joined by his wife Keleigh Sperry, who looked chic in a white cape-style gown.
Meanwhile, Callum, 35, opted for a stylish brown oversized suit as he posed for photos with his co-stars.
A24-produced Eternity is directed by David Freyne from a script penned by Pat Cunnane.
It comes after Elizabeth was slammed online over her rather Hollywood demand.
The actress recently revealed that she will only make movies that will premiere in a theatre, not on a streaming service – and it has not gone down well with fans.
While speaking with InStyle recently, the star said she will not sign onto any film that does not have a theatrical release planned.
‘If a movie is made independently and only sells to a streamer, then fine. But I don’t want to make something where that’s the end-all,’ she said.
‘I think it’s important for people to gather as a community, to see other humans, be together in a space.
‘That’s why I like sports. I think it’s really powerful for people to come together for something that they’re excited about.’
Her comment sparked a fierce debate on X, formerly Twitter, and many users were quick to criticise Elizabeth Olsen.
They pointed out that one of the biggest titles of her career was a show that streamed exclusively on Disney+, WandaVision.
The actress also appeared in the Netflix films Kodachrome in 2017 and His Three Daughters in 2023.
‘How refreshing to hear an A-lister champion the sanctity of the theatrical experience from atop a mountain of Marvel money, a platform built by the very franchise model that gutted mid-budget cinema,’ one person scathed.
‘This curated nostalgia for community feels like a luxury only those insulated from the industry’s economic realities can afford to preach.
‘A charming, if slightly disconnected, stand for an era most studios have already bulldozed.’
‘Translation: I need more money and streaming isn’t paying enough,’ added another.