Check out this week's hottest events here.
Top events in Bangkok this week
Let's start counting down to an urban lifestyle event, Federbräu Red Feather Club x Time Out Bangkok. Federbräu and Time Out Bangkok team up to bring back the German-inspired food, drinks and music to Bangkok’s commercial district of Sathorn. Come meet Lipta, Pop Pongkool, Singto Numchok and ETC. at Empire Tower's EM Hall on 24-27 July, 17:00 onwards.
The first ever solo exhibition by Myrtille Tibayrenc, the director of the Toot Yung art center and co-director of the Bukruk urban arts festival, explores on subjects about our modern world. This series of oil paintings is a product of found web images' transformation and an allegory.
Blissfully Blind –an experiential performance by Dujdao Vadhanapakorn, Thailand’s only dance movement psychotherapist– displays how Thai people respond to social events in 2014-2017. She have learnt that people want to change their society but there is something preventing that to happen. There is also a light installation by ZIEGHT at Bangkok City City Gallery which is free to attend on weekends.
The Jim Thompson Art Center, KADIST, and Para Site, with the support of the French Embassy in Thailand present a traveling and transforming exhibition "Soil and Stones, Souls and Songs" which was presented at the Museum of Contemporary Art and Design in Manila and at Para Site in Hong Kong. This group exhibition curated by Cosmin Costinas and Inti Guerrero is featuring more than 30 local and international artists, and it is based on narratives and thoughts on realities, artistic and cultural production in the Asian sphere and beyond. You can read more about the exhibition here.
CentralWorld’s celebration of the riverside culture makes a comeback only to be more vibrant, more flavorful, and more fun. For the second year, the megamall revives the good old days of Bangkok when it was nicknamed “Venice of the East”, with a grand food and cultural showcase, centered around an actual (manmade) canal, over the course of thirty days! Taste your favorite Thai delicacies from over 300 vendors and riverside restaurants, enjoy cultural shows from old riverside communities, shop for handmade crafts, and join art and craft workshops such as Khon mask, bencharong pottery, and earthenware.
Bangkok Screeningroom hosts its first fashion photography exhibition by lifestyle fashion photographers Chayanee Chomsaengchun and Kachain Wongleamthong curated by Art Araya to complement their new fashion documentary screenings "The Incomparable Rose Hartman" and "Homme Less". Both of which are now showing.
Separated into three series of works that relating to past, present and future, Dreamy Land by Supasit Thrammaprasert explores on a subject about time as a determining factor in a life. The first one is The Journey: The past that keeps returning in the world of time that the artist uses oil colors on nylon nets. The second is called Current affairs of the world: “The Chair” by Giclee prints drawing and the last one is Myself and hopelessness: Polka Dot with oil colors on canvas.
Over 200 masterpieces by 130 Lucie Awards Honorees are shown at a group exhibition Lucie Masters. Iconic originals and published works by artists like Elliott Erwitt, Lillian Bassman, Mary Ellen Mark, Duane Michales, Melvin Sokolsky and Greg Gorman will be shown to the audiences and this aims to create a connection between these masters and young photographers.
Josephine Vander Gucht and Anthony West - as we know as Oh Wonder, an alt-pop duo based in London are having a tour across the world, including in Thailand (yay!) Their self-produced debut album Oh Wonder was released back in 2014 and that was a start of their music career. Oh Wonder have been touring internationally across Europe and America and their second album Ultralife is planned to be released this year in July. Their hits song include "Without You," "All We Do," "Life," "Ultralife," "Lovewire" and new singles from the latest album will be perfrom at their first concert in Bangkok on 31 July and 1 August Don't miss!
Does a show based on Thai folklore sound boring? Well, that won’t be the case with KAAN, a state-of-the-art audio-visual stunner that reimagines six famous Thai legends, but with surprise twists—we are talking projection mapping, eight-meter animatronics and tesla coils! More than three years in production, KAAN gives new life to famous Thai folktales—Phra Aphai Mani (The Wrath of the Sea Giantess), Phra Suthorn-Manorah (The Colors of Himmavanta), Manimekhala-Ramasura (The Chase of Lightning), Sangthong (The Wager for the Ivory Kingdom), Kraithong (The Underwater Abyss) and Ramakien (The Cataclysm). The show incorporates touches of performing arts, acrobatics, dance, and Oriental (mainly Japanese) and Western cinematography, as well as technology. Dubbed “A Spectacular Cinematic Live Experience,” the show narrows the gap between the conventional stage experience and the cinematic world through awe-inspiring performances in front of a gigantic screen that employs high-definition projection mapping. The 90 -minute show takes you to cinematic-like worlds reminiscent of Pirates of the Caribbean, Avatar, Power Rangers and many more as the main protagonist Kaan is dragged inside a story book and has to help the heroes of popular Thai folklore in order to return home. The show is packed with expected acts—dancing elephants (sadly), and contemporary dance, aerial acrobatics, street dance and martial arts performed by award-wining B-boy dancers and members of the national gymn
The People showcases the artist's character-based artworks in various forms, some of which had never been displayed elsewhere. Highlights include a massive hand-painted mural art and the five-meter-tall "Bright Idea," a sculpture which duplicates a set of merchandise that he designed for Belgian art studio Case Studyo.
Riverlution Party will be your new friday night destination as there are fun beats from local DJs plus food and refreshing drinks from Riverside Grill. Come enjoy magnificent Chao Phraya River view, cool breeze, great food and cool music at Riverlution every Friday and Saturday!
Tony Ja’s Muay Thai feats stunned the world when the legendary film Ong Bak was released to the public in 2003. The film was a box-office success, grossing over US$20 million worldwide, and was praised by both critics and audiences for its chase scenes and and scenarios featuring CGI-free hand-to-hand combat. More than a decade later, Ong Bak’s director Prachya Pinkaew, event organizer and magician Vinij Lertratanachai, and stage director Takonkiet Viravan have teamed up to recreate Ong Bak as a live-action combat performance—something that’s never been seen in Thailand. The storyline follows the original plot, centering on a fighter named Boonting who travels to Bangkok on a quest to find the missing head of Ong Bak, a highly-revered Buddha statue that’s stolen from his hometown. Boonting, of course, encounters numerous rivals whom he has to fight bare-handed in order to bring home his sacred statue. The challenge was how to reinterpret the movie scenes into stage performances. And they do it pretty well. Remarkable scenes from the movies, from “Tree of the Brave” to “Tuk Tuk Flying” to “The Final Battle,” are perfectly reimagined for the stage, using technical stage secrets that promise to wow the audience. The choreography is equally mind-blowing. Composed and directed by Krishna Lardphanna, a descendant of legendary stunt actor Panna Rittikrai, who mentored Tony Jaa in the early stages of the star’s career, it includes adrenaline-rousing fight scenes and unique perfo
The Queen Sirikit Museum of Textiles celebrates Her Majesty’s seventh cycle birthday by showcasing her exquisite taste in fashion. The exhibition Fit for a Queen: HM Queen Sirikit’s Creations by Balmain focuses on her relationships with Pierre Balmain and François Lesage, two legendary French couturiers who created dresses for the monarch during her trips to Europe and America. Lovers of fashion history will be privy to how Her Majesty’s impeccable style evolved and developed over the years through a series of luxurious gowns, suits, cocktail dresses, and traditional and modern Thai costumes. These pieces are displayed alongside pictures of the Queen wearing them at different occasions during her trips to Europe and America in the 1960s, as well as the rarely-seen Louis Vuitton trunks that were used to transport the dresses. Balmain’s original sketchbook and a video interview with François Lesage, shot only a few months before he passed, are also on exhibit. See how Balmain cast his legendary magic on Thai silk, and take a closer look on Lesage’s delicate embroidery. Some nationalists may question why the Queen chose a foreign designer? According to museum consultant, Melissa Leventon, who co-curated the exhibition, no Thai fashion designer at that time was familiar with the complicated etiquette associated with royal dressing in the Western hemisphere. Her Majesty needed to attend several state events with the King, and no risk could be taken with her wardrob
You've probably watched Avatar for the 200th time and daydream of wandering around those bioluminescent plants and animals of Pandora planet? Your wish has now come true as AVATAR: Discover Pandora, the interactive exhibition inspired by the James Cameron’s blockbuster will be brought to Southeast Asia for the first time. The 2,200-square-meter walk-through exhibition promises to awe you with 10 zones of interactive displays depicting the culture of the Na’vi and life-sized Pandora creatures such as Banshee, Direhorse and Viperwolf.
It’s impossible to talk about the relationship between Thailand and Russia without talking about Prince Chakrabongse (aka the great grandfather of country/blues rock artist Hugo Chakrabongse), who married a Russian nurse named Katya. He was—and probably still is—the metaphor for the relationship between the Russian royal family and the royal court of Siam. A son of King Chulalongkorn, Prince Chakrabongse was sent to St. Petersburg, following the advice from Tsar Nicholas II,to strengthen the relationship between the two nations. This exhibition tells the life and achievements of Prince Chakrabongse through a never been published collection of letters between the prince and his father, King Chulalongkorn, related documents and photos.
Movies now showing
You might already know how the May 1940 evacuation of France’s Dunkirk turned out: More than 300,000 troops, mainly British ones, escaped from the beach while being bombarded by the Nazis. But the power of Christopher Nolan’s harrowing, unusual dramatic re-creation is that it tries—with real success—not to make any of this feel like just another war movie. Instead there’s an uneasy sense of a bloody, strange event unfolding in that unknowable way that those on the ground might have experienced it. Dunkirk is awe-inspiring and alienating, as it should be. At less than two hours (brief for the director of the epic Dark Knight films), with dialogue kept to a bare minimum, Dunkirk provides a short, sharp dose of the oddness and horror of war, dropping us right into the fray. It’s a staggering feat of immersive terror, blessed with such knockout cinematography that the movie demands to be seen on as massive a screen as possible (Nolan has shot the film in two large-frame formats, IMAX and 65mm). It looks, feels and sounds like a nightmare, balancing naked suffering (drowning, shooting, crashing, burning) with a hint of unearthliness: Nazi propaganda leaflets spookily dropping from the sky; strange foam washing up on the sand; dislocating aerial shots of sea meeting land. Nolan divides events into three interlocking chapters, offering a trio of perspectives. One segment, “The Mole, One Week,” takes place on the harbor wall from which thousands were rescued and where we see a comm
Spiraling through the same vertiginous terrain as such nutty, chock-a-block sci-fi epics as Avatar and David Lynch’s weird-on-weird Dune, the mega-expensive Valerian and the City of a Thousand Planets flaunts a visual imagination on fire—and a human pulse that’s at best sporadic. Let’s just say it doesn’t skimp on the planets. We’re only just beginning to take in a utopian “Space Oddity”-scored prologue in which generations of astronauts, human and otherwise, meet peacefully at an orbiting space station when the action shifts to a gorgeous beach where an alien princess cavorts with a pet that poops pearls. Then there’s a desert world that’s home to a giant mall which you can only see with special glasses. Don’t get exhausted—we’ve got two more hours to go. Based on a French comics series that dates back to 1967 and reportedly went into George Lucas’s food processor (along with many other vegetables) for Star Wars, Valerian bears the typical weakness of having a central pair of bland human heroes, tasked with rooting out cosmic corruption that’s not worth explaining. Valerian himself (Dane DeHaan, who, after his jerky turn in A Cure for Wellness, deserves sharper scripts) is a space jock whose every line reading makes you appreciate lesser-day Han Solos like Chris Pine. Thankfully, model-turned-actor Cara Delevingne does a spunkier job with sidekick Laureline, diversifying her arsenal of expressions beyond a frowny face. Her caterpillar eyebrows and hypnotic fly-away hair ten
Continuing their evolved approach to the tech-heavy Hollywood blockbuster, these new Planet of the Apes movies are bananas: a Darwinian dream come true. They’ve grabbed at a soulfulness that’s different from any other franchise going. You can keep your bare-chested Charlton Heston and those shoddy ’70s-era sequels. None of them, not even the revered 1968 original, had much poetry, apart from that classic final shot on the beach (you know the one, with Lady Liberty).
Spider-Man: Homecoming offers a welcome narrowing of the Marvel mega-verse, away from alien invasions and globe-smashing supervillains and back toward something more local and intimate. The film’s villain, flight-suited arms manufacturer the Vulture (Michael Keaton), doesn’t even want to rule the world: He’s just chasing a fast buck to feed his family. The problem is that he’s willing to sacrifice innocent lives to achieve that goal—starting with Peter’s.
Jamie (Lucas Jade Zumann) is a quiet teenage boy. The three glorious women in his life wonder if he needs more structure—that’s the whole plot—but combined, they’re the best education he’ll ever have. There’s Julie (Elle Fanning, magnetically fragile and the best thing in the movie), the girl who sneaks into Jamie’s bed for platonic sympathy.
Samantha Kingston (Zoey Deutch) seems to have it all: popularity, a loving boyfriend (Kian Lawley) and a seemingly perfect future. Everything changes in the blink of an eye when she dies in a car crash but then magically wakes up to find herself reliving the same day over and over again. As Samantha tries to untangle the mystery of a life derailed, she must also unravel the secrets of the people closest to her and discover how the power of a single day can make a difference.
Impossible to resist (and 100 percent allergy-free for us afflicted souls), Kedi is almost shamelessly satisfying: a documentary about the thousands of scrappy wild cats that prowl Istanbul with insouciance. Whose streets? Their streets. This isn’t a documentary for disbelievers. Historically the ancient city has, for centuries, dealt with what might be termed a cat problem. Still, Ceyda Torun’s warm-hearted exposé definitely sees the army of felines as an asset. Sometimes captured in high-angle drone shots and elsewhere via a slinky roving camera, Kedi is The Shining, but with cats. We’re down on the ground with these animals, whose day-to-day impulsiveness finds a sinuous expression in some of the most elegant camerawork to ever grace a nature doc. Somewhat predictably, we follow seven especially brazen subjects, and it’s easy to get swept up in their individual dramas. There’s the little guy who paws every afternoon at the window of a café like he’s auditioning for a new production of Oliver! We also meet amorous alley strutters, psychotic yowlers and regally pampered pusses that know they have us gamed. Kedi is so likable that it would have benefited from a single voice of disapproval—some crank who we could laugh at for being humorless. (The cats are a serious health issue and, I’ve heard from Turks, a little scary.) But that presence is nowhere to be found, slightly reducing the film from what it might have achieved as a statement about urban coexistence. Glowing,
Before seeing Wonder Woman, I got a sinking feeling. It’s been more than a decade since a woman headlining a superhero film saved the world. I had visions of middle-aged male studio execs huddled together in a conference room Googling feminism and group-thinking how to make a lady-hero. Would the result feel like a two-and-a-half-hour tampon advertisement? Actually, no. Wonder Woman feels like the real deal, a rollicking action adventure in the tradition of Indiana Jones, with a fully functioning sense of humor and the year’s most lip-smackingly evil baddie. It has a wobbly opening on a women-only island where hot chicks in fabulous Ancient Greek sandals appear to have wondered in from a Dolce & Gabbana ad campaign. This is Themyscira where the Amazon tribe have lived in peace for thousands of years. Actress and former Miss Israel Gal Gadot (Gisele in the Fast & Furious franchise) is their princess, Diana (Wonder Woman), who was sculpted from clay and brought to life by Zeus. The island’s tranquility is broken by the arrival of a cocky American soldier played by Star Trekactor Chris Pine, who is adorable. He knows he’s here as eye-candy and does smoking-hot sexy sidekick with a good sense of humor. The plot is functional. It’s World War I and Pine is an American spy who has discovered that evil German chemist Dr Maru (Elena Anaya)—a.k.a. Doctor Poison—is cooking up a dirty bomb to wipe out Allied soldiers on the Front. Wonder Woman volunteers to save humankind, strapping on
This ambitious, sweeping, occasionally wobbly WWI-era epic arrives with the noble aim of raising awareness of the still-disputed Armenian genocide, in which 1.5 million people died at the hands of the Ottoman Empire (modern-day Turkey). Director and co-writer Terry George (Hotel Rwanda) goes for historical education by stealth, folding the chief milestones of this horror—the round-up of people in Constantinople, violent oppression and mass killings, the siege of Musa Dagh in 1915—into an English-language romantic melodrama that plays out across 1914 and 1915 and takes in city, village, forest and mountain. Oscar Isaac is an effective leading man, solid and troubled as Mikael, a go-getting ethnic-Armenian villager who arrives in the big city to study medicine. He's already committed to marry a girl back home, with some reluctance. A new friendship with Ana (Charlotte Le Bon), a dancer, complicates things, not least because she’s with Chris (Christian Bale, brash and brooding), a bullish American correspondent. But the outbreak of war and the beginning of a vicious official policy toward the Armenian community and its supporters sends all their lives in a far more complex and dangerous direction. You have to swallow some inadequacies to get the most out of The Promise. It is appealingly photographed and boasts some stunning location work, yet it’s also saddled with the tone of a biblical epic, invisibly watermarked with the label important. The fictionalized personal tragedie
Everyone in Baywatch seems amused to be in a movie version of Baywatch—how could they not be? (Their expressions range from “Is this really happening?” to “This is really happening.”) The laughs in director Seth Gordon’s surprisingly fun and self-mocking comedy don’t sneak up on you so much as hail you from a mile off with an air horn and then bonk you over the head as you approach. This is a film in which lifeguard Dwayne Johnson leaps out of the water (in slo-mo) with a rescued paraglider in his arms, while porpoises flip behind him in celebration. That moment also brings the film’s title, text rising from the deep like a repressed giggle that won’t go away. The generous—radical?—thing about Hollywood’s version of the tush-ogling ’90s TV phenomenon is that, pretty quickly, it makes you feel in on the joke. Taking lessons from 2012’s wonderfully silly 21 Jump Street (in which Channing Tatum and Jonah Hill scientifically proved that bad television need not result in bad filmmaking), Baywatch owns its preposterousness with every barked line of self-serious dialogue and stuffed-to-bursting wet suit. The actors are what save it. Not only does Johnson build on his subversive persona of hulking, dim-witted likability, but he’s joined by Neighbors’ Zac Efron, today’s reigning king of the hazy one-liner, who plays cocky yet disgraced Olympic swimmer Matt Brody, nicknamed the Vomit Comet. (Confused by his bodacious lifeguard team’s role in routing out crime, Efron’s Brody says it