R. Kelly was sentenced on Wednesday to 30 years in prison, following the multiplatinum R&B singer’s conviction for exploiting his stardom and wealth over decades to lure women and underage girls into his orbit for sex.
The sentence was imposed nine months after Kelly, 55, was convicted of racketeering and sex crimes, in a trial that amplified accusations that had dogged the singer of the Grammy-winning hit “I Believe I Can Fly” for two decades.
Kelly, whose full name is Robert Sylvester Kelly, is among the most prominent people convicted of sexual misbehaviour during the #MeToo movement against such conduct by prominent men.
He did not speak during Wednesday’s hearing but has repeatedly denied sexual abuse accusations.
After the sentence was read, his lawyer, Jennifer Bonjean, told reporters Kelly was “devastated” by the sentence but that he would appeal.
“Thirty years in prison is like a life sentence for him,” Bonjean said.
The sentencing came after several accusers, some of whom were tearful, told the judge about how Kelly promised to mentor them and help them attain stardom, only to subject them to degrading sexual treatment and physical harm.
Many said the abuse led to mental health problems that persist.
Kelly was convicted on nine criminal charges, including one count of racketeering and eight counts of violating the Mann Act, which bars transporting people across state lines for prostitution.
Prosecutors had urged a prison sentence of more than 25 years, saying he had demonstrated a “callous disregard” for his victims and shown no remorse.
“I never thought that I would be here to see him be held accountable for the atrocious things that he did to children,” Lizzette Martinez, one of the accusers who spoke in court, told reporters after the hearing.
Defence lawyers said Kelly deserved no more than 10 years, the mandatory minimum, arguing that his history as an abused child may have led to his adult “hypersexuality,” and that he no longer posed a threat.
Kelly has been in jail since July 2019.
He will likely be transported soon to jail in Chicago, where he faces an August trial in federal court on child pornography and obstruction charges. He also faces various state charges in Illinois and Minnesota.
Three experiments with theatre and film led to different outcomes
Let us never forget that before film became a favourite pastime for us—before television, YouTube and TikTok of course—it’s theatre that occupied our grandparents’ evenings and weekends. Playhouses became cinemas as the popularity of film increased although some venues can still double-task. Popular plays and musicals have been adapted into films and vice versa, to various degrees of success. While many artists stick to one, others switch back and forth effortlessly, no matter what their training background.
As the pandemic restriction eased, film was back in business before theatre and it also had a new option of distribution, namely digital streaming. Theatre went online, sacrificing the shared presence between performers and audiences yet many still want to be in the same place at the same time and they have focused their eyes on the screen for too many hours for work already.
Focusing on multidisciplinary works, Singapore International Festival of Arts (SIFA) showed different relationships of theatre and film.
First, at the historic Victoria Theatre, Ong Keng Sen’s, artistic director of Theatre Works which was renamed as T:>works to better reflect their transdisciplinary works, “projectSALOME” presented live solo performance by veteran actress Janice Koh. Single-handedly mastering English translation of Oscar Wilde’s original lines, her arresting performance was deftly juxtaposed with scenes from Ong’s compelling short film “Becoming Salome”. In the film, a Berlin-based artivist refugee Michael(a) Daoud recounted, in spoken words and physical movements, their transborder and transgender journey to become drag character Bolbola.
Another storyline and layer, a few months prior to the performance photos of Seah Loh Mei started appearing on a private Instagram account @thesalomecomplex. With the name that sounds like a Chinese dialect of Salome, this fictional professional tennis player later revealed she was sexually harassed by a politician, a reflection of real incidents in China.
Not surprisingly, a few days prior to the opening night, the work was given R18 rating by local authority and, like in the play’s climax, “heads rolled”. Meanwhile, “project SALOME” was voicing its commentary through different media on patriarchal societies we have been living in throughout the centuries.
As the film was projected onto the scrim that covered the entire stage space, so were live close-up images of Koh who was confined to center stage showing only her face to us. In addition to the electroacoustic sound design for the entire work either created or controlled live by composer Kaffe Matthews, the transitions between theatre and film were so seamless that one did not need to ask whether they were watching film or theatre. Simply, it’s a work by a master who understands how different media work.
Second, at a small film screening room in almost-two-centuries-old building Arts House nearby, audiences of “Remotes X Quantum”, billed as “live multidisciplinary installation”, were trying to either piece together or make sense of dystopian narratives of experimental short film “Remotes” by Filipino artist John Torres.
Suddenly, the film ended and we were led by a performer to a room upstairs where we watched Singaporean poet Eleanor Wong’s short play “The Quantum of Space” in which Auntie E, also a character from the film, was a writer on a tight deadline.
Not long afterwards and before we could discuss with our friends, we were directed, again, by the same performer to another room. This meeting room of the old parliament still looked like mini Westminster notwithstanding set and lighting design of the production. The movement-based performance here seemed to be the only part where the actual collaboration of Torres and Wong took place. We have recently seen more Xs denoting collaborations of different kinds than before, and some—when they were so well integrated that we cannot tell which part was whose—were more explicable than others.
Third, a long taxi ride from the CBD or a 10-minute walk from a bus stop took SIFA audiences to a new venue, a converted, and air-conditioned, energy plant Pasir Panjong Power Station in the southeastern part of the island. Here, Turner Prize laureate Tai Shani’s “The Neon Hieroglyph” was presented. Narrating the history of ergot poisoning, the CGI-heavy psychedelic art film was commissioned by and presented online as part of Manchester International Festival (MIF) 2021.
Here, it was accompanied by live narration by female Malaysian actor Jo Kukathas who was seated behind a partition to the left of the movie screen and we could only see the live video image of hers in the small screen to the right. In other words, she didn’t have a chance to recognize the presence of the live audience which is very different from when we watched Nang Kang Plaeng, outdoor screening of films with live dubbing. With this lack of connection plus the often perplexing content, the two ladies on my two sides decided to watch this one-hour work with their eyes closed and some audience members cut their evening short.
Intriguingly, “The Neon Hieroglyph” was billed as a “filmic performance” while in fact the film, with recorded narration, belonged more to private viewing on one’s notebook computer or a media art exhibition.
Metaphorically, “projectSALOME” is like a happy marriage between theatre and film. Each partner has a different role and both treat each other as equally important. They also seem to understand each other better after having been locked down together. Meanwhile, “Remotes X Quantum” seems like a couple who doesn’t really want to spend time together even though they’re influencing each other and have a lot in common. Lastly, “The Neon Hieroglyph” is like when one partner runs the whole party as if she were single and only at the end do we get to meet the other, a secret behind all the fun.
Now more than ever, film has become another important medium with which theatre, that was performed for a limited group of people at a certain place and time, can connect with wider group of audiences without time and space limit. That said, professionally filmed performances of some SIFA-commissioned works are on view until July 10 at www.sifa.sg/vod
By Pawit Mahasarinand Singapore
The writer’s trip was supported by Arts House Limited and Tate Anzur. Special thanks to Eileen Chua and Hilary Tan.
Filipina Fuschia Anne Ravena was crowned Miss International Queen 2022 on Saturday at a contest in Thailand billed as the world’s largest and most popular transgender pageant.
The 27-year-old business owner beat 22 other contestants for the crown, with the second and third place going to contestants from Colombia and France, respectively.
“My first message to everyone is to spread love and peace and unity because that is the most important thing that we do as of the moment and what’s happening in the world right now,” said Ravena who wore a glittery-silver evening gown.
The pageant, which was halted for almost two years because of the pandemic, resumed in the Thai seaside town of Pattaya during Pride Month to also celebrate gender equality, said Alisa Phanthusak, the CEO of Miss Tiffany Show, the organizer.
“Pride together is mean that if we are together and put the same message to let everyone understand (equality), we will win somehow, to get something from the society, to get the understanding, to get the law that we want, to eliminate discrimination within the country and also the world,” she told Reuters.
The contest, which brings together transgender people from around the world, was launched over a decade ago to help transgender women feel more accepted by society.
Thailand has one of Asia’s most open and visible lesbian, gay, bisexual, and transgender (LGBT) communities, adding to its image of tolerance and attraction as a liberal holiday destination for foreign tourists.
But activists say Thai laws and institutions have yet to reflect changing social attitudes and still discriminate against LGBT+ people and same-sex couples.
This story is about Elvis Presley and Colonel Tom Parker’s relationship — a true story told brilliantly and creatively that only Baz Luhrmann, in his unique, artistic way, could have delivered, a director who put his heart and soul into this film. Austin Butler is outstanding, while Tom Hanks plays Col Parker.
“Elvis” is an epic, big-screen spectacle from Warner Bros Pictures and visionary, Oscar-nominated filmmaker Baz Luhrmann that explores the life and music of Elvis Presley, starring Austin Butler and Oscar winner Tom Hanks.
A thoroughly cinematic drama, Elvis’s story is seen through the lens of his complicated relationship with his enigmatic manager, Colonel Parker. As told by Parker, the film delves into the complex dynamic between the two spanning over 20 years, from Presley’s rise to fame to his unprecedented stardom, against the backdrop of the evolving cultural landscape and loss of innocence in America.
Central to that journey is one of the significant and influential people in Elvis’s life, Priscilla Presley (Olivia DeJonge).
“While this story is called ‘Elvis’, it’s also Colonel Tom Parker’s story — the telling of it at least; he’s our way in, our narrator, and an unreliable one at that,” states writer/director/producer Luhrmann, whose extensive research into music icon Elvis aided in his discovery of the strange partnership behind the artist’s public success and personal struggles.
“As I like to say, Colonel Tom Parker was never a colonel, never a Tom, never a Parker, but a fascinating character all the same. He was a carnival barker dedicated to finding that one great act.”
Is Austin Butler really singing in ‘Elvis’?
The actor watched multiple videos of Elvis performing, studying footage of films and concerts to perfect the singer’s voice.
Butler said he felt “such a responsibility to Elvis and to [ex-wife] Priscilla and [daughter] Lisa Marie, and all the people around the world who love him so much,” to get the portrayal right.
In the film, Elvis’s early voice is sung exclusively by Butler. But as the singer ages, Butler’s voice is blended with tapes of midlife Elvis to give as similar a vocal tone as possible, a decision made by Luhrmann.
Is Austin Butler really playing guitar in ‘Elvis’?
Butler revealed in his “Variety” interview that he struggled at first getting up on a stage to film in front of around 600 extras, in a bedazzled jumpsuit, trying to embody the King of Rock ‘n’ Roll.
“I learned that Elvis was very shy as a kid,” Butler explained, “… and he would ask people to turn around when he played the guitar and turn off the lights in the room. And I thought, that’s how I feel now. But he overcame that,” and so did Butler.
Principal photography on “Elvis” took place in Queensland, Australia with the support of the Queensland government, Screen Queensland and the Australian government’s Producer Offset programme.
A Warner Bros Pictures Presentation, A Bazmark Production, A Jackal Group Production, A Baz Luhrmann Film, “Elvis” is distributed worldwide by Warner Bros Pictures. It is set to release in theatres in North America on June 24, and internationally beginning June 22.
Elvis is rated PG-13 for substance abuse, strong language, suggestive material and smoking.
K-pop superstar boy band BTS is taking an indefinite hiatus from group activities to take a break and focus on the bandmates’ individual careers.
BTS broke the news late on Tuesday night through a pre-recorded video posted on the band’s official YouTube channel, BangtanTV.
The video comes shortly after the act’s ninth anniversary since its debut. In the video, the seven members celebrate their anniversary over dinner, share their honest thoughts about their journey up to now and their upcoming plans.
“Many of my friends asked me why we were releasing an anthology album at our ninth anniversary,” said band leader RM. “I’ll be straightforward with this: To be honest, BTS’ season one was supposed to end with ‘ON,’” he said, referring to BTS’ anthology album “Proof” which was released on Friday.
The bandmates spoke candidly about how they have changed as a team in the recent years, especially following the release of their mega-hit single “Dynamite” in 2020.
“The problem with the K-pop idol system is that it doesn’t give you the time to mature. You have to keep producing music, keep doing something,” RM continued, adding, “There’s just no time left for growth.”
During the break, the seven members will pursue their solo careers, with each member set to drop their first solo albums since their debut as a band.
The bandmates have released solo music only in the form of mixtapes, not albums. This new chapter will mark their official debut as solo musicians.
J-Hope said he has kicked off preparing promotions for his solo release, whereas Jimin and V both said that they are working on their solo music right now.
The bandmates spoke about the frustration and confusion they faced in working endlessly as a K-pop group, which was not limited to just music. The seven men, whose ages range between 26 to 29, have not taken an official hiatus since debuting as a band in 2013.
“Right now when we are at our best, I feel like we should be contributing in some way to the world, but I don’t know what that is and I still have to keep working. There’s just no time for me to think,” the 27-year-old band leader RM said.
To put worried fans at ease, the bandmates will continue shooting new episodes for its online reality show, “Run BTS,” in the meantime.
Last week, the septet made its first comeback of the year with the anthology album “Proof,” a three-CD package spanning their nine-year career.
BTS made it clear that this was not an end to their group career. Just as it had hinted through its recent album, “Proof,” it was closing the door on its past before setting off on a fresh new start.
“We’re sorry that we won’t be able to showcase the performances you guys wanted this time,” RM said, promising that they would come back as a group to perform them next time.
Reassuring fans, Jungkook said, “We’re each going to take some time alone to have fun and experience diverse things, and we promise to return even more mature than we are now.”
Choi Ji-won
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Unlike in the fictional series, the worst fate for losers is not death, but missing out on what Netflix claims is the largest lump sum prize in reality TV history
The 10-episode Squid Game: The Challenge’ will include games inspired by the original show, as well as new additions.
Netflix Inc’s most-watched series is no longer just a fictional television show after the streaming service greenlit “its biggest reality competition ever” called Squid Game: The Challenge.
Unlike the series where the stakes are life or death, the worst possible fate in this 456 player competition will be leaving without the US$4.56 million winnings, which Netflix claims is the largest lump sum prize in reality television history.
“The stakes are high, but in this game the worst fate is going home empty-handed,” Netflix’s Vice-President of Unscripted and Documentary Series, Brandon Riegg, said in a statement.
Squid Game became Netflix’s most-watched series when it was released in September 2021 as it told the story of cash-strapped contestants who play childhood games for a chance to win life-changing sums of money.
Netflix’s reality show will be filmed in the UK and is currently only casting English speakers. The announcement comes just days after the scripted series was renewed for a second season.
The company is betting the franchise will help it recover from a drop in subscribers in the first quarter, the first time it shed viewers since 2011.
The one bright spot for the company was Asia, where it added more than 1 million customers.
Also on Monday Netflix confirmed that the global sensation “Squid Game” will return for a second season.
“A whole new round is coming,” director, writer and executive producer Hwang Dong-hyuk said in a letter to fans released by Netflix. “And now, Gi-hun returns. The Front Man returns. Season 2 is coming.”
Gi-hun, played by Lee Jung-jae, is the debt-ridden character who gets involved in a mysterious deadly contest to win 45.6 billion won ($37.9 million) in prize money in the nine-part series.
Hwang added that Cheol-su, the “boyfriend” of the show’s animatronic doll, Young-hee, will be introduced to viewers in the next season.
But he did not elaborate on the detailed schedules of production.
Released in September last year, the all-Korean survival drama “Squid Game” became Netflix’s most successful series in the streamer’s history, attracting 1.65 billion hours of viewing in the first four weeks of release.
The director, who has usually made feature films, including the historical drama “The Fortress,” throughout his career, thanked global fans for giving unprecedented support to his first TV show.
“It took 12 years to bring the first season of ‘Squid Game’ to life last year,” Hwang said. “But it took 12 days for Squid Game to become the most popular series ever.”
“Squid Game” is now poised to become the first Korean-language series to win an award at the Emmys slated for September.
It has racked up many pre-Emmy wins, including the best actor and actress prizes at the Screen Actors Guild Awards.
Asian rapper Jackson Wang will feature in the opening ceremony before the exhibition match between Manchester United and Liverpool on July 12.
On Thursday, Wang was revealed as the guest for “The Match Bangkok Century Cup 2022” which will be held on July 12 at Rajamangala Stadium in Bangkok.
He will feature in the one-hour opening show — from 6pm to 7pm — before the match. Those who could not reserve tickets at the venue could reserve tickets on Sunday to watch at SF Cinemas.
The move to invite Wang is seen as an attempt by the match organiser to attract non-football fans to buy the remaining tickets.
Jackson Wang, or Wang Jia’er, was born in Hong Kong on March 28, 1994. He is the son of Chinese fencer Wang Ruiji and Chinese gymnast Sophia Chow.
He was outstanding in sports from the beginning. Wang started doing gymnastics when he was seven years old and started fencing when he was 10 years old under the guidance of his father and coaches.
He was a part of the Hong Kong national fencing team for two years and won the 2011 Asia Junior and Cadet Fencing Championship. He also was ranked 11th in the 2010 Summer Youth Olympics.
Wang studied at the American International School in December 2010. He speaks five languages — Mandarin, Cantonese, Korean, English, and French.
In 2011, Wang passed the audition with the South Korean label JYP Entertainment. He became JYP’s trainee for two and a half years from July 3, 2011.
He debuted as a member of GOT7 on January 16, 2014. The group consisted of Jay B, Mark, Jinyoung, Youngjae, BamBam, Yugyeom, and Jackson.
At the end of August 2017, Wang released his first single “Papillon”. It was a big success, getting 3 million views in two days.
He became the only Asian artist to list on the US iTunes Hip Hop Chart and the only Asian to be featured in the World Star Hip Hop.
The Rolling Stones rocked Madrid on Wednesday (June 1) with a concert that kicked off their European tour titled SIXTY and marking their 60th anniversary as a band.
Some 53,000 fans at the Wanda Metropolitano stadium roared with excitement as they welcomed to the stage the original band members Mick Jagger, 78, and guitarists Keith Richards, 78, and Ronnie Wood, who turned 75 on Wednesday.
They have been joined by drummer Steve Jordan for the tour after rock-n-roll legend Charlie Watts, who joined the band in 1963, died last year aged 80.
“Hola Madrid!” shouted the band’s wiry frontman Jagger to even louder cheering after the band opened the show with “Street fighting man” and Jagger launched into his signature strut dance moves.
Right before the first song, videos of Watts were displayed on big screens on the stage and the band gave an emotional tribute to their late friend.
“This is our first European tour without Charlie, we miss him a lot,” said Jagger in Spanish right before playing “Sad, sad, sad” to a moved crowd.
After 17 songs The Rolling Stones left the stage just to return in response to a big round of applause by the Madrid crowd.
The band played “Gimme shelter” as the Ukrainian flag and footage of destroyed Ukrainian cities were displayed on the monitors as a statement against war. The band closed the concert with “(I Can’t Get No) Satisfaction”.
After a 2 hours show giddy fans clad in Rolling Stones t-shirts and draped in flags with the trademark lips and tongue logo left the venue chanting “Satisfaction”.
“It was like they are 30 years younger again,” said Javier Romero. “It was outstanding, they are at top level,” replied his sister Virginia Romero.
Their faithful fans celebrated that the band want to keep performing as long as they possibly can.
“On their 50th (tour) in 2012 we said “this might be the last we’ve seen them and we have seen them around Europe many times since then and in England,” said 60-year-old Paul a fan who came from England for the gig.
During the 14-show tour the British band will play stadiums and arenas in 10 countries, including their homeland where they will perform two concerts at London’s Hyde Park and one in Liverpool.
The set list includes Stones 1960s classics such as “(I Can’t Get No) Satisfaction” and “Paint It Black”, among others, as well some of the more recent tracks from their vast catalogue of music.
The tour has a new stage production by Patrick Woodroffe.
Earlier in the day Woodroffe said the band will never do a farewell tour.
“Somebody asked me if this was The Stone’s farewell tour. I can tell you categorically that The Rolling Stones will never do a farewell tour. It may be that this is the last tour they do at which point you can remind yourselves “Ah this was the farewell tour.” It is never sold as a farewell tour this is simply a rock band who’s job it is to play music, make music,” he said in the backstage.
The Stones, who wrapped up the North American leg of their “No Filter” tour in November, will next play in Munich on Sunday and also perform in Amsterdam, Bern, Milan, Brussels, Vienna, Paris and Stockholm.
Actor Johnny Depp won more than $10 million in damages on Wednesday (June 1), achieving a near-total victory in a defamation suit against ex-wife Amber Heard to cap a six-week trial featuring graphic testimony about the stars’ soured relationship.
Aseven-person jury in Virginia also ruled for Heard on one counterclaim against Depp. The “Pirates of the Caribbean” film star depicted the decision as a vindication, and his former wife said it was “a disappointment.”
Jurors awarded Depp $15 million in damages from Heard, which the judge reduced to $10.35 million to comply with state limits on punitive damages. The panel ordered Depp to pay Heard $2 million in damages.
Depp, 58, had sued Heard for $50 million and argued that she defamed him when she called herself “a public figure representing domestic abuse” in a newspaper opinion piece.
Heard countersued for $100 million, saying Depp smeared her when his lawyer called her accusations a “hoax.”
Depp denied hitting Heard, 36, or any woman and said she was the one who turned violent in their relationship.
He told jurors the allegations from Heard, best known for her role in “Aquaman,” had cost him “everything.” A new “Pirates” movie was put on hold and Depp was replaced in the “Fantastic Beasts” film franchise, a “Harry Potter” spinoff.
“The jury gave me my life back. I am truly humbled,” Depp, who watched the verdict from Britain, said in a statement.
“The best is yet to come and a new chapter has finally begun,” he added, ending with the Latin phrase “Veritas numquam perit. Truth never perishes.”
Heard, seated in the courtroom between two of her lawyers, looked down as the verdicts were read.
“The disappointment I feel today is beyond words,” she said in a statement. “I’m heartbroken that the mountain of evidence still was not enough to stand up to the disproportionate power, influence and sway of my ex-husband.”
“I’m even more disappointed with what this verdict means for other women,” she added. “It is a setback.”
Depp faced a different outcome in Britain less than two years ago, when he sued the Sun tabloid for calling him a “wife beater.” A London High Court judge ruled that he had repeatedly assaulted Heard.
The two met in 2011 while filming “The Rum Diary” and wed in February 2015. Their divorce was finalized about two years later.
At the center of the legal case was a December 2018 opinion piece by Heard in the Washington Post. The article did not mention Depp by name but his lawyer told jurors it was clear that Heard was referring to him.
The jury agreed with all of Depp’s defamation claims, which cited a passage in the article and headline that read: “I spoke up against sexual violence – and faced our culture’s wrath. That has to change.”
Jurors rejected two of Heard’s three counterclaims. They concluded she was defamed when an attorney for Depp told a media outlet that Heard staged property damage to show to police after an alleged fight.
“Amber and her friends spilled a little wine and roughed the place up, got their stories straight under the direction of a lawyer and publicist,” the statement said in part.
During six weeks of testimony, Heard’s attorneys argued that she had told the truth and that her comments were covered as free speech under the U.S. Constitution’s First Amendment.
Jurors listened to recordings of the couple’s fights and saw graphic photos of Depp’s bloody finger. He said the top of the finger was severed when Heard threw a vodka bottle at him in 2015.
Heard denied injuring Depp’s finger and said Depp sexually assaulted her that night with a liquor bottle. She said she struck him only to defend herself or her sister.
Testimony was livestreamed widely on social media, drawing large audiences to hear details about the couple’s troubled relationship.
Depp’s lawyers filed the U.S. case in Fairfax County, Virginia, because the Washington Post is printed there. The newspaper was not a defendant.
Thailand’s booths are up and running at the 2022 Cannes Film Festival, showcasing the latest Thai content for an international audience of fans and buyers in France.
Ten major Thai content producers have brought over 200 new titles to the event, including feature films and drama series ranging from horror to romance to animation. These include “Ether’s Paradise”, “Cave Rescue”, “The Spirit of Ramayana”, “Lost in the Woods”, “The Lake”, “The Up Rank”, “Coffee Melody”, “Daeng”, and “Start It Up”.
Among the Thai highlights at Cannes is Adisorn Tresirikasem’s fantasy romance “Love Destiny The Movie”.
Culture Minister Ittipol Khunpluem confirmed Thailand will have a strong presence at the May 17-28 festival and accompanying “Marche Du Film” event – one of the world’s biggest content markets.
“Content Thailand” – a team created by the National Audio-Visual Committee, Tourism and Sports Ministry, and Commerce Ministry – is leading the Thai showcase.
The “Thailand Pavilion” in the French Riviera town comprises two booths.
The main booth, in the “Village International” section of the festival, is being run by the National Audio-Visual Committee and Tourism Ministry.
Here, international companies and film fans are busy sampling Thai films, dramas and series as well as the Bangkok ASEAN Film Festival (BAFF 2021). Information and contacts for foreign companies interested in shooting their productions in Thailand during Covid are available here.
The booth is also holding film industry seminars, business matching and content negotiations.
The second booth is operated by the Commerce Ministry at the Cannes Palace of Festivals. Here, 10 leading Thai film and video companies have been given a platform to negotiate with international buyers such as Netflix. Minor operators can also join the booth for negotiations and business matching.
Ittipol said Thailand’s showcase at Cannes is part of the country’s 20-Year National Strategy for development. The soft-power push would boost Thailand’s film and video industry while enhancing the country’s reputation and building international relations, he added.
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