Q Ax http://q-ax.com/ Mon, 29 Nov 2021 20:48:51 +0000 en-US hourly 1 https://wordpress.org/?v=5.8 https://q-ax.com/wp-content/uploads/2021/05/q-ax-icon-150x150.png Q Ax http://q-ax.com/ 32 32 IMAX Unveils EXCLUSIVE Artwork For SPIDER_MAN: NO WAY HOME With Tickets On Sale NOW by Jon Watts https://q-ax.com/imax-unveils-exclusive-artwork-for-spider_man-no-way-home-with-tickets-on-sale-now-by-jon-watts/ Mon, 29 Nov 2021 17:49:04 +0000 https://q-ax.com/imax-unveils-exclusive-artwork-for-spider_man-no-way-home-with-tickets-on-sale-now-by-jon-watts/

The eagerly awaited release of Spider-Man: No Path Home will be present fully exclusive to IMAX Expanded Aspect Ratio (EAR) in a first for the franchise. Cinephiles who watch Spider-Man: No Path Home in IMAX will find themselves totally immersed in IMAX-exclusive 1.90 aspect ratio, which provides up to 26% more image, from start to finish – a first for fans of the franchise that shouldn’t be missed.

In addition to more images, Spider-Man: No Path Home in IMAX has been digitally remastered in the picture and sound quality of The IMAX Experience® with proprietary IMAX DMR® (Digital Remastering) technology, coupling crystal-clear images with IMAX’s custom cinema geometry and powerful digital sound, making it the ultimate cinematic experience.

Spider-Man: No Way Home Film Page

Tickets are now on sale. For more information or to book your IMAX session, visit. Spider-Man: No Path Home hits IMAX theaters on the 15the December.

On Spider-Man: No Path Home in IMAX
For the first time in Spider-Man cinematic history, our likable neighborhood hero is unmasked and is no longer able to separate his normal life from the big issue of being a superhero. When he asks Doctor Strange for help, the stakes get even more dangerous, forcing him to find out what it really means to be Spider-Man.

The IMAX output of Spider-Man: No Path Home will be digitally remastered in the picture and sound quality of The IMAX Experience® with proprietary IMAX DMR® (Digital Remastering) technology. Crystal-clear images, combined with IMAX’s custom cinema geometry and powerful digital sound, create a unique environment that will make audiences feel like they’re in the movie.

About the IMAX company
IMAX, an innovator in entertainment technology, combines proprietary software, architecture and equipment to create experiences that take you beyond the edge of your seat into a world you never imagined. The best filmmakers and studios use IMAX theaters to connect with audiences in extraordinary ways and, as such, the IMAX network is one of the largest and most successful film distribution platforms for major events in the world. whole.

IMAX is headquartered in New York, Toronto and Los Angeles, with additional offices in London, Dublin, Tokyo and Shanghai. At 31st As of March 2021, there were 1,652 IMAX theater systems (1,567 commercial multiplexes, 12 commercial destinations, 73 institutional) operating in 84 countries and territories. The shares of IMAX China Holding, Inc., a subsidiary of IMAX Corporation, are listed on the Hong Kong Stock Exchange under the stock code “1970”.

IMAX®, IMAX® Dome, IMAX® 3D, IMAX® 3D dome, discover it in IMAX®, The IMAX To live®, a IMAX To live®, a IMAX 3d experience®, IMAX DMR®, DMR®, IMAX nXos® and films at most®, are trademarks and trade names of the Company or its subsidiaries which are registered or otherwise protected under the laws of various jurisdictions. More information about the company can be found here.

You can also connect with IMAX on Instagram, Facebook, Twitter and YouTube.

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Japanese event gives new life to cardboard boxes like giant Gundam statues, cosplay outfits https://q-ax.com/japanese-event-gives-new-life-to-cardboard-boxes-like-giant-gundam-statues-cosplay-outfits/ Mon, 29 Nov 2021 12:06:44 +0000 https://q-ax.com/japanese-event-gives-new-life-to-cardboard-boxes-like-giant-gundam-statues-cosplay-outfits/

AOMORI – Battle robots from the anime “Mobile Suit Gundam” towered over visitors and kaiju monsters from the Japanese sci-fi TV series “Ultraman” took over the halls of the Aomori Tourist Information Center ( ASPAM) here on November 28 for the establishment’s fourth annual event dedicated to all-cardboard creations.

The “Danborian” event was first held in 2018, to make cardboard boxes – “danboru” in Japanese – in new forms once again before heading to the rubbish heap. The 2021 edition has three sections: one for static works, one for cosplay, and a “smile” section for beginners in the art of transforming old plain cardboard into fantastic products of the imagination. In total, 30 people and teams exhibited works for “Danborian 4” in Aomori city.

Cosplayers in costumes made from cardboard boxes march through the Aomori Tourist Information Center (ASPAM) in Aomori City on November 28, 2021 (Mainichi / Hirosato Nansako)

One of the most popular exhibits was the 10 foot tall “Mobile Suit Gundam” robots that had invaded the lobby of ASPAM. Deeper inside the building, Ultraman’s kaiju enemies, Jamila and Zetton, roamed with other cosplayers dressed in cardboard outfits, posing for photos with visitors.

The day’s schedule included a public conversation with 78-year-old actor Bin Furuya, who played the first generation Ultraman, and a cosplay parade inside ASPAM. A traditional float from the illuminated Aomori “neputa” festival, painted on themes from the manga and the animated series “Flying Witch”, taking place in the town of Hirosaki, Aomori prefecture, was also rolled, breathtaking the crowd.

Toshiya Totani, a 58-year-old truck driver from Kumano, Mie Prefecture, who dressed up as Ultraman kaiju Telesdon for the event, told the Mainichi Shimbun: “I have met people with the same pass. -times I did, and I had a lot of fun talking with them about our work and our techniques. ”

The head of the event committee, Takahisa Mikami, 52, commented, “The attendees are all very lively and the event turned out to be the one that will connect to the next edition.

(Japanese original by Hirosato Nansako, Aomori Bureau)

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How a doctorate can lead to an international career in academia https://q-ax.com/how-a-doctorate-can-lead-to-an-international-career-in-academia/ Mon, 29 Nov 2021 02:53:29 +0000 https://q-ax.com/how-a-doctorate-can-lead-to-an-international-career-in-academia/

Professor Hitoshi Nasu, obtained his doctorate in 2006

With bachelor’s and master’s degrees obtained in his home country of Japan, Professor Hitoshi Nasu had his future mapped out for him – staying in Japan and pursuing a career in the Ministry of Foreign Affairs.

Despite the pressure to follow this conventional path, Hitoshi made the bold decision to move to Australia to continue his education, where he graduated from Sydney Law School in 2006 with a doctorate.

This decision enabled Hitoshi to have a successful academic career in Australia, the United Kingdom and the United States.

After completing his doctorate with us, Hitoshi taught at Australian National University. He then moved to the UK where he was Professor of International Law at the University of Exeter.

Today, Hitoshi is Professor of Law at the United States Military Academy and Senior Fellow at the Stockton Center for International Law, United States Naval War College.

We spoke to Hitoshi about his decision to leave the comforts of his home country and embark on an unconventional career in academia. He shares his experience of pursuing studies abroad and provides valuable information for those considering an academic career.

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“Xbox IS YOURS! – Fans laugh at PlayStation after their latest announcement https://q-ax.com/xbox-is-yours-fans-laugh-at-playstation-after-their-latest-announcement/ Sun, 28 Nov 2021 19:06:00 +0000 https://q-ax.com/xbox-is-yours-fans-laugh-at-playstation-after-their-latest-announcement/

The Warfare console between the American studio Xbox and the Japanese studio PlayStation, entered the next-gen phase with the release of the PS5 and the Xbox Series X / S last year. Some fans were skeptical of the two devices, and in the initial phase, it seemed like the PlayStation device had the upper hand.

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However, a year later things have changed dramatically for the two gaming giants. PlayStation’s list of exclusives may have helped it win wars, but the PS5 is failing to stack up. Xbox, on the other hand, managed to have its best year yet, revealing an incredible roster of exclusive titles with Game Pass’s winning combo.

Fans have now started to poke fun at the PS in its latest thread, about dull versions of the PS5.

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Twitter reacts to latest PlayStation post

The latest post on Fall Guys’ new season for PS5 rubbed fans the wrong way. The community took this opportunity to express their dissatisfaction with the current list of titles for PS5. Gamers have also expressed their love for the Xbox as the US studio has made amends by rolling out an incredible array of titles lately.

The PS5 currently has a limited number of games that fans can play. With nothing to plug in and play, this makes the console an expensive movie player.

It is indeed quite painful to cross all the obstacles to buy the device, to find hardly any game to play. Sony needs to step up the pace in terms of new releases in order to keep the fan base.

Xbox might not have the best console according to a certain fan base, but its current roster of games for the X / S series is truly impressive.

Fans demand answers. Will the PlayStation team take over and answer calls? The community is asking for more titles to play as all major releases are a long way from release.

Watch this story: Video game franchises are coming back to consoles

“Xbox OWNS you” is the only slogan circulating on the Internet. How will the PlayStation team react for the foreseeable future?

Fans only have one thing to say, Xbox is better and the whole thread is filled with angry tweets.

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Fans continue to spam the post, claiming that the Xbox is better than the PS. Looks like the US studio has won 2021, but there are still more borders where this war needs to be fought.

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Agree with fans’ reaction to the lack of PS5 titles? Be sure to share your thoughts in the comments section below.

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Olympic favorite Kamila Valiyeva breaks her own figure skating record https://q-ax.com/olympic-favorite-kamila-valiyeva-breaks-her-own-figure-skating-record/ Sat, 27 Nov 2021 18:05:00 +0000 https://q-ax.com/olympic-favorite-kamila-valiyeva-breaks-her-own-figure-skating-record/

In 2014, a 7-year-old ballet dancer and figure skater named Kamila Valiyeva got his first glimpse of the Olympics. She watched on television as a Russian compatriot Yulia Lipnitskaya, then 15, captivated the Iceberg Skating Palace in Sochi, skating as the girl in the red coat to the music of “Schindler’s List”.

On Friday and Saturday, now 15-year-old Valiyeva put on her own unforgettable performances at the same venue in the Black Sea resort.

Valiyeva recorded the highest scores in history (due to score changes, this effectively means since 2018) for both the short and free skate. Valiyeva broke her own record for the best total score. She collected 272.71 points to win the Rostelecom Cup by 43.48 points with three quadruple jumps in her free skate.

The Russians took the first three places (Elizaveta Tuktamysheva, Maiia Khromykh), giving the nation five of six places for the Grand Prix final in two weeks. The Grand Prix Final is the largest international competition before the Olympics, winning the top six per discipline of the six events in the Fall Grand Prix Series.

American Mariah bell was fourth, posting almost a personal best. She went from fifth among U.S. Olympic hopefuls this season to second and will likely compete at the January nationals as a favorite to be part of the three-woman Olympic squad, with Alysa liu.

No American woman competed in the Grand Prix final. No American woman has stepped on the Grand Prix Series podium for the first time (started in 1995).

CUP ROSTELECOM: Results | Highlights on NBC Sundays, 3 p.m. ET

Valiyeva is the only skater to eclipse 270 points. To eclipse 260 points. And to eclipse 250 points. No other woman in the world has scored within 30 points of her this season.

Valiyeva started 2021 at the junior level. Its story is similar to that of Alina zagitova, who won the 2018 Olympic title at the age of 15 in his first senior season. Except that Zagitova had a close rival as a training partner Yevgeny Medvedeva. Valiyeva, on the other hand, is set to finish 2021 as the biggest favorite for gold among all figure skating events.

“If someone can put it all together and be better than Kamila Valiyeva was today in less than 100 days at the Olympics, I’ll be shocked,” NBC Sports analyst Johnny weir said when commenting on Valiyeva’s performance last month at Skate Canada, when she set the world record of 265.08 points she just broke in Sochi. “It makes everyone happy on both sides, technical purists or artistic purists. She has it all, and ultimately she is the one who is supposed to win these competitions.

Valiyeva is the latest star from the world’s most prestigious skating school, Sambo-70 in Moscow. The director is Eteri Tutberidze, a down-to-earth trainer set to compete in a third consecutive Olympics with a 15-year-old phenomenon after guiding Zagitova in 2018 and inspiration from Valiyeva, Lipnitskaya, in 2014.

Tutberidze, whose students include six of the world’s eight best skaters, calls Valiyeva “gifted,” and it’s easy to see why.

She puts both arms above her head to show the ease of her quadruple jumps. She (or maybe Tutberidze or a choreographer) had the audacity to choose “Boléro” for her free program from the age of 14 (michelle kwan and Caroline kostner, two of the most graceful modern skaters, performed there in their mid-twenties.)

What’s next for Valiyeva? Without doubt the four greatest competitions of his life: the Grand Prix final. The Russian Championships, the deepest competition in the world (including the Olympics), at the end of December, after which the Olympic team is expected to be named. The European Championships in January then the Beijing Games in February.

Set of pitches for the Grand Prix final

Earlier on Saturday, the Georgian veteran Morisi Kvitelashvili won his first Grand Prix victory, jumping from third place after the short program to beat the Japanese Kazuki tomono by 1.69.

American Jason brown, who was not competing, clinched his second place for the Grand Prix final after the overall results shook. Compatriots Nathan Chen and Vincent zhou previously won the final places. They will be joined by Japanese Shoma uno and Yuma Kagiyama and russian Mikhail Kolyada.

Reigning World Champions Victoria sinitsina and Nikita Katsalapov of Russia won the ice dance with 211.72 points, outrunning the Italians Charlene guignard and Marco fabbri by 8.01.

This sets up a final Grand Prix showdown between the Russians and the quadruple world champions Gabriella Papadakis and Guillaume Cizeron of France. The last time they met, the Russians inflicted on the French their only loss of this Olympic cycle, but it was in January 2020. The French have the three best scores in the world this season.

Also qualified for the final: the Americans Madison Hubbell and Zachary Donohue and Madison hold and Evan bates.

In pairs, reigning world champions Anastasia michina and Alexander Galliamov Russian compatriots leapfrog Daria Pavliuchenkova and Denis khodykin in the free skate, scoring 226.98 points to win by 14.39. Alone Yevgeny Tarasova and Vladimir Morozov, yet another Russian pair, have scored higher this season.

Four Russian pairs qualified for the Grand Prix final. They are joined by Olympic silver medalists Sui Wenjing and Han Cong, China’s top hope for a figure skating medal in Beijing, and Riku miura and Ryuichi kihara, the first Japanese pair to reach the final in 10 years.

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Additional border security measures to protect Australians from new ‘Omicron’ COVID-19 variant https://q-ax.com/additional-border-security-measures-to-protect-australians-from-new-omicron-covid-19-variant/ Sat, 27 Nov 2021 03:21:58 +0000 https://q-ax.com/additional-border-security-measures-to-protect-australians-from-new-omicron-covid-19-variant/

Date published:

November 27, 2021

Type of support:

Press release

Public:

General public

These actions are carried out on the basis of prevention and are considered proportionate to the risk and consistent with the actions envisaged by other countries.

  1. As of now, anyone who is not a citizen or permanent resident of Australia, or their immediate family, including relatives of citizens, and who have stayed in African countries where the Omicron variant has been detected and spread – in the last 14 days – will not be able to enter Australia.

    The countries are: South Africa, Namibia, Zimbabwe, Botswana, Lesotho, Eswatini, Seychelles, Malawi and Mozambique.

  2. Australian citizens and permanent residents, immediate family members, including relatives arriving from these countries, should be placed in immediate supervised quarantine for 14 days subject to jurisdictional provisions.
  3. Anyone who has ever arrived in Australia and been in any of the nine countries in the past 14 days should immediately self-isolate and get tested for COVID-19 and follow jurisdictional quarantine requirements which will include quarantine for 14 days from the time of departure from Southern Africa.
  4. These restrictions also apply to people, for example international students and skilled migrants, arriving from the safe travel zones we have established with New Zealand, Singapore, Japan and the Republic of Korea, who have stayed in the ‘one of nine countries in the last 14 days. .
  5. The government will suspend all flights from the nine southern African countries for a period of 14 days as a precaution.

The World Health Organization has said the B.1.1.529 strain of the virus, now known as the Omicron strain, is a variant of concern. It was first detected in southern African countries.

The Omicron variant has a high number of mutations within its spike protein, which is of particular concern.

There are currently no known cases of the Omicron variant in Australia.

The actions taken by the Australian government to date are preventative and will remain so until more is known about the severity and transmissibility of the new variant.

The emergence of the Omicron variant is another reason why anyone who is eligible in Australia who is not yet vaccinated against COVID-19 should make an appointment – today – to be vaccinated. If you finished your two-dose primary vaccination at least six months ago and have not yet received a booster dose, make a booster reservation now.

People should also continue to apply COVIDSafe measures, including good hand washing and coughing and sneezing hygiene and getting tested if they have symptoms of COVID-19.

These new measures were implemented on the recommendations of the Australian Chief Medical Officer who was based on a comprehensive risk assessment. The Australian Health Protection Principal Committee (AHPPC) is aware and actively engaged in the discussions.

Australians can be reassured that the Australian government, as it has done throughout the pandemic, is acting on the best medical advice available. If further action is required, the government will not hesitate to take those steps.

The AHPPC is following international developments very closely and will continue to advise the government on how to respond to the Omicron variant.

Australians are encouraged to obtain their COVID-19 information from reliable sources, such as the Australia.gov.au website.

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Ryûsuke Hamaguchi’s disconnection dramas https://q-ax.com/ryusuke-hamaguchis-disconnection-dramas/ Fri, 26 Nov 2021 15:24:13 +0000 https://q-ax.com/ryusuke-hamaguchis-disconnection-dramas/

IN THEIR BEGINNINGS, films were not as concerned with the realistic elaboration of the action as they were with the various devices used by writers, directors, cinematographers and production artists to convey ideas and emotions through moving images . The theatricality – what Roland Barthes called a “sensual artifice” – was at the base of these films, charged not to recreate the truth on the screen but to cleverly construct the psyche. Shadows and bursts of light, recurring objects, long shots, static camera work, expressive play, and striking (but not necessarily beautiful) faces etched images into the viewer’s mind. As the language of cinema transformed in response to technological advancements, the distinction between film and theater deepened, and the two arts soon became widely seen as fundamentally opposed.

Yet, many filmmakers have thought rigorously about the theater and how to translate this thought with conviction to the screen. Werner Schroeter and Rainer Werner Fassbinder forged their experimental cinemas in the melting pot of postmodern theater, while more recently independent directors like Patrick Wang (A bread factory), Joséphine Decker (Madeline from Madeline) and Matías Piñeiro (Alto) used the reading device in a film to blur the boundaries between life and stage. Taking this practice beyond the West, Japanese director Ryûsuke Hamaguchi envelops himself and his actors in a world close to melodrama, and in doing so, has found a way to imbue every minute with contingency. live theater. In its last two features, Drive my car and The wheel of fortune and fantasy, the elegance and simplicity of the costumes and the decoration of the sets do not signify the “real”. Instead, they provide a stark contrast to the sensational emotional lives of the characters, who struggle within and against the social conventions of modern Japan. In the second of WheelIn the three “Door Wide Open” vignettes, Nao (Katsuki Mori), a young married woman and non-traditional student, has an affair with another student, Sasaki (Shouma Kai). Sasaki was recently demoted for a year by the stoic Professor Segawa (Kiyohiko Shibukawa), who has just won a prestigious book award for his latest novel. In revenge, Sasaki asks Nao to seduce Segawa in order to get him fired. During their conversation, however, Segawa and Nao continually surprise each other as two misfits, isolated by their inability to comply. A bit impulsive, Nao is hated by her classmates, who find her distant and uncool; Segawa is smileless, transparent and demanding of himself and his students. Neither can twist into the social settings that would make them more likable, and in trying to fool Segawa, Nao begins to understand what an authentic connection and inspiration would look like outside of his marriage and marriage. emotionally negligent affair with Sasaki. Most of their story takes place in Ugly Friends’ rooms and school desks, but cinematographer Yukiko Iioka moves the camera with dramatic fanfare, capturing the characters from many angles. Even the blockage seems theatrical, each step deeply motivated and in concert with the goal.


Ryûsuke Hamaguchi, The Wheel of Fortune and Fantasy, 2018, 4K video, color, sound, 121 minutes.  Segawa and Nao (Kiyohiko Shibukawa and Katsuki Mori).

Much of Hamaguchi’s work, including his previous films Passion (2008), Privacy (2013), his breakthrough Happy Hour (2015) and the most recent Asako I & II (2018) – presents cases of mistaken identity, bizarre coincidences and fortuitous collision. Happy Hour, a five-hour epic that follows four thirty-something friends living in Kobe, dwells on the catastrophe of the end and transformation of relationships, alternating gripping close-ups and overwhelming wide shots. Hamaguchi played the lead roles not by auditioning professionals, but by hosting an amateur theater workshop during an artist residency in Kobe that facilitated an organic process of character development. The emotionally detached and almost mechanical performances of his later films are reminiscent of the work of playwright and stage director Richard Maxwell, whose experimental company New York City Players prioritizes simple, elementary acting by “beginners.” which counter-intuitively maximizes the emotional thrust of dramatic scenes. With Drive my car, a free adaptation of a short story by Haruki Murakami, Hamaguchi found a scale on which not only to stage a meandering melodrama, but also to reconstruct, in a way, his conception of Happy Hour as an experience of doing theater. In the second act of Drive my car, director and actor Yūsuke Kafuku (Hidetoshi Nishijima) attends an artist residency in Hiroshima and begins auditioning actors to star in a multilingual production by Chekhov Uncle Vanya. One of these actors turns out to be the lover of Kafuku’s late wife, Kōji Takatsuki (Masaka Okada), while another is a mute woman, Yoon-a (Yoo-rim Park), who has a little secret. In many of their early tabletop readings, Kafuku orders the actors – most of whom appear to be trained or experienced – to recite their lines without emotion or emphasis.


Ryûsuke Hamaguchi, Drive My Car, 2021, 4K video, color, sound, 179 minutes.  Janice and Yoon-a (Sonia Yuan and Yoo-rim Park).

Later, he gives them the right to explore. In a deeply immersive moment, a Chinese actress named Janice (Sonia Yuan) portrayed as Yelena, the young wife of a retired professor whose estate Vanya manages, rehearses a scene in the park in front of the others with Yoon-a, who plays Sonya, Vanya’s niece and confidante. Janice recites her lines in Mandarin while Yoon-a, who can hear but cannot communicate phonetically, speaks Korean Sign Language. Their scene is about the strained relationship between mother-in-law and daughter-in-law, who, bonding with shared unhappiness, release their tension in a strange and haunting gesture of elated closeness. As with Yelena and Sonya, the “real” Janice and Yoon-a speak their own languages, but they find a way to understand each other. The audience, on the other hand, experiences the gap between language and image, for Hamaguchi asks us not only to read the subtitles, but to remain in the deep absence that words produce. A kind of magic takes place which foreshadows the final and heartbreaking scene of the film.

The revelations that occur between Yelena and Sonya, quietly building an intimacy over the course of their exchange, reflect the shifting power dynamic between the actors and their director. Takatsuki, a disgraced TV star whom Kafuku intentionally misinterprets as Uncle Vanya despite his youth, continues to invite the director for a drink, which ends in confrontations between Takatsuki and stunned enemies who take secret photos of him. These encounters force Kafuku’s mysterious and skillful driver, Misaki (Tôko Miura) – an orphan born in the same year as Kafuku’s deceased daughter – to slow down while waiting to bring the director home (following a recent tragedy). , the management of the residence no longer allows artists to travel). Takatsuki, most recently in the news for having sex with a minor, now sees Janice, his older co-star. (One morning, Kafuku sees them together in a car, speeding past him on the way to rehearsal.)


Ryûsuke Hamaguchi, Asako I & II, 2018, 4K video, color, sound, 119 minutes.  Asako Izumiya and Baku Torii (Erika Karata and Masahiro Higashide).

Each of Hamaguchi’s scenes contains a multitude of subtly complex interactions; I have only described a fraction of what happens in Drive my car, yet most of his scenes could give hours of reflection. The film generally less appreciated by the director, Asako I & II, plays with the very idea of ​​interpretation by centering a character abandoned by his first love to meet a man who resembles him remarkably. She then reluctantly engages in a relationship with this new old flame. His romantic ambivalence and his inability to distinguish the past from the present plunge his life into quiet chaos. Importantly, the film’s title duality doesn’t refer to the same boyfriends, but to the woman herself, Asako (Erika Karata), seen from either side of the abandonment. The drama of the identical face she sees (the two boyfriends are played by the same actor, Masahiro Higashide) is underscored by a major change of context. When Asako met her first boyfriend, the adventurous and elusive Baku, in Osaka, she was young, spontaneous, without a hitch. When she meets Ryohei, the Baku lookalike, she works in a cafe in Tokyo and he is a suit in a large sake company. The lightness and luminosity of Osaka are supplanted by the serious rain of the capital. What happened to Asako?

Hamaguchi takes his films from this piercing existential question: who do we become when our lives are transformed by circumstances? He exploits this question not only narratively with an arc, but dramaturgically with role swaps, rehearsals and iterations, embracing the impossibility of definitive answers or conclusions for his characters. The absence then becomes a space of possibility for the actor and the audience, and not a void to be filled with information or explanations. Wheel of Fortune and Fantasy and Drive my car are milestones for the director who, since he wowed the festival circuit with Happy Hour a few years ago, continues to push cinema out of its comfort zones.

Drive my car opened in US theaters on November 24.

]]> Business News | Stock market and stock market news | Financial news https://q-ax.com/business-news-stock-market-and-stock-market-news-financial-news/ Fri, 26 Nov 2021 02:36:54 +0000 https://q-ax.com/business-news-stock-market-and-stock-market-news-financial-news/














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Tarsons Products is the 52nd company to be featured on the motherboard in 2021. The company has raised Rs 1,023.47 crore through its public offering.

List of shares of Tarsons Products with a 5% premium at Rs 700


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name Price Switch % variation
Indiabulls Hsg 231.50 4.85 2.14
Sbi 480.50 -10.05 -2.05
Rec. 130.95 -2.75 -2.06
Nhpc 31.00 -0.10 -0.32

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Which of these young people will score the most points in this ipl?

Which of these young people will score the most points in this ipl?

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