In 1975, Hoa Thi Le and Hue Nguyen Che fled from Vietnam by boat and docked in the Philippines, where they were utilized as background extras during the filming of Apocalypse Now.

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Snippets of conversation from the queue for a club form a portrait of London’s vibrant and communal queer nightlife.

RIIZE的内容《WE RIIZE》通过YouTube RIIZE频道依次公开，可以看到在舞台之外有趣的情景剧中RIIZE愉快的团队默契和成员们隐藏的反转魅力。 特别是RIIZE作为由7位最精锐的成员组成的团队，以实现的“Real Time Odyssey(成长史)”为基础展开活动，《WE RIIZE》也真实地反映了成员们关心的事物与角色，预计提高投入感。

[We Flash] aespa Fashion Survival 　　패션계 거물들이 벌이는 세기의 대결 🏆

Rıfat, 48 anni, vive con la sua famiglia in un quartiere lussuoso della città e lotta contro una malattia. Mentre scoppiano eventi sociali, si rende conto di non avere alcuna speranza di migliorare la sua situazione e di non poter ottenere il sostegno che si aspetta dalla sua famiglia. Dopo che i familiari e il medico se ne sono andati, Rıfat chiama la sua governante e le chiede di dargli una pillola che gli porrà fine alla vita. La governante si trova ad affrontare un dilemma morale e professionale di fronte alla richiesta di Rıfat.

An animal, which appears to be a fox, was seen outside the containment of the Fukushima nuclear power plant’s No. 2 reactor, where radiation levels can reach more than 10 sieverts per hour. It appeared in front of surveillance cameras on the morning of December 21, 2015, and spent 7 to 8 minutes there before disappearing.

Repurposing the video game Sleeping Dogs (2012), IN THE LONG RUN//WE ARE ALL DEAD is a single-take experimental machinima that unfolds within the rain-soaked, neon-lit streets of a virtual Hong Kong. Operating within the aesthetics of neo-noir, the work constructs a relentless pursuit—an enigmatic chase where the identities of both the pursuer and the pursued remain ambiguous. Sirens wail, bullets ricochet, and rain distorts the cityscape, reinforcing the sense of perpetual movement and existential uncertainty. Who is the runner? What is the nature of their escape? Is there an endpoint, or is the pursuit itself the defining condition of this digital existence? Offering no resolution, the machinima foregrounds the mechanics of pursuit as a metaphor for the relentless temporality of virtual worlds and the cyclical nature of digital violence.

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