Martin Cid's Blog: Martin Cid Magazine, page 107

LEE Dongwook: “Red and Shiny” – ARARIO GALLERY SEOUL

ARARIO GALLERY SEOUL presents LEE Dongwook’s (b. 1976) solo exhibition, entitled Red and Shiny, from September 04 (Wed) to October 12 (Sat), 2024. LEE Dongwook’s sculptural works express a keen insight into and critique of the complex and fragile nature of human existence within society. In this exhibition, LEE achieves this through a method of combining small human figures with his personal collection of objects. In his latest exhibition, LEE presents large-scale installations that partially include small figurines and objects that juxtapose different materials to heighten sensory sensitivity and visual aesthetics. His characteristic cynical and cold perspective is particularly evident in his sculptures and installations, where artificial structures and human forms coexist in a chilling and sticky manner. The tension created by the meticulously arranged human figures, remnants, or traces imbues LEE Dongwook’s work with both an immediate aesthetic pleasure and a profound insight into humanity.

LEE Dongwook, 일곱 명의 기사(세부) Seven Knights (detail), 2024, Mixed media, Dimensions variable [Image Credit] ⓒ2024. LEE Dongwook. Courtesy of the Artist and Arario Gallery.Exhibition Theme

LEE Dongwook’s work consistently explores relationships on multiple levels. These relationships can be broadly categorized into two approaches: one that examines the connection between society and the individual, and another that focuses on the sensory aspects, maximizing the intrinsic qualities of specific subjects or the visual properties of materials. The first approach delves into the complex and fragile nature of humanity within society, offering sharp insights and critiques through the arrangement of objects reflecting the artist’s preferences and human figures and structures made from Sculpey—a type of polymer clay. The second approach heightens sensory awareness and aesthetic impact by connecting and juxtaposing similar yet distinct materials, amplifying the visual and tactile experience of the artwork.

This exhibition represents LEE’s latest exploration of the complex relationships that have long interested him. On the 4th floor, LEE presents a large-scale installation titled Shiny (2024), where various materials, all unified by their silver hue, are connected and arranged to create a cohesive work. True to its title, the piece is composed of materials that sparkle and shine, including platinum-coated tree branches, various silver objects, and silver wrapping ribbons. The visual impact of the work comes from the contrast between the natural texture of the wood and the brilliant silver of the platinum that covers it, as well as the subtle differences in how the platinum and silver ribbon reflect light. The beauty of this piece lies in discovering and experiencing these intriguing visual contrasts. As with much of LEE’s work, there is a sense of humanity’s presence and absence within the piece. On the 5th floor, the exhibition continues with LEE’s exploration of contemporary human existence, a theme he has long examined through the depiction of small human figures within specific structures. However, in these new works, the direct representation of flesh-toned human figures, which LEE frequently portrayed in the past, has been significantly reduced. Instead, the emphasis is placed on the structures themselves, with humans depicted almost as if they are crushed flesh, buried within these constructions, inviting viewers to contemplate the human condition within these confines. Rather than the carefully crafted pink-skinned figures of previous works, this exhibition features rough, mold-cast red figures symbolizing life. As a result, the exhibition offers a visually rich experience, allowing viewers to first enjoy the vibrant interplay of red and shimmering silver elements suggested by the title. After this visual indulgence, viewers are then drawn to discover the human presence within the vast structures and reflect on the relationships that emerge.

Artist Introduction

LEE Dongwook was born in Daejeon, Korea, in 1976. LEE graduated from the Department of Painting of College of Fine Arts at Hongik University in 2001 and obtained his master’s degree from the graduate school of the same university in 2003. LEE has held solo exhibitions at various institutions such as ARARIO GALLERY SEOUL (Seoul, Korea, 2024; 2012), ARARIO MUSEUM Dongmun Motel II (Jeju, Korea, 2016), Perigee Gallery (Seoul, Korea, 2016), Gallery Charlotte Lund (Stockholm, Sweden, 2013) and Doosan Gallery (New York, US, 2012). He has also participated in group exhibitions at ARARIO GALLERY SEOUL (Seoul, Korea, 2023; 2018; 2014; 2011; 2010), Daejeon Museum of Art (Daejeon, Korea, 2021), Inside-Out Art Museum (Beijing, China, 2017), Light Box (Venice, Italia, 2013), Doosan Gallery (Seoul, Korea, 2012), Museum of Arts and Design (New York, USA, 2011), Uppsala Art Museum (Uppsala, Sweden, 2011), National Museum of Contemporary Art (Gwacheon, Korea, 2010; 2009; 2004), Saatchi Gallery (London, UK, 2009), Total Museum of Contemporary Art (Seoul, Korea, 2009) and The National Museum of Art (Osaka, Japan, 2007), among many others. LEE’s works are part of many significant collections such as National Museum of Modern and Contemporary Art (Korea), Seoul Museum of Art (Korea), Burger Collection (Hong Kong), Rubell Family Collection (US), Today Art Museum (China) and more.

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Teatro Grattacielo Presents the World Premiere of Beyond the Horizon

Teatro Grattacielo announces the world premiere of Beyond the Horizon, based on Nobel laureate Eugene O’Neill’s Pulitzer Prize-winning play. The premiere will take place on September 15, 2024 at 4pm at LA MAMA Shares, 66 E. 4th Street, New York NY, 10003. Tickets are $55 are on sale now and available for purchase at https://grattacielo.org/season/beyond-the-horizon-world-premiere.

For the first time in its history, Teatro Grattacielo will present an American neo-romantic masterpiece written by composer Nicolas Flagello, with libretto by Nicolas Flagello and Walter Simmons: the World Premiere of Beyond The Horizon. Exploring the themes of hope, disillusionment, missed life opportunities and the pursuit of dreams through the story of two brothers in conflict over love and destiny, this production promises an experimental and immersive experience. The cast showcases John Robert Green, John Bellemer, Sara Kennedy, Daniel Klein, Melina Jaharis, Seven Kirby, Carla Lopez Speziale, Henry Hyunsoon Kim, Kathleen Echols, Rick Agster, Hana Yiu, and the Teatro Grattacielo orchestra, conducted by Christian Capocaccia. The production is Directed by Ian Silverman with set design by Taylor Friel, lighting design by Dimitris Koutas, and costume design by Stefanos Koroneos. The opera will be sung in English.

Nobel laureate Eugene O’Neill’s (1888-1953) seminal, Pulitzer Prize-winning play, Beyond the Horizon, was written in 1918 but not produced or published until 1920, when it made its debut in New York. It was his first published play. Beyond the Horizon was O’Neill’s first successful full-length play, and it signaled a change in American drama. Critics and audiences responded favorably to O’Neill’s dark, tragic vision, which contrasted sharply with the unrealistic, melodramatic plays of the day. The play drew heavily on O’Neill’s own experiences, including his tuberculosis and his sea voyages.

Nicolas Flagello’s last opera was Beyond the Horizon. O’Neill’s play was brought to the composer’s attention by Walter Simmons, a musicologist who had written extensively on American composers. Flagello worked on the opera for several years, finishing it in short score in 1983. Unfortunately, before he was able to complete the orchestration, he developed a degenerative neurological condition that ended his creative life prematurely. After Flagello’s death at age 66, the composer Anthony Sbordoni undertook the orchestration of the work, leaving the work ready to perform.

Nicolas Flagello was born in New York City, into a family deeply immersed in music. His brother Ezio became one of the leading bassos of the Metropolitan Opera. Both his parents were avocational musicians, while his maternal grandfather was said to have studied with Verdi. For Nicolas music was a personal medium for emotional and spiritual expression, and this conviction underlay all his works. He began studying with the eminent composer of operas and songs, Vittorio Giannini (also the sibling of an operatic star, Dusolina Giannini), and the two remained close friends until the older man’s death. In recent years Flagello’s music has garnered enthusiastic advocacy, as many of his works have been performed and recorded.

Flagello’s previous operas have been well-received. When The Sisters (1958) was presented in New York City, the Herald-Tribune commented, “Flagello has the gift of writing gratefully for the voice, and his music has melodic sumptuousness. His orchestral texture is crystal-clear, and he knows how to underline dramatic events…first rate.” The following year he completed The Judgment of St. Francis, which was presented at the Cathedral of St. Francis, in Assisi. Musical America commented that the work’s “robust emotionalism is unflinching in its conviction, and its intensity is sustained by a sure sense of pacing, a natural flow of expressive melody integrated throughout the musical texture, and an ability to use voices, chorus, and orchestra to their maximum effect.” The critic for the New Yorker described it as “the most vigorous new opera I have come across in a long time…. [It displays] an unmistakable and totally unconfused talent for the operatic theatre.”

​Walter Gustave Simmons (b. New York, NY, 19 November 1946) is a musicologist, critic, and record producer. He is best known as a champion of 20th-century composers—mostly American—who hewed to traditional musical values, rather than joining the avant-garde movements then in fashion. His writings appear in reference books, including the New Grove Dictionary of Music and Musicians, program notes for concerts and recordings, and in a variety of periodicals, most notably Fanfare, where he was a regular contributor for 35 years. He has been supervising editor of the Twentieth-Century Traditionalists series for Rowman and Littlefield Publishers, of which he wrote the first two volumes. He has produced first recordings of dozens of works by such composers as Vincent Persichetti, Peter Mennin, Vittorio Giannini, Paul Creston, Nicolas Flagello, and Arnold Rosner.

For all artist and creative bios, please visit https://grattacielo.org/season/beyond-the-horizon-world-premiere.

Ian Silverman is thrilled to be making his NYC directorial debut with Teatro Grattacielo at LaMaMa. Ian has served on the directing staffs of The Opera Theatre of Saint Louis, The Glimmerglass Festival, Utah Opera, Palm Beach Opera, Opera Colorado, and OnSite Opera, among others. He has also directed productions at Arizona Opera, Lakes Area Music Festival, William Jewel College, Amarillo Opera, Youngstown State University, The Rochester Fringe Festival, Miami Children’s Chorus, and Eastman Opera Theater. Later this season, Ian will serve as the Associate Director for Tomer Zvulun’s Productions of The Magic Flute and Semele at The Atlanta Opera. In the spring, he returns to the Houston Grand Opera to assist Francesca Zambello’s on West Side Story and a New Production of Tannhäuser.

Ian has worked in all forms of music theater, from rare operettas to golden age musicals to large scale grand opera. In addition to standard repertoire, Ian has extensive experience with new work and has worked on twelve world premiere productions. He also has experience working for film as both a director and video editor. Ian is a recipient of the Robin L. Tobin Director-Designer Prize from Opera America for his production concept of Fellow Travelers. Ian graduated from the Eastman School of Music with Master of Music Degree in Stage Directing and a Certificate in Arts Leadership in May 2020.

Hailed as an “exciting singer with a killer voice” (Operawire), Sara Kennedy is an American soprano from Austin, TX, known for her powerful interpretations of Mozart heroines. In the 2024-2025 season, she debuts as Ruth Atkins in the world premiere of Beyond the Horizon with Teatro Grattacielo and as Pamina in Die Zauberflöte with Florida Grand Opera. In 2023-2024, she performed with Florida Grand Opera, covering Violetta and Nedda, and performing Musetta. Sara has also sung with Opera Arlington and Painted Sky Opera. She holds a Graduate Artist Certificate in Opera and degrees from the University of North Texas, studying under Jennifer Rowley.

Taylor Friel is a Brooklyn-based designer for theatre, dance, opera, music videos, and more. Recent credits include Chameckilerner’s Aging Prelude, Double Feature Play’s site-reactive immersive production of A Midsummer Night’s Dream, the world premiere of Tina Howe’s final play Where Women Go, and the music video for Dakota Jones’ Break It Down. Taylor is a proud graduate of NYU Tisch’s Department of Design for Stage & Film. See more work at taylorfrieldesign.com or @tay.friel on Instagram.

Teatro Grattacielo’s 30th Anniversary Season marks three decades of memorable performances in New York City, international and national collaborations, cultural enrichment revitalizing lesser-known operatic pieces, and the presentation of world premieres and promotion of young artists to international stages. The 2024 season sets the tone for the decade ahead, aligning with the company’s missions. Successful productions of rare and forgotten operatic gems such as Mascagni’s Guglielmo Ratcliff, Montemezzi’s L’Amore dei Tre Re, Giordano’s La Cena Delle Beffe, and Spontini’s historic Italian version of La Vestale are some highlights of Teatro Grattacielo’s past years, to name a few. The company’s dedication to excellence and musical authenticity has earned recognition from audiences, critics, and artists alike. Under new leadership since 2020, Teatro Grattacielo has expanded both its repertoire and boundaries gaining international acclaim and creating collaborations with prominent arts organizations, implemented the robust educational programs Creative Tableaux, and experimented with innovative performance techniques. For more information and ticket purchases, please visit www.grattacielo.org.

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“Last One Standing” Season 3 – Netflix comedy show: an inimitable and exceptionally hilarious Japanese series

“Last One Standing” is a Japanese comedy series. Season 3 is available on Netflix starting September 3.

“Last One Standing” stands out as an unclassifiable gem in the realm of Japanese comedy shows. It is essentially a contest where a diverse array of comedians don various roles, share anecdotes from their personal lives, and do anything conceivable to out-funny their fellow comedians. The goal is simple yet profoundly entertaining: to be the funniest of them all.

Each episode unfolds in distinct segments. Initially, the comedians enact a story, portraying a variety of characters. This is followed by a talk-show format where they engage in conversation and, more importantly, share humorous anecdotes to tickle the audience’s funny bone.

Last One Standing

The first segment of the show, which focuses on storytelling, is particularly captivating. It serves as a parody of multiple film genres, ranging from gangster flicks involving the notorious Japanese Yakuza to imaginative takes on Star Wars, superhero sagas, and action-packed thrillers. It even ventures into the realms of horror, featuring a mysterious woman who parodies the iconic Sadako from the renowned “Ringu” (1998).

The singular aim of all these antics is to elicit laughter. Ultimately, there will be one crowned victor, the comedian who proves to be the funniest. However, the real charm of the series lies in the fact that every comedian shines as a protagonist, weaving a bizarre yet uproarious narrative that guarantees to make you laugh uncontrollably.

With futuristic tales and impressive special effects, this show breaks away from the conventional comedy formula. “Last One Standing” offers a fresh perspective and numerous innovations, ensuring it stands out in the comedy landscape. The series has already captivated audiences for two seasons, and this third season is particularly noteworthy for its eccentric and exceedingly amusing storyline.

Indulge yourself in this unparalleled comedy experience, and you’re sure to find it exceptionally entertaining.

Where to Watch “Last One Standing”

Netflix

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“Untold: Hope Solo vs. U.S. Soccer” – A Riveting Netflix Documentary: Hope Solo, the Pinnacle of Goalkeeping Excellence. The Undisputed Best Goalkeeper Ever

“Hope Solo vs. U.S. Soccer” is a documentary of the sport series “Untold” about Hope Solo. It is directed by Nina Meredith.

Hope Solo stands as a monumental figure in soccer history, renowned for her prowess as the world’s greatest goalkeeper. However, her story is also one of relentless confrontation with the United States Soccer Federation. For this illuminating documentary, the dedicated team behind “Untold” made attempts to reach out to some of Solo’s former teammates, only to be met with refusals communicated through their representatives.

Her father’s life was a tapestry of complexity: a man with two families, who found himself in witness protection, and ultimately spent his final days homeless, residing in the wilderness. Hope Solo’s soccer journey began with her as a forward, a position in which she excelled, scoring goals and earning the title of the best player at the high school level, catapulting her to national prominence.

Women’s soccer gained significant traction in the United States following the monumental victory of the national team in 1999. Having already secured the Gold medal at the Olympic Games, the team triumphed at the Women’s World Cup hosted in the United States, capturing the nation’s heart.

Hope Solo was the starting goalkeeper during the 2007 World Cup. However, in a shocking turn of events, Coach Greg Ryan decided to bench her for the semifinals, despite her flawless performance throughout the competition. This inexplicable decision led to the United States suffering a devastating 4-0 defeat to Brazil.

About the documentary

Following this controversial game, Hope Solo did not remain silent. She openly criticized her teammates, her coach, and the U.S. Soccer Federation, boldly exposing various irregularities within the team and the governing bodies. “Hope Solo vs. U.S. Soccer” offers a compelling narrative, featuring Solo’s candid accounts and perspective. The documentary, however, solely presents her viewpoint, as her teammates chose not to participate.

Despite this, the documentary remains an exceptional exploration of a remarkable and controversial chapter in sports history. “Untold” consistently delivers essential content for sports enthusiasts, and this installment provides a stark and necessary look at the often overlooked challenges in women’s soccer.

Our opinion

Hope Solo’s story is one that demands attention, offering a unique and somber perspective on women’s soccer in the United States. True to the “Untold” series’ reputation, this documentary is an unmissable watch, shedding light on the more bitter aspects of the beautiful game.

Where to Watch “Untold: Hope Solo vs. U.S. Soccer”

Netflix

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“No Heart Here” Solo Exhibition by Gongkan: A Surreal Journey Through Time and Space Arrives at MOCA BANGKOK from 14 September to 27 October 2024

Bangkok, 2 September 2024 – The Museum of Contemporary Art (MOCA BANGKOK), in partnership with Tang Contemporary Art, is thrilled to announce the launch of “No Heart Here,” a pioneering solo exhibition by the celebrated Thai artist Kantapon Metheekul, who is widely known by his artistic moniker, Gongkan. This eagerly awaited exhibition will run from 14 September to 27 October 2024, and it heralds Gongkan’s much-anticipated return to his home country, giving Thai art aficionados the rare opportunity to experience his globally renowned works up close.

Gongkan, a name that has become almost synonymous with contemporary surrealism, has captivated art lovers around the globe with his unique ability to seamlessly blend elements of reality and fantasy. Drawing inspiration from his extensive experiences in both New York and Bangkok, Gongkan’s art transcends conventional notions of time and space, exploring the intricate relationship between the external world and the realms of inner consciousness.

“No Heart Here” invites visitors to step into Gongkan’s dreamlike universe, where everyday scenes—such as lush grassy fields, star-studded skies, and ever-changing weather patterns—transform into metaphors for deeper psychological and emotional investigations. The exhibition dives deep into the complexities of modern existence, shedding light on the dichotomy between body and mind, as well as the often-unspoken internal dialogues we all engage in.

Visually compelling and intellectually stimulating, Gongkan’s artworks are characterized by his distinctive teleportation art featuring embedded canvases that unveil captivating and surreal scenarios. These artistic elements prompt viewers to reflect on the essence of reality versus imagination. By fusing elements of pop culture with profound artistic philosophies, Gongkan creates pieces that are both approachable and profoundly meaningful. Notably, this exhibition marks Gongkan’s first comprehensive solo exhibition in Thailand in three years, making it a landmark event in the local art scene.

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“One of the Boys”: Casting Announced For World Premier Of Darkly Satirical Play

Leading the cast in the role of Eve is Miriam Grace Edwards (Romeo & Juliet at Shakespeare’ Globe, The Empress, RSC and Lyric Hammersmith) and playing Eve’s mysterious new colleague Heidi is 2023 Spotlight Prize Finalist Jessica Gough. Daniel Kendrick (Our Town at the Almeida, Vera Vera Vera at The Royal Court Theatre) as Kevin and Matt Ray Brown (Julius Caesar, RSC, and Ghosts at Trafalgar Studios) as The Chair complete the cast.

Written by the exciting playwright Tim Edge, whose previous work, Under the Black Rock was praised by The Guardian to have “…razor-sharp, harrowing and darkly funny dialogue” with “the many plot twists and turns are pulled off immaculately…”, One of The Boys offers a sharp commentary on corporate sexism and the compromises many women feel compelled to make to compete equally with men in the workplace.

Eve is on the brink of a ground-breaking career move; she is about to become the first woman in her company to land the role of CEO. Yes, she has had to compromise, make personal sacrifices, but it was all worth it… right?

Enter Heidi, a young executive with an agenda. As Heidi gains a foothold within the company, her presence begins to threaten the established culture in which the company thrives, as well as the position that Eve has worked so hard for. Will Eve’s ambition triumph over her conscience, or is it time to smash it all to the ground and start again?

By highlighting and calling out workplace misogyny, One of The Boys raises awareness about the issues women face in professional settings. This can be an eye-opening experience for audiences who may not be fully aware of the extent of the problem.

With the potential to engage, educate, and inspire audiences by addressing a critical social issue through the lens of storytelling and artistic expression, One of The Boys provides an opportunity for reflection, dialogue, and advocacy for positive change.

Directed by Lydia McKinley, written by Tim Edge with design by Ellie Wintour, One of The Boysis at The Playground Theatre from 1 – 27 October 2024.

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“Borderlands” – Film Review: A Delightful Romp Featuring Stellar Actors

“Borderlands” is an action movie starring Cate Blanchett and Kevin Hart. With Jack Black, Jamie Lee Curtis, Ariana Greenblatt and Florian Munteanu. It is directed by Eli Roth.

When you have the likes of Cate Blanchett, Jack Black, Kevin Hart, and Jamie Lee Curtis leading the charge in a film, you’re assured a certain level of excellence in the production. At the very least, you can expect the movie to exude quality. “Borderlands” is an exuberant spectacle of high-caliber mischief, boasting impressive visual effects and a script that doesn’t overcomplicate itself. It’s a wild, unbridled, and utterly entertaining ride.

This comedy quickly abandons any pretense of serious storytelling within the first five minutes, opting instead to revel in its fresh, carefree, and anarchic style. Despite its chaotic nature, it carries that unmistakable Jack Black flair: a film that pushes boundaries just enough to be provocative while remaining suitable for all audiences, offending absolutely no one.

Plot Overview

The storyline revolves around a young girl who is kidnapped, and her father is determined to rescue her. To achieve this, he enlists the help of Lilith, a bounty hunter with exceptional marksmanship. Upon meeting the girl, named Kate, Lilith realizes she is far from innocent. It becomes evident that the father harbors sinister plans for his daughter—plans that involve opening a door only she has the power to unlock.

About the Film

The film is a series of jokes strung together, featuring a delightful robot reminiscent of those in the Star Wars franchise. This robot is charming, endearing, and delivers the best humor through its singing and dancing antics. The cast fits perfectly into their roles: Kevin Hart, known for his roles in somewhat goofy comedies; Jamie Lee Curtis, a versatile actress capable of handling any role; and, most notably, Cate Blanchett, who seamlessly blends comedy with action, a genre she appears to excel in.

Directed by Eli Roth, known for his work on the 2005 horror film “Hostel,” this venture into the realm of absurd and frenetic action comedy is moderately successful. However, the film lacks a solid narrative foundation and ultimately serves as a platform for watching talented actors enjoying themselves in a movie that doesn’t aim to convey any profound messages or achieve significant depth.

Our Verdict

In essence, it’s not a bad thing: the movie is an enjoyable comedy filled with exciting action sequences. It’s akin to a comic version of “Mad Max,” complete with a touch of eccentricity, good intentions, and plenty of laughs.

While it won’t be remembered as a cinematic milestone, nor does it strive to be, it will undoubtedly provide an entertaining experience. It’s not the type of film you’ll revisit multiple times in search of hidden nuances; it is straightforward in its comedic aspirations and doesn’t extend beyond that.

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“Trap” – Film Review: A Perpetually Riveting Thriller by M. Night Shyamalan

“Trap” is a movie written and directed by M. Night Shyamalan starring Josh Hartnett. With Ariel Joy Donoghue, Saleka and Alison Pill.

M. Night Shyamalan’s latest cinematic endeavor introduces audiences to a unique thriller featuring a most unconventional protagonist: Josh Hartnett, portraying a psychopath and taking the lead in a thriller where the central figure is none other than the serial killer himself. Shyamalan, true to his signature style, once more reimagines traditional cinematic frameworks and crafts an exceptional film that defies Hollywood conventions, creating a masterpiece designed to astonish by upending typical genre expectations.

Plot Summary

The FBI has intel that a notorious serial killer plans to attend a pop star’s concert, prompting them to deploy a substantial operation aimed at capturing him. The killer, a seemingly ordinary family man, decides to attend the concert with his daughter, setting the stage for a high-stakes game of survival as he goes to extraordinary lengths to evade capture.

Film Details

On a technical level, Shyamalan delivers yet another marvel of production, cinematography, and scenography. The Indian-origin director embarks on an audacious mission to transform an implausible narrative into a coherent and engaging experience, leveraging unexpected twists and surprises. In essence, Shyamalan renders the impossible plausible through the magic of cinema, subverting classic narrative structures and the familiar tropes of the thriller genre.

“Trap” stands out as a film worthy of academic study for its meticulous design, precise adherence to narrative pacing, and masterful control of suspense and script rhythm. Whether its premise is deemed implausible or not, the film excels as a cinematic achievement, inviting viewers to immerse themselves in its intricacies. It requires the audience to surrender to its improbabilities, to be captivated and delightfully deceived by a film that operates almost as a satire of conventional thrillers, engaging in a relentless game of cat and mouse with the viewer on a purely cinematic level.

Our Verdict

Our admiration for Shyamalan has only deepened with this release: a thoroughly implausible thriller that satirizes the ostensible realism of other thrillers, which are equally far-fetched. This ingenious and spectacular game of deception culminates in an incredible viewing experience, reinforcing Shyamalan’s prowess as a filmmaker who continually pushes the boundaries of the genre.

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Danish Pop Sensation MAGLY Champions Truth in New Single ‘Honesty’

The Danish independent pop artist MAGLY has released her latest single, ‘Honesty’, a captivating journey through infectious pop harmonies interwoven with a deeply personal narrative about the significance of trust and sincerity in relationships.

The single ‘Honesty’ is now available, and the accompanying music video is ready for viewing!

MAGLY’s musical realm is characterized by its delicate nature, yet her songs burst forth with a compelling energy, thanks to their gleaming pop melodies and the heartfelt lyrics of a songwriter unafraid to confront her own vulnerabilities. This willingness to expose her true self creates a connection with her audience that feels profoundly genuine.

This summer, MAGLY, a fresh face in the Danish music scene, speaks with a candid openness…

“A meaningful relationship is built on trust – it’s essential to create a safe space where honesty prevails, even if the truth is painful. Concealing the truth undermines trust and shatters the bond between individuals. This happened to me, and ‘Honesty’ reflects my personal experience and the abrupt end of what I believed to be a strong, mutually significant relationship. All the promises we made disintegrated into misunderstandings and deceit, leading ultimately to a sense of self-loathing,” MAGLY shares, elaborating further:

“‘Honesty’ serves as my means to regain my strength and self-belief. It’s a reminder to myself – and to everyone who listens to the song – to always speak the truth and maintain honesty, at the very least, with oneself.”

‘Honesty’ originated from an intense dialogue with her co-writers, Jeppe London and Celine Svanback (known for their work with Medina, Dagny, Christopher, and others). Together, they laid the groundwork for a narrative that, while challenging, is crucial for MAGLY to express.

MAGLY, whose real name is Ditte Bissenbacker, began her musical journey on the upright piano in her parents’ home and later honed her craft at Norway’s esteemed Limpi music college. Her debut single, ‘Convenience’, quickly became a hit on Danish radio, followed by another popular track, ‘I Don’t Feel Fine’. Additionally, MAGLY has had the opportunity to support prominent Scandinavian artists such as Denmark’s Jada and Drew Sycamore, as well as Norway’s Highasakite.

‘Honesty’ marks MAGLY’s first release of 2024, and fans can eagerly anticipate more music to come…

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“Kinds of Kindness” – Film review: A bold, intellectual, humorous, dramatic, and terrifying challenge to traditional storytelling

“Kinds of Kindness” is a movie directed by Yorgos Lanthimos starring Emma Stone, Jesse Plemons and Willem Dafoe. With Margaret Qualley, Hong Chau and Mamoudou Athie.

The ever-ingenious Yorgos Lanthimos returns to the cinematic arena, accompanied by his muses, actress Emma Stone and actor Willem Dafoe, to once again defy the norms, provoke the audience, and present us with a feast for the senses on both aesthetic and narrative fronts.

This film is constructed like a disassembled jigsaw puzzle, leaving it to the audience to piece together the chaotic fragments of characters from a collective psyche that seems to lack self-awareness. “Kinds of Kindness” is not an easy watch and certainly isn’t tailored for everyone. It demands viewers to abandon conventional narrative expectations and embrace the notion that the natural coherence of cinema can be entirely inverted and turned on its head.

Seemingly without rhyme or reason, the film aims to engage the viewer, inviting them into an aesthetically pleasing whirlwind of madness.

Kinds of KindnessAbout the film

I will attempt to outline the primary threads without spoiling the experience: the characters morph through a fluid storyline that, at various times, can be a drama, a horror film, a comedy, or a gripping thriller. Characters can transition from practicing cannibalism to exhibiting tenderness and even romance. As their unique tales and histories take on different forms, everything changes, everything flows in a film that narrates three distinct stories featuring the same actors portraying three different characters in three situations that, while similar, are entirely dissimilar.

Amidst all this: the gateways to fantasy, mystery, horror, and the very essence of human comedy.

Kinds of KindnessOur opinion

An open invitation to the aesthetic and psychic subconscious. A formidable challenge to the viewer and, undoubtedly, a sophisticated provocation from a master provocateur: Yorgos Lanthimos.

Where to Watch “Kinds of Kindness”

Disney+

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