From Sept 10-15, Elle Thailand will host the Elle Fashion Film Festival, marking the first movie-fest in Thailand on the theme of fashion.
Post International Media managing director Sirimon Na Nagara said with Elle magazine advancing into its third decade soon, and after the ‘‘Burst out Your Style’’ campaign earlier this year, she found that the brand is associated with various aspects of life through fashion. ‘‘Elle magazine is more than just a fashion magazine. It is a part of life and culture. Weaim to be a fashion authority, and for us, fashion is all around. Film and fashion are inseparable — film influences fashion, and vice versa.’’
While it is not easy to define a ‘‘fashion film’’, after hard work and months of preparation, nine films have been selected for the inaugural event, hand-picked by a five-person selection committee, namely Elle Thailand editor-in-chief Panu Sombatyanuchit, SF Corporation’s Suwannee Chinchiawsharn, fashion stylist Araya Indra, Greyhound designer Jitsing Somboon and Bangkok Post film writer Kong Rithdee. None of the chosen films have been officially shown on the big screen in Thailand before.
Panu said that the nine films reflect fashion in different ways. ‘‘Blancanieves, for example, is a Spanish black-and-white silent film based on the fairy tale Snow White. Being black-and-white, we can see the silhouette without the depth that comes with colour, and we can see the mesmerising movement of clothes. A Single Man, the first film directed by Tom Ford, is full of fashion references in great detail. If you like fashion, you will tremendously enjoy these films.’’
Ultimately, the event is aimed at showing how fashion is accessible through lifestyle, according to Panu. ‘‘Fashion is not just on the runways. There are so many ways to look at it, and film is one of them.’’
Sirimon hopes the event, which will take place annually from now on, will inspire Thai people to try and make films that reflect fashion elements as well. ‘‘This year, we feature movies from France, Spain, Canada, the US and China. I wish to see Thai films in the list in the future, and I hope that this event serves as an inspiration for Thai people to embrace fashion and enjoy it through their own interpretation.’’
Fashion film festivals have taken place all around the world, from Croatia to South Korea and from the US to Japan, and the idea has been embraced by fashion and film crowds alike – and audiences who enjoy a thematic approach to movie-going.
ELLE Fashion Film Festival 2013 runs from Sept 10-15 at SFX Cinema, Emporium. Tickets cost 150 baht per seat, with 184 seats available per movie. An art installation will be displayed as a part of the festival at Fashion Avenue, 1st floor, Emporium.
ELLE Fashion Film Festival 2013 schedule:
8:00 PM – Single Man
8:00 PM – Blancanieves
8:00 PM – I Am Love
8:00 PM – L’Amour Fou
2.00 PM – Face
5.00 PM – Color Me love
7.30 PM – Coco Chanel and Igor Stravinsky
3.00 PM – Heartbeats
8:00 PM – Farewell My Queen
I am Love
“As a young, working class Russian, Emma (Tilda Swinton) is whisked away to marriage and life in the aristocracy of Milan. She dutifully raises her kids and organizes huge dinners and parties at their mansion as the Rechhi’s entertain business clients and their own family. It is during these parties that we realize Emma is technically part of the family, but really is still an outsider. She escapes to her own space once the events are running smoothly.
Being an avid cook herself, she easily clicks with a brilliant young chef introduced to the family by her own son. Very little doubt where it’s headed at this point as Emma unleashes the pent up energy she has been forced to hide. While we are very aware that the upper crust has learned to look the other way with infidelity, that’s not the case with the Rechhi’s and their Russian wife/mother.
The brilliance in the film is that it shows how the younger generation doesn’t really fit any better than Emma. The difference is that they are part of the fabric and will be allowed more rope than an outsider. Still it is painful to watch Emma and her son, who can’t quite adapt to the family business. Better yet, to watch her with her daughter, who confesses her preference for other women. Emma sees herself in these two, but doesn’t have the same freedom. Her best ally is the caretaker who seems to understand the multiple levels on which this family functions.
Fascinating interactions and complex writing make this a film for film lovers. There is so little dialogue, but so much is said with a glance or head nod.” (by imdb.com)
“The curtain rises on a despondent George (Firth) having lost his longtime partner. Sapped of energy and will, he struggles to wake each day and function as the brilliant college professor he’s expected to be. Few notice the change in him, but one student sees George as a magnet pulling him forward to a place even he doesn’t understand. Kenny (Hoult) seems to glow like an angel in George’s dark world and, yet, is a puzzle and presents a challenge which he doesn’t necessarily want to confront at this stage in his life. As is his custom, he turns to Charlotte (Moore) for a warm shoulder but the temperature drops amidst the chill surrounding George’s bleak existence.
Everything about this film — the look, colors, pacing, shots, composition, cinematography, costumes, soundtrack — says that an extraordinary amount of love and care went into it. Special mention to director of photography Eduard Grau and editor Joan Sobel for their keen abilities to work lockstep with Ford in projecting his vision onto the screen. Abel Korzeniowski’s score is haunting and moving. Despite his design genius, Ford was generous enough to entrust costume designer Arianne Phillips with the freedom to work unencumbered. Production designer Dan Bishop, with art direction by Ian Phillips and set decorator Amy Wells, created two worlds — a cold, stark one in which George sees only hopelessness, and another warm, colorful one in which he has hope.
What stays with the viewer, though, is the enigmatic friendship between George and Kenny. Nicholas Hoult is absolutely mesmerizing in this. The way Ford shot him made people gasp. He’s lit, framed, and shot like an Adonis. Of course, that’s the idea here. This will definitely be a break out role for the 19-year-old. The camera loves him, and it’s a pretty daring performance.
Most of all, this is a tour de force for Firth and a stunning achievement which is destined to be a highlight of his distinguished career. The range of emotions and the extent to which his character must convey them through his eyes and facial expressions, with the copious use of long takes without dialogue, left me wide-eyed with wonder.” (imdb.com)
There are designers who make expensive, glitzy clothes for rich people – a lot of these designers show in Milan. And then there is Miuccia Prada.
She too sells top-end fashion, and rather well it seems given the label’s current buoyant profits, but with Prada it’s always a slightly more complicated story. After all, this is the designer who made hits out of banana earrings, stacked raffia lace-up shoes and satin jackets with vintage cars on their backs.
Her latest offering for women, shown in the Italian fashion capital on Thursday evening was an undoubtedly sexy affair though never in an obvious kind of way. That is not Prada’s thing. Instead, running through the gorgeous 49 looks on the catwalk – there was not a pair of trousers in sight – was an air of a vintage film heroine whose wardrobe was a little disheveled and whose hair was wet, as if it had been styled straight out of a 1990s grunge-era photograph.
“You can’t be romantic. There are so many restrictions. You have to control your feelings,” Prada said backstage after the show. The idea of romance was balanced for the designer with rawness. “Raw elegance,” she concluded was central to the look of the Prada woman this season.
That explains the hair. It also explains the way dresses or tops were often worn pushed off the shoulder – to show a dash of flesh. For example, an otherwise prim blue and white gingham dress appeared with several of the top buttons undone. Or a coat with furry gauntlet sleeves – this statement sleeve shape appeared throughout the show – which was pushed off the back of the shoulder and worn with a red leather skirt.
Certain things were carried over from the recent menswear collection – Prada said she would like to design more harmoniously for men and women but explained that it is just too difficult. Coloured leather coats and short Harrington jackets in the women’s show also appeared on the men’s catwalk in January.
The dominant skirt styles were tidy pencils or slightly fuller shapes, though it was the new two-length, lop-sided shape, which is likely to be seen in a lot of fashion shoots come autumn when the clothes arrive in stores.
Dresses with beautiful embroidery, such as the opening look, also offered a kind of cinematic moodiness, which the set, featuring black and white silhouettes of girls and cats or dreamy muted landscapes, seemed to echo.
Gingham bowling bags and metallic heavy tread two-strap sandals both look likely to sell with the usual swiftness of a hit Prada accessory.
Source: Guardian UK
by rosielarose. imdb.com
A film that took 5 years to make and co-ordinate. Shot in Panarama 70mm, across 26 countries, needing major government and regulatory clearances, having to wait for certain seasons or lunar phases to get the light to hit the way director Fricke wanted…carefully strung together with a massive 7.1 surround sound design and music score from Michael Stearns, Marcello de Francisci, and Lisa Gerrard (of Dead Can Dance).
The 70mm negative has been digitally scanned and oversampled at 8k resolution (much like the ‘Baraka’ Blu-ray); the TIFF Lightbox theatre installed a brand new Christie 4k projector (Christie Projection Systems rushed the projector before its release to the market specifically for this event) making it the first true 4k screening of it’s kind.
From sweeping landscapes to time-lapse sequences of the night sky and from exclusive looks into the processing of food to the consumption and effects it has on the human body, Samsara is nothing short of astounding. Modern technology, production lines, and human robotics are juxtaposed against a backdrop of deserts, garbage mounds as far as the eye can see, and traffic congestion in modern centres. The time-lapse footage is simply transcendent. In fact, I caught myself questioning the reality of some of the landscape vistas and night skyline montages…they looked so hyper-real that I thought they must have come from a CG lab somewhere. Simply astonishing. The richness, depth and clarity of colour and image achieved within the processes utilized gives birth to the most beautiful visual meditation that I have ever witnessed.
As one film journalist noted, “That Samsara is instantly one of the most visually-stunning films in the history of cinema is reason enough to cherish it, but Fricke and co-editor Mark Magidson achieve truly profound juxtapositions, brimming with meaning and emotion. It sounds preposterous, but it’s true: In 99 minutes, Samsara achieves something approaching a comprehensive portrait of the totality of human experience. If you’re even remotely fond of being alive, Samsara is not to be missed.”