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)
Moviemov Italian Film Festival, a showcase for the most representative Italian movies of the current year, brings to Asia only films unreleased in the host countries. Seven movies of the season 2012|2013 will be screened every day complemented with specific promotional activities, including the participation of famous Italian directors and actors to Q&A sessions with the press and the audience and meetings with the students. The program will include a retrospective dedicated to one of the most famous cinema Master and a Thai showcase.
All screenings are free entrance with Thai/Eng subtitles
See the whole schedule here
BK Magazine has asked Bangkokians “What is it that you love so very dearly about your beautiful city?”
This is what they said:
Karl Lagerfeld’s period film Once Upon a Time, which stars Keira Knightley as Coco Chanel, is finally here.
The designer-cum-director reportedly gave the actors (including Knightley, Clotilde Hesme, Lindsey Wixson, Stella Tennant, Tallulah Harlech) their lines just moments before shooting–which makes a lot of sense when you watch the film.
The dialogue is sometimes stilted and awkward. There’s one moment when Knightley, describing a hat to Amanda Harlech’s “lady of society” character, seems at a loss for words. But then, since Lagerfeld was supposedly going for a “natural effect” with the dialogue, that may have been the point. Or, maybe it has to do with the inexperience of some of the cast. Let’s just say we hope Wixson, who plays Miss Wonderbilt (wink, wink, nudge, nudge), doesn’t try to make the transition from model to model/actress any time soon. Either way, it seems that long pauses and sort of awkward dialogue may be becoming a Chanel signature of sorts.
That being said, there’s still a lot to enjoy about the film, which is set at the first Chanel store in Deauville, circa 1913. We see Chanel interact with the city’s fashionable ladies and come up with the inspiration behind some of her most iconic designs. When Tennant’s character Lady de Grey tells Chanel she’s wearing her husband’s jacket, the designer remarks, “Tweed jackets are very chic on a woman.”
And of course it’s worth watching for the star cameos alone. Along with Tennant, the Harlechs, Wixson, Knightley, and Hesme, Ashleigh Good, Caroline de Maigret, Saskia de Brauw, Brad Kroenig, Hudson Kroenig, Jamie Bochert, Baptiste Giabiconi, Sebastien Jondeau, Jake Davies, and more also make appearances in amazing period costumes.
Watch the film below:
Here we present the second part of banned controversial commercials
Axe is pretty famous for many controversial commercials which in many cases were banned in some countries. Below one of them
Banned MasterCard “Blow Job” Commercial Is Priceless 😉
Teresa Moore stops stops traffic, shoot with a hidden camera
This is the 90s commercial for French Connection which hit all the major newspapers headlines with the controversial lesbian kiss.
The vast amount of public complaints about the commercial nearly had it banned.
See video from our last shoot in Hua Hin
Location: Hua Hin, Thailand
Photography: allPhoto Bangkok
Video & editing: T.A.I. Films
Models: EM Modeling
Event Coordination: Bangkok Event Entertainment
Shoot for: Thai Fashion Design
Take a look at some of fashion campaigns that were banned in the UK and elsewhere.
Tom Ford: Shot by Terry Richardson in 2007, this provocative Tom Ford campaign was criticized for its pornographic approach and was subsequently banned in several countries.
Levis: Banned in the UK, this advert from Levis went viral online. Featuring a supposedly blind man watching a woman strip in a public toilet, it has had over 26 millions views to date.
Part of Diesels ”Kick Ass” campaign. With the tagline ”Diesel Sneakers. Not made for Running. (Great for Kicking Asses)”, it was never released on TV but went viral online.
More at: Hunger TV
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.”
It is a well-known fact that our society is structured like a pyramid. The very few people at the top create conditions for the majority below. Who are these people? Can we blame them for the problems our society faces today? Guided by the saying “A fish rots from the head” we set out to follow that fishy odor. What we found out is that people at the top are more likely to be psychopaths than the rest of us.
Who, or what, is a psychopath? Unlike Hollywood’s stereotypical image, they are not always blood-thirsty monsters from slasher movies. Actually, that nice lady who chatted you up on the subway this morning could be one. So could your elementary school teacher, your grinning boss, or even your loving boyfriend.
The medical definition is simple: A psychopath is a person who lacks empathy and conscience, the quality which guides us when we choose between good and evil, moral or not. Most of us are conditioned to do good things. Psychopaths are not. Their impact on society is staggering, yet altogether psychopaths barely make up one percent of the population.
Through interviews with renowned psychologist Professor Philip Zimbardo, leading expert on psychopathy Professor Robert Hare, former President of Czech Republic and playwright Vaclav Havel, authors Gary Greenberg and Christopher Lane, professor Nicholas Christakis, among numerous other thinkers, we have delved into the world of psychopaths and heroes and revealed shocking implications for us and our society.
Watch the full documentary:
Directed by: Tom Tykwer, Andy Wachowski, Lana Wachowski
“Cloud Atlas is unlike its contemporaries at the multiplex. It tells a big story in an engaging, difficult fashion. It has big names and a big budget. But it also is thematically dense… it wants to tell you something through plot, characters, dialogue and symbols. Cloud Atlas is also thankfully a very enjoyable film, much longer and denser than much of what is available today. “Ambition” defines this film.
In just under 3 hours, six radically different stories are told, and they appeal to a broad audience: a 19th century tale of unlikely brotherhood, the letters of a gay composer to his partner in the 1930’s, a San Francisco- set conspiracy in the 70’s, A hilarious account of an old publisher’s woes. A Blade Runner-esque clone’s struggle for freedom, and the survival of a tribe after ‘The Fall’. Genre conventions are toppled, as these stories with different tones are juggled in short intervals, leading from comedic highs to shocking drama in minutes.
But as with the characters, these plots are connected thematically, and clever wordplay and visual imagery links the stories, such as the end of a monologue referencing “the gates of Hell” and cutting to a shot of the gates of a building that, for Cavendish at least, is the gates of Hell. Each of the stories has strengths, a few have faults, but together the medley is incredible.
I found that while the earliest two stories began slowly and plainly, they developed very well and provided fantastic drama, especially the 1849 story. The Nuclear thriller was strong, Halle Berry is great and there are some real twists, and I also loved the ‘Dirty Harry’ and ‘China Syndrome’ vibes, but comedy bled into it from the 2012 story which diminished the climax. The 2012 story is hilarious, and its first scene is a standout; Tom Hanks is incredible as Dermot Hoggins. Although while the story is interesting, it doesn’t fit quite so well thematically- it’s almost too light. Listening to the ‘Cloud Atlas Sextet’ fits with all the stories, but can’t resonate with Cavendish’s. The future Korea is visually stunning and communicates its themes well, certainly the darkest plot, but the action can get over the top (Yes, I know who directed this) and there are some horrible clichés. But that scene of horrendous dialogue, the weakest in the film, can’t derail a great piece. Lastly is the bleak, Hawaii- set post-apocalyptic story. It was my favourite, possibly because I’m a sucker for anything involving apocalypse. But Hanks and Berry are fantastic again, the barbarians are menacing and scary, and the story is cool. It also concludes the film perfectly.
I’ve only talked about the plot! The actors really steal the show. In the credits, each actor’s name is placed with a clip of every one of their characters… everyone in the theatre stopped and stayed. People play characters you had no idea they played. A few highlights: Sturgess’ lawyer and the slave Autua, Frobisher, Hugh Grant’s sexist nuclear boss, Cavendish and Hanks’ Hoggins. Doona Bae as Somni and Hugo Weaving’s “Old Georgie” round it out- the latter is truly a demon. Much credit has to go to the makeup, literally making actors disappear into their roles. There is a huge number of transsexual and even race-bridging roles- it’s worthy of note that Lana Wachowski was at one point Larry Wachowski. Also deserving of praise, and possibly Oscars is the large scale visual effects that cover hundreds of years and look so believable. Sound quality is top-notch as well, listening to Old Georgie is chilling, as is the vision of Korean diners, and well… the whole future.
But all this plot serves a purpose, and Cloud Atlas intends to tell you things. Freedom is possibly the biggest theme, as well as the idea that our actions affect others greatly throughout time: we’re part of a large human network. Really though there’s so much to talk about you should just see the film. There are small stumbles every so often, but the structure hides them very well. No one story takes more time than others, no one character takes more time than others, and the structure and pacing drives the film forward briskly. It’s a shame this film hasn’t been better received commercially, because it’s a phenomenal achievement, interesting sci-fi and drama, and as of now, the best film I’ve seen in 2012. ”
Review by by Connor (Toronto, Canada), imdb.com
Fashion film has evolved beyond videos of catwalks – and the big labels are starting to take notice
A blonde woman in a red fetish-style bikini moves to the slow beat of Love To Love You and an undercurrent of soft, ecstatic moans. She talks quietly in voiceover about her muscle-bound body: ‘I feel different to most women – stronger, leaner.’ She performs bicep curls with sculpted gold weights, the moans become louder.
Directed by Elisha Smith-Leverock, I Want Muscle won Grand Prize at last year’s ASVOFF Fashion Film Festival. Female bodybuilder Kizzy Vaines wore clothes by David Koma, Husam al Odeh, Lyall Hakaraia and Maria Francesca Pepe. The aim of the three-minute short, says Smith-Leverock, was to ‘play with taboos and gender stereotypes and to explore a different kind of female beauty’.
This weekend, the fifth ASVOFF film festival takes place at the Pompidou Centre in Paris. Over three days, visitors will be treated to filmwork as equally provocative and polished as Smith-Leverock’s.
Launched in 2008, ASVOFF has almost single-handedly encouraged an industry to reconsider the way it presents itself in film.
‘Fashion film is a vibrant, relatively new applied art form with huge potential,’ says founder Diane Pernet. ‘We’re still exploring exactly what the parameters are but I suppose the easiest way to define it is this: film where fashion is the protagonist, rather than a prop.’ (….)
Read more here (….)