Chilean actress Daniela Vega has won acclaim for her turn as Marina, a young waitress and aspiring singer who falls prey to the prejudices of society, in “A Fantastic Woman,” the overwhelming favorite in the best foreign language film category.

Yance Ford is also shattering glass ceilings for his intensely personal documentary “Strong Island” as the first openly transgender director — or trans man in any category — vying for a statuette.

Ford is only the third-ever openly transgender nominee, after Anohni — formerly Antony Hegarty of experimental US band Antony and the Johnsons — lost out for best original song in 2016, and composer Angela Morley, known as Wally Stott before a sex change, was nominated twice in the same category in the mid-1970s.

“It’s a pattern happening in the last few years, since ‘Transparent’ or Laverne Cox in ‘Orange is the New Black’… and now the Oscars,” said Larry Gross, a social media and communications professor at the University of Southern California.

The history of transgender representation at the Oscars is predictably threadbare — but not completely nonexistent.

“The Crying Game” (1992) examined race, gender and sexuality against the backdrop of sectarian violence in Northern Ireland, while Oscar-winner Hilary Swank starred as an American trans man who falls victim to a brutal crime in “Boys Don’t Cry” (1999).

More recently, Jared Leto won an Academy Award for his acclaimed performance as an AIDS-stricken transgender woman in “Dallas Buyers Club” (2013), while Eddie Redmayne was a losing nominee as a pioneer of the transsexual movement in “The Danish Girl” (2015).

‘Seismic moment’

On television, “Transparent,” starring Jeffrey Tambor as a Californian homemaker, has been an outlier in the movement for greater representation of transgender characters in entertainment.

But that conversation quickly developed into a call for more actors who are transgender in real life to be hired for these roles, traditionally given to the “cisgendered” — people whose sense of gender corresponds with their birth sex.

“I hope I’m the last cisgender man playing a transgender woman,” Tambor said when he won his second Emmy for the hit Amazon show in 2016.

When the Academy Awards take place on March 4, that breakthrough will truly be felt.

“It’s incredibly meaningful, especially to share this with Daniela Vega. Our work hopefully transcends the fact that we’re transgender,” Ford said in an interview with AFP.

“It is a seismic moment, a tiny earthquake, and hopefully it will begin to change the field overall, and the ability of trans actors and actresses and artists of all backgrounds to have recognition.”

“Strong Island” chronicles the arc of Ford’s African American family from the racial segregation of the Jim Crow era to the promise of a better life in New York, shattered by the unexpected, violent death of Ford’s brother.

William Ford Jr, a 24-year-old teacher, was fatally shot in 1992 during a trivial argument with a mechanic on New York’s Long Island.

A grand jury decided his killer had a “reasonable” fear for his life and shouldn’t be tried after Ford bizarrely became “the prime suspect of his own murder,” his character scrutinized for signs that he actually got what was coming to him.

Caricature

In Sebastian Lelio’s “A Fantastic Woman” — “a love story that happens to a transgender woman,” according to the Chilean director’s own synopsis — Vega embodies a woman almost like any other, with feminine wiles but also strength and dignity.

“Marina and I share being trans, loving to sing opera and handsome men,” says Vega. “But that’s it.”

The actress described her character as “more elegant than me, more patient… a very peaceful woman” whereas Vega herself is “more explosive, more Latin.”

For Ford, Vega’s performance and the attention it has garnered are important because she was playing an ordinary woman.

For a long time, trans characters have been portrayed as disturbed, marginal, depressive and on edge — one clumsy remark away from committing mass murder.

“There were a lot of psychopathic killers, like in ‘The Silence of the Lambs,'” said USC professor Gross, contrasting Jonathan Demme’s 1991 thriller with “Transparent” and “A Fantastic Woman,” and their more authentic characters.

“The media industry loves it when they know a new twist becomes possible. Often the stories are about the challenges of being different,” Gross told AFP.

“This movie ‘A Fantastic Woman’ is an example of that. They’ve done it before with gay people, people of color, Jews — the old wine of your narrative in a new bottle… The big challenge always, is that the difference is good, rather than threatening.”

Since the 2018 edition of the Berlin International Film Festival kicked off a little more than a week ago, more than 400 films from around the world have been screened. The usual suspects – France, the US, the UK, Ireland, South Korea and, of course Germany – have all answered present and Thailand is there too, albeit with only one film in this year’s selection.

That movie is Nawapol Thamrongrattanarit’s “Die Tomorrow”. Released on November 23 in Thailand, it was still being screened in selected cinemas when it had its international premiere in the Forum section last Sunday.

“My film has already been released back home so showing it here is a real bonus,” Nawapol said after the international premiere.

“It’s good to show the film in Berlin because the festival attracts so many cinephiles.”

And indeed the venue, Zoopalast 2, was packed with film fans, among them the Thai ambassador to Germany Dr Dhiravat Bhumichitr.

“Die Tomorrow” is Nawapol’s fifth feature and sees him return to his indie roots after working with Thai studio GDH for the blockbuster “Heart Attack”. This film, as the title suggests, deals with death, a taboo subject in many cultures. “During my first Q&A session in Berlin, I was surprised to learn that death is a taboo subject for films in Germany too,” Nawapol told the audience following the second screening of the film in Berlin.

“I am from a Thai-Chinese family and in Chinese culture, death is taboo, as it is inauspicious to talk about it. My mother wanted to know why I was making a film called ‘Die Tomorrow’.”

Although Nawapol’s films are well known to international critics who are interested in Thai and Southeast Asian films, “Die Tomorrow” is the first of his movies to be selected by the festival. However, he is no stranger to the event, having been invited back in 2007 to attend the Berlin Talent Campus, a summit and networking platform for international filmmakers. Yet despite being one of the first Thai filmmakers to attend the programme, it took a long 11 years before he returned with his own film.

“I enjoyed the Talent Campus. I took classes and had some time for tourism,” Nawapol recalls of his first experience in Berlin, which was also the first time he had travelled to Europe.

“They asked participants to choose the classes we wanted to attend. There were many classes including discussing about filmmaking with Jia Zhangke,” he says of the event, which is known to feature many useful talk programmes for young filmmakers.

“There was one class that really influenced me, and that was the class on online movie promotion.”

Today filmmakers think nothing of using the social media to promote their work but 11 years ago, it was completely new and was a totally foreign concept to most Asian countries, Thailand included.

“The programme invited Arin Crumley and Susan Buice, directors of the film ‘Four Eyed Monster’, and Lance Weiler to be the mentors. All three had tried to promote their own films through the internet. The class convinced me that we could do the same thing. It changed my life,” Nawapol muses.

Nowhere was that change more obvious than in the promotion for “Die Tomorrow”. In 2017, Nawapol’s Facebook page had more than 190,000 followers, and because “Die Tomorrow” was a small, independent film, he looked no further than Facebook to market the film which, unusually for a Thai film at home, enjoyed a run of three months.

Other Thai filmmakers also visited Berlin back in 2007, though only one domestic production made it into the festival proper. That film was “Dorm” by Songyos Sugmakanan and it returned home with the Crystal Bear from the Generation section that year.

“I saw only one part of Berlin, which is the Berlin Talent Campus so I don’t know much if there have been many changes to the festival in the years that followed. The city itself hasn’t changed much. I remember I had the chance to see only two or three films including ‘Village People Radio Show’ by Amir Muhammad. I could only watch a few films as there was a limited quota for tickets.”

He is pleased with the feedback he received from the screenings of “Die Tomorrow” in Berlin.

“It is the first time I’ve been to a big film festival. I mean, I had a film in Venice earlier and Venice is also a big festival, but my film was in the Biennale College Cinema, which is the section that screens films in which the festival has invested. So you already know in advance that you’re film is going to be shown whereas for Berlin, my film was actually selected.”

“Die Tomorrow” is now all set to continue its journey outside Thailand, starting with the Osaka Asian Film Festival in March, where it will be in competition. It has also done well in the nominations for Thailand’s equivalent to the Oscars – the Subhanahongse Awards – with 12 nods in 11 categories including Best Director.

In the early morning hours of July 10, 1973, 16yearold John Paul Getty III was kidnapped by a gang of petty criminals in the Piazza Farnese in Rome. Balking at a $17 million (Bt534 million) ransom demand for his safe return, his billionaire grandfather, J Paul Getty refused to meet the kidnappers demands. By November of that year, when an envelope from the kidnappers containing a lock of hair and a decomposing human ear was received by the Italian broadsheet Il Messaggero, Getty Sr began reconsidering his options.

“I was familiar with the incident, but wasn’t initially interested,” admits director, Ridley Scott, who quickly changed his mind about adapting the Getty story to the screen after reading David Scarpa’s screenplay. “Within a few lines [of the script] and after meeting with Dan and Bradley (producers Dan Friedkin and Bradley Thomas), I knew I was in good hands…I absolutely wanted to make this movie.”

“All the Money in the World” features an allstar cast including Charlie Plummer as John Paul Getty III, Michelle Williams as his devoted mother, Gail, Mark Wahlberg, as Getty Sr fixer Fletcher Chase, and Christopher Plummer as the legendary billionaire.

Indeed, it was Christopher Plummer’s last-minute addition to the ensemble that left eyebrows elevated in November when Scott, in the final stages of editing, announced he would cut Kevin Spacey (originally cast as Getty Sr) entirely out of the film following allegations of misconduct. “There was no way that we would move forward with the film as it was originally shot,” explained producer Dan Friedkin. “When Ridley and I made the decision to recast with Christopher Plummer, our entire cast and crew could not have been more supportive, and we can’t thank them enough for their unfailing commitment throughout this entire process.”

Scott, Friedkin and Christopher Plummer, along with Mark Wahlberg, Charlie Plummer, and screenwriter, David Scarpa, gathered at the Four Seasons Hotel in Los Angeles to discuss the making of the new film and shooting it in just nine days.

Tell us about your decision to replace Kevin Spacey with Christopher Plummer.

Scott: It was pretty straightforward. The biggest thing was when the [news] landed…I knew this was going to really affect the film. And so, the first thing I did was call Dan Friedkin and said “We’ve got to replace him”. So, rustling the team back together, we sat down and figure out what needed to be done – what’s available, what’s not available, who’s available… The big question was can I get the right person to [play] Getty? I flew that night to New York and met with Christopher Plummer, and that was it.

Did you have any reservations about jumping straight into the film?

Christopher Plummer: I had no time to consider anything… I love taking risks and so does Ridley, so we welcomed it in a funny way. I just had to rely on my memory, which I thought, ‘My god, I’m getting on. I wonder if I can really do this in nine days?’ Because there were these huge monologues – he (Getty) never stops talking! I guess my theatre training helped me in that department (laughs)…

Wahlberg: He actually didn’t ‘call’ me. He was sitting there in my hotel room when I got back from doing press for “Daddy’s Home 2” in New York. He told me what he wanted to do, and I completely understood. Everybody understood the circumstances and the necessity behind the reshoot. Next thing you know, I’m walking on set, saying hi to Christopher Plummer for the first time as Ridley is saying “Rolling…”

Williams: I said, you can have my salary and you can have my Thanksgiving holiday [to do the reshoot]. The salary wasn’t much to speak of, so they just took my Thanksgiving holiday (laughs)…

Scarpa: I was initially called back with the idea that we might have to change something, but we really didn’t. It’s so rare that you get a chance to do something a second time around, so everybody started coming up with ideas: “What if we do it like this? What if we try that?” Claire Simpson, our editor, really had to put the hammer down. All these scenes really needed to fit in the exact slot that they were in before and Ridley felt the same way.

Did you make any other changes to the film?

Scott: No, the film was otherwise perfect, excuse me for saying (laughs)…

What was the biggest challenge making the film?

Charlie Plummer:At first, it was just overwhelming to get to work with the people I was getting to work with. Beyond that though, I had to be careful, knowing that this is someone that people may have their own perception of, but at the same time I knew I didn’t want to be mimicking anything. It was really important for me to bring something of myself so that it felt truthful, especially in those moments that are particularly intense. To bring a sense of truthfulness to all of those things, I think, was something that was challenging for me to wrap my head around.

Scott: Honestly, I never think of ‘challenges’. I just think of how much I enjoy doing what I do, what needs to be done, and get on with.

When you first learned of Ridley’s plans for the reshoot, did you think he’d actually be able to pull it off?

Charlie Plummer: Certainly. He has done so much in his career. It didn’t even cross my mind that it wouldn’t happen.

Scarpa: The miracle of the digital era is they could sit there in Rome, push a button and send [the footage] all the way back to Claire’s editing room where she could start working on it right away. They’d shoot a scene, she’d cut it, and boom, pop it in… By the time they wrapped that shoot, they had a cut.

What is it about the Getty story that still resonates with audiences today?

Charlie Plummer: So much of it still fascinating. Even just looking at the family dynamic between the richest man in the world leading an empire while his grandson and his son are off partying in Morocco… And then this thing happens.

Wahlberg: It’s fascinating. Here is the richest guy in the history of the world at the time, yet he does his own laundry because he doesn’t want to pay someone else to do it, let alone pay for the return of his grandchild. I understand [his position] when it comes to negotiating with criminals… but somebody’s life is at stake. With your own child what you would do? That’s the question you ask yourself as you watch the movie? And the more I learned about what took place, the more interested I became. Whether people are familiar with the story or not, I think they’re going to find it fascinating.

Christopher Plummer: It’s a terrific story. And people always love a good story.

If his first visit in 2015 was any indication, the place will be sold out.

Min Hyuk shot to K-pop stardom with CNBlue in 2010 and their debut EP “Bluetory”, with the hit single “I’m a Loner”. The band have since released two albums and eight more EPs in Korean as well as eight albums and two EPs in Japanese.

Min Hyuk has also become an actor, starring in many hit TV dramas.

In 2012 he starred in “My Husband’s Got a Family”, which topped the ratings charts for 25 consecutive weeks.

After a three-year hiatus, he made his television comeback in the SBS musical drama “Entertainer” in 2016, for which he won an Excellence trophy at the SBS Drama Awards.

Last year Kang was cast in his first leading role, as Kwak Hyun, a doctor who volunteers to go to sea as part of his military service in the MBC drama “Hospital Ship”.

And this year Kang has a supporting role in the upcoming historical comedy-drama film “The Princess and the Matchmaker”.

Seats for the Bangkok show cost Bt2,000 to Bt5,000 at https://Ticket.achi.co.th.

Learn more at the site of promoter A Chi Activation and AChiActivation on Facebook.

The film is directed by Ryan Coogler from a screenplay by him and Joe Robert Cole, and stars Chadwick Boseman as T’Challa /Black Panther, alongside Michael B. Jordan, Lupita Nyong’o, Danai Gurira, Martin Freeman, Daniel Kaluuya, Letitia Wright, Winston Duke, Angela Bassett, Forest Whitaker, and Andy Serkis.

Hailed as a big change for Marvel approach on their superhero franchise, MCU recently released some fun facts about the story.

>> Marvel’s Black Panther character made his debut in the comic book world in “Fantastic Four Vol 1” Issue 52, published in 1966.

>> An important part of the Black Panther lore incorporated into the film is the Dora Milaje, the cadre of strong fierce women who serve as the personal security force to the King and royal family. These tall, statuesque, bald-headed warrior women, who move as one, command attention wherever they go.

>> Led by Danai Gurira’s character, Okoye, the Dora Milaje security force features an international contingent of women from all over the world, including Florence Kasumba who returns to play Ayo, a character that first appeared in Marvel Studios’ “Captain America: Civil War”. The Dora Milaje were cast from a pool of actresses, stunt women and Broadway dancers so that each individual Dora could have specialised skills that they brought to the table.

>> It was decided early on that Xhosa, one of the official languages of South Africa, would be the language of Wakanda. A precedent had been set in Marvel Studios’ “Captain America: Civil War”, when celebrated South African actor John Kani, who portrayed King T’Chaka, used his native accent. Chadwick Boseman, who plays T’Challa/Black Panther, picked it up from him as well.

>> The cast and stunt team practised with African drums played by musician Jabari Exum so that their movements would have a musical quality found in many African-based martial arts.

>> Actor Daniel Kaluuya learned how to ride a horse as practice to simulate riding W’Kabi’s armoured rhino in the film.

>> Young Zuri is played by Denzel Whitaker. While he shares the same last name with Forest Whitaker, who plays the older Zuri, they are not related. However, they did play father and son in Denzel Washington’s “The Great Debaters.”

>> South African actor Atandwa Kani plays the character of Young T’Chaka to his father and celebrated South African actor John Kani’s King T’Chaka.

>> The cast did the bulk of the fight work that will be seen on film. Chadwick Boseman, whose skill set includes a comprehensive martial arts background, knew what he was in for when he and all the other actors had to attend a “boot camp” to prepare them for the physical aspects of their roles.

>> Michael B. Jordan, who plays Erik Killmonger, spent about two and a half hours in the special effects makeup chair every day, while makeup designer Joel Harlow and three other makeup artists applied close to 90 individually sculpted silicone moulds to his upper body. This “scarification” application process entails transferring each mould and then blending and painting them to match Jordan’s skin tone. Each of Killmonger’s scars represents a “notch” of his kills over the years.

>> The majority of the Wakanda sets were constructed on sound stages at Pinewood Studios in Atlanta, including the Tribal Council; the Wakandan Design Group, Shuri’s hive of research and development of the vibranium rich country; the ancient subterranean Hall of Kings; and most notably Warrior Falls, the ceremonial heart of Wakanda’s revered traditions.

The entire cliff wall of the Warrior Falls, including the CG and practically built set, is 35 metres

Over 25,000 cubic feet of foam was used in the Warrior Falls set, which was sculpted to match the rocks in Oribi Gorge in South Africa.

>> The bottom of the Warrior Falls’ Challenge Pool was padded for the stunt team, but still looked like rock. The production crew also had to formulate a surface that was rough enough to not be too slippery in bare feet, but not so rough that it hurt to land on it.

>> On the Warrior Falls set, the stunt team had to rig all of the cliff faces with mountain climbing gear to safely secure all of the extras on the cliff faces.

>> The production team engineered a fully functional flowing waterfall and pool at the ledge of the cliff with six large submersible pumps feeding over 125,000 gallons of temperature-controlled water piping up through the set at a rate of 30,000 gallons per minute before recirculating through the system.

>>The high-speed car action for the Casino sequence was filmed on location in the bustling coastal city of Busan, South Korea. For almost two weeks, “Black Panther’s” action unit descended upon the coastal city nestled against the foothills of Geumjeong Mountain to film the thrilling, mind-blowing chase sequence through such iconic sites as Gwangalli Beach and the Haeundae District.

>> Director Ryan Coogler wanted the South Korea action sequence to be seamless, so he had an editor on set cutting footage in real time. This is not often done during production, but Coogler felt it was the best way to capture all the action, stunts and special effects in frame on time.

The movie, chronicling a grieving mother’s campaign for justice, won for original screenplay and outstanding British film, while Frances McDormand bagged best actress and Sam Rockwell best supporting actor prizes.

“The Shape of Water” — the most heavily nominated film of the night with 12 nods — came away with only three awards, including best director for Guillermo Del Toro, while “Darkest Hour” claimed two prizes, including for Gary Oldman as best actor.

With Hollywood still reeling from the fallout of the Harvey Weinstein scandal, the resulting anti-sexual harassment campaigns were reflected in the mood of the evening.

“Our film is a hopeful one in lots of ways but it’s also an angry one,” Martin McDonagh, writer and director of “Three Billboards”, said in his acceptance speech.

“And as we’ve seen this year, sometimes anger is the only way to get people to listen and to change, so we’re thrilled that Bafta has recognised this.”

Stars arrived at London’s Royal Albert Hall predominantly dressed in black in solidarity with the #MeToo and “Time’s Up” campaigns, mirroring other recent American red carpets including last month’s Golden Globes.

Angelina Jolie, Jennifer Lawrence and Kristin Scott Thomas were among the stars who wore black.

British royals avoid making overtly political statements or gestures, so there was little suprise when the Duchess of Cambridge chose to wear a dark green dress, by British designer Jenny Packham, as she accompanied husband Prince William, president of Bafta, to the ceremony.

‘Brave revelations’

Jane Lush, chair of Bafta, opened the evening soberly telling the star-studded audience it was important to acknowledge a “difficult” past year, and noted efforts to tackle gender inequality.

“Brave revelations have followed brave revelations of bullying and sexual harassment, and which to all our shame has been hidden in plain sight for decades,” she said.

“This is a moment in history, it should be a watershed, a catalyst for lasting change.”

Host Joanna Lumley, a British film and TV star, also praised the gender equality movement as a continuation of the work of the Suffragettes a century ago.

She hailed the “determination to eradicate the abuse of women the world over” as she took to the stage.

Meanwhile in an open letter published Sunday before the awards, almost 200 British and Irish stars backed a new fund to help women facing sexual harassment and abuse at work.

It echoes a similar initiative launched in Hollywood last month, and was kick-started with a £1 million (1.13 million euro, $1.4 million) donation from actress and activist Emma Watson.

– ‘Thank you, Sir Winston’ –

Choices at the Baftas, which fall between the Globes and the Oscars, often mirror those of the American heavyweights.

“The Shape of Water”, a story of love between a mute cleaning woman and a mystery merman-like creature, led the pack just as it has across the Atlantic, where it has topped the list of Oscar nominations with 13 nods, including for best picture.

As well as director del Toro’s award for direction, composer Alexandre Desplat collected the original music award — his third BAFTA win — and the film also won best production design.

Allison Janney won best supporting actress for her role as the mother of controversial figure skater Tonya Harding in biopic “I, Tonya”.

“I loved doing this crazy part and finding her humanity, that’s what I try and do in all roles,” she said backstage.

Gary Oldman’s turn as Churchill in “Darkest Hour” has so far won him a Golden Globe, a Bafta and the chance of an Oscar on March 4.

He paid tribute to the wartime British leader, saying: “In those dark, uncertain days in 1940, he held the line for honour, for integrity and freedom for his nation and the world, so I thank you, Sir Winston.”

Accepting her best actress accolade, McDormand, who chose not to wear black, quoted her on-screen character who has “a little trouble with compliance”.

“But I want you to know I stand in full solidarity with my sisters tonight in black,” she added.

According to figures from industry tracker Exhibitor Relations, the highly-anticipated 18th entry in the Marvel Cinematic Universe earned $192 million over Friday, Saturday and Sunday — exceeding predictions of $170 million.

Thanks to Presidents’ Day in the US on Monday, “Black Panther’s” estimated earnings were boosted to a stratospheric $218 million — crushing “Deadpool’s” 2016 Presidents’ Day record of $152.1 million.

The film, from Disney-owned Marvel Studios, features a star-studded, almost entirely black cast led by Chadwick Boseman as the first non-white superhero to get his own stand-alone movie in the franchise.

Starring alongside Michael B Jordan and Lupita Nyong’o, Boseman plays the titular superhero also known as T’Challa, king and protector of the technologically advanced fictional African nation of Wakanda, an affluent, never-colonized utopia.

In at second was family-friendly “Peter Rabbit,” based on Beatrix Potter’s classic children’s book. Mixing live actors with computer-generated animation, it brought in an estimated $22.1 million over the holiday weekend for total earnings of $53.1 million.

James Corden voices the lead bunny which feuds with garden owner Domhnall Gleeson for the affections of sweet-hearted neighbor Rose Byrne.

Dropping to third was last week’s box office champion, Universal’s “Fifty Shades Freed,” with takings of $19 million, down from $38.6 million the previous week.

Starring Dakota Johnson as English lit major-turned-publisher Anastasia Steele and Jamie Dornan as Christian Grey, her kinky lover-turned-husband, “Freed” is the last of the “Fifty Shades” trilogy, which has enjoyed massive popularity among primarily female audiences.

Sony’s “Jumanji: Welcome to the Jungle” placed fourth in its ninth week in theaters, matching last week’s earnings with $10 million.

Featuring Dwayne “The Rock” Johnson, Kevin Hart and Jack Black, the family film tells the tale of a group of teens transported inside a video game world.

Director Clint Eastwood’s “The 15:17” dropped two places into fifth, taking $9 million.

The film recounts the story of three young Americans who foiled a terrorist attack on board a train in France in 2015. In an alternative approach that divided critics, Eastwood cast the three men — none of whom had any acting experience — to play themselves.

Rounding out the top 10 were:

“The Greatest Showman” ($6.3 million)

“Early Man” ($4.2 million)

“Maze Runner: The Death Cure” ($3 million)

“Winchester” ($2.7 million)

“Samson” ($2.4 million)

 First up is the Polish film “Vinci”. Released in 2004 and directed by Directed by Juliusz Machulski, the film is a thriller, comedy, drama, all rolled into one, centering on the planned heist of a major painting of Leonardo Da Vinci “Lady with an Ermine” which has been returned from Japan to the Czartoryski Museum in Krakow. Art thief Cuma (Robert Wieckiewicz) asks his friend Julian (Borys Szyc), a former colleague, for help without knowing that Julian is now a police officer. Julian goes along with Cuma’s plans for the theft, but meanwhile plots to switch the painting for a reproduction, so that the precious original will not be not lost. He consults old forger Hagen (Jan Machulski), who assigns the task of making a copy to talented student Magda (Kamila Baar).

The ambassador of the Republic of Poland, Waldemar Dubaniowski, will introduce the film. The Embassy will also serve drinks and snacks, after the screening. The film shows in room 201 on the second floor of River City Bangkok. Admission is free.

For reservations, email rcbfilmclub@gmail.com or wathanya@rivercity.co.th or call (02) 2370077-8 extensions 622/701. Find out more at www.RiverCityBangkok.com.

“Madam Secretary” stars Tea Leoni as Secretary of State Elizabeth “Bess” Adams McCord as she goes about her duties.

In the pilot episode, the newly appointed McCord decides to pursue unsanctioned methods to save two teenagers accused of being spies in Syria. Despite her course of action being unorthodox, she still comes clean to US President Conrad Dalton (Keith Carradine), convincing him to let her think out of the box so she can save both the kids and his reputation.

Likewise, she broaches a sensitive topic with the King of Swaziland during a state dinner by discussing the rising Aids epidemic in his country. To win his cooperation in the matter, she demonstrates her familiarity with the names of his ten wives much to the monarch’s surprise and admiration.

“Madam Secretary” airs every Friday night at 8. For more updates, follow Blue Ant Entertainment at www.facebook.com/BlueAntEntertainment/, @BlueAntEnt on Twitter, and @BlueAntEntertainment on Instagram.

“Ryan Murphy’s series have influenced the global cultural zeitgeist, reinvented genres and changed the course of television history. His unfaltering dedication to excellence and to give voice to the under-represented, to showcase a unique perspective or just to shock the hell out of us, permeates his genre-shattering work,” says Ted Sarandos, chief content officer at Netflix.

“From ‘Nip/Tuck’ – our first licensed series – to American crime story – ‘The People vs OJ. Simpson’ and ‘American Horror Story’, we’ve seen how his brand of storytelling captivates consumers and critics across the globe. His celebrated body of work and his contributions to our industry speak for themselves, and we look forward to supporting Ryan in bringing his broad and diverse stories to the world.”

“The history of this moment is not lost on me,” Murphy adds. “I am a gay kid from Indiana who moved to Hollywood in 1989 with $55 in savings in my pocket, so the fact that my dreams have crystallised and come true in such a major way is emotional and overwhelming. I am awash in genuine appreciation for Ted Sarandos, Reed Hastings and Cindy Holland at Netflix for believing in me and the future of my company, which will continue to champion women, minorities and LGBTQ heroes and heroines, and I am honoured and grateful to continue my partnership with my friends and peers at Fox on our existing shows.”

Murphy’s new original series, “Ratched and The Politician”, will premiere globally on Netflix. Murphy also oversees production on the following series: “American Crime Story”, “American Horror Story”, “Feud”, “911” and the upcoming “Pose”.