Jenna Ortega returned to the Marrakech International Film Festival, staying with the minimal mood of her Night One dress while trading its firm structure for a liquid satin build.
The ivory-blush gown’s neckline was the piece’s most intentional detail. Ortega wore a wrapped halter collar that connected into the bodice on only one side, creating a diagonal sweep of satin across the torso. The opposite side dropped into a long, scarf-like panel that trailed down the open back of the dress.
Jenna Ortega wears another backless dress as she attends the red carpet during day Two of the 22nd Marrakech International Film Festival on Friday in Marrakech, Morocco.
Corbis via Getty Images
Open sides and a fully bare back — a style choice that Ortega often returns to — kept the focus on that construction, while the skirt held a clean, uninterrupted flow. A slim satin belt rested high on the hip, fastened with a small hook and short chain cross detail.
Her glam stayed in the same streamlined register. Ortega wore her hair long and straight with a center part, letting it fall behind her back. Her glam featured a defined eye and deep lip, paired with her signature barely-there eyebrows.
Jenna Ortega wears a halter gown, which features a belt and a hanging cross charm detail, on the red carpet during day Two of the 22nd Marrakech International Film Festival on Saturday in Marrakech, Morocco.
Corbis via Getty Images
The move fits with the streak she’s been on this fall. For a recent “Wednesday” FYC event in Los Angeles, she wore a tailored Ann Demeulemeester look built around dark pinstripes and fitted layers. At the 2025 Imagemaker Awards, she chose a sheer, botanical-embroidered Amiri gown set over a column base. Even when leaning into embellishment or darker glam, the underlying silhouettes have stayed intentional and unfussy.
Saturday marked her second turn on the festival’s red carpet as part of this year’s jury, which includes Anya Taylor-Joy, Bong Joon Ho, Julia Ducournau, Celine Song and Karim Aïnouz. The group opened the festival a night earlier, when Ortega wore a sculpted black halter gown with angled construction and a sharp peplum. Compared to that structure-driven silhouette, the satin column read as a shift toward fluidity — different lines, same controlled simplicity.
