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YouTube. 唐人街探案3 China ’s Wanda Pictures will attend Cannes’ Marche du Film this year with four new projects, including “ Detective Chinatown 3, ” the latest installment in the lucrative franchise. Last year’s “Detective Chinatown 2” debuted in the competitive Chinese New Year period and brought in $496 million (RMB3. 39 billion) to become the country’s fifth-highest-grossing title of all time. The third installment is scheduled to hit theaters on the first day of next year’s lunar near year holiday, on Jan. 25, 2020. It is being directed by Chen Sicheng, who did the first two films, and once again stars Wang Baoqiang and Liu Haoran, who are this time joined by Satoshi Tsumabuki. Also on Wanda ’s slate is a remake of the Indian thriller “Drishyam, ” which was made in 2013 in the Malayalam language, the official tongue of Kerala state, and then remade in Hindi in 2015. The Hindi-language version earned $16 million worldwide. It tells the story of a man who tries to save his family from the law after they commit an unexpected crime. “The King’s Avatar: For the Glory” is an animated feature set for release this summer. The film is an adaptation of the popular web novel of the same name about an online gamer fighting for a win once he is kicked off his team. It has already been adapted into a manga and popular TV anime series. A fourth new project is a documentary called “Where Is My Flight Home” by director Wang Lei, which tells the story of four families living in Pi Village, a suburb on the outskirts of Beijing popular with low-income migrant workers, near the site of the capital’s new international airport. In late 2017, a fire in a nearby clothing factory became an excuse for a protracted government crackdown on migrants under the guise of clearing out fire hazards and regulating substandard buildings. Many were suddenly forced from their homes in the dead of winter, leaving them with no choice but to go back to their hometowns. Wanda is also representing two 2018 titles whose rights have already been sold in most major territories. “Airpocalypse” is a comedy that grossed $18 million (RMB124 million), whose rights have been already been sold in China, Taiwan, North America, Australia, New Zealand and Southeast Asia. “The Crossing” has been sold in China, Hong Kong, South Korea, North America, the U. K., Australia and New Zealand. Last month, Wanda Film reported a net profit of $189 million (RMB1. 29 billion) in 2018 on revenue of $2 billion (RMB14 billion), a 14. 6% decline from the previous year. Last year, it pulled out of its theme parks and film studios, selling the businesses to property developer Sunac for $900 million (RMB6. 28 billion). Its latest film was “The Human Comedy, ” which grossed just $9. 2 million (RMB62. 8 million) after its late March debut. Upcoming films include “Oh! Boy! ” later this year and “Tianxingshu” and “ Mojin 2” in 2020.
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Bill is freaking HILARIOUS 😂. Bill Cunningham, Paris, 1971. Photo: Harold Chapman/Topfoto / The Image Works Before street-style photography was a cottage industry, it was just Bill Cunningham riding around on a bike. Known for cruising around New York City in his cobalt-blue jacket, snapping photos of expressively dressed Manhattanites, Cunningham was both anthropologist and photographer. And he was a fashion fixture. Hes quite possibly the most beloved photographer in the industry — possibly because almost everyone had a fond Cunningham story. Including director Mark Bozek. Cunningham invited Bozek to film him for a one-minute video for the CFDA awards. But the photographer wound up talking for four hours about his life in Carnegie Hall studios, his first camera, and his four decades working for the New York Times. That was in 1994. When Cunningham died in 2016, Bozek unearthed the interview and made it the center of a documentary, The Times of Bill Cunningham, narrated by Sarah Jessica Parker and featuring hundreds of Cunninghams photographs. It premiered in 2018 at the New York Film Festival but is just being released this Valentines Day. When it premiered, Variety called it, “a snapshot of a life that leaves you grateful for having encountered it. ” Even though Cunningham was 65 years old when he gave the interview that anchors the film, he still seems astonished by all thats happened to him. One moment hes talking about girls breaking down Marlon Brandos door, the next its on to Jackie Kennedy Onassis and her wardrobe. I have to say, watching it first thing this morning made me a lot more excited to get to work. Cunninghams wide-eyed, anything-can-happen attitude in the interview is infectious. Below is an exclusive look at the trailer, if you want to put yourself in a better mood. This New Fashion Documentary Will Cheer You Up.
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The times of bill cunningham watch full length free. October 12, 2018 6:50PM PT The celebrated New York Times on-the-street fashion photographer gets a documentary portrait that movingly captures what made him unique. In “ The Times of Bill Cunningham, ” the late New York Times fashion photographer Bill Cunningham appears before us as a blissed-out aging choirboy. He sits in his small apartment, surrounded by file cabinets jammed with his work, a geek in his element, with a shock of gray hair and two jutting front teeth that give him a big rabbity smile so eager its giddy — and the thing is, he means it. That antic grin lights up the room. “The Times of Bill Cunningham” is the second documentary to be made about the Times legendary on-the-street photographer and shutterbug of society, and it contains a revealing story about the first, “Bill Cunningham New York. ” That film was released in 2011, when Cunningham was in his early eighties (he died in 2016) and it was a profile made with his ardent approval and cooperation. So youd assume that he might have wanted to attend the New York premiere of it. But no. He skipped the premiere, and for good measure never bothered to see the movie. Instead, when the early spring evening that should have been his red-carpet moment was happening, Cunningham was out doing what he always did: gliding through the New York streets on his trademark bicycle, looking for ordinary people to photograph — and not-so-ordinary people, though the beauty of Cunninghams work is that he never made the distinction. He didnt see it, so he didnt make it. In one of his typical Sunday photo collages, you might encounter five different images of women on the street, each photographed wearing the same dress, all looking quite different in it, next to a shot of a celebrity strolling along in that same dress. But youd always have to do a double take before you said, “Oh, look, its Claire Danes, ” because Cunningham lent each figure the graceful mystery and radiance of a celebrity. On his weekly page, everybody was a star. Cunningham himself became a star, though only reluctantly, in the most head-ducking and self-effacing way. He thrived on being behind the camera and behind the scenes, as he had since the 1940s, when he arrived in New York from his native Boston to work at Bonwit Teller. Theres now a full-scale genre of fashion-world documentaries, a category that found its commercial niche around a decade ago, with the release of “Valentino: The Last Emperor. ” But something that has struck me over the last year is that theres a special, intoxicating quality to movies that excavate the fashion demimonde prior to the 1960s — in other words, the “Phantom Thread” era or before. It might be Warhol doing his shoe drawings in the 50s, or Cecil Beaton inventing the 30s fairy-tale kingdom according to Vogue, or (in this case) Bill Cunningham, a sharply grinning young man of the most innocent flamboyance, from a conservative working-class Irish Catholic family, coming to New York and deciding to become a milliner, all because he thought that womens hats could be like something out of a dream. “The Times of Bill Cunningham” is built around an extended interview Cunningham gave in 1994 to a reporter named Mark Bozek (whos the director of the film. The interview was supposed to be 10 minutes long, but Cunningham, then 65, just kept talking. He was one of those lucky individuals whod discovered the secret of a happy existence: If you love what you do and do what you love, youll never work a day in your life. The Cunningham we meet took this ethos to a purified Buddhist extreme. He went out to shoot pictures every day, reveling in the discovery of each moment, and he got invited to some very fancy parties, but apart from that he led a spartan existence. In the 50s, he moved into one of the fabled studios above Carnegie Hall and occupied that privileged but monastic space until the day he died. It was like a highbrow version of the Chelsea Hotel, and we hear great stories about how Marlon Brando, who also had a studio there, would hide out in Cunninghams to get away from all the girls who were mobbing him, or how Cunningham rubbed shoulders with figures from Martha Graham to a naked house-guesting Norman Mailer. Cunningham speaks neurotically quickly, still with a trace of his Boston accent, and the quality he communicates is an openness to any inspiration. The secret of his photography, he says, wasnt aesthetic talent; it was closer to having a detectives eye. Thats why, on the sidewalk, he was always able to spot people like Boy George or — in a historic moment — the aging reclusive Greta Garbo, who hadnt been photographed for decades. He was a man of the moment. When Bozek asks Cunningham, late in the film, if he is ever sad about anything, without saying a word he puts his head down and silently begins to weep. Just like that. A little later, he tells us that hes thinking of all the friends he lost to AIDS. Cunningham found a place in the fashion world, working for the designers who dressed Jackie Kennedy, but it wasnt until someone gave him a camera that he found his calling. He had the talent to be a designer, but by temperament he was an observer. He first demonstrated that in his fashion-world commentary for Womens Wear Daily, which read like gossip written by someone without a catty bone in his body; it was dish served by a man who loved life. He preserved that voice in the short passages he wrote alongside the weekly street gallery that became one of the most popular and iconic destinations in the Sunday New York Times. The movie is filled with his images, many never published in the Times, and you can feel the pleasure he took in shooting each one of them. “The Times of Bill Cunningham” is only 74 minutes long, yet its a snapshot of a life that leaves you grateful for having encountered it. Cunningham insists he wasnt an artist, and in a way the movie recognizes that he was right. He was a natural photographer who anticipated the digital era, but his gift wasnt so much for crafting impeccable images. It was a talent for living that he expressed through his lens. He was a reporter who forged his own unique beat: the beauty of other people. Scarlett Johansson and Florence Pugh take center stage in the new “Black Widow” trailer that dropped at the 54th Super Bowl. Details are scarce on the next Marvel movie, directed by Cate Shortland, but new footage shows Black Widows life before she was an Avenger. Diving into the back story of Johanssons character Natasha Romanoff. Tom Cruise has made an enemy in the newest “Top Gun: Maverick” trailer, which premiered during the 54th annual Super Bowl on Sunday. “My Dad believed in you, Im not going to make the same mistake, ” says Miles Teller who is playing Bradley “Rooster” Bradshaw, son of Nick “Goose” Bradshaw, deceased wingman to Cruises character. The Sundance Film Festival is fighting a battle thats been building for several years, and what its fighting for can be summed up in one word: relevance. What makes a Sundance movie relevant? In a sense, the old criteria still hold. 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