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SAG Awards: 10 things to know, from Jennifer Aniston’s emotional speech to ‘Parasite’s’ big win #ศาสตร์เกษตรดินปุ๋ย

Published January 21, 2020 by SoClaimon

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SAG Awards: 10 things to know, from Jennifer Aniston’s emotional speech to ‘Parasite’s’ big win

Jan 20. 2020
Actors honored the year's best performances in film and television at the 2020 Screen Actors Guild Awards in Los Angeles on Jan. 19.

Actors honored the year’s best performances in film and television at the 2020 Screen Actors Guild Awards in Los Angeles on Jan. 19.
By The Washington Post · Bethonie Butler · ENTERTAINMENT, FILM, TV 

Bong Joon-Ho’s “Parasite” made history Sunday at the 26th Annual Screen Actors Guild Awards, becoming the first foreign-language film to win the ceremony’s top prize: best cast in a motion picture.

Despite its accolades, including several Oscar nominations, the thriller has found itself on several snub lists this award season as its actors have largely been overlooked for major awards. But “Parasite” was clearly a crowd favorite at this year’s SAG Awards – the cast received two standing ovations – and its victory (over heavily nominated contenders including “Bombshell” and “Once Upon a Time in Hollywood”) makes this year’s Oscars race that much tougher to predict.

Joaquin Phoenix won best actor in a leading role, for “Joker,” continuing a winning streak that has landed him a Golden Globe and a Critics’ Choice Award. Renée Zellweger, also a Golden Globe winner for her well-received portrayal of Judy Garland, triumphed over Scarlett Johansson in the leading actress category. The supporting actress trophy went, not at all surprisingly, to Laura Dern – in the midst of an awards season sweep for her turn as a powerhouse divorce attorney in “Marriage Story” – while Brad Pitt took best supporting actor, for “Once Upon a Time in Hollywood.”

“Fosse/Verdon” was a standout in the television categories, with leads Sam Rockwell and Michelle Williams winning for their roles as Bob Fosse and Gwen Verdon, respectively, in the limited series/TV movie category. Jennifer Aniston, meanwhile, took the best actress in a TV drama award for “The Morning Show,” beating out “The Crown’s” Helena Bonham Carter and Jodie Comer, whose turn as a complicated villain on “Killing Eve” earned her an Emmy in September. Peter Dinklage won best actor in a TV drama, adding a note of victory to the swan song of HBO’s “Game of Thrones.” The top prizes for TV comedy went to Phoebe Waller-Bridge, for “Fleabag,” and Tony Shalhoub for “The Marvelous Mrs. Maisel.”

Here are 10 major moments from the two-hour show, which aired on TNT and TBS.

– “The Marvelous Mrs. Maisel” cast’s tribute to Brian Tarantina

When Shalhoub took the stage to accept his best actor in a TV comedy award, he dedicated his trophy to his late co-star, Brian Tarantina, who played Jackie, the emcee at the bar where Midge Maisel gets her start in stand-up. Tarantina died of an accidental overdose in November, just a month before the show’s third-season premiere.

“I share this Actor with my fellow ‘Maisel’ castmates,” Shalhoub said. “It is a joy to know you. It is a privilege to work alongside you. And so with your blessings, I will dedicate this to one of our family who we lost this year and who we miss terribly, the most marvelous Brian Tarantina, our brother. Here’s to you.”

Rachel Brosnahan, who plays the comedy’s title role, also paid tribute to Tarantina as the cast accepted the trophy for best ensemble in a TV comedy. “This ensemble extends far beyond those that you see on this stage. We are missing … one really, really important member of our ensemble tonight, Brian Tarantina,” Brosnahan said. “We had such an amazing time here with him last year, so thank you so, so much for this. This is dedicated to him.”

– Laura Dern’s sweet moment with her father, Bruce Dern

Before Dern made it to the stage to accept her best supporting actress award, she stopped to give a hug to her father, an Oscar-nominated actor who co-stars in “Once Upon a Time in Hollywood.” “I’m emotional because I got to hug my dad,” she told the audience.

As she reflected on her years in the industry, Dern noted that she “literally, literally would not be here if not for actors,” thanking her dad – and mother (and “Enlightened” co-star) Diane Ladd.

“Thank you for raising me in the community of your friends, on your movies, doing your plays and getting to know the wealth of these extraordinary people,” she told her famous parents.

– Phoebe Waller-Bridge’s stateside farewell to “Fleabag”

Thanking her SAG colleagues for their stateside support of her quirky (and beloved) comedy, Waller-Bridge noted that the team behind the series would be heading back to the U.K. after the ceremony. And despite recent wins at the Emmys and Golden Globes, it appears that the actress-writer is still coming to grips with her success. “This whole thing really has been a dream,” she said. “And if I wake up tomorrow and discover it was just that, then thank you,” she said. “It’s been the most beautiful dream.”

– Michelle Williams’ sweet shout-out to her daughter

Williams has made several speeches this awards season, but her Emmy and Golden Globe speeches were notably more political than the acting-centered speech she made while accepting her best actress award for “Fosse/Verdon.” But there was one thing connecting all three speeches: Matilda, Williams’s 14-year-old daughter with the late Heath Ledger.

“Matilda, it’s one thing to be completely honest as an actor,” Williams said Sunday. “It’s another thing to be completely honest as a human being. And that’s who you are and how you live. You teach me just by being you.”

– Brad Pitt’s Tarantino joke

Pitt had one of the funniest speeches of the night. He began with yet another joke about his dating life. “I get to add this to my Tinder profile,” he quipped, looking at his trophy.

His speech was at times deprecating – at one point he joked about how on-the-nose his “Once Upon a Time in Hollywood” role could be from certain perspectives. “It was a difficult part, a guy who gets high, takes his shirt off and doesn’t get on with his wife. It was a big stretch,” he joked – to laughter from the audience, which included his ex-wife Jennifer Aniston.

But Pitt saved the biggest zinger for director Quentin Tarantino, who has been known to have somewhat of a, well, foot fetish. “I’d like to thank my co-stars, Leo (DiCaprio), Margot Robbie, Margot Robbie’s feet, Margaret Qualley’s feet,” he joked before revealing the, um, kicker: “Quentin Tarantino has separated more women from their shoes than the TSA.”

Pitt’s speech wasn’t all jests though – he offered some wisdom gleaned from his three decades in the industry. “I’ve been banging away at this thing for thirty-some years,” he said. “I think the simple math is: Some projects work, some projects don’t and there is no reason to belabor either.”

“Enjoy the evening,” he added. “Because tomorrow it’s back to work.”

– Jennifer Aniston’s emotional speech

Aniston looked genuinely shocked – and teary eyed – as she took the stage to accept her trophy for Apple TV Plus’s “The Morning Show.” It was the actress’s first SAG win since 1996 when she shared best TV comedy ensemble with the cast of “Friends.”

“What?! Oh my gosh. This is so unbelievable,” Aniston said. She recalled listening to audiotapes of “Laverne & Shirley” and “Happy Days” episodes as a young girl, and thinking that she wanted to be an actor when she grew up. She eventually landed a Bob’s Big Boy commercial and the rest is history, as they say.

Aniston pivoted to the current project that had earned her the admiration of her colleagues. “Boy, did we get to dive deep into our own experiences and our own history and really be able to breathe life into these extraordinary characters,” she said, before joking: “Who knew that emotional breakdowns felt that good? It really was like, seven months of therapy covering about 20 years of work. So thank you for watching that.”

“I love you, girl. It took 20 years but we did it,” Aniston said to her co-star (and co-producer) Reese Witherspoon. And she offered another shout-out – to Adam Sandler, whose acclaimed work in “Uncut Gems” was left out of this year’s Oscar nominations. “Oh, Adam Sandler, your performance is extraordinary, your magic is real, buddy,” Aniston said. “I love you.”

Oh, and in case you’re wondering, Aniston and her ex-husband did interact backstage, sending the internet into a tailspin.

– Robert De Niro’s subtly political speech

De Niro, recipient of this year’s Life Achievement award, is an outspoken critic of President Donald Trump, but his speech did not mention POTUS – at least not directly. After reflecting on his craft, De Niro first praised the actors’ union:

“I thank SAG-AFTRA for tirelessly fighting on our behalf for workplace and economic gains and respect. And that especially bears remembering these days when there’s so much hostility towards unions,” De Niro said.

“Political leaders who support unions are more likely to support Affordable Care Act, equitable taxes, humane immigration regulations, a safe environment, a diverse citizenry, reproductive rights, sensible gun control and fair wages and benefits,” the veteran actor continued. “We owe them our support and we owe them our vote.”

De Niro acknowledged that some of his colleagues may have wanted him to steer clear of politics in his speech. “But we’re in such a dire situation, so deeply concerning to me and to so many others, I have to say something,” he said, joking that his recent comments to Variety conveyed his feelings so well he would quote himself.

“There’s right and there’s wrong. And there’s common sense and there’s abuse of power. And as a citizen, I have as much right as anybody, an actor, an athlete, a musician, anybody else, to voice my opinion, and if I have a bigger voice because of my situation, I’m going to use it whenever I see a blatant abuse of power. And that’s all I’m gonna say about that tonight.”

– Joaquin Phoenix’s Heath Ledger tribute

Phoenix has been notably averse to many awards shows, even admitting on the SAG Awards stage that he “couldn’t fully appreciate” the ceremony several years ago. But he took the time onstage to honor his fellow nominees, addressing each of them directly as he praised their work. (He also recalled losing several roles to DiCaprio.) Phoenix ended his speech with a nod to another actor who portrayed the Joker: “I’m standing on the shoulders of my favorite actor, Heath Ledger,” he said.

– Bong Joon-Ho as a proud dad (er, director)

As the “Parasite” cast accepted its prestigious trophy, the filmmaker sat in the audience, recording the historic moment on a cellphone.

– Eugene and Dan Levy’s non-host banter

The father-son duo, both nominated for “Schitt’s Creek,” opened and closed the show with witty banter, but – as they reminded us several times – they were not the hosts of the ceremony. (Following the lead of several recent awards shows, the SAG Awards went hostless this year.)

Fittingly, the elder Levy kicked things off with a dad joke – involving a famous toilet paper commercial – that he worked into one of SAG’s trademark “I am an actor” profiles.

Disney to remove ‘Fox’ from 20th Century film studio name #ศาสตร์เกษตรดินปุ๋ย

Published January 18, 2020 by SoClaimon

#ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

https://www.nationthailand.com/lifestyle/30380747?utm_source=category&utm_medium=internal_referral

Disney to remove ‘Fox’ from 20th Century film studio name

Jan 18. 2020
By The Washington Post · Steven Zeitchik 

Disney is removing “Fox” from the name of its 20 Century Fox film division, continuing a process of subsuming the company it bought last year for $71 billion.

The unit has been renamed 20th Century Studios, while the iconic 20th Century Fox logo will no longer contain the word “Fox.”

Meanwhile, Fox Searchlight, the prestige unit behind films such as 2020 Oscar best picture nominee “Jojo Rabbit” and past winners “Slumdog Millionaire” and “12 Years a Slave,” is being re-branded as Searchlight Pictures.

The two Fox-branded TV studios that Disney bought in last year’s deal, 20th Century Fox Television and Fox 21 Television Studios, will retain their Fox names, at least for now.

The news was first reported by Variety.

The move further separates, at least in the public eye, Disney and Rupert Murdoch’s new Fox Corporation, which counts the Fox Broadcasting Network and Fox News among its core assets.

Disney and Fox spokespeople did not immediately comment.

The move was not unexpected. While Disney has in the past maintained much of the branding of acquired companies such as Marvel and Pixar, Fox has long been in a different category. The other companies’ staffs remained largely intact, but Disney began letting go of hundreds of Fox film employees last year.

Disney at the time also unexpectedly fired Elizabeth Gabler, who had been running the Fox 2000 label; many had expected the division to continue under Disney.

20th Century Fox is one of Hollywood’s most historic names and brands. The studio, itself formed by a merger in the 1930′s, released some of the biggest classics in movie history, including “The Sound of Music,” “The French Connection” and “Avatar.” The sight of its logo along with its memorable theme music provided the rare studio brand that carried weight with ordinary consumers.

With the decision, Disney has signaled its attention to dissociate itself from Fox as Fox News remains a polarizing force. Disney has sought to stay above the culture-wars fray and appeal to families across the ideological spectrum, not always successfully.

The disassociation from Fox also helps to disentangle Disney from Murdoch – at least publicly. Murdoch still holds as much as $10 billion in Disney shares.

Branding is only part of the issue for Disney and its Fox acquisition. The entertainment giant has struggled with movies it bought from 20th Century Fox, with “Dark Phoenix,” “Stuber” and several others underperforming in the past year. Only “Ford v Ferrari” has been an exception. The Matt Damon-Christian Bale auto-racing movie has grossed more than $200 million worldwide and been nominated for a best picture Oscar.

Disney chief executive Bob Iger last summer blamed Fox movies for the company’s poor quarterly results. At the time he also was seeking a “new direction” and an attempt to “turn around” the unit under Disney studio chiefs Alan Horn and Alan Bergman.

The box-office trend has continued into 2020, with the deep-sea horror movie “Underwater” opening to just $7 million last weekend.

Your guide to the superhero movies of 2020, from ‘Birds of Prey’ to ‘Wonder Woman 1984’ #ศาสตร์เกษตรดินปุ๋ย

Published January 15, 2020 by SoClaimon

#ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

https://www.nationthailand.com/lifestyle/30380563?utm_source=category&utm_medium=internal_referral

Your guide to the superhero movies of 2020, from ‘Birds of Prey’ to ‘Wonder Woman 1984’

Jan 15. 2020

“Bloodshot” stars Vin Diesel as an indestructible former soldier trying to piece together his past. MUST CREDIT: Graham Bartholomew/Sony
By The Washington Post · David Betancourt

This new year won’t give us another “Avengers” movie, but there will still be plenty of superhero action on the big screen.

Warner Bros. and DC Comics are releasing films featuring their two most popular big-screen characters of the moment (Wonder Woman and Harley Quinn), Valiant Comics is finally seeing one of its heroes hit the big screen (Bloodshot) and Venom hopes to best its previous movie’s $856 million worldwide haul in a sequel that looks to be a lot bloodier.

Marvel Studios is looking to provide a mild Avengers flashback (“Black Widow”) before they move on to bigger out-of-this-world aspirations (“Eternals”).

Here’s the upcoming superhero movie slate for 2020.

– “Birds of Prey” – Feb. 7

Harley Quinn (Margot Robbie) gets a new movie and a new team all in one film in this post-Joker-breakup adventure (no Jared Leto in sight, but no worries, he appears later on this list). Helping Quinn in the fight are lethal archer the Huntress (Mary Elizabeth Winstead), ultrasonic-voiced Black Canary (Jurnee Smollett-Bell), quick-handed Cassandra Cain (Ella Jay Basco) and veteran Gotham City cop Renee Montoya (Rosie Perez), as they go up against a Batman villain not commonly known by the general public (Ewan McGregor’s Black Mask).

– “Bloodshot” – March 13

Vin Diesel gets a superhero role with a lot more lines than when he played Groot in the “Guardians of the Galaxy” series. He stars as an indestructible soldier looking to put together the mystery of a past he can’t remember. This is the first live-action film from the Valiant Comics universe, which features other heroes hoping to make it to the movies, such as X-O Manowar and Shadowman.

– “The New Mutants” – April 3

Can a classic Marvel Comics series make for a good horror movie without the involvement of Marvel Studios? There’s a scary thought. “The New Mutants” is Twentieth Century Fox’s last stand with the X-Men universe as this film wrapped before it merged with Disney. Whether it will link to whatever Disney has planned for the X-Men is unknown. What we do know is this film features young mutants from that universe, as they get in touch with their powers for the first time while in a very creepy, prisonlike institution of some kind. Magik’s (Anya Taylor-Joy) mystic sword looks cool, though. That’s a start.

– “Black Widow” – May 1

Scarlett Johansson finally gets a solo-starring turn as superhero/Russian spy Natasha Romanoff. This movie obviously takes place before her death in “Avengers: Endgame” and involves her connecting some dots about her past. David Harbour also stars as Russia’s version of Captain America, the Red Guardian.

– “Wonder Woman 1984″ – June 5

Is this DC’s most anticipated sequel ever? “Wonder Woman” was DC’s first undisputed hit of the Justice League era and this follow-up, set in Washington, D.C., in the 1980s, could be the biggest superhero hit of 2020. Going up against Gal Gadot’s Princess Diana is Pedro Pascal’s not-to-be-trusted Max Lord, and somehow Chris Pine’s Steve Trevor is back from the dead.

– “Morbius” – July 31

Jared Leto’s Joker didn’t work out over at DC so now he’s giving the role of Marvel’s second-most-popular vampire a try (we see you, Blade). Morbius the Living Vampire is a classic Marvel character, known more by die-hard fans than a general moviegoer, and is yet another example of Sony trying to milk its rights to Spider-Man and any character connected to him. A rumored appearance by J.K. Simmons as J. Jonah Jameson could go a long way here.

– “Venom 2″ – Oct. 2

Speaking of Spider-Man villain movies, Tom Hardy’s Venom is back. This time, he’ll likely be up against the villain everyone wanted to see in the first movie (Carnage, played by Woody Harrelson). Both Hardy and Harrelson should get some top-notch CGI movement instruction from “Venom 2” director Andy Serkis, who’s no stranger to such performances over his career.

Tom Hardy is back as Venom in a sequel arriving later this fall. MUST CREDIT: Sony

Tom Hardy is back as Venom in a sequel arriving later this fall. MUST CREDIT: Sony

– “Eternals” – Nov. 6

So far all we know about “Eternals” is that Kumail Nanjiani got super-swole for his role as Kingo, and that the film will also feature Salma Hayek, Angelina Jolie, Gemma Chan, Brian Tyree Henry and a “Game of Thrones” reunion between Richard Madden and Kit Harington. The Eternals, created by the late comic-book legend Jack Kirby, are an advanced alien race with the power of apparently being Marvel Studios’ next big thing.

Spike Lee will be the first black president of the Cannes Film Festival jury #ศาสตร์เกษตรดินปุ๋ย

Published January 15, 2020 by SoClaimon

#ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

https://www.nationthailand.com/lifestyle/30380561?utm_source=category&utm_medium=internal_referral

Spike Lee will be the first black president of the Cannes Film Festival jury

Jan 15. 2020
By The Washington Post · Sonia Rao

The Cannes Film Festival announced Tuesday that Spike Lee would serve as president of the jury in May, making the American director the first black person to do so in the French festival’s 73-year history.

In a statement signed from “Da People’s Republic of Brooklyn, New York,” Lee detailed his history with the prestigious festival dating back to his 1986 debut feature, “She’s Gotta Have It,” which won the Prix de la Jeunesse, an award honoring young directors. Lee, 62, has since returned to Cannes six times. His most recently chosen film, 2018′s “BlacKkKlansman,” won the Grand Prix, or second place overall.

“In this life I have lived, my biggest blessings have been when they arrived unexpected, when they happened out of nowhere,” Lee wrote. “When I got the call that I was offered the opportunity to be President of Cannes Jury for 2020, I was shocked, happy, surprised and proud all at the same time.”

“BlacKkKlansman,” a thriller starring John David Washington as a black police officer who infiltrates a local Ku Klux Klan chapter in the late 1970s, marked Lee’s return to the Cannes competition after 22 years. The film received a lengthy standing ovation – “It doesn’t always have to be that way,” Lee told The Washington Post that year, as “people get booed at Cannes” – and went on to earn six Academy Award nominations, including his first best director nod. (He won best adapted screenplay.)

The reception to “BlacKkKlansman” represented a high point in Lee’s relationship with the festival, which hit a snag in 1989 when Steven Soderbegh’s “Sex, Lies, and Videotape” beat Lee’s acclaimed front-runner “Do the Right Thing” for the top prize, the Palme d’Or. Lee never held anything against Soderbergh but instead directed his frustration toward that year’s jury president, German filmmaker Wim Wenders, whom Lee heard found his now-iconic lead character, Mookie, to be “unheroic.” In the film, Mookie incites a riot after another character is choked to death by a police officer.

The situation has figured into conversations surrounding the myth that “black films don’t travel well,” which, as Lee once discussed with fellow director Jordan Peele, has less to do with cultural differences and more to do with a dearth of opportunities for black filmmakers.

Like many major film festivals, Cannes has attracted criticism over a perceived lack of diversity – in terms of gender, too – but has shown signs of improvement in recent years. Cannes president Pierre Lescure and artistic director Thierry Frémaux issued a joint statement Tuesday expressing their hope that Lee will help “shake things up.”

“Spike Lee’s perspective is more valuable than ever,” they wrote. “Cannes is a natural homeland and a global sounding board for those who (re) awaken minds and question our stances and fixed ideas.”

The warm feelings were mutual. In his statement, Lee added: “To me the Cannes Film Festival (besides being the most important film festival in the world – no disrespect to anybody) has had a great impact on my film career. You could easily say Cannes changed the trajectory of who I became in world cinema.”

Oscar nominations 2020: ‘Joker’ leads with 11; complete list of nominees #ศาสตร์เกษตรดินปุ๋ย

Published January 14, 2020 by SoClaimon

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Oscar nominations 2020: ‘Joker’ leads with 11; complete list of nominees

Jan 14. 2020
Joaquin Phoenix as Arthur Fleck in

Joaquin Phoenix as Arthur Fleck in “Joker.” MUST CREDIT: Handout photo by Niko Tavernise/Warner Bros.
By The Washington Post · Emily Yahr, Sonia Rao, Travis M. Andrews, Elahe Izadi, Bethonie Butler

“Joker,” the controversial drama about the mentally ill Batman villain that sparked backlash with its realistic depictions of extreme violence, triumphed at the 92nd annual Academy Awards nominations on Monday morning, earning 11 nods, the most of any film.

Three films were close behind with 10 nominations: “Once Upon a Time in Hollywood,” Quentin Tarantino’s fictional ode to 1960s Hollywood; “The Irishman,” Martin Scorsese’s mob drama starring Robert De Niro, Al Pacino and Joe Pesci that clocks in at three and a half hours; and “1917,” the World War I epic that centers on two British soldiers on a dangerous trip to deliver a critical message that could save 1,600 troops.

All four of those movies also earned best picture nominations. Rounding out the prestigious category is “Little Women,” Greta Gerwig’s version of Louisa May Alcott’s tale of four sisters growing up in Massachusetts during the Civil War; “Marriage Story,” which centers on an excruciating divorce and custody battle; “Parasite,” the South Korean psychological thriller-slash-dark comedy; “Jojo Rabbit,” about a young German boy who counts Hitler as an imaginary friend; and “Ford v Ferrari,” based on the true story of Ford’s goal to make a faster car than the Ferrari.

For the second year in a row, there were no women nominated in the best director category: Nominees included Martin Scorsese, Quentin Tarantino, Bong Joon-ho, Sam Mendes and Todd Phillips, with the notable snub of Gerwig.

Once again, the Oscars ceremony will be host-free – after the debacle over Kevin Hart’s tweets in 2019, the show’s producers aren’t taking any chances. “There was a lot of conversation about which way to go and there may be a day when we decide to have a host again, but the focus has been on the most entertaining show and not on the host,” ABC entertainment president Karey Burke told reporters last week.

The nominations were announced Monday morning, hosted by actress Issa Rae and John Cho. The Academy Awards air Sunday, Feb. 9 – with no host – on ABC.

– – –

Oscar nominations by movie:

“Joker” – 11

“Once Upon a Time In Hollywood” – 10

“The Irishman” – 10

“1917” – 10

“Parasite” – 6

“Marriage Story” 6

“Little Women” – 6

“Bombshell” – 3

– – –

The nominations for the 92nd Academy Awards:

Best picture

“Once Upon a Time in Hollywood”

“The Irishman”

“Parasite”

“1917”

“Marriage Story”

“Jojo Rabbit”

“Joker”

“Little Women”

“Ford v Ferrari”

– – –

Best actress in a leading role

Renée Zellweger, “Judy”

Charlize Theron, “Bombshell”

Scarlett Johansson, “Marriage Story”

Saoirse Ronan, “Little Women”

Cynthia Erivo, “Harriet”

– – –

Best actor in a leading role

Joaquin Phoenix, “Joker”

Adam Driver, “Marriage Story”

Leonardo DiCaprio, “Once Upon a Time in Hollywood”

Antonio Banderas, “Pain and Glory”

Jonathan Pryce, “The Two Popes”

– – –

Best director

Martin Scorsese, “The Irishman”

Quentin Tarantino, “Once Upon a Time in Hollywood”

Bong Joon-ho, “Parasite”

Sam Mendes, “1917”

Todd Phillips, “Joker”

– – –

Best actor in a supporting role

Brad Pitt, “Once Upon a Time in Hollywood”

Al Pacino, “The Irishman”

Joe Pesci, “The Irishman”

Tom Hanks, “A Beautiful Day in the Neighborhood”

Anthony Hopkins, “The Two Popes”

– – –

Best actress in a supporting role

Laura Dern, “Marriage Story”

Margot Robbie, “Bombshell”

Florence Pugh, “Little Women”

Scarlett Johansson, “Jojo Rabbit”

Kathy Bates, “Richard Jewell”

– – –

Best international feature film

South Korea, “Parasite”

Spain, “Pain and Glory”

France, “Les Misérables”

North Macedonia, “Honeyland”

Poland, “Corpus Christi”

– – –

Best adapted screenplay

“The Irishman”

“Jojo Rabbit”

“Little Women”

“The Two Popes”

“Joker”

– – –

Best original screenplay

“Marriage Story”

“Once Upon a Time in Hollywood”

“Parasite”

“Knives Out”

“1917”

– – –

Best animated feature film

“Toy Story 4”

“How to Train Your Dragon: The Hidden World”

“Missing Link”

“I Lost My Body”

“Klaus”

– – –

Best documentary feature

“American Factory”

“The Edge of Democracy”

“Honeyland”

“For Sama”

“The Cave”

– – –

Best documentary short subject

“In the Absence”

“Learning to Skateboard in a Warzone (If You’re a Girl)”

“Life Overtakes Me”

“St. Louis Superman”

“Walk Run Cha-Cha”

– – –

Best animated short film

“Dcera (Daughter)”

“Hair Love”

“Kitbull”

“Memorable”

“Sister”

– – –

Best live action short film

“Brotherhood”

“Nefta Football Club”

“The Neighbors’ Window”

“Saria”

“A Sister”

– – –

Best film editing

“The Irishman”

“Ford v Ferrari”

“Parasite”

“Joker”

“Jojo Rabbit”

– – –

Best cinematography

“1917,” Roger Deakins

“Once Upon a Time in Hollywood,” Robert Richardson

“The Irishman,” Rodrigo Prieto

“Joker,” Lawrence Sher

“The Lighthouse,” Jarin Blaschke

– – –

Best original song

“I’m Standing With You,” from “Breakthrough”

“Into the Unknown,” from “Frozen II”

“Stand Up,” from “Harriet”

“(I’m Gonna) Love Me Again,” from “Rocketman”

“I Can’t Let You Throw Yourself Away,” from “Toy Story 4”

– – –

Best visual effects

“Avengers: Endgame”

“The Lion King”

“Star Wars: The Rise of Skywalker”

“The Irishman”

“1917”

– – –

Best production design

“Once Upon a Time in Hollywood”

“The Irishman”

“1917”

“Jojo Rabbit”

“Parasite”

– – –

Best makeup and hairstyling

“Bombshell”

“Joker”

“Judy”

“Maleficent: Mistress of Evil”

“1917”

– – –

Best costume design

“Once Upon a Time in Hollywood”

“Little Women”

“The Irishman”

“Jojo Rabbit”

“Joker”

– – –

Best sound mixing

“1917”

“Ford v Ferrari”

“Once Upon a Time in Hollywood”

“Ad Astra”

“Joker”

– – –

Best sound editing

“1917”

“Ford v Ferrari”

“Star Wars: The Rise of Skywalker”

“Once Upon a Time in Hollywood”

“Joker”

– – –

Best original score

“1917,” Thomas Newman

“Joker,” Hildur Guðnadóttir

“Little Women,” Alexandre Desplat

“Marriage Story,” Randy Newman

“Star Wars: The Rise of Skywalker,” John Williams

Tom Hanks is peak Tom Hanks as he cries about how much he loves his family during Golden Globes #ศาสตร์เกษตรดินปุ๋ย

Published January 7, 2020 by SoClaimon

#ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

https://www.nationthailand.com/lifestyle/30380194?utm_source=category&utm_medium=internal_referral

Tom Hanks is peak Tom Hanks as he cries about how much he loves his family during Golden Globes

Jan 06. 2020
77th Annual Golden Globe Awards - Press Room

BEVERLY HILLS, CALIFORNIA - JANUARY 05: Tom Hanks poses in the press room during the 77th Annual Golden Globe Awards at The Beverly Hilton Hotel on January 05, 2020 in Beverly Hills, California. (Photo by Daniele Venturelli/WireImage)

77th Annual Golden Globe Awards – Press Room BEVERLY HILLS, CALIFORNIA – JANUARY 05: Tom Hanks poses in the press room during the 77th Annual Golden Globe Awards at The Beverly Hilton Hotel on January 05, 2020 in Beverly Hills, California. (Photo by Daniele Venturelli/WireImage)
By The Washington Post · Travis M. Andrews · ENTERTAINMENT, CELEBRITY, FILM, TV 

The Hollywood Foreign Press Association awarded Tom Hanks the prestigious Cecil B. DeMille Award at the Golden Globes on Sunday, given each year to someone who has made “outstanding contributions to the world of entertainment.” But both his speech and his introduction by Charlize Theron framed him as far more than someone who merely contributes to pop culture.

“The most undeniable thing that can be said about Tom Hanks is both deceptively simple and yet overwhelmingly true,” the actress said. “He just makes the world a better place.”

Theron introduced Hanks by first telling a story from her childhood: “When I was 8 years old, growing up on a farm in South Africa, my three most prized possession were my ballet shoes, my pet goat and my VHS copy of ‘Splash.’ ” She said she watched the movie so many times that the ribbon broke, which she fixed with a piece of Scotch tape.

Years later, she found herself auditioning for “That Thing You Do!,” the 1996 film Hanks directed.

“After my first read, I thought I completely blew it . . . and I had somehow forgotten to breathe . . . Tom just kindly looked at me, took a beat, and said, ‘I’m so sorry, Charlize. Do you mind just giving me five minutes? I have to step out. I’ll be right back and we’ll do that scene again,’ ” she recalled. But “Tom didn’t need five minutes. I needed five minutes.”

A jubilant Hanks, who hugged Theron as he took the stage, said “most of the people in this room, I would pay to see them get their cars washed” before joking about “Love Boat” being included in his highlight reel.

His voice sounded hoarse, which he quickly addressed by saying, “I have a cold the size of Merv Griffin’s ‘Jeopardy!’ royalties, so forgive me. I’ve been drinking an awful lot of savagely orange drinks for the past 24 hours, and I’m a little jittery.”

He grew serious as he thanked his family and began choking up.

“A man is blessed with a family sitting down in front like that,” he said, gesturing to his children and spouse, Rita Wilson. “A wife who is fantastic in every way, who has taught me what love is. Five kids who are braver and stronger and wiser than their old man is. And a loving group of people who have put up with me being away for months and months and months at a time. I can’t tell you how much your love means to me.”

The rest of his speech was slightly less focused, as he discussed the people with whom he’s worked and those he admired before offering a bit of advice.

“You’re a dope if you don’t steal from everybody you’ve ever worked with, and I have stolen from the likes of the people who only need one name, like Meryl, like Denzel, like Antonio, like Meg, like Julia,” he said. “I have never not been challenged or flummoxed or lost sleep because of the work that was asked of me by the directors I’ve worked with, every single one of them, the screenwriters I’ve worked with, every single one of them.” He then shouted out the likes of Nora Ephron, Steven Spielberg, Clint Eastwood and Ron Howard – among others.

Hanks was sure to note that actors, directors and screenwriters aren’t the only people involved with creating films.

“Movies are made shot by shot. . . . Everyone has to do their job to perfection, have to hit a mark and have to go there,” he said, pointing out that sometimes the movie’s success rests on the shoulders of the makeup artist or the focus puller and, yes, the actor. “And it’s those moments as an actor where everyone I have ever worked with helped me get to that place. ”

He also offered advice to the crowd that had given him a standing ovation as he took the stage. “Showing up on time is one of the greatest liberating acts you can give yourself in a movie,” Hanks said. “That means those people with radios in the ears don’t need to knock on your door and say, ‘They’re ready for you.’ You’re actually already ready, and you have the liberty and you have the freedom of being there early enough to settle down, because when the time comes you have to hit the marks and you have to go there.”

As he reflected on his career, he began choking up again. “It’s the cold that is making this happen,” he said through tears. “I swear to God I’m not this emotional at home. Thank you, HFPA. Thank you all here. Thank you all for your inspiration and all of your work and all of the struggle that you guys all go through in order to hit the marks and tell the truth.”

Sharon Stone was kicked off Bumble because users thought she was impersonating Sharon Stone #ศาสตร์เกษตรดินปุ๋ย

Published January 1, 2020 by SoClaimon

#ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

https://www.nationthailand.com/lifestyle/30380020?utm_source=category&utm_medium=internal_referral

Sharon Stone was kicked off Bumble because users thought she was impersonating Sharon Stone

Dec 31. 2019
Show - GQ Men Of The Year Award 2019. File Photo

BERLIN, GERMANY - NOVEMBER 07: Award winner Sharon Stone speaks on stage during the GQ Men of the Year Award show at Komische Oper on November 07, 2019 in Berlin, Germany. (Photo by Andreas Rentz/Getty Images for GQ Germany)

Show – GQ Men Of The Year Award 2019. File Photo BERLIN, GERMANY – NOVEMBER 07: Award winner Sharon Stone speaks on stage during the GQ Men of the Year Award show at Komische Oper on November 07, 2019 in Berlin, Germany. (Photo by Andreas Rentz/Getty Images for GQ Germany)
By The Washington Post · Brittany Shammas

Users swiping through the dating app Bumble were apparently suspicious when they came across a profile for the Golden Globe-winning actress Sharon Stone. The account was blocked after repeatedly being flagged as fake.

Except it turned out to be real.

“Hey @bumble, is being me exclusionary?” the “Basic Instinct” star tweeted Monday after learning she’d been suspended. “Don’t shut me out of the hive.”

Within two hours of the tweet, Bumble had reinstated the account. “Looks like our users thought you were too good to be true,” the company wrote to Stone on Twitter.

The mix-up demonstrates efforts matchmaking apps have taken to eradicate fake profiles, Bloomberg reported. They have faced increased scrutiny in recent months, with the Federal Trade Commission suing Match Group Inc. over allegations the matchmaking giant had used fraudulent profiles to trick people into using its services.

Stone apparently isn’t the only celebrity to be caught up in attempts to weed out fake profiles. The British singer Conor Maynard claimed that he was booted from the dating apps Tinder and Hinge due to suspicion his accounts were fraudulent.

“This happened to me on both @Tinder and @hinge . . . any help guys?” he wrote, retweeting Stone’s tweet about her Bumble troubles.

Celebrities have their own dating app called Raya. It’s members-only and boasts such famous faces as Channing Tatum and John Mayer, The Cut reported.

Yet some still sign up for the dating apps and websites used by regular types. Martha Stewart was on Match.com, while Hilary Duff, Zac Efron and Chelsea Handler tried Tinder.

And now Stone is on Bumble.

Bumble, which requires women to make the first move, pitches itself as a feminist dating app that brings “good people together.” It is the second-most popular dating app in the U.S. after Tinder, with millions of users.

The company wasn’t aware Stone was one of them until seeing her tweets, according to Vanity Fair.

The 61-year-old actress has been married twice. Her first marriage, to television producer Michael Greenburg, lasted from 1984 to 1987. She married newspaper editor Phil Bronstein in 1998; the pair divorced in 2004.

She has spoken previously about the difficulty of dating.

“I was just not that girl who was told that a man would define me,” Stone told Grazia magazine. “I was told that if I wanted to have a man in my life, it wouldn’t be an arrangement, it would be an actual partnership. And those are hard to find.”

The best TV of the decade? It’s a lot to sort out #ศาสตร์เกษตรดินปุ๋ย

Published December 30, 2019 by SoClaimon

#ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

https://www.nationthailand.com/lifestyle/30379986?utm_source=category&utm_medium=internal_referral

The best TV of the decade? It’s a lot to sort out

Dec 30. 2019
Bryan Cranston and Aaron Paul in

Bryan Cranston and Aaron Paul in “Breaking Bad.” MUST CREDIT: Ursula Coyote/AMC
By The Washington Post · Hank Stuever 

I’m as eager to write one more end-of-the-decade list as you are to read one.  In a time of endless reboots, remakes and revivals, looking back feels redundant; we should spend more time looking ahead. Yet here I am, faced with the task of winnowing down 10 years of peak TV in some kind of usual, quantifiably final way.

Impossible, really – and, at first pass, my picks for best shows of the 2010s wouldn’t look much different from most other critics’ lists: “Breaking Bad,” “The Americans,” “Game of Thrones,” “Twin Peaks: The Return,” “Veep,” “The Good Wife,” “Transparent,” “Atlanta,” “Fargo,” “The Crown” – that’s 10, right? Hit “send” and let’s get on with life.

Matthew Rhys and Keri Russell in the final season of "The Americans." MUST CREDIT: FX

Matthew Rhys and Keri Russell in the final season of “The Americans.” MUST CREDIT: FX

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Lakeith Stanfield and Donald Glover in "Atlanta." MUST CREDIT: Guy D'Alema/FX

Lakeith Stanfield and Donald Glover in “Atlanta.” MUST CREDIT: Guy D’Alema/FX

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(L-r) Nathan Lane as F. Lee Bailey, Courtney B. Vance as Johnnie Cochran, John Travolta as Robert Shapiro, Cuba Gooding, Jr. as O.J. Simpson and David Schwimmer as Robert Kardashian in "American Crime Story: The People v. O.J. Simpson." MUST CREDIT: FX

(L-r) Nathan Lane as F. Lee Bailey, Courtney B. Vance as Johnnie Cochran, John Travolta as Robert Shapiro, Cuba Gooding, Jr. as O.J. Simpson and David Schwimmer as Robert Kardashian in “American Crime Story: The People v. O.J. Simpson.” MUST CREDIT: FX

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But perhaps there’s another way to approach this stretch of much-too-much TV, and instead categorize the shared qualities that separated the decade’s very best shows from the heap of mediocre ones. That way, we can talk about this extraordinary period of scripted dramas and comedies without starting one last argument about where they rank.

I know readers only have time anymore to read lists, but bear with me. Here are the best kinds of shows we watched over the last 10 years. Many of them belong to more than one category – a sign of their greatness.

-Anxiety-makers

These would be your nail-biters, seen mainly on prestige cable, often on Sunday nights.

Why we gorge on these cliffhanging, often upsetting dramas on the night we most need to rest up for the week ahead, I’ll never know, but we went to bed desperate over characters and story lines we couldn’t control: In AMC’s “Breaking Bad,” probably the decade’s finest work of story engineering and execution (and yes, I’m aware it premiered in 2008), when will Hank Schrader (or Skyler White) finally catch on that Walter White is the meth kingpin of New Mexico? Some of those close calls (the train episode!) and slow-building conflicts were almost too hard to take.

The decade’s other great adrenaline-producer, FX’s “The Americans,” aired on Wednesday nights, where the panic attacks seemed more manageable. How long would it take FBI agent Stan Beeman to figure out that his friendly neighbors, Philip and Elizabeth Jennings, were deeply embedded KGB spies? How much does Paige know? Will they outlast the Cold War? Showtime’s “Homeland,” meanwhile, neatly bundled our post-9/11 anxieties with the mental problems of a CIA agent who thought she could save the world.

These are but three shows that gave America’s TV addicts a strong case of the jitters. Others tried and sometimes came close. I started out the decade worrying way too much about Rick and the other doomed survivors of AMC’s “The Walking Dead” (until I gave up on them entirely a few years ago), but the show’s success is notable for its stress-inducement, which was so strong that the network started an aftershow, “Talking Dead,” to help audiences cope with the latest gory developments.

– Immersive portraits

These were some of my favorite shows, broadly defined by the word “dramedy” (because they were sometimes intensely funny), but better described as character studies, portraiture – of characters I’ll never forget: Amy Jellicoe in HBO’s “Enlightened,” followed by Hannah Horvath in “Girls.”

Many shows in this category can in some ways be regarded as selfies. Louis C.K., who quickly became persona-non-grata, nevertheless triumphed with “Louie,” which made it possible for similar shows to act as a mirror that not only reveals a personal nature, but a universal quality that potentially can be shared by the audience. I’m thinking here of Donald Glover’s “Atlanta” (FX), Aziz Ansari’s “Master of None” (Netflix), Phoebe Waller-Bridge’s “Fleabag” (along with “Catastrophe”) and Pamela Adlon’s “Better Things” (FX).

This genre also, at long last, helped television achieve the diversity it had for too long failed to produce. Issa Rae’s “Insecure” (HBO) is a triumph in the way it both inhabits its creator’s viewpoint as millennial black woman, yet welcomes viewers of any sort.

To that list add Hulu’s “Ramy” and “Pen15,” HBO’s “Looking” and Comedy Central’s “Broad City” – any show where a viewer potentially discovers someone unlike themselves: different age, different background, different race. Or, more importantly, a viewer at long last sees themselves in the main character.

Washington, D.C., certainly saw its uglier self in Armando Iannucci’s gloriously foul-mouthed “Veep” (HBO), the true definition of comic relief and on-point satire at a time when politics grew unfathomably absurd.

– Metaphorical profundity

The best dramas in the 2010s reflected a larger message about the society that watched them – sometimes obliquely, sometimes bluntly. Despite its notably weakened final season, HBO’s “Game of Thrones” has proper claim, I think, to be deemed the show of the decade, but not just because it grew so popular. It’s because how much of it seemed to eerily echo our surroundings: Climate change (and denial of it); shocking acts of violence; widespread social collapse; galling politics; extreme disparities in class and wealth; weapons of mass destruction … I could go on.

Timing is everything. Hulu took a 1985 dystopian novel – Margaret Atwood’s “The Handmaid’s Tale” – revved it up and released it just as the Trump administration began detaining, locking up and banning immigrants, appointed conservative judges and looked the other way at nationalist fervor. The metaphor there was almost too applicable; fortunately, the show was strong enough to withstand the hype.

Viewers learned how to find meaning in just about any show – the better ones made it more compelling: AMC’s “Mad Men” was a beguiling search for the soul of the 20th century; CBS’ “The Good Wife” was a wicked running commentary on politics, technology and modern relationships; NBC’s “This Is Us” was (and still is) a fascinating rumination on the essence of what makes a family. (Note to all you Ancestry genealogy nuts: It’s not just DNA.)

– Happy-snarky-sweet

Certain comedies just make us feel better (and also sharper, wittier – empowered, even) no matter how many times we re-watch old episodes. It’s in the camaraderie aspect, the life lessons, the archetypal arrangements, the snarkiness glossed over by group cohesion. It’s a continuation of what began in the best multicamera, studio-audience, ersatz-family sitcoms (“Cheers,” “Seinfeld”), rejiggered for a wired generation. Most of them aired on NBC: “Parks and Recreation,” “30 Rock,” “Community,” “The Office,” “The Good Place,” “Superstore” – now joined by “Brooklyn Nine-Nine.” A few others aired on other networks, giving viewers a similar satisfaction: “The Big Bang Theory” on CBS; “Modern Family,””Happy Endings,” “Cougar Town” and “Black-ish” on ABC.

– Transformative tellings

In addition to finding new narrative styles and (quite belatedly) focusing on overlooked demographics, TV turned out to be an excellent venue for recasting an old story from a fresh perspective or enlightened distance.

I’m thinking here of FX’s “American Crime Story: The People v. O.J. Simpson,” a compelling departure from the way we popularly regarded that murder trial. It inspired others to dramatize previous events with a corrective, even courageous new viewpoint – such as Netflix’s “When They See Us,” about the unjustly imprisoned teens who were wrongly coerced into confessing to a 1989 Central Park attack on a female jogger.

Crime wasn’t the only subject in need of a remix. Both “Downton Abbey” (PBS) and “The Crown” (Netflix) succeeded because of the way they re-examine extreme privilege, without preventing us from enjoying the luxurious roll in it.

Some shows were revelatory in more subtle ways: Jill Soloway’s “Transparent” (Amazon Prime) masterfully wove a woman’s journey with the entirety of modern American Judaism, enlightening its audience to more than just the trans experience. And Showtime’s “The Affair” played with the very nature of truth, telling the story of marital infidelity from competing – and crucially different – perspectives.

– Impossible puzzles and true art

If the decade in TV will be remembered for anything, it will likely be the complexity of some shows. The weirdness. The unexpected swerves. It turned its viewers into perpetual puzzle-solvers and conspiracy theorists. After beginning the decade with an unsatisfying wrap-up of ABC’s “Lost,” co-creator Damon Lindelof returned on HBO with a confounding take on “The Leftovers,” finally mastering the balance between befuddlement and momentum with “Watchmen.”

There are, finally, two standouts – and they challenged my ceaseless harangue about reboots. One was Noah Hawley’s expanded and wholly reimagined take for FX on “Fargo,” a Midwestern crime saga first seen in Joel and Ethan Coen’s 1996 film classic.

The other was David Lynch’s long-delayed but staggeringly beautiful sequel to his 1990 TV sensation “Twin Peaks.” Critics argued, somewhat pointlessly, whether “Twin Peaks: The Return” (Showtime) was a very long film or a strangely protracted TV series.

I can settle that: It was nothing short of pure art – unexpected, absolutely original and layered with deep, trippy meaning. Of all the TV I slogged through in the 2010s, it’s the show I most look forward to someday watching again.

Line’s Brown and his pals come to Netflix

Published December 12, 2019 by SoClaimon

#ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

https://www.nationthailand.com/lifestyle/30379337?utm_source=category&utm_medium=internal_referral

Line’s Brown and his pals come to Netflix

Dec 12. 2019
By The Nation

185 Viewed

Netflix announced today that Line Friends’ globally loved “Brown & Friends” characters will be expanded into a whole new world of storytelling in a Netflix original animated series.

The Netflix original series will be a non-verbal, slapstick comedy that tells the story of a diverse set of characters who are friends and neighbours living in the same town. It will be created as CG animation, inviting audiences of all ages into the world of memorable characters, including Brown, Cony, Sally, Moon, James, and others.

Aram Yacoubian, director of Original Animation at Netflix, said: “The band of adorable Brown & Friends characters has been a part of many fans’ daily lives since they were created as stickers on Line mobile messengers, and now we’re excited to develop the expanded world to delight new audiences everywhere on Netflix.”

“Line Friends has produced diversified content with its popular IPs, including videos, animations and games that millennials and Gen Z love,” said Line Friends vice president KD Kim. “Through this new animated series on Netflix, we will enhance our competitiveness in global content, and strengthen our presence in the entertainment industry, as well as our position as both a global creative studio and a producer of high-quality content.”

Los Angeles-based Kickstart Entertainment is a co-producer on the series. Further details about the new series will be announced at a later date.

EU film fest from Nov 29

Published November 26, 2019 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation

https://www.nationthailand.com/lifestyle/30378725?utm_source=category&utm_medium=internal_referral

EU film fest from Nov 29

Nov 25. 2019
By THE NATION

1,352 Viewed

The European Union in Thailand will launch the 28th European Union Film Festival on November 29 at CU Centenary Park, enabling the wider public to be part of this special experience.

This is the second year the festival has been organised in an open-air setting. Subsequent public screenings will take place from November 30 to December 15.

The opening film will be The Ragged Life of Juice Leskinen (Finland), commencing at CU Centenary Park at 6.30pm.

In total, there will be 17 films screened at eight different locations in Bangkok, including CU Centenary Park, residences of EU member states’ ambassadors and the European cultural institute.

Participating films from different EU member states depict various aspects of the European Union, including cultural diversity and heritage as well as history. Many of the movies shown are critically acclaimed or award-winning films, offering the audience an alternative to the mainstream cinema experience.

 

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