#the lighting the music the editing the sound design the CHOREOGRAPHY

[folieadeuxdy]

it’s real john wick contemplation hours

[toc-the-elder]

Okay no I need to talk about this.

Dune was just fucking perfect. I rewatched Part One in 4K last night and just saw Part Two in IMAX.

The cinematography was just absolutely stunning. Every single frame was breathtakingly beautiful and incredibly purposeful. The score was so intense and I adore it. Very Blade Runner 2049 in the desert. Just an overwhelming wall of sound.

And the violence seems so much more brutal and visceral this time around. Working within a PG-13 rating is difficult when your universe so heavily involves sword fighting, but the editing, choreography, sound design, and occasional splatter of blood really sold a sense of brutality that the oddly bloodless Part One lacked. My friend was surprised to find out it was a PG-13 after we left the cinema. I suspect that Part One was tamed to better fit a PG-13 rating, but they felt more comfortable in Part Two.

The visual design was stunning. Geidi Prime during the day was a highlight of the film. The stark black and white lighting and the insane scale of the structures on screen literally took my breath away.

And they cut all the stuff that annoyed me in the books. Like I am so glad they cut certain younger characters to give more of a fitting arc to our already established cast. And they really leant into the theme that Paul's quest for power is not an aspirational thing. The music and the cinematography never let you believe it's anything other that a cautionary tale.

Just holy shit.

Denis Villenueve does not miss.

My favourite director of all time just gave me a perfect adaption of one of my favourite books and I am so fucking happy. It was not what I expected, but everything I wanted.

[anglaoshi]

Red Rapture - Algger - Hello Dance

It’s time to discuss Red Rapture. When I reach for words to describe this piece, I keep coming back to magisterial. It’s not quite an appropriate descriptor in a literal sense, but this choreography feels overwhelmingly authoritative and complete nonetheless. Certainly, the emotional center of this piece is Algger’s leading energy as he lords over the ensemble with a sense of expertise or mastery. So too is there a feeling of historical fiction, anachronism, or place-out-of-time-ness. 

On the subject of Algger as magister, this work opens with a bit of expert insight in the form of a title card, which reads:

In order to be despicable, prey upon other people You can escape the people of the world, but you can’t escape the customs of the world <<--Red Rapture>>

Some notes on the language here: The first character, 以, indicates instruction. And the phrase we have translated as “prey upon” is also used as “rapture” in “red rapture.” From what we can gather, this is Algger’s original aphorism (please chime in if you know a different source!). I appreciate his flair for the fictional here. Highly produced, narrative, or cinematic dance videos usually aren’t my favorite, but I appreciate the plotting effort nonetheless. Many thanks, as always, to our illustrious translator and all-around legionfairy, @briochebread.

The lighting design is an important component of the mood here, with Algger being emphasized by warm white key light in an otherwise dark red scene. Even at the midpoint, where Lancer receives narrative focus, she doesn’t receive the same lighting treatment. This video is more heavily produced than most of Algger’s or Hello Dance’s other works. Even though they are performing in their usual venue, the space still feels unfamiliar and much more self-contained or isolated than this stage usually feels because of the way the light drops off around the edges. The music for this piece is a remix of Mop Head by glitch hop icon edIT, an interesting transformation from its brooding, emotional roots into an impactful and dark sound. I like the costume design too– I believe the 昂 icon skirts are from his Tokyo Gegegay fashion collab. 

Of course, the most notable element of the costume design is the red blindfold Algger wears. The design of the blindfold fabric itself is a bit subdued, and it fades into the red light that washes the set in a way that produces dissolution or ghostliness. Blindfolds are not so uncommon as props in dance, but they’re always a cute little flex. Dancing while blindfolded is quite difficult, since dancers can’t coordinate visually with other dancers or visually monitor their own performance. Moreover, a blindfold changes your balance and proprioperception (the sense of where your body is within space, and how it’s moving). In this case, Algger’s blindfold serves to raise the stakes regarding precision of movements among the ensemble. Thematically, it’s a binding whose removal (at the midpoint of the performance) signals a shift in power. 

The piece opens with a scene in which Lancer, the narrative antagonist, places the blindfold over Algger’s eyes. I think it’s appropriate to read an eroticism into this scene. Algger’s aesthetic sensibilities in this era were heavily influenced by his beloved Tokyo Gegegay, whose work venerates queer eroticism. (Note: The linked music video isn’t explicit but it’s slightly NSFW anyway. ダンスが僕の恋人 is my favorite fetching fever dream of theirs. Mikey is so gender that it makes my eyes feel like they’re melting a little.) Tokyo Gegegay’s eros manages to be hamfisted and bijou at the same time, to a charming effect. Red Rapture’s emulation of the same is underdeveloped by comparison, but one can appreciate the aspiration.

Symbolically, the thick red band of the blindfold ties Algger’s costume design to Lancer’s thin red headband, emphasizing Lancer’s role as the secondary character/antagonist of the piece. When the blindfold comes off, it signals a shift in the balance of power for both the characters of Algger and Lancer, as well as the choreography itself. The first part of this piece is highly detailed, precise, and intricate. The second part carries the ideas of the first into larger, more cinematic designs. As is expected of Algger in this era, the dense and finely detailed hand designs are much better embodied than the fullbody designs. But, being not-that-great is an important stage of growth, and the latter half of the performance still has its share of enjoyable moments. 

The thing about Algger dancing extremely Algger’s Shit in an ensemble is, he really is peerless when it comes to his characteristic techniques. The ensemble has made a really admirable attempt, and when you let the performance wash over you, it’s not too noticeable. Given the plot and the overall vibe of this piece, which relies on creepily mechanical, synchronized, rapid movements, this work is better for the presence of the ensemble. Still, Algger’s hand designs have an inimitable depth of ornamentation, and the incredibly clean margins on their execution are part of his signature style. Frame after frame, beat after beat, image after image, Algger dance is dark time wizardry, and no one else comes close. 

This open-palmed descending zigzag is the first moment with big impact, an unusual and arresting design. This choreography is built on two major geometric foundations, right angles and half-circles, fractally combined and recombined. We’ll see a descending zigzag like this again in the midpoint of the piece, in a full-body echo by Lancer.

We see the two-shape motif in this little moment, where the right angle and the arc occur together. This move is almost cutesy. There’s something demonically charming about it. 

I love these twisting hand circles, a signature feature of Algger’s hand performance through the eras. In this choreography, circles evoke themes of containment and reversal. In this design, digits crawl in a way that foreshadows my favorite design in this piece: 

This little monster is so creepy! It’s a very strong isolation as well. You can really feel the scramble of the hand-creatures against the immobile landscape of bodies.

While the first half of this piece is mainly characterized by intricate hand motions, it isn’t completely devoid of big designs: Here’s a baphomet! I appreciate the restraint employed in the execution of this design, which flits scarily through the choreography without stifling the momentum.

After a long period of heavy synchronization, we get this striking little break. The backup dancers sweep their arms in a hemicircle, and there’s a eerie deceleration to the arc. Meanwhile, Algger has a mini-solo with highly graphical imagery. The designs seem to evoke some kind of magic, perhaps a summoning. The slow motion of the ensemble is juxtaposed with Algger’s quick, precise designs, creating a dreamy effect like swirling haze.

I quite enjoy this over-the-head hand wave. It’s cute, smoky, and a bit whimsical. Unfortunately, it’s rather lacking in fluidity, especially in the left hand, resulting in an odd effect where the move is half-fluttery, half-fluid. Ambidexterity is hard, and anyway, I do always appreciate a nod to classic voguing sensibilities, with whirling hands set close to the face like this. 

This first part is so great, thickly layered with cute little monster designs in between each of the concept-moments I’ve highlighted here. It’s a 45-second torrent of visual delectables.

The second half of this piece increases in scale, with both the movements themselves becoming larger and the choreographic phrases becoming longer. Here we see the results of the summoning, the unbound forces flowing from precise incantations performed in the first half. 

In the middle of the piece, Lancer gets the spotlight for a moment, with a series of isolations expressing the motifs of hemicircles and zigzags. In the background, Algger perches grandiosely on a seat-as-throne, removing his blindfold as Lancer dips low with a wavering body.

When the camera turns its attention back to Algger, minus the blindfold, performing a threatening and triumphant return, exerting physical-magical control over the ensemble (minus Lancer). This second part utilizes a much larger sphere of motion, but it’s still the hand designs that are the most arresting.

For example, we see the delightful return of hand-creature, another moment of reversal. This movement feels avian, contrasting its previously monstrous connotation. Instead of descending toward the elbow, here it seems to be released from a hip pouch, leaping into the air over the shoulder before fluttering back toward the dancers’ faces, melting into the next moment. This design makes my heart race, so graphic and sharp.

This big design is the major motif of the second half. Full of rampaging power and malevolence, the monstrous energy assaults cinematic reality itself. This is a bigger and wilder permutation of the circles and right angles we've been seeing throughout the piece.

There’s a bit of plot in the middle of the second part that I struggle to fully narrativize here. Among the intercut images, there is a shot of the blindfolding scene, then a powerful pose by Algger. At the end of this temporally unmoored sequence (another consequence of the performance’s reality warping power) we see the blindfolding image once more, then Lancer opposes the rest of the group for a mini-solo. At first it looks like they’re going to have a dance/magical battle, the ensemble riffing on Lancer’s moves. But that idea is pretty immediately dropped, and instead, Lancer performs a series of moves that culminate in a force wave that staggers the ensemble, who regroup and move on. I’m not entirely sure what to make of this section from a story standpoint. It’s useful for pacing, however, drawing out some tension with relatively sparse motion, to contrast the energetic and direct finale. 

This penultimate moment is my favorite in the second half. The little twirl is so bewitching! There’s an exuberance to the execution that makes the character a bit cute. I like the arm wave too, it seems to evoke tentacles, or perhaps tendrils. In many ways, the dance itself, the ensemble, represents an eldritch being. Revealing these unexpected facets at the end here, showing the audience its personality and physicality, is a surprising turn. Where before we saw wickedness and drive, now there’s a hint of sweetness, the charm that is the true source of this being’s power.

Red Rapture has one of Algger’s strongest endings ever. In the finale, we see a reversal of the introduction. Instead of passively submitting to the restraint of a blindfold, Algger dominates the ensemble, bending them to his will, before degrading us, the viewers, spitting in our faces. I’m a professional, so I won’t say, “yes, daddy,” but also… I wouldn’t not say that. This type of ending is emblematic of Algger’s choreography in this era: kinky, transgressive, and alienating. Choices like this are weird and they make you feel off-balance, the sensation of transitioning suddenly between realms.

Unlike most of Algger’s choreographic work, which is typically set up to document a dance performance without elaborating much utilizing the film medium, this video is heavily produced, with artistic editing, cinematography, and explicitly narrative elements. I certainly don’t prefer this approach to dance performance videos in general. There’s such a gulf between the artistic foundations of dance and film that it’s difficult to synthesize the genres, even for individuals who are expert in both fields. This attempt is serviceable, even pretty good, though– the cinematic elements serve their purpose, creating a depth of story and atmosphere that envelops you. 

Overall, this piece is an excellent specimen of mid-era Algger. Dark, dense, imaginative, and esoteric, it draws you in even as it strands threateningly apart. I cannot understate the appeal of this type of visually lush, thematically occult, narratively opaque work. No matter how many times I watch it, or how carefully I look, there is always more mystery, fear, and surprise that keeps me in its thrall. 

Thanks to @kamicelll for the request! And thanks for your patience- I find that sitting with a work for a while really deepens its criticism. 

Next installment: Worth It, Algger’s charming and lyrical take on the electro-soul masterpiece by Moses Sumney.

Post-script

I struggled with whether to include these, but I have Opinions regarding Algger’s body in this video. So, if that’s not your jam, thanks for reading, and I’ll catch you next time. Otherwise, put on your “let him cook” goggles and let’s dive in. 

In general, I think fatter dancers are usually more interesting to watch. Thin dancers are terribly common, and there’s something grating about the dance industry’s tendency to cast the exact same body type in every role. Fat bodies are, artistically and aesthetically, highly valuable. They create variety in momentum, friction, and volume far beyond what can be expressed by thin bodies alone. Given the world we live in and the culture of professional dance especially, fat dancers carry a disarming pathos and emotional valence. Dance is infested with a trite devotion to its endless deluge of too-similar bodies, and I resent the constraint. There’s no true artistic reason to choke the human bounds of an art form so viciously. This obsession with thin dancers is art subordinated to mere (fascist) aesthetic. I hate it.

Regarding Algger specifically, he’s gotten so thin lately! Obviously, it’s his body and he can do whatever he likes with it. But a devotee worries. I’ve been spending a bunch of time on Algger’s new videos recently, and it’s quite a different appearance than in the era in which this video came out. He’s got such a normal look right now! His edges are flatter now, clothes drape differently across him, and it’s just so dreadfully ordinary. Ah, maybe I’m pouting too much.

In Red Rapture, the signature features of Algger’s choreography produce a sublime, elegant impact from upon this softer body. There’s a lovely contrast between the sharpness of the motions and the sweeps of Algger’s physicality. At the same time, his body, contrasting the waifish ensemble, emphasizes his role of otherworldly power and dominance. 

I don’t mean to be prescriptive or nosey about Algger’s body size. As I said, I wasn’t sure whether to even mention it here. It’s not really my business. Furthermore, I’m aware that I’m out of step with mainstream opinion on these issues, and I’m not interested in tedious internet bickering. But it’s such an essential part of my experience of Red Rapture. As a piece of embodied performance art, the soul of this work can’t be compartmentalized or dissected apart from Algger’s body (and the bodies of the other dancers, but those are both less interesting and less emphasized by the production itself). Ultimately, my criticism would be incomplete if I didn’t address it. 

[samplingsofsam]

NIKE - AWAKEN YOUR MADNESS from Sam Pilling on Vimeo.

STARRING: ERLING HAALAND VINI Jr. KYLIAN MBAPPE and RONALDINHO

with: Mousa Mballo as YOUNG VINI Algirdas Varzgalys as YOUNG HAALAND Ichie Reich Reid as YOUNG MBAPPE

Kweku Katabra-Ansah - VINI’s DOUBLE Ben Fitchett - HAALAND’s DOUBLE Henry Ikeije - MBAPPE’s DOUBLE Miqueias Souza - RONALDINHO’s DOUBLE

CREW: Client: Nike Football | Agency: W+K | CDs: Becca Pottinger & Albert Pukies | Creatives: Adam Crockett, Will Wells & Sammy Watts Stanfield | Agency Producer: Chloe Bradley | Agency Production Assistant: Lea Georgiev | Director: Sam Pilling | Director’s Assistant: Maxi McLachlan | Production: Magna Studios | EPs: James Sorton & Davud Karbassioun | Producer: Neil Andrews | DoP: Norm Li | 1st AD: Julian Richards | Production Designer: Marco Puig at LUX | Sports Choreography: Bohdan Pylypchuk, Zak Ansah & Andy Ansah at Sports on Screen | PM: Ben Burdock | Production Coordinator: Michelle Cheung | Service Company - Madrid & Paris: 24/7 | 24/7 MD: Ivo | 24/7 EP: Lole | 24/7 Ambassador: Jordi Molla Castillo | 24/7 Producer: Nayla Soffita | Paris Producer: Benjamin Zorilla | Service Company - Manchester: LS Productions | EP: Sarah Drummond | Producer: Emma Hughes | Art Director: Sami Khan | Casting: Kharmel Cochrane | Wardrobe: BRATSK | Playback: Celitoncia | 2nd Ad: Catalina Parra | 2D VFX: Miguel Wratten | 3D VFX: Sam Osborne | Lighting: Mad crew | Camera: EPC cameras | Gaffers: Alex Garlhop & Sergio Fuidia | Key Grips: Alfonso Lujan & Leandro Iruzan | 1st AC: Felipe Larrondo | 2nd AC: Joel Jpg | Loader: Vivian Yann | Location Manager: Miguel Pareja | SFX: Cesar Alcaide and Pau Costa | Special Props UK: Machine Shop | Rain SFX: Richard Van Den Bergh at Evolution SFX | Stunt Coordinator: Cuco Usin | Chaperone: Nuri Di Moles | Edit: Fouad Gaber at TRIM | Colour: Simone Grattarola | VFX: Time Based Arts | Film Analogue Effects: Peter Hagge at Film House Canada | Film: Kodak | Film Lab: Cinelab London | Sound: Sam Ashwell at 750mph | Music Supervision: Sunny at Curation | Additional Music: Mr Pape and London Contemporary Voices Choir Music track: Screaming Jay Hawkins “There’s Something Wrong With You” licensed by Sony Music

[ulkaralakbarova]

After a deadly earthquake turns Seoul into a lawless badland, a fearless huntsman springs into action to rescue a teenager abducted by a mad doctor. Credits: TheMovieDb. Film Cast: Nam-san: Ma Dong-seok Yang Gi-su: Lee Hee-jun Choi Ji-wan: Lee Jun-young Han Su-na: Roh Jeong-eui Lee Eun-ho: Ahn Ji-hye Kwon Sang-sa: Park Ji-hoon Teacher: Jang Young-nam Tiger: Park Hyo-joon Yeon-su: Seong Byeong-suk Madame: Jung Young-ju Ju-ye: Lee Han-joo Director Choi: Park Sang-hoon Director Oh: Ahn Seong-bong Ju-ye’s Father: Jeong Gi-seop Ju-ye’s Mother: Kim Young-sun Western Grandfather: Sin Sin-beom Western’s Mother: Hong Yi-joo Film Crew: Production Design: Jo Hwa-seong Sound Supervisor: Kim Suk-won Editor: Nam Na-young Special Effects Supervisor: Jung Do-ahn Adaptation: Ma Dong-seok Lighting Director: Song Hyun-suk Director of Photography: Byun Bong-sun Production Sound Mixer: Jung Gun Producer: Choi Won-ki Makeup & Hair: Nam Ji-soo Special Effects Makeup Artist: Pi Dae-seong Digital Intermediate: Lee Hye-min Production Design: Park Gyu-bin Original Music Composer: Kim Dong-wook Editor: Ha Mi-ra Martial Arts Choreographer: Heo Myeong-haeng Writer: Kim Bo-tong Executive Producer: Byun Seung-min Martial Arts Choreographer: Yoon Seong-min Original Story: Kim Dong-gyun Adaptation: Kim Chang-hoon Writer: Kwak Jae-min Executive Producer: Choi Byeong-hwan Special Effects Makeup Artist: Seol Ha-un Props: Kang Shin-hong Key Grip: Lee Hyun-gyu Special Effects Supervisor: Im Jong-hyeok Line Producer: Choi Su-im Visual Effects: Yuk Gwan-woo Movie Reviews: Chris Sawin: The film features some hard-hitting and explosive action sequences that will rightfully cater to fans of the genre. The battle in the basement of the apartment building, where we see Nam-san use a shotgun to blast his way through some of the doctor’s ‘enhanced’ individuals, is a total exhilarating blast. Ma Dong-seok has been a powerhouse for most of his career post Train to Busan, but he sends people flying whenever he throws his fist or pulls the trigger. _Badland Hunters_ also has to break a record for most decapitations in a film. **Full review:** https://bit.ly/bdlndhntr MovieGuys: Badland Hunters does something things well, others just passably. Action is wall to wall and well choreographed.Special effects are excellent. Characterisations are solid if predictable and the acting is not to be sniffed at. However, the story is unremarkable, with a climax that feels, well, anti climatic. In summary, an okay but hardly exceptional watch, that would have benefited from more creativity on the storytelling front. Ritesh Mohapatra: “Badland Hunters: A Visually Striking Action Spectacle with Narrative Shortcomings” In this post-apocalyptic action thriller, Badland Hunters, while suffering from a repetitive and clichéd plot and uninteresting characters, excels in stunning hand-to-hand choreography and scintillating action set pieces. The film benefits greatly from the expertise of its veteran stunt coordinator turned director, known for his work on Train to Busan. Commendable world-building, visionary concepts, and excellent VFX are hindered by conventional writing. The short, crisply edited runtime avoids unnecessary elements. Don Lee’s exceptional portrayal of Nam-san, with exhilarating action sequences, overshadows the film’s narrative weaknesses, making it a guiltily satisfying popcorn-worthy entertainer, particularly for adrenaline enthusiasts. Instagram & X @streamgenx.

[linksubm-blog]

How to do fight scenes in movies?

Fight scenes are a staple of action-packed movies, captivating audiences with their adrenaline-fueled choreography and intense drama. However, orchestrating a convincing and visually stunning fight scene requires careful planning, coordination, and attention to detail. In this guide, we'll explore the essential steps to create compelling fight scenes that leave a lasting impact on viewers.

Understand the Story Context: Before diving into the choreography of a fight scene, it's crucial to understand its narrative purpose within the story. Ask yourself: What is the emotional and thematic significance of the fight? How does it advance the plot or develop the characters? By grounding the fight scene in its story context, you can ensure that every punch, kick, and block serves a meaningful purpose.

Develop Character Motivations: Each character involved in the fight should have clear motivations and objectives. What are they fighting for? What are their strengths and weaknesses? Understanding these motivations will inform the choreography of the fight and add depth to the characters' actions. Consider how their fighting styles and tactics reflect their personalities and backgrounds.

Work with Experienced Fight Choreographers: Collaborating with experienced fight choreographers is essential for creating safe and dynamic fight scenes. These professionals specialize in designing and coordinating fight sequences that are both visually striking and performed safely by the actors. They can help you conceptualize the action, select appropriate fighting styles, and choreograph the movements for maximum impact.

Plan the Choreography: Once you have a clear understanding of the story context and character motivations, it's time to plan the choreography of the fight scene. Start by breaking down the sequence into beats or key moments, considering the flow of action and pacing. Experiment with different techniques, angles, and camera movements to enhance the drama and intensity of the fight.

Rehearse, Rehearse, Rehearse: Rehearsal is essential to ensure that the fight scene runs smoothly on set. Schedule ample time for the actors to practice the choreography under the guidance of the fight choreographer. This allows them to become familiar with the movements, build muscle memory, and execute the choreography with precision and confidence. Be patient and encourage open communication to address any concerns or adjustments.

Prioritize Safety: Safety should always be a top priority when filming fight scenes. Ensure that all actors and crew members involved in the scene receive proper training and instruction on stunt techniques and safety protocols. Use protective gear, mats, and padding as needed to minimize the risk of injury during filming. Additionally, consider factors such as lighting, set design, and camera angles to create the illusion of impact without putting anyone in harm's way.

Capture Dynamic Shots: Once the choreography is rehearsed and the safety measures are in place, it's time to capture the fight scene on camera. Work closely with your cinematographer to plan dynamic shots that highlight the intensity and excitement of the action. Experiment with different camera angles, movement, and framing to create visually compelling sequences that draw viewers into the heart of the fight.

Edit and Enhance: In the editing room, use pacing, sound effects, music, and visual effects to enhance the impact of the fight scene. Cut between different angles and shots to maintain energy and momentum, and add sound effects to emphasize the impact of each blow. Consider using slow motion or rapid cuts for dramatic effect, and integrate music that complements the mood and tone of the scene.

By following these steps and collaborating with skilled professionals, filmmakers can create fight scenes that are not only visually stunning but also serve the story and characters in meaningful ways. With careful planning, rehearsal, and attention to detail, filmmakers can master the art of fight scenes and leave audiences on the edge of their seats.

[ankitnandwani]

Exploring the Artistry of Fashion Film Photography

Fashion photography has always been a captivating art form, seamlessly blending fashion and photography to create stunning visual narratives. However, in recent years, a new medium has emerged that adds a dynamic and immersive element to fashion photography: fashion film photography by fashion film photographers in Noida. Fashion films go beyond static images, allowing photographers to capture the essence of fashion in motion, bringing garments to life through movement, sound, and storytelling.

Unleashing Creativity:

Fashion film photography breaks free from the constraints of still images, providing photographers with a new canvas to unleash their creativity. Through motion, they can capture the fluidity of fabric, the elegance of a model's stride, and the interplay of light and shadow. By combining different elements such as music, sound effects, and editing techniques, photographers can craft a unique visual experience that transports viewers into a captivating world of fashion.

Storytelling in Motion:

One of the most significant advantages of fashion film and Digital video ads for photography in Noida is its ability to tell stories. Through careful choreography, styling, and cinematography, photographers can create narratives that evoke emotions and convey messages. Fashion films become a platform for designers to showcase their collections more dynamically and engagingly, offering viewers an immersive experience that transcends traditional photography.

Collaborative Opportunities:

Fashion film photography encourages collaboration among artists from different disciplines. Photographers work closely with stylists, hair and makeup artists, set designers, and directors to bring their creative visions to life. This collaborative process sparks innovative ideas and fosters a dynamic exchange of expertise, resulting in fashion films that push boundaries and redefine the art of storytelling.

Merging Fashion and Film:

Fashion film photography merges the worlds of fashion and film, creating a visually striking and cinematic experience. It allows photographers to explore fashion beyond the static confines of a photograph and showcase garments in motion, revealing their texture, shape, and intricacies. By incorporating cinematic techniques such as camera movements, lighting, and editing, fashion films offer a new perspective on fashion, blurring the line between a fashion show and a movie.

The Power of Technology:

Advancements in technology have played a crucial role in the rise of fashion film photography. High-quality cameras, drones, and editing software enable photographers to capture stunning visuals and execute their creative visions with precision. Additionally, the rise of social media and online platforms has provided a global stage for fashion film and Reels photographer in Noida to showcase their work and connect with audiences worldwide.

[braintag]

Winners of 68th Hyundai Filmfare Awards 2023

Lights, camera, action! The much-awaited 68th Hyundai Filmfare Awards 2023 was held recently, and the biggest stars of the Indian film industry came together to celebrate their achievements over the past year.

This annual award ceremony is one of the most prestigious events in the Indian entertainment industry and recognizes the best talent in Bollywood. From stunning performances to gripping storylines, the movies of 2022 left audiences captivated and entertained. So, without further ado, let's take a look at the list of winners of the 68th Hyundai Filmfare Awards 2023! BEST ACTOR IN A LEADING ROLE (MALE)

Rajkummar Rao for Badhaai Do BEST ACTOR IN A LEADING ROLE (FEMALE)

Alia Bhatt for Gangubai Kathiawadi BEST FILM

Gangubai Kathiawadi BEST FILM (CRITICS')

Badhaai Do BEST ACTOR (CRITICS')

Sanjay Mishra for Vadh BEST ACTRESS (CRITICS')

Bhumi Pednekar for Badhaai do BEST ACTRESS (CRITICS')

Tabu for Bhool Bhulaiyaa 2 BEST DIRECTOR

Sanjay Leela Bhansali for Gangubai Kathiawadi BEST ACTOR IN A SUPPORTING ROLE (MALE)

Anil Kapoor for Jugjugg Jeeyo BEST ACTOR IN A SUPPORTING ROLE (FEMALE)

Sheeba Chaddha for Badhaai do BEST MUSIC ALBUM

Pritam Chakraborty for Brahmastra Part One: Shiva BEST LYRICS

Amitabh Bhattacharya for Kesariya (Brahmastra Part One: Shiva) BEST PLAYBACK SINGER (MALE)

Arijit Singh for Kesariya (Brahmastra Part One: Shiva) BEST PLAYBACK SINGER (FEMALE)

Kavita Seth for Rangisari (Jugjugg Jeeyo) BEST DEBUT DIRECTOR

Rajeev Barnwaland and Jaspal Singh Sandhu for Vadh BEST DEBUT MALE

Ankush Gedam for Jhund BEST DEBUT FEMALE

Andrea Kevichusa for Anek BEST DIALOGUE

Prakash Kapadia & Utkarshini Vashishtha for Gangubai Kathiawadi BEST SCREENPLAY

Akshat Ghildial, Suman Adhikary and Harshavardhan Kulkarni for Badhaai Do BEST STORY

Akshat Ghildial and Suman Adhikary for Badhaai Do BEST ACTION

Parvez Shaikh for Vikram Vedha BEST BACKGROUND SCORE

Sanchit Balhara and Ankit Balhara for Gangubai Kathiawadi BEST CHOREOGRAPHY

Kruti Mahesh for Gangubai Kathiawadi BEST CINEMATOGRAPHY

Sudeep Chatterjee for Gangubai Kathiawadi BEST COSTUME

Sheetal Iqbal Sharma for Gangubai Kathiawadi BEST PRODUCTION DESIGN

Subrata Chakraborty and Amit Ray for Gangubai Kathiawadi BEST EDITING

Ninad Khanolkar for An Action Hero BEST SOUND DESIGN

Bishwadeep Chatterjee for Brahmastra Part One: Shiva BEST VFX

DNEG, Redefine for Brahmastra Part One: Shiva

Special Awards

LIFETIME ACHIEVEMENT AWARD

Prem Chopra R D BURMAN AWARD FOR UPCOMING MUSIC TALENT

Jahnvi Shrimankar for Dholida (Gangubai Kathiawadi) In conclusion, the 68th Hyundai Filmfare Awards 2023 was a night to remember, filled with glitz, glamour, and of course, deserving winners. The event celebrated the best of Indian cinema and recognized the hard work and dedication of actors, directors, writers, and technicians who brought their vision to life on the big screen. As always, the Filmfare Awards set a high benchmark for excellence in the film industry. Congratulations to all the winners of the 68th Hyundai Filmfare Awards 2023! To read more blogs – Click Here Read the full article

[steelcityreviews]

REVIEW: CCPAC’S PRODUCTION OF THE ADDAMS FAMILY IS A SPOOKY-OOKY TREAT

(The cast of The Addams Family - Photography by: Haughland Media)

Curtain Call Performing Arts Company (CCPAC) has come far since their first foray into the Hamilton community theatre scene. They have grown substantially as a company and now offer a variety of programming geared toward all age groups and experience levels. Their upcoming season of challenging musical theatre selections suggests high levels of production value and a sense that their skilled company leaders have what it takes to nurture and develop talented individuals of all ages.

For their production of The Addams Family musical, the Advanced Musical Theatre program allows its participants to work toward "putting together a full scale musical production with a more mature storyline."

The company focuses on choreography, character development and vocal skills while also being given a mentoring opportunity from industry professionals who play ensemble roles (in this case, delightful ghostly ancestors) within the show. Despite this not being the full version of the musical (choosing a condensed edition instead), CCPAC's The Addams Family delivers a spooky, ooky musical comedy that showcases their mission statement: a place where everyone, no matter what, belongs.

Immediately upon entering Hamilton Theatre Inc, the atmosphere is awash in classic gothic vibes, complete with creepy sound, fog and lighting effects to establish the mood. As per usual, the lighting design is consistently top notch throughout. The set includes multiple levels (which always benefits the limited staging room at HTI), effective stage dressing and even secret passages which helps us remember what a weird "fun house" feeling the Addams homestead embodies.

We are introduced to the family via loveable father Gomez Addams (portrayed with gusto by Ash Carey) and the story unfolds. Wednesday Addams is all grown up and has met the boy of her nightmares. The problem? He's normal. This sets the main conflict between her parents, ancestors and herself as the two families meet for a dinner party that they'll never forget.

The entire cast is absolutely committed to their character. There are a few instances where the vocal performance doesn't quite match the necessary vocal range requirements but that's where this program shines. It's a learning experience for this company and even in those rare instances, you are left grinning and applauding their efforts.

A few standout performances include the ensemble (Vanessa Barbara, Kat Baranowski, Owen Quinn and Jared Morado) who effortlessly provided set changes, choreographed routines, comedic moments and backup vocals for the major numbers. Three of the four also acted as the program's mentors and bravo to them for their guidance and skill sets. The role of Granny was an unexpected treat thanks to the excellent physical comedy by Genevieve Dent. Fester Addams, played by a hilarious Haleigh Wallace, showed such a sweet side to an otherwise unhinged character and, of course, Wednesday Addams played by Eco Malec whose vocal performance alone was jaw dropping. Let’s see more from this performer please!

It is a shame that the run of this production will be, to pardon the pun, so short-lived. If you have never experienced a CCPAC production, now is the time. I foresee great things from this company and the tutelage and passion from the artistic directors, crew and students will only continue to showcase what astounding talent can be found in the Hamilton area theatre community.

Full company of The Addams Family - Photography by: Haughland Media

[trisnafilms]

Opportunity is at your doorstep... Are you looking for work in the film or video industry?

Opportunity is at your doorstep...Are you looking for work in the film or video industry?We are giving you an opportunity in the fields of acting, animation, art direction, camera work, choreography, cinematography, costume, dancing, direction, dubbing, editing, filmmaking, graphic designing, hair styling, lighting, makeup, modelling, music, photography, production, screenwriting, scripting, sound, stunt action, vfx, videography, voice-over, etc.If yes, please fill out the contact form at the given link. https://trisnafilms.com/contact-us.html #opportunity #doorstep #work #film #video #acting #animation #artdirection #camerawork #choreography #cinematography #costume #dancing #direction #dubbing #editing #filmmaking #graphicdesigning #hairstyling #lighting #makeup #modelling #music #photography #production #screenwriting #scripting #sound #stunt #vfx #videography #voiceover #teamtrisna #india #international #trisnafilms #trisnafilmsproductioncompany

[bubbletaeeee]

Fatally Reunited - Karina x GN!Reader

Requested: Yes! 🥰

Content: Angst, Fluff, Quite Light Smut

Warnings: I don’t think so, Just mentions of light sexual activity

A/N: before you read, I apologise for my absence, I chose to take a break for my mental health, it’s been a little difficult to write recently or find the motivation but I finally got this done for you guys, I hope you enjoy 🥺❤️

Word Count: 4.1K

~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*

As a child, you were pretty happy and loved. Although it’s not as easy to say that you were a super good kid, because let’s be honest, you could be naughty.

It was all pranks and dares, all with your best friend. That one girl who spent every second with you.

Gosh you were practically like siblings. You got into trouble together, you cried together, you laughed together, you were just together.

Life seemed fun… until it stabbed you in the back!

At the age of 12, you watched your best friend drive away with tears streaming down her face.

Her mum found a new job out in Seoul and it was a huge deal, they’d always struggled a little with money and basic living needs but this offer would change their life. It was a trade between a better standard of living and stability and friendships.

But at the end of the day, it wasn’t jimin’s choice. She simply HAD to go.

Everyday after that didn’t seem so enjoyable anymore, the days were a bore and if we’re being honest, you didn’t want to make many new friends, in fact you had a dream, a goal that kept you going. The loneliness all seemed a blur when your mind was focused on this dream. Your parents both believed it was just a fantasy, being an idol is definitely not an easy thing to be, and it was not easy to even get a chance to become one.

You trained yourself for months, years, literally forever, and you auditioned for all the companies possible, the more you tried, the more chance you would get to be accepted.

It came as a shock to you when SM accepted you, of course you began as a trainee. Starting at 15. And before you knew it, you were 17 and ready to debut with your own group. You and your 6 other members became close friends.

Your music, your songs, your choreography, your performances were all outstanding. Millions looked up to each and every one of you.

The years seemed to go by so fast, and before you knew it, the sad day came when you all had to be disbanded, after 6 years your contract ended, but you weren’t going to let it bring you down.

To think positively you had 6 still close friends and your songs are still loved and listened to and to make things even better, the CEOs at SM recognised your leadership and talents and decided to keep you on a successful journey.

You and 2 of the other former members became soloists, it wasn’t hard to catch the popularity again, because you were so well known after the 6 grateful years you spent with the group. You wrote your own songs and sung them independently, but of course you can’t take all the credit, a few producers helped create the music, design and edit music videos and help out with dance routines.

Right now life felt like a dream come true, and to think it couldn’t get any better, not only did SM keep you for solo music purposes but for much more, you were given a huge responsibility in managing a new group, to act as an older leader to guide them through their musical journey.

You were told that there were 4 girls in need of a manager, Karina, Giselle, Winter and Ningning, each of them being supposedly very talented and unique, their concept is said to be a whole different scene: futuristic, an alternate universe in a virtual reality attempting to connect with the real modern world.

You couldn’t be more excited, they sounded so cool and fun.

So far the girls have determined their roles. You were to visit and introduce yourself to each member but first it was principle to have a first meeting with the group leader, Karina.

Karina… a strong, beautiful name you thought.

It’s around 9:00am and you were waiting in a small meeting room, it was quiet and secluded. A young, pretty woman knocked and entered on command. You both exchanged a friendly smile and sat down opposite one another. The air felt a little tense and awkward, neither of you knew what to say so you attempted to cut the silence with a simple question.

“So, I’d like to assume you’re Karina”

She giggled nervously, looking down at her lap, “uh, yeah that’s me, it’s nice to finally meet you… manager”

Your eyes studied her face for a moment, squinting in order to concentrate.

Isn’t she familiar?

It took a few seconds for the younger girl to avert her eyes to yours when you didn’t reply.

“Uh- is somethi-”

“You look so familiar to me”, you interrupted her, your confusion puzzled her just as much, causing her to tilt her head to the side.

“Is Karina your birth name?”

You thought maybe the two of you had met before but ‘Karina’ didn’t ring any bells in your mind.

“Oh- no, no my real name is Yoo Ji-Min”, she waved her hands in dismissal. Your eyes widened at the name that hit so close to home as your hands slapped against your mouth in disbelief.

“Jimin? Oh my goodness! Don’t you remember me?”, your hands redirecting over your chest as if to specify who you meant.

Jimin’s eyebrows furrowed together like she was searching for recognition in her brain, “umm- I-”

“We were best friends when we were kids, remember? Then you had to move away”, you hung your head in sadness when reminding her and yourself of the last part.

This time she clocked the memory and sprung up in her seat, “y/n?”

You mirrored her actions and laughed in unison.

“You remember now?”, you searched for reassurance, smiling brightly.

“Yes! Yes i remember, oh my god, you look so so different now, really grown up I see”, she smirked jokingly, causing you to roll your eyes and cross your arms.

“It’s nice to see some things didn’t change, your humour is still the same”

The awkwardness left the room, just the two of you left with so much to catch each other up on.

After an hour of frantically talking about everything that had happened within the prolonged period apart from each other, you both left the room laughing and glowing.

Shortly afterwards, you were taken to meet the other three members, although it felt more like Jimin introducing you to them as a friend rather than a manager.

The girls were so kind and respectable, you had a feeling being their manager would be a great experience. Although right now, it’d only just come to your realisation that it’s around 12:00 and even though it still may seem early in the day, you had a lot of work to be getting done. Even though you were now a manager, You still had a solo career to deal with too, I mean, you knew juggling two very important jobs together would be extremely difficult and busy but you’re willing to give it a try.

*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~

It’s been half an hour since your introduction with the girls and now you would be found in an empty dance studio practicing away at your soon-to-be solo comeback.

It got extremely tiring after a couple of hours but you had to work through it and keep going.

After the next hour, you took a break and turned to grab your drink, well until you got interrupted by a pair of hands on your shoulders and a voice screaming “boo!” In your ear.

You pretty much jumped out of your skin and spun around abruptly to see a goofy looking Yoo Jimin.

Your shock quickly turned into a warm smile, “heyy, what are you doing here?”

“Can I stay and watch?”, she pouted like a toddler which made you giggle

“You wanna watch me dance?”

She nodded, smiling happily.

You rolled your eyes playfully and let her do so.

After watching you practice just once through the routine, the younger girl got up and mocked your moves along with you, next to you.

You couldn’t help but smile at the scene of your two through the mirror. Her moves were a little off but you took the time to show her properly how to dance each move smoothly, the room was filled with music and laughter.

Somehow the ‘lesson’ ended up with you two tackling eachother to the floor, tickling eachother in competition. It got to a point where she switched your positions and ended up on top of you, pinning your wrists down, “ha! Now I got you!”, she called out childishly.

But for a moment, time felt slow, you forgot everything you were thinking and feeling and just stared at the beautiful girl hovering above you.

Your heart beat felt a little harder, a little faster.

Was she always this adorable?

Soon enough the laughter died down and you were stuck staring eachother in the eyes and becoming… closer?

Her face leant in closer and closer to yours, by now you could feel her breath on your skin.

Before anything could happen you cut the moment in panic, “so! I think we should take a quick break and get back to it!”

She laughed in embarrassment and got off you as fast as she could.

Gosh! You felt so bad about interrupting the moment.

You just panicked, stumbling over to the back of the room where you left your water bottle to take another sip, but with your back turnt, you felt a weight and warmth behind you.

Jimin wrapped her arms around your torso and rested against you, of course you couldn’t help but smile at her affection.

“I’m sorry if I made you feel awkward”, you heard her mumble against you.

The sound of her voice melted your heart and cooed at her adorable apology.

“You didn’t make me feel awkward at all, don’t worry about it jiminie”, you spoke in a low, warm tone and turned in her arms to give her a proper hug.

“You know, it feels like we’d never been apart, I’m still so comfortable with you”, you admitted, still holding onto her.

Even though you couldn’t see, her cheeks were as red as a rose at your remark.

“Me too”, the shy girl whispered.

Instead of practicing some more, you decided to call it a day and walked eachother out.

She hugged you goodbye and left to have lunch with her members.

You watched as she walked away, replaying the moment over and over again in your head. Thinking about what would have happened if you didn’t prevent it.

*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~

Skipping ahead to tomorrow, you woke up to get ready for the day and check your schedule.

Today you were planned to take up some studio time and spend some time training with aespa, figuring out debut plans and assessments.

First things first: Studio Time

9:00am

You’d turned up at an empty studio that you reserved for yourself for the morning.

You took these next couple of hours to put in some hard work on your new album.

These new songs, in your opinion, were something to be proud of. You’ve never been super confident about all of your songs but at the end of the day you were proud of the effort and time you put into it and seeing your fans complimenting you so much boosted your self esteem.

At around 11:30, you showed up in the dance studio you knew the four girls would be in.

As soon as your presence entered the room, all four of the members rushed in front of you for a hug each to greet you.

Every one of the Aespa members are just so cute and sweet that the stress of all the business felt worth it when you get to see them succeed in the end knowing that it was you that guided them. Although, up until now you’d never exactly heard any of them sing or seen any of them dance so today you planned an introductory assessment to get an idea of what you would be working with.

You found a chair and sat at the back of the room, leaving them space to show off their talents in front of you.

The music began playing and every one of them sang and danced neatly. There were a couple of minor faults in the dance routine where a couple of moves were slightly off beat but that could easily be worked on.

A slower part came up and Karina was favoured to take up the verse. She sang softly but passionately, staring you directly in the eyes as she did so.

Your heart pounded a little harder against your chest and a small grin naturally plastered on your lips, she took the chance to wink at you before turning back to join the other girls in the sequence and sing along to the chorus.

You were in shock once they’d finished.

Their vocals were beautiful and perfect and the way their voices synced together in a perfect tone, and their dance moves were pretty much perfect, smooth and correctly paced.

It was adorable how proud of themselves they looked and rightly so. They’re brilliant.

You clapped supportively and sat in shock, the only words formed were, “wow…”

Giselle, Ningning and Winter all giggled nervously and hid their faces whilst their leader approached you slowly, now standing directly in front of you.

“What did you think?”, she smirked.

You sent her a proud smile and complimented, “it was perfect, you’re all beautifully talented and… I can’t wait to work with you girls”

They all squealed in return, including Karina who turned back to the others. Your time was well spent discussing ideas for a debut song and their weaknesses and strengths up until 13:00, everyone complained about feeling hungry so you allowed them to dismiss themself to get lunch.

*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~

Over the next couple of weeks you helped the four girls through choreography and creating a killer debut

So far the music was only a rough draft but you had an idea of what to do with it. The lyrics were written out by the production team with large contribution from Aespa

Today, you’re practicing the new choreography with them. All this busy work had tired the girls pretty fast because they weren’t used to it yet but you’re trying your best to encourage and build up their confidence and strength.

Right now it was late and you were finishing up the last round of practice, going over the choreography once more. Giselle, Winter and Ningning bid you goodbye and thanked you before leaving to go to their dorms. You turned to find Karina staring sharply at herself in the mirror while she continued to practice. There was just one part of the choreography she couldn’t get just right yet, and that was okay because she could surely work on it with a little bit of time but the girl was too stubborn to wait and let herself rest. A tired smile formed on your lips watching her pushing herself further, her persistence was admirable but you didn’t want her to get overtired and stressed.

Her moves froze when she felt your hands massage lightly into her shoulders and her head hung low, almost shameful.

“Don’t push yourself too much, you’ll make yourself tired and upset, don’t worry about this right now. Just go and rest” but Karina wasn’t going to go that easily, she was stubborn, and always wanted things to be perfect.

“Just a few more minutes”, she pouted.

You stared at her in the mirror and rolled your eyes, “fine JUST a few more minutes and that’s it, I’ll teach you”

Her pout quickly turned into a smile as you walked over to your phone connected to the speakers and pressed play before rushing back to her side and showing her the moves slowly whilst instructing clearly.

“Okay, got it? Let’s try together”

She nodded and stood to your right, slightly in front of you.

“Okay, 1, 2, 3, 4 Go”

You went over the same routine at a normal pace with her copying you through the mirror.

She was almost there, it was just the one move she couldn’t perfect.

“Right, I see the issue, you just need to loosen your hips a little more and sway with the beat”

And that’s when you came up directly behind her and cautiously placed your hands on her waist, worried that she may feel uncomfortable.

“Uh. Is this okay?”

She nodded and sent you a soft smile.

“Okay, sway for me”

She did as she was told and rolled her hips side to side whilst you guided her with your hands to make her moves smoother. You got caught up staring down at your hands on her waist that you forgot you were trying to teach her, hoping that she didn’t realise anything you cleared your throat and praised her, “that’s really good, keep doing that when I let go”

You slowly slid your hands away from her waist and observed her up and down, when she noticed the movement of your eyes through the mirror, a smirk wandered to her lips.

Unexpectedly, the younger girl pushed herself back a little more, closer to you whilst still rocking her hips side to side.

You froze and your eyes widened as she became increasingly closer, her pace slowed when your bodies were almost pressed together.

You were close enough to whisper, “what are you doing?”

Karina turned around to face you and wrapped her arms around your neck to pull you in for a soft hug.

You let your arms fall to her waist and hid your face into her shoulder. Her right hand rested on the back of your head, massaging you lovingly.

Eventually the girl pulled back slowly with her hand still at the back of your head and the other leant onto your left shoulder.

Your eyes made contact and once you saw the sparkling, hypnotising look in her dark eyes you panicked a little and looked down as fast as possible, your heart fluttered and stomach was filled with butterflies.

What is even happening right now?

She could sense your nerves and bought her left hand away to lift your chin up, once again being met with her gorgeous brown eyes. She sent you a comforting smile and leaned in slowly. Once her lips were hovering just over yours, your foreheads leant against eachother, your breaths fanning against your lips.

Her eyes closed and your lips brushed against eachother. You froze for a moment until you came to your senses and let yourself kiss her back, she took that as confirmation to be able to kiss you more.

Your lips parted from eachother to breathe, giving the smaller girl a chance to take a step closer so that her entire body was lightly pressed against yours.

And with that, your lips made contact again for a slow, passionate kiss.

It felt so right and so wrong at the same time, your thoughts began to overtake everything else, causing you to pull away and jump backwards leaving Karina flustered and confused.

“I-I’m sorry, I can’t do this, it’s not right”

You knew you wanted it. It felt like fate that brought the two of you back together again. There was no lie in saying that you had a connection, you were always comfortable with eachother and there was never a secret hidden, you would be blind not to see the spark between you both but being her manager you were worried about it being a problem or when fans might notice and start to go crazy about it, it could cause some problems, usually idols are banned from dating for a while. So all these issues felt like a barrier between the two of you.

The theories and thoughts filled your mind and a tear slipped from your eye as you let out quiet sobs.

The sight broke her heart and she immediately rushed over to you and pulled you in for a hug, hushing you gently,

“Hey, don’t worry, everything will be okay. Talk to me, what’s going on? Hmm?”

You pulled back and let her brush your tears away from your cheeks.

“I’m just- I’m worried, if something happens with us-“, you gestured between you both to emphasise your idea, “- then we could lose all of this success and opportunity and what if- t-there are fans that can’t accept us and cause trouble, I don’t want to risk anything”

Her hands cupped both of your cheeks and she sternly looked you in the eyes.

“Listen to me my love, everything will be okay, I like you, and I know that you can’t lie to me, you feel the same, so don’t let it go… no one else needs to know, at least for now. Follow your heart”, and with that she kissed both of your cheeks.

Her words calmed you down, at least enough to stop you crying.

She whispered to you, “I care about you so much, let me give you my heart”

You stared into her eyes, letting yourself fall into her arms.

You buried your face into her neck and wrapped your arms around her to hold her as tight as possible.

“I do like you… you’re right”

She put on a hopeful smile and kissed the side of your head.

You found yourself gaining some confidence.

Enough to press your lips against her neck to leave a sweet kiss, and another one… one more.

She giggled at your affection, “look at me, let me see that smile”, she demanded kindly.

You pulled your head away to look her in the eyes with a small grin.

You held her hands and spoke up, “I guess we could try, as long as we’re careful, I don’t want anyone to get hurt or in trouble, okay?”

The bright smile on her face was hard to miss and her excitement got the best of her as she leapt up to kiss your lips again.

“I understand y/n-ssi”, she agreed with a lower tone, dipping her head to the crook of your neck to leave a light trail of kisses from your jaw to your collarbone.

Her lips found their way to your ear to leave you with words that made you quietly moan, “I’m crazy about you, so let me prove it to you… darling”

You held on tight to her hips and pulled her into you as hard as possible, bringing your lips to meet with hers once more, the kiss led to a long makeout session, all that could be heard were innocent whimpers and quiet moans.

You pulled apart to breathe finally.

“Come to my dorm, let us finish this there”, she suggested between breaths.

You nodded willingly and followed her to her dorm.

The rest of the evening was blissful and euphoric.

Her touches were so gentle, her kisses so delicate you wish you could stay in her embrace forever.

By the time the evening was over you’d both ended up fast asleep in each others arms until you were awoken hours later at 7:00am by Karina’s alarm.

You groaned and stirred away from your slumber.

She stopped the blaring noise as fast as possible and sat up to rub her eyes only for you to wrap an arm around her to pull her back down to the mattress with you.

Your head purposely laying on her chest to prevent her from going anywhere.

“Sweetie, we need to move at some point you know, we got work to do”, she laughed whilst playing with your hair.

“Nooo”, you whined tiredly and drifted back to sleep.

“You know, even when we were just kids I knew I liked you, I would sometimes get a little nervous around you and I always wanted to impress you, I couldn’t understand the way I felt until now, we’ve both grown up but I didn’t expect my feelings to grow back after so many years apart, i'm just so happy you’re back in my life now, I need you, and I want us stay with eachother, there’s no way i'm letting us split apart again”, she confessed sleepily.

You opened your eyes slowly and hovered above her, “you always liked me?”

She nodded shyly and blushed a little, but of course you noticed and kissed her cheeks along with her forehead.

“It’s okay, I think I always knew I needed you, and yes we spent time apart but I’ve got you now. I'm not planning on letting you go anytime soon”

Your reassurance warmed her heart and gave her a sense of relief she didn’t know she needed.

Your head laid back onto her chest whilst a love struck smile plastered onto her face.

“Thank you”

Her voice was just a small whisper but you could hear perfectly, along with the constant rhythm of her heartbeat.

[katyatalks]

Mob Psycho 100: The Stage Play 3 - Final performance content spoilers

Here are all the notes I compiled after getting the chance to see the final performance for ‘Mob Psycho 100: The Stage Play - A Clash with Claw’s Seventh Division!’ live. Note this is essentially a write-up of the play from beginning to end - this will also likely be the version of the play that is used for the DVD release in December. I will also edit this when the recording becomes available for viewing and I can gain some clarity on sections I missed...

PRE-SHOW

- Reigen and Mob do a pre-show announcement relating to covid prevention measures (referred to not by name as Covid but an evil spirit) plus standard theatre etiquette rules (don’t use your phone, put it on silent, etc.)

SHOW

- Begins where stage 2 left off as a ‘Previously…’ segment for the audience. We once again witness Koyama knocking Mob out with the spray and kidnapping Ritsu.

- In the Teru/Dimple/Mob discussion part of the stage 2 recap, Teru takes the bird’s nest off his head and throws it off stage - we hear the birds within fly away.

- ((We immediately see how the reduced audience affects the play - a funny physical gag where Teru and Dimple bash heads happens but this receives no response from the audience))

- We reach the end of stage 2 recap with Mob stating he’ll destroy Claw as he does at the end of stage 2. The screen goes black and we hear the echo of a voice saying ‘Give [it] back… give [it] back, [It’s] mine, give [it] back…’ - this is implied to be Mob talking about Ritsu but the lights turn on to reveal S&S and turns out it’s Shou talking to Reigen about Touichirou’s card

- Reigen gives the card back to Shou, calls him a ‘baggy-clothed asshole’ and tells him to leave since Reigen is busy. Reigen puts his feet up on his desk and goes on his phone, leading to;

S: “What are you doing?”

R: “Reading the news.”

S: “You’re not busy, you’re bored!”

- Shou mentions that he’s also got 10k yen missing from his wallet and accuses Reigen of stealing it - Reigen insists he didn’t but starts doubting himself

- When Shou leaves, Reigen salt splashes in his direction (An English translation is now given under each of Reigen’s special moves ala Olympic parody)

-Reigen calls Mob, leading back to the Mob/Dimple/Teru scene - Terada and his cronies enter and Mob tells Reigen he can’t talk right now, hang up which leads to…

***

OPENING

- Yoru no Honki Dance - Call Out (as the previous two plays)

- Action takes place on the upper and lower stage - Ritsu and the lab kids on the lower stage with Ritsu in anguish with Mob, Teru, Dimple on the top stage

- Action shot with the show’s “Yeah!” line focuses on Reigen and Mob on the top level

***

- Teru tortures Terada with a taser rather than water - Terada is also wearing a ballgag with multiple kazoos inside it leading to a great sound whenever he screams

- Mob and Dimple are terrified of Teru’s taser torture whenever he does it

- Matsuo’s performance is sensual and slimy - great stage presence

- Ishiguro’s voice is distorted using a pitch filter resulting in something creepy rather than the female voice used in the anime

- Ritsu and the lab kids are seen in the jail cell - great banter with them and their Claw guard (Guard to Rei: “I won’t hit you because you’re a girl!” Kids: “A gentleman!”). Guard tells them they won’t get any food and they start rioting

- Mutou is VERY creepy and accompanied by terrifying music - he skulks around the stage with his ridiculous silicone chin

- When Mutou “kills” Kaito off screen we get a ridiculous extended segment featuring Daichi reacting to what is initially cries of his brother’s pain that turn into pleasure as if he is getting a massage - then turns back into pain

- Kaito is wheeled back on in a luggage/weight carrier with 4 knives in his chest

- Teru vs Terada is visually very fun - movement choreography is great, lots of Teru’s dance techniques that got cut from the anime

- Back in the jail scene Ritsu states he doesn’t remember the kids names so they re-introduce themselves to the audience

- Asahi and Hoshino heating up the spoon/bending spoon/on repeat is very well performed

- Ritsu tries to high-five with with one of the other kids when they escape the jail but finds he has no-one to do it with :(

- Back to Dimple/Mob/Teru - when Dimple-chan(puppet) says “Oh who’s that good looking guy? A model?”, Nadagi pulls a whole bunch of model poses

- When Teru tries to knock the security guard out he screams for AGES leading to one of the funniest moments in the play - he finally is knocked out but when Dimple tries to possess him he takes ages to be possessed - Taa (Teru) breaks character completely and doubles over laughing and Itou (Mob) refuses to face the audience making it clear he is losing it as well

- Muraki is creepy looking but his cloak is see-through and sparkly - his actor plays him as quite a timid guy

- Great visual gag with Mob throwing Koyama around and then sending him through the stage wall

- Ishiguro has a moment where he talks to the audience/the new recruits where he shows off the Claw face mask available as part of the merch

- Great fight choreography between SG!Dimple and Gen (played by Baba) - ends with SG!Dimple pulling his trousers down

- Teru tasing people left and right in this play…

- Great stage effects in Teru vs Miyagawa - Teru tases Miyagawa as well

- Tsuchiya calming down Mukai is lovely - followed by Mukai finding a puppet that she believes hasn’t been destroyed by Mob and getting excited - but the head rolls off so she breaks down crying again

- ((My stream cut here so I didn’t see the start of the Ritsu vs Shou interaction and whether or not he recognised Shou from their interaction in stage 2))

- We see a little Shou vs Ritsu - Ritsu flings an array of spoons at Shou - Shou lands a punch that sends Ritsu off stage

- Character design for Takeuchi has been corrected slightly from the anime

- Matsuo vs SG!Dimple stage effects are great. They’re both very flashy actors which creates fantastic visual comedy

- Matsuo takes off his jacket like he’s at a strip club - it’s all very flamboyant and fun

- ((Stream cut again so I didn’t actually see the joke, but some kind of adlib happens with Reigen in the taxi scene that causes Baba to break character))

- When Mob uses his powers to blow Takeuchi away someone comes on stage with a leafblower to blow his hair away

- Screen goes black and we cut back to Shou delivering the final blow on Ritsu. Shou says someone interesting is coming and leaves stage for Mob’s entrance

- Mob finds Ritsu passed out and holds him, finds he’s breathing but won’t forgive who did this to him

- Mutou enters and stalks around the back and creates the image of Ritsu dead on the floor with a knife in his chest for Mob which causes his freak out

- “What a great pair of brothers” - Shou leaning over Mob and Ritsu’s passed out bodies

- Shou floats Mob and Ritsu into the room with Sakurai/Teru/Ishiguro

- Small cut away to Reigen - he sees 500 yen on the ground and immediately runs to go pick it up

- Mob and Ritsu’s hug is very emotional - Ritsu is more panicked asking Mob if he’s okay and Mob is more emotional responding than the anime

- Mob pats Ritsu’s head to calm him down

- Visual gag where Shou steps on Ishiguro’s shoe - Ishiguro freaks out trying to clean it and Muraki offers emotional support

- Guy walks into the room with Sakurai/Muraki/Ishiguro/Matsuo/Shou and informs them “The boss is coming”, which piques Shou’s interest and he comes along to meet “the boss”

- Play then gives us a “5 minutes earlier” scene. Baba’s performance in the Claw break-in is more on the eccentric/aggressive side than the calmer calculating tone Sakurai had - changes the atmosphere for the scene

- The whole scene with Reigen saving the lab kids is redone to be so eccentric with everyone chanting BOSS! BOSS! BOSS! at the end for Reigen

- When Reigen starts making a comment about Teru’s wig and cuts himself off to not offend him, he goes to Mob like “wtf” and Mob whispers in his ear what happened

- Shou included in the scene when Ishiguro etc. face off against Reigen

- ((ARGH my stream cut out again, when it came back Shou had moved over to Reigen’s side - probably some good dialogue there between them that I missed))

- Shou says to Reigen ‘Give me back my 10,000 yen’ - Shou decides to stand back to watch the show

- When Ishiguro attacks, Mob protects Shou as well as everyone else

- We have Shou/Teru/Mob/Ritsu/Reigen all on one side vs the Claw guys on the other (Ishiguro/Sakurai/Muraki/Matsuo)

- When Reigen does his Anti-Esper Drop Kick, they choose to translate this in English as “Dropkick to the espers”

- Shou: ‘You’re really taking [Muraki] on? lol’ Reigen: ‘Shut UP you brat’

- When Sakurai attacks Reigen (first time), Ritsu helps him up

- Lots of good banter between Shou and Reigen (”Stop calling me ‘old guy!’”)

- Shou sits to the side and enjoys the show while Sakurai/Muraki/Ishiguro/Matuso vs Reigen/Mob/Ritsu/Teru happens, makes some comments (ie. “Damn you’re in a pinch, whatcha gonna do now?”)

- When Reigen is getting sucked up by the anti gravity bubble, Shou helps Teru/Mob/Ritsu out with saving him

- Sakurai cutting off Teru’s wig is made into such a Dramatic moment

- Shou joins the fight against Ishiguro - Ishiguro manages to knock him out of the field and Reigen expresses concern (‘Oh crap! Kid are you okay!’)

- Lots of stage theatrics - now that Shou is no longer in play scene plays out as it does in the anime

- Lots of Reigen protecting Mob and leading him away from danger until the climactic moment where Mob decides to fight

- Mob’s scream of ‘Shishou!!!’ is filled with emotion - Reigen collapses quickly and without theatrics, facing the audience

- He doesn’t get a cut in his jacket, nor does he remove it

- When Reigen destroys Matsuo’s pet - ‘Oh Jesus I’m sorry I didn’t mean to destroy your toy’

- More protective Reigen - puts his arm out to protect Teru and Ritsu & get them behind him

- Reigen’s “Purifying Salt Punch” -> English given as Prime Salt Punch

- ‘It’s rude to wear a mask when talking to people!’ - here his mask doesn’t come off - unsure if intentional

- ((The bento story is REALLY well performed comedically but doesn’t land with attending audience))

- Sakurai shoots Reigen and Reigen catches the bullet

- Reigen uses the spray to spray his armpits

- Reigen at Muraki’s forehead “what is this? A doorbell? Ding dong ding dong”

- Lab kids start making fun of Muraki as well (Rei: What is that, cosplay?)

- Rei has a crush on Reigen in the same vein as her crush on Ritsu - Calls him cool and stuff and tries to reach for him

- Mob: ‘Having powers doesn’t make you popular’ Rei: ‘Lame.’ Reigen: ‘Well there you have it.’

- Shou comes back in centre stage and knocks Ishiguro out - goes to Reigen and says it’s time to repay the debt he owes Reigen - knocks Ishiguro out fully as per anime/manga

- As Shou leaves he pats Ritsu on the shoulder

- When Reigen says ‘is this an evil spirit?’ He hold his nose as if Dimple stinks, then grabs his head and shakes him around. Gets some salt from his pocket and throws it at Dimple

- Rei goes up to Sakurai and asks to date him

- Shou goes on the phone on stage top level and calls Touichirou as per manga/anime lines

FINAL SCENE

- Shou returns to S&S - as it turns out Reigen had the 10k stuck in his pocket the whole time and returns it to Shou

- Mob and Ritsu (with a bag) enter S&S while Shou is still there but leaving - Mob thanks Shou for helping them and asks Ritsu to do the same - Ritsu complies

- Shou looks back at Reigen, then toward Ritsu and Mob and tells them all they’ll meet again

- Mob and Ritsu share a heartfelt moment - “Ritsu, you’re amazing” - “No you’re the amazing one Nii-san”

- Ritsu gets out Takoyaki for Reigen/Mob/Ritsu to enjoy and Dimple joins them

ENDING SONG - ‘mob.’

https://katyatalks.tumblr.com/post/659597484715278336/mob-ed-for-mp100-stage-3-a-clash-with-claws

- Itou’s voice is STUNNING

CAST COMMENTS

- Kawaharada Takuya (Teru) addresses the fact that he’s the person who laughed the most out of everyone

- Nadagi says he wants to do a stage 4 and that’s the general vibe with everyone  and it’ll be nice if the anime gets a S3 too

- Lots of talk about stage 4 and it only being possible if everyone comes together

- Itou: ‘Us being able to do this again out of the blue so suddenly is thanks to all of you’

ENCORE

- Itou and Baba

- Lots of crying from Itou relating to covid and how it has cut the audience - he is grateful but he’s still upset about it - Baba gives him a huge hug

[tarjeismoeworknews]

Heksejakt(The Crucible)

Arthur Miller's Heksejakt explores what can happen in a society when one can no longer distinguish truth from falsehood. The play is based on real events from 1692, when the small town of Salem was haunted by witch trials that would end in 29 people being sentenced to death for being in cahoots with the devil.

Heksejakt starts innocently enough: a group of young women dancing in the woods. The women are seen, and for fear of the consequences in the strictly Christian Puritan society, they say they were possessed by the devil. This quickly leads to mass hysteria and soon the villagers start to indicate each other. John Proctor (Anders Baasmo) ends up in the middle of this power struggle and has to choose between saving himself and his family or fighting for what he knows is the truth.

Heksejakt is a brutal description of what can happen when the masses decide on an alternative truth. For what happens when this truth becomes a political tool, a weapon ruled by lust, revenge and mass suggestion? Miller's drama shows how the social order balances on a knife edge, how easily everything can tip over and how it all starts with one little lie.

Arthur Miller wrote the play in 1953 as an allegory of McCarthyism, at a time when the US government was conducting its own witch hunt for communists and communist sympathizers; a witch hunt that, among other things, hit Miller himself. Heksejakt is considered, with good reason, as one of the great classics in theater history.

Heksejakt is a grotesque, dramatic, adventurous and musical performance where 17 actors together portray a society that is disintegrating. With large parts of the team behind  Min briljante venninne (My brilliant girlfriend) on the team, Oslo Nye Teater presents Heksejakt with a magnificent performance with a flammable theme.

Premiere 9 September 2021 at Oslo Nye Hovedscenen.

Edit: Tarjei is going to start studying in Den norske filmskolen this fall. That probably means that he won’t  be part of this wonderful play. @evakcardamom​ talked to Oslo Nye and this is the answer she got from them: «When it comes to "Heksejakt", several solutions are being worked on»

Edit2: It is now official that Tarjei won’t be part of this play

Cast:

John Proctor- Anders Baasmo Elizabeth Proctor- Ingvild Holthe Bygdnes Pastor Parris- Andreas Stoltenberg Granerud Pastor John Hale- Eldar Skar Vice governer Danforth- Birgitte Victoria Svendsen Tituba- Henriette Faye-Schjøll Abigail Williams- Thea Lambrechts Vaulen Susanna Walcott- Julia Sørensen Mary Warren- Mari Dahl Sæther Betty Parris- Emilie Mordal Rebecca Nurse- Trine Wenberg Svensen Giles Corey- Sindre Postholm Lensmann George Herrick- Modou Bah Ann Putnam- Mari Hauge Einbu Thomas Putnam- Gunnar Eiriksson Ezekiel Cheever- Lars August Jørgensen

Director: Maren E. Bjørseth Choreography: Ida Wigdel Set design: Olav Myrtvedt Lighting design: Norunn Standal Sound design: Alf Lund Godbolt Costumes: Solveig Holthe Bygdnes Mask manager: Julie A. Clark Playwright: Kristofer Grønskag Supervisor: Ragna Vik Production staff: Christina Bjurholt Translated by Peter Magnus

source:oslonye.no/forestillinger/heksejakt/

[hatayurieworks]

映画「ほったまるびより」Blu-ray

Cast / Risa Oda Satoko Shibata

Yu Goto Kaho Kogure Ayaka Suga Yui Yabuki

Director, Screenplay, Edit / Nao Yoshigai

Cinematographer / Mai Yoneyama Lighting / Daiki Kato Sound Recording / Junichi Sasaki Production Designer, Stylist / Koyuki Kato Costume / Kanae Shimoyama

MoVI Director / Hikari Homma Under Water Camera / Masaaki Chijimatsu

Camera Assistant / Satoshi Ichiki, Yusuke Kitami Under Water Camera Assistant / Arisa Kaneko

Assistant Director / Sho Ishii Production Support / Nanako Kobayashi, Omoi Sasaki

Music / Satoko Shibata Recording Support / Yukako Kaiwa

Choreography / Nao Yoshigai, Ayaka Suga, Yu Goto, Yui Yabuki, Kaho Kogure Color Grading / Hiroshi Iwanaga Recording Studio / TOEI DIGITAL CENTER Sound Editor / Masaya Kitada Sound Engineer / Takamasa Haraguchi Foley Assistant / Mayumi Tsumita Foley Artist / Miyuki Horiuchi

Title Logo Design / Yurie Hata Photography / Natsuki Kuroda

Producer / Tokushi Suzuki, Kengo Nakamura, Kaihei Shiota Publicity / Ui Yamanaka, Shun Takeda

Executive Producer / Toshio Watanabe

Costume Support / ANTIPAST, RED profire Location Support / Fululu Old-House, Yamagishi-Home

Planning / Tokushi Suzuki Planning Support / Takatoshi Naoi Production Support / SPOTTED PRODUCTIONS

Support / Mao Sonohara, Nami Isomura, Michiyo Hasegawa, Shunta Saito, Miyuki Shimoyama, Hiromu Nishizawa, Rei Kikuchi, Keijiro Suzuki, Neo Sora, Takuro Araki, CORE Inc., CAMPFIRE

[whadupcat]

4AM

// Potpourri Company

+ dance & performance + movement research

Pulsating sounds, ecstatically dancing bodies, a sense of freedom. In their dance performance 4 A.M., the two choreographers Olivia Mitterhuemer and Farah Deen invite participants to delve into the spheres of house culture.

Far from hackneyed drug and alcohol clichés, several layers of house dance are choreographically investigated in this homage to club culture. Following the inclusive and non-judgmental character of house culture, the repetitive, upbeat quality of the music serves as the central anchor for the four performers’ physical experience. Inspired by their long-lasting occupation with the house scene in Europe, they bring different human relationships to the stage, all within a spectrum between self-doubt, distancing, intimacy, and ecstasy. 4 A.M. celebrates the “club” as a safe place where social conventions stop being of relevance, thus allowing us to settle in a non-judgemental space of danced transcendence and collective freedom.

Conception and choreography Farah Deen & Olivia Mitterhuemer Dance Farah Deen, Cat Jimenez, Olivia Mitterhuemer, Tina Rauter Dramaturgy Philippe Riera Music edit TJ Hicks Light design Stefan Ebner Costume and set design Magdalena Neuburger Production Verena Pircher

A co-production by Tanzcompany Potpourri and imagetanz/brut Wien. Supported by the Austrian Federal Ministry of Art, Culture, Civil Service and Sport, the City of Vienna’s Department of Cultural Affairs, the City of Salzburg’s and the Province of Salzburg’s Departments of Cultural Affairs, Bildrecht. With the kind support of ARGEkultur Salzburg and SZENE Salzburg.

Pictures by Marko Mestrovic

[cheonsans]

★ ＨＥＬＬＯ 

ｔｈｅ ｓｅｃｏｎｄ ｍｉｎｉ ａｌｂｕｍ

hello is the second mini album released by Superbia Entertainment’s seven-member boy group, RE:NEW. it was dropped on October 3rd, 2019, and featured the title track wow! The concept for this era was equally as youthful and cheerful as their debut, and featured a playful boyfriend concept and a colorful, retro-inspired aesthetic. The vibrancy of the music video complemented the upbeat nature of the tracks on the album, of which there were seven in total.

album playlist

TRACKLIST

01. wow! (title) - insp. dang! by greatguys

wow is an energetic and exciting track, borrowing sounds from disco and synth pop inspirations. the retro feel and momentum of the song are maintained throughout, providing a refreshing feel to listeners. re:new’s vocal line and rap line are both given time to shine, and the bubbly production of the song matches the enthusiasm and bright, wholesome energy throughout. When you look at me, everything is healed, you’re my forever Neverland, I wanna lean on you and rest.

02. cheer up (promoted) - insp. plz don’t be sad by highlight

03. movin’ on - insp. can be better by highlight

04. on and on - insp. hello by blanc7

05. let’s go! - insp. kangaroo by wanna one

06. baby - insp. bae by m.o.n.t.

07. loving you - insp. still loving you by 100%

AESTHETIC/ERA NOTES

The visual concept for this era matched the retro feeling of the music, and was as colorful and vibrant as the album itself. The individual member teaser for the comeback featured the boys in hazy pink and purple lighting, the photos edited with a slight scan-lines filter, and with a  film effect to them that had their names spelled out in the lower corners.

The group teaser photos were taken in a record store, with members artfully posed amongst the music. Taking after popular edit trends on social media, there was an effect to the photos that made them slightly glittery to truly drive home that retro boyfriend aesthetic.

The styling was all very endearing! The boys wore soft, worn t-shirts with various slogans, soft sweaters, cuffed jeans, and multi-colored jackets with multiple enamel pins. Quinn and Ari boasted glasses, and many of the members once again had their hair slightly curled for a youthful and playful look. The color scheme for their clothing was mostly pastels and white, including pink-tinted lenses in Ari’s glasses for a few shots.

While the music video itself was relatively simplistic and highlighted the members as they each yearned after the same girl, RE:NEW were praised for the aesthetic quality of the video, as well as the cinematically-inclined framing of the shots. The transitions were all remarkably smooth, and the consistent color scheme lent a dreamy and sweet tone to the video.

The members boasted new hair colors, and were as follows:

Sanghyun - a dark, rich blue

Yunyi - warm, red-toned brown

Quinn - silvery white

Junsu - purple-blue

Gem - black

Ari - dark brown

Kyuwon - light, blond-toned brown

The album came in two versions, a pink and a purple, and was absolutely adorable. It was small and square and the side had a cassette tape design! The photo books were lovely and a few of the photo cards even had the boys posing with miss Bea (and one very popular photo card of Kyuwon walking into a wall in the background while Quinn and Bea took a selca together)

The girl in their music video was none other than Hijinx’s Bea! Her hair was dyed blonde, and her styling complemented the boys’ and included a beret and pink makeup. Overall, she stole the show, and it was no wonder she had the boys chasing her during the music video!

Although wow! didn’t earn RE:NEW a win, the boys came close a few times, and fans continue to insist that they were cheated out of the recognition they deserved :’)

The boys released a regular dance practice video, as well as a part switch version, and a halloween costume version! the playful choreography contrasted quite a bit with some of the darker costumes donned by the boys (lookin’ at you, mr. vampire quinn), but it was overall as endearing as could be expected from the RE:NEW boys!

Basically they're baby god tier boyfriends and that’s that,  i won’t be accepting questions at this time