#Ming-Sing Wong

[plazamayorcompany]

MAN ON THE EDGE

Bin yun hang ze (Original Motion Picture Soundtrack) MAN ON THE EDGE Bin yun hang ze (Original Motion Picture Soundtrack) Director Ming-Sing Wong Cast Richie Jen, Simon Yam, Alex Fong, Sammo Hung Music by Anthony Chue Label Plaza Mayor Company Ltd Lok, a Hong Kong undercover policeman, struggles in the conspiracy between gangs and the police in order to investigate the truth of gangs’…

[444namesplus]

Ba Ban Bang Be Ben Beng Bi Bia Bian Biang Bie Bien Bieng Bing Bio Bion Biong Biu Biun Biung Bo Bon Bong Bu Bun Bung Cia Cian Ciang Cie Cieng Cii Ciia Ciian Ciiang Ciie Ciien Ciieng Ciin Ciing Ciio Ciion Ciiong Ciiu Ciiun Ciiung Cio Cion Ciong Ciu Ciun Da Dan Dang De Deng Di Dia Dian Die Dien Dieng Din Ding Dio Dion Diong Diu Diun Diung Do Don Dong Du Dung Fa Fan Fang Fe Fen Fi Fia Fian Fiang Fie Fien Fieng Fin Fing Fio Fion Fiong Fiu Fiun Fiung Fo Fon Fong Fu Fung Ga Gan Gang Ge Gen Gi Gia Gian Giang Gie Gien Gin Ging Gio Gion Giong Giu Giun Giung Go Gong Gu Gun Ha Han Hang He Hen Heng Hi Hia Hian Hiang Hie Hien Hieng Hin Hing Hio Hion Hiong Hiu Hiun Ho Hon Hu Hun Jia Jiang Jie Jien Jii Jiia Jiiang Jiie Jiien Jiieng Jiin Jiing Jiio Jiion Jiiong Jiiu Jiiun Jio Jion Jiu Jiung Ka Kan Kang Ken Keng Ki Kia Kian Kiang Kie Kien Kieng Kin Kio Kiong Kiu Kiun Kiung Ko Kon Kong Ku Kun Kung La Lan Le Len Li Lia Lian Liang Lie Lien Lieng Lin Ling Lio Lion Liong Liu Liun Lo Lon Long Lu Lun Lung Ma Me Men Meng Mi Mia Miang Mie Mieng Min Ming Mio Mion Miong Miu Miung Mo Mon Mong Mu Mun Mung Na Nan Nang Ne Neng Ni Nia Niang Nieng Nin Ning Nio Nion Niu Niung No Non Nong Nu Nung Pa Pan Pang Pe Pen Peng Pi Pia Pian Piang Pie Pien Pieng Pin Ping Pio Pion Piong Piu Piun Piung Pon Pu Pun Pung Qa Qang Qe Qen Qeng Qi Qia Qian Qiang Qie Qien Qieng Qin Qing Qio Qion Qiong Qiu Qiun Qiung Qo Qon Qong Qu Qun Qung Ra Ran Rang Re Ren Reng Ri Ria Rian Riang Rie Rien Rieng Rin Ring Rio Rion Riu Riun Ro Ron Rong Ru Run Rung Sa San Sang Se Si Sia Sian Siang Sie Sien Sieng Sin Sing Sio Sion Siong Siu Siun Siung So Son Song Su Sun Sung Ta Te Ten Teng Ti Tia Tian Tiang Tie Tien Tieng Tin Ting Tio Tion Tiong Tiu Tiun To Ton Tong Tu Tun Tung Wa Wang Wen Wi Wia Wian Wiang Wie Wieng Win Wing Wio Wion Wiong Wiu Wiun Wo Won Wong Wu Wun Wung Xia Xian Xiang Xie Xien Xieng Xii Xiia Xiian Xiiang Xiie Xiieng Xiin Xiing Xiio Xiiong Xiiu Xiiun Xio Xion Xiong Xiu Xiung Za Zan Zang Ze Zeng Zi Zia Zian Ziang Zie Zieng Zin Zing Zio Zion Ziong Ziu Ziun Ziung Zo Zon Zu Zung

[sixbucks]

A Complete List of the 2023 LAMBDA Literary Awards Winners and Finalists

Congratulations to this years "Lammy" Award winners and finalists! In line with Lambda Literary's mission to advocate for LGBTQ writers, the awards are a way to amplify some of the best writing by queer authors today. More than 1,350 literary works were submitted this year across 25 categories of LGBTQ+ literature, so these books faced some steep competition.

Kick off your own Pride Month Reading Challenge by stocking up on these winning and finalist books! Use promotional code PRIDE23 at check-out to get 20% off these books throughout the month of June.

Bisexual Nonfiction

The Winner: Appropriate Behavior by Maria San Filippo

Finalists:

See why the title essay of this book went viral on the Paris Review website back in 2019.

"The book brings that same frank, funny gaze to bear on a succession of other doomed romances, mining them for complicated truths about how the love stories we inherit, consume and tell come to shape our experience and expectations. Think of it as rehab for road-weary romantics." —The Guardian

Carrying It Forward: Essays from Kistahpinanihk by John Brady McDonald (not carried by Tertulia)

Never Simple: A Memoir by Liz Scheier

Open: An Uncensored Memoir of Love, Liberation, and Non-Monogamy by Rachel Krantz

Lesbian Fiction

The Winner: Gods of Want by K-Ming Chang

Finalists:

Locus Magazine called this finalist for the 2022 National Book Award an "extraordi­nary literate and structurally inventive novel about female sexuality, cruelty, desire, and trauma that echoes the work of Lovecraft and Melville. A book this good, this devas­tating, should factor on all the award lists..."

Big Girl: A Novel by Mecca Jamilah Sullivan

Nightcrawling by Leila Mottley

Our Wives Under the Sea: A Novel by Julia Armfield

Gay Fiction

The Winner: The Foghorn Echoes by Danny Ramadan

Finalists:

Author Andrew Sean Greer called this book "Full of joy and righteous anger, sex and straight talk, brilliant storytelling and humor... A spectacularly researched Dickensian tale with vibrant characters and dozens of famous cameos, it is precisely the book we've needed for a long time."

Call Me Cassandra by Marcial Gala

God’s Children Are Little Broken Things by Arinze Ifeakandu

Hugs and Cuddles by João Gilberto Noll

Lesbian Memoir/Biography

The Winner: Lost & Found: A Memoir by Kathryn Schulz

This thriller/sci-fi mash-up was named a best book of the year by NPR.

"In the end, The Paradox Hotel succeeds as both a mystery and as a story involving time travel. Do you want head-spinning theories on the flow of time and what it might do to people and places? You’ll find both in abundance here. But you’ll also find a resourceful, haunted protagonist pushing herself to the limit to uncover the truth behind an impossible case—one that eventually leads her to a conclusion that satisfies both of the genres from which this novel emerged." —Tor.com

Book Eaters by Sunyi Dean

Into the Riverlands by Nghi Vo

The Circus Infinite by Khan Wong

Bisexual Fiction

The Winner: Reluctant Immortals by Gwendolyn Kiste

Finalists:

Meet Us by the Roaring Sea by Akil Kumarasamy

Mother Ocean Father Nation by Nishant Batsha

Roses, In the Mouth of a Lion by Bushra Rehman

Stories No One Hopes Are about Them by A.J. Bermudez

Transgender Fiction

The Winner: The Call-Out by Cat Fitzpatrick

Finalists:

All the Hometowns You Can’t Stay Away From by Izzy Wasserstein

Didn’t Nobody Give a Shit What Happened to Carlotta by James Hannaham

Manywhere by Morgan Thomas

Wrath Goddess Sing by Maya Deane

LGTBQ+ Young Adult

The Winner: The Lesbiana’s Guide to Catholic School by Sonora Reyes

Finalists:

Burn Down, Rise Up by Vincent Tirado

Funny Gyal: My Fight Against Homophobia in Jamaica by Angeline Jackson with Susan McClelland

Lakelore by Anna-Marie McLemore

The Summer of Bitter and Sweet by Jen Ferguson

LGTBQ+ Middle Grade

The Winner: Nikhil Out Loud by Maulik Pancholy

Finalists:

Answers In the Pages by David Levithan

Different Kinds of Fruit by Kyle Lukoff

Hazel Hill Is Gonna Win This One by Maggie Horne

The Civil War of Amos Abernathy by Michael Leali

LGTBQ+ Children's Book

The Winner: Mighty Red Riding Hood by Wallace West

Finalists:

A Song for the Unsung: Bayard Rustin by Carol Boston Weatherford and Rob Sanders

Kapaemahu by Hinaleimoana Wong-Kalu, Dean Hamer and Joe Wilson

Mama and Mommy and Me in the Middle by Nina LaCour

The Sublime Ms. Stacks by Robb Pearlman

Transgender Nonfiction

The Winner: The Third Person by Emma Grove

Finalists:

Before We Were Trans: A New History of Gender by Kit Heyam

Faltas: Letters to Everyone in My Hometown Who Isn’t My Rapist by Cecilia Gentili

Feral City: On Finding Liberation in Lockdown New York by Jeremiah Moss

The Terrible We: Thinking with Trans Maladjustment by Cameron Awkward-Rich

LGTBQ+ Nonfiction

The Winner: The Black Period: On Personhood, Race, and Origin by Hafizah Augustus Geter

Finalists:

And the Category Is…: Inside New York’s Vogue, House, and Ballroom Community by Ricky Tucker

How Far the Light Reaches: A Life in Ten Sea Creatures by Sabrina Imbler

The Women’s House of Detention: A Queer History of a Forgotten Prison by Hugh Ryan

Virology: Essays for the Living, the Dead, and the Small Things in Between by Joseph Osmundson

Lesbian Poetry

The Winner: As She Appears by Shelley Wong

Finalists:

Beast at Every Threshold by Natalie Wee

Concentrate by Courtney Faye Taylor

Prelude by Brynne Rebele-Henry

Yearn by Rage Hezekiah

Gay Poetry

The Winner: Some Integrity by Padraig Regan

Finalists:

Alive at the End of the World by Saeed Jones

Brother Sleep by Aldo Amparán

Pleasure by Angelo Nikolopoulos

Super Model Minority by Chris Tse

Bisexual Poetry

The Winner: Real Phonies and Genuine Fakes by Nicky Beer

Finalists:

50 Things Kate Bush Taught Me About the Multiverse by Karyna McGlynn

Dereliction by Gabrielle Octavia Rucker

Indecent Hours by James Fujinami Moore

Meat Lovers by Rebecca Hawkes

Transgender Poetry

The Winner: MissSettl by Kamden Ishmael Hilliard

Finalists:

A Dead Name That Learned How to Live by Golden

A Queen in Bucks County by Kay Gabriel

All the Flowers Kneeling by Paul Tran

Emanations by Prathna Lor

LGTBQ+ Anthology

The Winner: OutWrite: The Speeches That Shaped LGBTQ Literary Culture by Julie R. Enszer and Elena Gross

Finalists:

Queer Nature: A Poetry Anthology edited by Michael Walsh

This Arab is Queer: An Anthology by LGBTQ+ Arab Writers by Elias Jahshan

Trans Bodies, Trans Selves: A Resource by and for Transgender Communities Second Edition by Laura Erickson-Schroth

Xenocultivars: Stories of Queer Growth by Isabela Oliveira and Jed Sabin

Gay Memoir/Biography

The Winner: High-Risk Homosexual by Edgar Gomez

Finalists:

All Down Darkness Wide: A Memoir by Seán Hewitt

An Angel in Sodom by Jim Elledge

Boy with the Bullhorn: A Memoir and History of ACT UP New York by Ron Goldberg

I’m Not Broken by Jesse Leon

LGTBQ+ Mystery

The Winner: Dirt Creek: A Novel by Hayley Scrivenor

Finalists:

A Death in Berlin by David C Dawson

And There He Kept Her by Joshua Moehling

Dead Letters from Paradise by Ann McMan

Lavender House by Lev AC Rosen

LGTBQ+ Comics

The Winner: Mamo by Sas Milledge

Finalists:

A Pros and Cons List for Strong Feelings: A Graphic Memoir by Will Betke-Brunswick

Gay Giant by Gabriel Ebensperger

Other Ever Afters by Melanie Gillman

The Greatest Thing by Sarah Winifred Searle

Lesbian Romance

The Winner: The Rules of Forever by Nan Campbell

Finalists:

Hard Pressed by Aurora Rey

If I Don’t Ask by E. J. Noyes

Queerly Beloved by Susie Dumond

Southbound and Down by K.B. Draper

Gay Romance

The Winner: I’m So Not Over You by Kosoko Jackson

Finalists:

Forever After by Marie Sinclair (not carried by Tertulia)

Forever, Con Amor by A.M. Johnson

Just One Night by Felice Stevens

Two Tribes by Fearne Hill

LGTBQ+ Romance and Erotica

The Winner: Kiss Her Once For Me: A Novel by Alison Cochrun

Finalists:

A Lady’s Finder by Edie Cay

Loose Lips: A Gay Sea Odyssey by Joseph Brennan

Mistakes Were Made by Meryl Wilsner

The Romance Recipe by Ruby Barrett

LGTBQ+ Drama

The Winner: Iphigenia and the Furies (On Taurian Land) & Antigone: 方 by Ho Ka Kei (Jeff Ho)

Finalists:

Duecentomila by kai fig taddei

Rock ‘n’ Roll Heretic by Sikivu Hutchinson

The Show on the Roof Book by Tom Ford, Music and Lyrics by Alex Syiek (not carried by Tertulia)

Wolf Play by Hansol Jung, Samuel French

 LGTBQ+ Studies

The Winner: Keeping It Unreal: Black Queer Fantasy and Superhero Comics by Darieck Scott

Finalists:

Lesbian Death: Desire and Danger between Feminist and Queer by Mairead Sullivan

Sissy Insurgencies: A Racial Anatomy of Unfit Manliness by Marlon B. Ross

Surface Relations: Queer Forms of Asian American Inscrutability by Vivian L. Huang

There’s a Disco Ball Between Us: A Theory of Black Gay Life by Jafari S. Allen

[nct-krown]

❝ 𝐉 𝐀 𝐃 𝐄 ❞

ⓘ BASICS ¡!

STAGE NAME jade ˒ 제이드

BIRTH NAME jade-bella li

CHINESE NAME li ming mei ˒ 里 明媚

KOREAN NAME lee bitna ˒ 이 빛나

REPRESENTATIVE GEM jade / emerald

BIRTHDAY 05 aug 2002

ZODIAC leo ˒ ♌︎

PLACE OF BIRTH paris ˒ france

HOMETOWN paris ˒ france / shenzhen ˒ china

ETHNICITY chinese

NATIONALITY french

LANGUAGES english ˒ french ˒ korean ˒ mandarin ˒ cantonese ˒ japanese ❪ basic ❫

ⓘ PHYSIQUE ¡!

FACE CLAIM ning yi zhou

HEIGHT 163 ˒ 5'4

BLOOD TYPE A+

ⓘ CAREER ¡!

OCCUPATION idol ˒ music core mc ❪ 2019 - 2021 ❫

LABEL sm ent.

GROUP nct ❪ 2019 - ❫ ˒ seraph ❪ 2021 - 2023 ❫

SUB-UNIT nct krown ❪ 2019 - ❫ ˒ nct u ❪ 2020 - ❫

POSITION main vocalist ˒ face of group

TRAINING 10 months @ sm ent

DEBUT 20 may 2019 ❪ nct krown ❫ ˒ 19 oct 2020 ❪ nct u ❫ ˒ 26 june 2021 ❪ seraph ❫

SURVIVAL SHOW seraph ❪ 3rd ❫

ⓘ FAMILY ¡!

MOTHER wong mei ling

FATHER aaron li

ⓘ PERSONALITY ¡!

MBTI estp

POSITIVE fun ˒ charismatic ˒ passionate ˒ ambitious

NEGATIVE manipulative ˒ dramatic ˒ selfish ˒ bitchy

ⓘ HISTORY ¡!

jade-bella li is the only child of mei ling and aaron li. she was born on the 5th of august 2002 in paris , france. the 3 of them moved to shen zen , china for 2 years when jade was 8 to look after her ill grandmother. after her grandmother’s passing they moved back to paris. despite moving around a lot jade found it easy to make friends and was queen b no matter where she was.

she is her parents princess and has been spoilt rotten her entire life. being told no is a foreign concept to her because she is the definition of daddy’s little princess her mom is her best friend she can talk to her about anything and everything , nothing is off limits. her parents showered her with love and praise making her an extremely confident person since she was a baby. as a kid she wanted to be just like hannah montana so her parents enrolled her in singing classes at the age of 10 and it soon became her passion which she showed insane talent for from a young age. every decision she made was fully supported by her parents including moving to korea to be an idol.

jade sent in her cover of chandelier by sia in the summer of 2018 to sm and got accepted almost immediately. she got one of the fasted acceptances into sm entertainment in history. she started training immediately and debuted 10 months later on the 20th of may 2019 as the main vocalist of nct and a member of the all female subunit, nct krown. her love for languages and natural charisma made her a fan favourite and appeared on many variety shows in both korea and china. months after her debut she was announced as the new music core mc alongside sf9’s chanhee and stray kids hyunjin. she was an active mc from 2019 to 2021. in march 2021 jade auditioned for the survival show seraph that aimed to create the next super group. she placed 3rd debuting in the final lineup as the main vocalist and maknae.

[marcmarcmomarc]

Kingdom Hearts IV predictions

The Land of Dragons (Mulan)

Takes place after the movie.

Is visited by Donald and Goofy.

The inhabitants are, of course, thrilled to see Donald and Goofy again, but are sad to hear about Sora’s sacrifice.

Starring the voices of:

Wang Deshun as Emperor of China

Harvey Fierstein as Yao

James Hong as Chi-Fu

Jet Li as Fa Zhou

Lisa Lu as Grandmother Fa

Mark Moseley as Mushu

Sandra Oh as Fa Li

Donny Osmond as singing voice of Shang

Lea Salonga as singing voice of Mulan

George Takei as First Ancestor

Jerry Tondo as Chien-Po

Gedde Watanabe as Ling

Frank Welker as Cri-Kee & Kahn

Ming-Na Wen as Fa Mulan

Matthew Wilder as singing voice of Ling

B.D. Wong as Li Shang

Benedict Wong as General Li

Back to index

[serenewongms]

Thank you for giving Serene Wong Min Sing the opportunity, friendship and love over the years My name is Ming Xi Wong (Ming Xi Wong), please use my new name and continue to support, love, Pei Chen🙏🏼 Mingxi, I also wish everyone achieved your desired health, wealth and the ability to control your life. Five blessings are coming to you! 谢谢大家这些年给予”敏心” 的机会，友情与厚爱 今起我名 - 王铭汐 （Ming Xi Wong),请大家用我的新名字，也继续支持，疼爱，铭汐🙏🏼 铭汐我，也祝大家幸福安康，心想事成，五福临门！#serenewongms #Mingxiwong #trendyfengshui https://www.instagram.com/p/CprDIZsJFd5/?igshid=NGJjMDIxMWI=

[popmovie888]

Shanghai Grand เจ้าพ่อเซี่ยงไฮ้ เดอะ มูฟวี่ (1996) พากย์ไทย

Shanghai Grand เจ้าพ่อเซี่ยงไฮ้ เดอะ มูฟวี่ (1996) นักแสดง - Andy Lauรับบทเป็น Ting Lik (丁力) กรรมกรผู้ทะเยอทะยานที่ใฝ่ฝันจะเป็นผู้นำกลุ่ม สำคัญ หลังจากสังหาร Boss Wing หัวหน้าแก๊ง Axe เขาก็บรรลุความฝันและผงาดขึ้นเป็นผู้นำสามกลุ่มที่ทรงพลัง ได้รับชื่อเสียงและโชคลาภ - Leslie Cheungแสดงเป็น Hui Man-keung (許文強) ตัวแทนของ Taiwan People's League (台灣民族同盟會) ผู้มุ่งมั่นที่จะกำจัดกองทหารญี่ปุ่นที่ตั้งใจจะรุกรานจีน - Ning Jingแสดงเป็น Fung Ching-ching (馮程程) ลูกสาวของ Fung King-yiu เจ้าพ่ออาชญากรรายใหญ่ที่สุดของเซี่ยงไฮ้ และเป็นที่รักของ Ting และ Hui แม้ว่าเธอจะรักกันก็ตาม - Wu Hsing-kuo แสดงเป็น Fung King-yiu (馮敬堯) เจ้าพ่ออาชญากรที่มีอำนาจมากที่สุดในเซี่ยงไฮ้ ผู้ทรยศต่อชาวญี่ปุ่น - Lau Shun รับบทเป็น ลุง Lau (柳叔) พ่อบ้านของ Fung - Amanda Leeรับบทเป็น Lai-man (麗文老師) อาจารย์ส่วนตัวของ Ching-ching ที่แอบชอบ Ting - Almen Wong รับบทเป็นนักฆ่าหญิงชาวญี่ปุ่นที่ทำงานให้กับ Fung - Chan Kin-yat รับบทเป็น "Shorty" Chiu (矮仔超) ผู้นำสามคนที่อวดดีที่ดูถูก Ting และดูแคลนเขา - Jung Woo-sungในฐานะตัวแทนของสันนิบาตประชาชนไต้หวัน - Lee Kin-yanรับบทเป็น ลูกน้องของ Ting Lik - Tse Liu-shut รับบทเป็น ลูกน้องของ Ting Lik - Yip Chun แสดงเป็น Brother Four (四哥) หัวหน้ากลุ่มสามที่ถูก Ting ลอบสังหาร - Wong Ming-sing รับบทเป็น ลูกน้องของ Fung King-yiu - อึ้งเฟยกิต - เหลียงกาชุน - เชิงคัมบง - ปัก ฮัม-ยัต - ไหง ซังซิว Shanghai Grandหรือที่รู้จักในชื่อ Shanghai Grand 1996 เพื่อแยกความแตกต่างของภาพยนตร์เรื่องนี้จาก ซีรีส์โทรทัศน์ชื่อเดียวกันในปี 1980ที่โด่งดังกว่าใน ปี 1980 เป็นภาพยนตร์ ดราม่าอาชญากรรมแอคชั่นฮ่องกง ปี 1996กำกับโดย Poon Man-kit นำแสดงโดย Andy Lau , Leslie Cheungและหนิง จิง . ภาพยนตร์เรื่องนี้กำกับโดย Poon Man-kit และอำนวยการสร้างโดยTsui Hark และ Film Workshopบริษัทผู้ผลิตของเขา เป็นการดัดแปลงอย่างหลวม ๆ จากซีรีส์โทรทัศน์เรื่องThe Bundในปี 1980 ในหลาย ๆ ด้าน แม้ว่าจะทำโดยการเล่าเหตุการณ์ในสามส่วน โดยแต่ละส่วนจะมีตัวละครหลักของภาพยนตร์เรื่องนี้ Leslie Cheungได้รับเลือกให้เป็น Hui Man-keung ตัวเอกดั้งเดิมของThe Bundในขณะที่Andy Lauได้รับเลือกให้เป็นตัวเอกของภาพยนตร์เรื่องนี้ - Ting Lik เพื่อนสนิทของ Hui ซึ่งเป็นผู้นำ สามกลุ่มที่มีความหมายดี แต่ค่อนข้างไร้เดียงสาที่ไม่สนุกเมื่อ Hui ตกหลุมรัก รักกับผู้หญิงคนเดียวกับความรักของเขา หนิงจิงแสดงความรักที่พวกเขาสนใจ Fung Ching-ching เรื่องราวเกิดขึ้นที่เซี่ยงไฮ้ในยุคสาธารณรัฐเมื่อเมืองนี้ถูกปกครองโดยกลุ่มสามกลุ่มไม่นานก่อนที่ญี่ปุ่นจะถูกยึดครองในสงครามจีน-ญี่ปุ่นครั้งที่สอง Shanghai Grand เจ้าพ่อเซี่ยงไฮ้ เดอะ มูฟวี่ (1996)  พวกอันธพาลมีอยู่มากมายในละครแนวอาชญากรรมโรแมนติกที่มีชีวิตชีวาซึ่งเกิดขึ้นในเซี่ยงไฮ้ในช่วงสงครามโลกครั้งที่ 2 เรื่องราวของผู้รักชาติชาวไต้หวัน Hsu Wen-Chiang เริ่มต้นขึ้นเมื่อเขาถูกซัดขึ้นไปที่ชายหาดใกล้กับเซี่ยงไฮ้ เขาถูกพาตัวไปโดย Ting Lik ขอทานผู้ใจดีที่รัก Feng Ching-Ching ลูกสาวของนักเลงที่มีชื่อเสียง ดูหนังออนไลน์ ไม่นานก่อนที่ Ting Lik จะประสบความสำเร็จในการก้าวขึ้นสู่อันดับโลกใต้พิภพเพื่อเป็นหนึ่งในอันธพาลที่ทรงพลังที่สุดของเมือง Hsu อยู่ข้างเขาตลอดทางและใช้พลังของตัวเองเพื่อแก้แค้นผู้ที่พยายามจะให้เขาฆ่าก่อนหน้านี้มาก ภาพยนตร์เรื่องนี้เน้นไปที่การหาประโยชน์จาก Feng ซึ่งมีความสัมพันธ์กับ Hsu ​​มานานแล้วเมื่อเขาอยู่บนลำในภาคเหนือของจีน ย้อนกลับไปในปัจจุบัน Hsu และ Feng ได้พบกันอีกครั้งโดยบังเอิญและทั้งคู่ก็กลับมาคบกันอีกครั้ง จนกระทั่ง Hsu รู้ว่าพ่อของ Feng เป็นหนึ่งในศัตรูของเขาและฆ่าเขา เฟิงผู้น่าสงสารกลายเป็นคนบ้าด้วยความเศร้าโศก ติงรู้เรื่องและสาบานว่าจะแก้แค้นซู   Read the full article

[byneddiedingo]

Jackie Chan in The Legend of Drunken Master (Chia-Liang Liu, 1994) Cast: Jackie Chan, Lung Ti, Anita Mui, Felix Wong, Chia-Liang Liu, Ken Lo, Kar Lok Chin, Ho-Sung Pak, Chi-Kwong Chung, Yi-Sheng Han, Andy Lau. Screenplay: Edward Tang, Man-Ming Tong, Kai-Chi Yuen. Cinematography: Tony Cheung, Yiu-Tsou Cheung, Wen Yung Huang, Jingle Ma. Production design: Chong-Sing Ho, Eddie Ma. Film editing: Peter Cheung. Music: Michael Wandmacher, Wei Lap Wu. Jackie Chan is his usual charming whirligig self in Chia-Liang Liu's The Legend of Drunken Master, a movie that kung fu film aficionados take a good deal more seriously than I'm able to. In 2010 Time critic Richard Corliss placed it on the magazine's list of the 100 greatest movies made since 1923. There are certainly some breathtaking moments of action in it, along with a hilarious performance by Anita Mui as Chan's stepmother -- she was actually almost a decade younger than he. And I go along with Roger Ebert's comparison of Chan to Buster Keaton, though where Keaton was mostly stillness punctuated by moments of action, Chan is hyperactivity distilled to its essence. Unfortunately, the version of the film I saw was dubbed into English and shorn to fit a different aspect ratio than the original. It also lacks a concluding scene in which Chan's character, Wong Fei-hung, exhibits the effects of drinking methanol, which he does in the climactic fight scene. Apparently it was played for comedy, which the American distributors (perhaps rightly) thought distasteful. If a version of the film closer to the original ever comes around, I'd be happy to give Drunken Master II, which is what its hardcore fans call it, another look.

[scenesandscreens]

Chungking Express (1994)

Director - Wong Kar-Wai, Cinematography - Christopher Doyle & Lau Wai-Keung

"Actually, really knowing someone doesn't mean anything. People change. A person may like pineapple today and something else tomorrow."

[whatamigonnawatchtoday]

Chungking Express

1994. Drama

By Wong Kar-wai

Starring: Tony Leung, Brigitte Lin, Faye Wong, Takeshi Kaneshiro, Valerie Chow, Thom Baker, Chan Kam-Chuen, Kwan Lee-na, Wong Chi-Ming, Leung Sun, Choh Chung-Sing

Country: Hong Kong

Language: Cantonese, Mandarin, English, Japanese, Indi

[nopefun]

Interview #495: Quince Pan

q: Give a short introduction of yourself: a: I am Quince Pan, a documentary photographer born in 2000, currently based in Singapore. I am now waiting to enter university to study Philosophy, Politics and Economics.

q: What is your series "JBM" about? What was the process of making the series? a: “JBM”, my family’s abbreviation of “Jalan Bukit Merah”, is a documentary photo project centred on my maternal grandmother, Lau Giok Niu, her cultural heritage and her HDB flat where I spent my childhood under her care. It is my first exhibited series and also my first serious long-term documentary project.

In 2015, I followed my grandmother to visit her hometown in Fengwei, Quangang District, Quanzhou City, Fujian, China. Bringing my camera along on the trip, I noticed that instead of shooting purely for fun or beauty, I would include certain objects (for example, a calendar on the wall) in my frames because they had historical significance. I submitted those Fengwei photos as my portfolio for the 2016 Noise Art Mentorship (Photography and Moving Images). I got selected, and my mentor, Jean Qingwen Loo, urged me to pursue a project which I could speak authentically about. Through her criticism, I learnt to further prioritise meaning over style. My grandmother and my childhood were topics close to my heart, especially as she cared for me during my childhood and gave me the gift of the 头北 Thâu-pak dialect, a unique variant of Hokkien from the Quangang District. Eventually, “JBM” was born as my mentorship capstone, and was exhibited at the “Between Home and Home” Noise Art Mentorship Showcase at Objectifs in 2017. I haven’t stopped shooting; that’s why it’s an ongoing long-term project!

“JBM” contains a range of visual styles, ranging from photojournalistic fly-on-the-wall documentations of heated family discussions and visits by distant relatives from China to more tender images of sunlight at the void deck where my late grandfather’s wake was held in 2006. Rituals and festivities are anthropologically significant, so I pay particular attention to Chinese New Year, the Qing Ming Festival and the Winter Solstice, which my family celebrates. I also look at how other photographers document their families: Bob Lee, Nicky Loh, Bernice Wong, Brian Teo and Nancy Borowick.

More broadly, “JBM'' extends beyond photography and is a family history project. Since 2013, I have been researching the Quangang district, 头北 Thâu-pak dialect and my grandmother’s clan. I discovered that other descendants from her clan established an ancestral temple in Singapore, which initially stood on Craig Road but is now housed in a flat in Telok Blangah. I already did some fieldwork, interviews and preliminary documentation, which led to an article I published in April 2021 in Daojia: Revista Eletrônica de Taoismo e Cultura Chinesa. Maybe I will explore this in greater depth in future photo projects!

q: How did you get into photography? a: When I was around seven years old, I loved to play with my father’s Fujifilm compact. As a young student, I hadn’t heard of terms such as “light painting”, “Dutch angle” and “rule of thirds”, but those were the techniques I subconsciously used in my photographs. 

I entered the Noise Art Mentorship, as previously mentioned. During the school holidays, I worked as a media intern at Logue and as an assistant at Objectifs for the “Passing Time” exhibition and book by Lui Hock Seng. Through these work experiences, I learnt so much from Jean Loo, Yang Huiwen, Ryan Chua, Lim Mingrui and Chris Yap: news angles, editorial writing, scanning and touching up negatives and slides, colour management for print, liaising with clients and issuing invoices, among other skills. As part of the Noise Art Mentorship, I was given a copy of “+50” by the PLATFORM collective, which opened my eyes to diverse approaches within the documentary genre. I started to regularly attend talks at Objectifs and DECK, where I got to know people in the local photography scene, particularly in the documentary tradition.

q: You also do videography. How do you see it in relation to your photography? a: Videography requires a different way of seeing and thinking compared to photography, because video has additional temporal and auditory dimensions. With photography, I don’t have to think about how long I want a scene to be, what foley and B-roll I want to overlay, or have a storyboard in my head before heading out to shoot. In that sense, photography is more reactive to and receptive of situational contingencies because it requires less pre-planning. 

Also, photography can be a solitary endeavour, but it is quite difficult to make films alone, and the schoolmates I used to make films with have since embarked on separate paths in life. However, photography and videography share the same basics as visual media: composition and sequencing.

Fundamentally, I see myself as a documentarian, and this applies to any medium I work in, be it photography or videography, or even writing. The end goal is to record and share history by telling stories from lesser-known perspectives. Thus, the topics of my video projects are similar to the topics of my photo projects; sometimes I do both side by side! The films I made were all documentary shorts of places which do not exist anymore, such as the Hup Lee coffee shop at 114 Jalan Besar and the old Sembawang Hot Spring before NParks took over the site from MINDEF and redeveloped it. 

Currently, I am working as a videographer for Sing Lit Station’s poetry.sg archive. Thankfully, this job can be done solo!

q: What or who is inspiring you right now? a: Bob Lee, for being an amazing father and spreading hope and joy to others through his images. Alex and Rebecca Webb, for pairing literature with photography. Tom Brenner, for approaching photojournalism like street photography. Sim Chi Yin, for her international achievements and being both an academic and a practitioner. Brian Teo, for being an eminent contemporary. Last but not least, Kevin WY Lee’s advice, “CPR: Craft, Point, Rigour”, which I try to benchmark my work against.

q: Upcoming projects or ideas? a: Nothing concrete on my mind so far. I am just going to see where life takes me and what topics life makes me want to explore or talk about.

q: Any music to recommend? a: First and foremost, my fight song: “倔强 Stubborn” by Mayday. A close second, Queen’s 1986 “Under Pressure” live performance at Wembley is a transformative experience. The catchy “他夏了夏天 He Summered Summer” by Sodagreen brings out the grandeur in the mundane. “Silhouette” by KANA-BOON and “Everybody’s Changing” by Keane remind me of the fragility of life and time. I also like The Fray, Kings of Leon, Last Dinosaurs, Stephanie Sun, Tanya Chua, and the Taiwanese indie band DSPS.

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[lightdancer1]

ATLA AUs worldbuilding, the Earth Kingdom:

The Earth Kingdom is heavily based on Imperial China, largely that of the Qing Empire even if Kuei's immediate ancestor was named after a Ming Dynasty Emperor and incorporated a mishmash of a number of warlike conquering autocratic Chinese Emperors like Han Wudi and Tang Xuanzong.

As with the Qing Empire it has provinces in most AUs, though in the Fire and Water and Earth and Air verse the system has changed slightly to the older-model Commandery that tends in practice to be ruled as a near-independent fiefdom by generals who nominally profess allegiance but are almost independent warlords in their own right.

Each province in peacetime blended a civil official and a military official and the two in theory worked together to keep control of the region, with the civil officials having Yamen/village headmen answering to them and the military officials oversights of garrisons and unless the entire kingdom was drawn into a war, responsibility for lower-scale threats. In the southernmost regions like Omashu, there was a de facto independent monarchy since before the time of Kyoshi, with the Kingdom of Omashu set up not so much in the line of the Earth Kingdom but as an autocratic hereditary monarchy which in practice tended to be ruled by any warlord capable of seizing the throne and thus more than slightly unstable and thus Ba Sing Se de facto allowed it to exist as long as it was sufficiently weak.

As with IRL China the Western territories were the most distinct and unlike the broader Earth Kingdom, among the last-conquered and they were Earth Kingdom from anywhere to 150 to 50 years before the Fire Nation conquered them themselves under Fire Lord Sozin in the opening campaigns of Sozin's war.

The northern territories centering on Ba Sing Se speak a language akin to Mandarin but have a set of cultures that in the past were nomadic and freely ranged to conquer as much of the Earth Kingdom as they could. The Hu-Ting Dynasty itself is the second iteration of one of these from a culture patterned on the Jurchen and/or Manchu, which is at least part of why the deeply Han culture of Omashu ignores it whenever possible. As with the Chinese world the cultures of the North tend to be heavier with a cultural vice of gluttony, the cultures of the South were absorbed somewhat later and include multiple minorities. Gaoling Province is specifically based on Vietnam, with the Foggy Swamp Tribe including the Hmong and a few of the other 'Montagnard' peoples and the Hmong proper as neighbors who retain more of their original cultures.

The Si Wong Desert people include elements of the Fremen from Dune and are the major Semitic nods in-universe, with cultural patterns of tribes, local gods and temples, and a desert-nomadic vibe. In the real Asian world the Asian desert nomads included the Mongols but as they're Fire National in this AU I went with the pire-Islamic Arabs instead. This vast cultural gulf between them and the rest of the Earth Kingdom is one reason why the Earth Kingdom usually elects to ignore that the Si Wong territories are technically within it until the Hundred Year War shook them into it.

The military structure varies from the elite Bannermen-style forces, which as mentioned before are the ones that reliably do the best against the Fire Nation. There are also new-model military units based on Fire Nation models formed by Marshal Zheng Guofan which did so much to make the Hu Xin Provinces campaign a 20 year campaign and as difficult as it was for the most victorious Fire Nation General to win.

The bulk of the Earth Kingdom Army is peasantry that couldn't outrun the impressers, who get their military training by actual combat in a system that is highly inefficient and wasteful of human life. Given the Fire Nation annexed the western territories and roves ever more deeply at will the Earth Kingdom couldn't afford more formal practices even though it gravely wished to have the chance to wield them.

The Dai Li are a secondary element that if they did deploy (and the few occasions even under Long Feng where they did deploy en masse they actually curbstomped mercilessly any garden-variety Fire Nation force so unlucky as to face them) would be among the most powerful and dangerous forces in the Earth Kingdom. Earth King Yong Le's mass deployment of them was a key factor in extending the Siege of Ba Sing Se and ultimately in the Earth Kingdom's victory.

The Dai Li are nominally supposed to be a Jedi-style religious-monastic order safeguarding the Earth Kingdom from tyrants without and within, but unlike the Jedi they turned into later-model Janissaries through their growth in power during the war and in the last stages of it made a serious bid to seek power in the near-subcontinental expanse of Ba Sing Se at the expense of the broader kingdom.

They were not *supposed* to become an analogue of all of the many secret police agencies in real life but this is what they did because of their performance in the war and in the pursuit of power under King Kuei.

Earth Kingdom languages are based on all the Chinese languages, Mandarin and Manchu in the North, the various southern languages in the south, with Vietnamese, Bai, Hmong, and Thai languages among others spoken in the southern expanses.

[fayewonglibrary]

Faye Wong’s 18 best songs (2020)

from Cantopop to grunge, Chungking Express to Final Fantasy VIII – Hong Kong’s ultimate 90s diva

From her Chinese-language covers of The Cranberries, Tori Amos and Cocteau Twins to her iconic statement album Di-Dar, Pledge and 100,000 Whys, Faye Wong left an enduring mark on the Asian music scene – from alternative Western styles to big balling ballads, and embracing Cantonese before returning to her native Mandarin

Faye Wong was the ultimate Hong Kong diva of the 1990s. Her nightingale voice, artistic persistence, indifference to fame and unmistakable style made her one of the city’s most singular celebrities.

While most of us might know her for that cover of The Cranberries’ Dreams, or providing the vocals to Eyes On Me, the ending theme song for Final Fantasy VIII , Wong didn’t hit the big time until her fourth studio album “Coming Home”. After a modelling stint and coming third in a singing competition, Wong had been signed by Cinepoly and came under the tutelage of Tai See-chung, who also trained Hong Kong megastars such as Anita Mui, Aaron Kwok, Andy Lau and Leon Lai.

Her original name Wang Fei was considered too mainland-sounding for the Hong Kong market and her record label gave her the name Shirley Wong. However, given the mediocre success of her first three albums, she was sent to New York to undertake vocal training and as a cultural exchange. It was in the Big Apple where the artist found herself, saying in an interview:

“I wandered around, visited museums and sat at cafes. There were so many strange, confident-looking people. They didn't care what other people thought of them. I felt I was originally like that too, independent and a little rebellious. But in Hong Kong I lost myself. I was shaped by others and became like a machine, a dress hanger. I had no personality and no sense of direction.”

It was this realisation that led to her becoming the idol that she is today, a performer who gradually transitioned from Cantopop love ballads to composing alternative tunes for her own albums. While she has taken a step back from the limelight since her second marriage in 2005, here are our favourite songs by the Cantopop queen turned alternative musician.

Vulnerable Woman

In 1992, Greed of Man was TVB’s big budget show of the year and is still lauded as one of the network’s best dramas. Faye Wong’s Vulnerable Woman was the music played when the heroine tragically died. The song immortalised the scene in the hearts of viewers all over Hong Kong.

No Regrets

“No Regrets” was the follow up album to “Coming Home” and it didn’t disappoint. The eponymous single was a huge hit.

Monsoon

Another hit from the “No Regrets” album. A mellow Cantopop number that resounded in the halls of karaoke lounges for years to come.

Summer of Love

“100,000 Whys” is the album where many see Wong coming into her own. Shedding her stage name Shirley, Wong went back to using her given name – Wang Fei – in Chinese and changed her English name to Faye. Her album brought grunge to the Hong Kong public’s consciousness as well as adopting other bold style experiments of the time. Summer of Love was a small step away from the string of ballads she was known for and appealed to her younger fans.

Cold War

A cover of Tori Amos’ Silence of the Year with lyrics beautifully adapted by Albert Leung. Amos’ vocals weren’t easy to replicate and Wong was able to apply her style while staying true to the original.

Pledge

The Beatles’ “White Album” was considered to one of their best as well as being one of their more experimental. For Wong’s fans, her choice to issue the “Random Thoughts” album in white with the words embossed in cream, came to feel similarly pivotal. Covering two songs by the Cocteau Twins, this album was Wong’s first move into alternative rock. Pledge is the first song she wrote alongside her then partner and eventual husband Dou Wei and was the first original Mandarin song to be featured on tracklists.

Dream Lover

Wong’s cover of The Cranberries’ Dream is a landmark due to the fact that she adapted lead singer Dolores O'Riordan’s vocal style of keening and yodelling thereafter. The song was featured in Wong Kar-wai’s much acclaimed feature film, Chungking Express, which Wong also starred in, catapulting her into the international spotlight.

Sleepwalk

This song showcased Faye Wong growing into her adopted style, using a slight yodel in the intro to this original score by C.Y. Kong.

Honeymoon

The next album, “Please Myself”, while not as much of a commercial success as “Random Thoughts”, included this hit single, and also the title track and Exit on the tracklist, all self-penned by Wong.

Angel

The year 1994 was a prolific one for Wong as not only did she release two Cantonese albums but a Mandarin one as well, with translated works and a few original scores. Angel continued Wong’s experiment with alternative music and was also the theme song of the fantasy film, Mermaid Got Married.

Brink of Love and Pain

The ballad that anchored the “Please Myself” album was one of the last conventional Cantopop songs by the pop diva and began the divide between her own musical style, and commercial and mainstream tastes.

Di-Dar

Di-Dar was featured number 27 in Ming Pao Weekly's list of “40 Classic Cantopop Albums of the Last 40 Years” in 2008. Music journalist Fung Lai-chee described it as “the best psychedelic and bestselling avant-garde work in Cantopop, with songs that are self-centred, ignoring [the] market and others' work.”

Ambiguous

This ballad was written to appeal to the mass market and is a favourite among Wong’s fans.

Anxiety

Considered one of the riskiest albums of Wong’s to date, this album falls squarely in the alternative category. Many of the songs didn’t include proper lyrics – a cardinal sin in the age of karaoke – and it wasn’t well-received by the mainstream market at the time. However this album scores high in listenability and deserves more of an audience.

Eyes on Me

It was a matter of national pride when Wong provided the vocals for the ending theme for arguably one of the most popular RPG games of the 1990s, Final Fantasy VIII. It was the era just before streaming took off and YouTube even existed so scores of fans forged ahead to finish the game, solely to arrive at the end credits to hear the song.

Hundred Years of Solitude

The “Lovers & Strangers” album was one of Wong’s bestselling albums and after its release in 1999, Guinness World Records declared Faye Wong the best selling female Cantopop artist of all time. It was also the beginning of Wong’s departure from prioritising the Hong Kong market and releasing more and more songs in Mandarin, her mother tongue.

Chanel

Wong established herself more clearly as a songwriter by penning five of the songs on the tracklist of the “Fable” album. Her singing style had matured and moulded itself to her style of songwriting while she pushed at the boundaries of popular music.

Withered Flower

“To Love”, released in 2003. was the last of Wong’s studio albums to date and Withered Flower the last Cantonese song she has presented to her Hong Kong fans.

by: Lisa Cam

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SOURCE:  SOUTH CHINA MORNING POST

[cinematicct]

Mulan (1998)

🐉

Based on the legendary Chinese heroine of the Han dynasty, this Disney animated movie tells the story of a maiden who disguises herself as a soldier to take her aging father’s place to fight off invading Huns.

The voice cast includes: Ming-Na Wen as Mulan, BD Wong (aka Dr. Henry Wu in Jurassic Park) as Captain Li Shang, Harvey Fierstein as Yao, Eddie Murphy as Mulan’s dragon companion Mushu, Pat Morita (aka Mr. Miyagi in The Karate Kid) as the Emperor of China, James Hong (aka the voice of Mr. Ping in Kung Fu Panda) as councilman Chi-Fu and Miguel Ferrer as Hun leader Shan-Yu.

Ming-Na Wen’s vocal performance is the prime example of a protagonist who proves herself worthy of challenging gender norms in contrast to a traditional Disney heroine. Though Mulan is the true hero of the story, BD Wong’s voiceover role as commanding officer is just as essential. Eddie Murphy (pre-Shrek) conveys timely jests to a reptilian sidekick who provides much-needed comic relief to compensate for the seriousness of war. Harvey Fierstein’s distinctively gruff-sounding voice adds a colorful burst of cantankerous humor to a fellow fighting comrade with short man syndrome. Pat Morita, instead of playing a character known for his unorthodox fighting techniques, voices a Chinese Emperor with a richly addressing tone. Another animal character that helps Mulan is a seemingly lucky cricket named Cri-Kee.

While the characters are lavishly drawn, one particular scene where a massive army of Huns charge towards the Imperial Army is done in computer-generated imagery to move them in an orderly fashion. That same technique was used in the wildebeest stampede in The Lion King.

The backgrounds are designed to reflect the artistic style of ancient China. From the Great Wall to the extravagant palace of the Emperor, this traditionally animated Disney film pays meticulous attention to detail in regard to color, imperial history and architecture.

In terms of martial arts, the training sequences are not just authentically physical, but the characters develop a highly unique physical style. For instance, Mulan combatively disarms the evil Shan-Yu with a fan, therefore using her femininity to her advantage.

The soundtrack consists of an assorted number of singers who complement the film’s memorable songs. The track list includes: “Honor to Us All”, “Reflection” (performed by Broadway star Lea Salonga), “I’ll Make a Man Out of You” (performed by Donny Osmond), “A Girl Worth Fighting For” and “True to Your Heart” (performed by Stevie Wonder featuring pop/R&B vocal group 98 Degrees). Last but not least, Christina Aguilera (for her debut album) sings the full pop version of “Reflection”.

In closing, the moral of the story is to be free to take risks in pursuit of your goal and (most importantly) embrace your identity against all odds. I recommend this honorably impressive film to every fan of Disney and Chinese folklore.

[artofcinema]

all movies watched MAY 2020

A Slightly Pregnant Man (1973, Jacques Demy)

A Visit from the Incubus (2001, Anna Biller) (Short)

Antiviral (2012, Brandon Cronenberg)

Arabian Nights (1974, Pier Paolo Pasolini)

Ashes of Time (1994, Wong Kar Wai)

Aves (1998, Nietzchka Keene) (Short)

Babette’s Feast (1987, Gabriel Axel)

Bernie (2011, Richard Linklater)

Cactus Flower (1969, Gene Saks)

Carving Magic (1959, Herschell Gordon Lewis)

Chinese Roulette (1976, Rainer Werner Fassbinder)

Detour (1945, Edgar G. Ulmer)

Diamantino (2018, Gabriel Abrantes & Daniel Schmidt)

Ecstasis (1969, Toshio Matsumoto) (Short)

Everything Visible Is Empty (1975, Toshio Matsumoto) (Short)

Expansion (1972, Toshio Matsumoto) (Short)

For My Crushed Right Eye (1969, Toshio Matsumoto) (Short)

Forever’s Gonna Start Tonight (11, Eliza Hittman) (Short)

Fry Day (2017, Laura Moss) (Short)

Gilda (1946, Charles Vidor)

Henry & June (1990, Philip Kaufman)

Irma Vep (1996, Olivier Assayas)

It Felt Like Love (2013, Eliza Hittman)

Le Notti Bianche (1957, Luchino Visconti)

Lick the Star (1998, Sofia Coppola) (Short)

Metastasis (1971, Toshio Matsumoto) (Short)

Mona Lisa (1973, Toshio Matsumoto) (Short)

Notre-Dame des Hormones (2015, Bertrand Mandico)

Oedipus Rex (1967, Pier Paolo Pasolini)

One Sings, the Other Doesn’t (1977, Agnès Varda)

Orlando (1992, Sally Potter)

Phantom (1975, Toshio Matsumoto) (Short)

Querelle (1982, Rainer Werner Fassbinder)

Rebels of the Neon God (1992, Tsai Ming-liang)

Sada (1998, Nobuhiko Ōbayashi)

Saute ma Ville (1968, Chantal Akerman) (Short)

Spirits of the Dead (1968, Roger Vadim, Louis Malle, Federico Fellini)

Street of Crocodiles (1986, The Brothers Quay)

Swann in Love (1984, Volker Schlöndorff)

Teorema (1968, Pier Paolo Pasolini)

The Canterbury Tales (1972, Pier Paolo Pasolini)

The Dead Don’t Die (2019, Jim Jarmusch)

The Decameron (1971, Pier Paolo Pasolini)

The French Lieutenant’s Woman (1981, Karel Reisz)

The Scalphunters (1968, Sydney Pollack)

The Skin (1981, Liliana Cavani)

Three Examples of Myself as Queen (1994, Anna Biller) (Short)

Toby Dammit (1968, Federico Fellini)

Tonight and Every Night (1945, Victor Saville)

Trapeze (1956, Carol Reed)

Water Lilies (2007, Céline Sciamma)

Wuthering Heights (2011, Andrea Arnold)

[serenewongms]

Thank you for the old name, notice the new name, the name is justified.♥️♥️♥️♥️ Good morning everyone! Good luck keeps getting better ♥️♥️♥️♥️ From now on, I'm justified Wang Ming Xi 王铭汐❤️❤️ I, Wang Ming Xi, 王铭汐have justified my name with powerful of universe energy. Here I would like to thank my parents for giving me Wong Min sing I am grateful that this name has accompanied me through so many years of ups and downs. I am grateful to my family, relatives, friends, colleagues and teachers for calling me this name for so many years. I am very grateful for all! I, Wang Ming Xi王铭汐, wish everyone all wishes come true, good health, good fortune, everything goes smoothly, 💰prosperous wealth, prosperous business, happy family, better and better❤❤❤ More and more prosperous💰💵💴💷💶#serenewongms #trendyfengshui #namechange (at Trendy Astrology & Geomancy Consultant) https://www.instagram.com/p/Cm3Te6yp_wv/?igshid=NGJjMDIxMWI=