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CHUNG THANH PHONG FASHION SHOW SS/2020 — IAM SUPERSTAR — FULL SHOW
" Không ai là hoàn hảo nhưng là duy nhất ,hãy toả sáng theo cách riêng của mình "
Đúng như tinh thần của BST ,show diễn IAM SUPERSTAR đã diễn ra thành công ,rưc rỡ và lung linh như những gì mà Chung Thanh Phong đã tưởng tưởng.Chưa show diễn nào mà tôi áp lực đến thế,chạy đua cùng dealine đến thế và cống hiến ngày đêm cùng ekip 200% công lực đến thế .Áp lưc nhất là mùa cao điểm cuối năm với hàng trăm đơn đặt hàng của các khách hàng con đang giang dở ,của mùa cưới cao điểm cuối năm cần đích thân tôi phải chăm sóc chỉnh chu,thời điểm chuẩn bị váy áo cho các hoa hậu chinh chiến trên các đấu trường quốc tế cùng những đám cưới đình đám của showbiz,và sau khi IAM SUPERSTAR diễn ra ,sau 2 ngày lấy lại sức và lướt tất cả các phương tiện truyền thông,Chung Thanh Phong thật sự hạnh phúc
После пожара на заброшенной ферме неподалеку от небольшого провинциального города находят захоронение нескольких женских тел. Все женщины были убиты в течение последних двух лет, руки у них связаны за спиной леской, а рты набиты песком. Одной из жертв оказывается пропавшая пять лет назад жена ме
стного влиятельного бизнесмена Эдуарда Калашникова. Его дочь Алина, приехавшая повидать отца и познакомить его с женихом Денисом, запутывается в паутине страхов и подозрений. Впервые в жизни Алина сама принимает серьёзное решение: она остаётся в городе и пытается разобраться в происходящем, невзирая на опасность, рискуя жизнью и любовью. Ей придётся повзрослеть, понять, как жесток этот мир, и сделать выбор между двумя самыми дорогими людьми.
The official music video for I Still Havent Found What Im Looking For by U2.
Filmed by Barry Devlin on the streets of Las Vegas in April 1987 after the band’s first show in the city, for the release of I Still Haven’t Found What I’m Looking For as the second single from The Joshua Tree album.
MAX COOPER
Thanks for having a look at the first video from my next audio-visual album coming later this year. The whole project was a commission from the Barbican centre in London, where they do a lot of great events, Ive seen many of my favourite gigs there. So I wanted to prepare something special, and something intense, using the structure of the beautiful hall there as a canvas for the show. Their brief was around emerging new technologies and how theyre changing society, so I tried to boil the whole process down to its fundamentals which I could visualise and write music for — which spawned «yearning for the infinite». The idea being that were locked in our societal- and nature-driven pursuit of growth and knowledge and more, always more. I had come across some really beautiful ideas for visualising the infinite which Ill tell you more about later as the content comes, and I decided to combine these abstract visualisations with stories of us, in our endless activity as part of the systems in which we exist. This also gave me the potential for the scale and intensity I wanted to create for the project. This particular chapter comes later on in the show when both the human story and the abstractions (transcendental digits from Martin Krzywinski, aperiodic tiling from Jessica In and dividing surfaces from Andy Lomas) start to merge. The great visual artist and long term collaborator Nick Cobby had time in Mexico city which seemed an amazing opportunity to capture this dense human activity, and once again hes created another of his tightly synced and detailed masterpieces, many thanks Nick! I recommend watching on a big screen where possible. Lots more to come soon, thanks for watching and listening.
NICK COBBY
Maxs idea for Perpetual Motion was to document the continuous movement of people, exploring how there is no inherent meaning in life, only our own meaning which we create through striving towards our goals. When we discussed the idea of the film, Max and I felt Mexico City was the perfect place to use as a canvas. A sprawling metropolis of 9 million people, all packed in tight and some really interesting land forms and architecture. I then got the idea of using drones when scouting for locations on Google Earth. There were some amazing geometric forms that when viewed from above give an entirely different perspective of the city. I was really interested in the juxtaposition of these orderly forms with the irregular, disorderly chaos confined within it. For me it really helped push the idea of living as part of a perpetual system. I collaborated with 3 very talented Mexican photographers who shot some incredible footage for me, Manuel Marañón, Roberto H and Santiago Arau. It was a pleasure to collaborate with them and I hope the film can be shown in Mexico some time soon. For the animation side, I collaborated with Andy Lomas and Jessica In, integrating their forms frame by frame into the drone footage with my own point data, aiming to create unexpected transitions and connections between reality, hyper realism and the hidden systems beneath.
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