自 2015 年起，搞笑三人组合“Robert”中的秋山龙次便开始在《创意者档案》中戏仿不同行业的创意人士。该系列在日本大受欢迎，因为他的模仿还原了精髓，的确令人想到行业佼佼者的标准范式。龙次至今已经扮演了 70 多位创意人士，其官方《创意者档案》YouTube 频道目前已有接近 60 万订阅者，并达到 1.3 亿次的播放量（日本）。不知道下一次，越玩越溜的龙次又会如何以假乱真，给我们带来惊喜？

自 2015 年起，搞笑三人组合“Robert”中的秋山龙次便开始在《创意者档案》中戏仿不同行业的创意人士。该系列在日本大受欢迎，因为他的模仿还原了精髓，的确令人想到行业佼佼者的标准范式。龙次至今已经扮演了 70 多位创意人士，其官方《创意者档案》YouTube 频道目前已有接近 60 万订阅者，并达到 1.3 亿次的播放量（日本）。不知道下一次，越玩越溜的龙次又会如何以假乱真，给我们带来惊喜？

由bilibili和智族GQ独家联合出品的实验性微综艺《失意者联盟》正式上线。我们联系了娱乐圈中愿意承认自己“不红”的人——倪虹洁、江映蓉、朱孝天、杨雪、李艺彤，一起聊了聊做一个「失意者」是什么感受？关于「失意」的疑问，我们一起来寻找答案。

戏剧院的悲惨三级喜剧演员阿奇被瘟疫蚕食，然而他却幸存下来，变得目中无人和唯利是图，他许久，开国际玩笑，说冷笑话，大声谈论性事，对政治豪放厥词。阿奇还引诱自己的父亲提前退休后拿他的退休金恶意投资，最终还是全军覆没，这样像狗屎一样的人生，他在用自己的方式演绎一个社会中的普通人，然而把他放大来看，其实他只是社会中的一名艺人而已。

吉隆坡29日讯）由Astro Shaw与Act 2 Pictures携手制作的本地新电影《GOLD》，讲述大马羽球残奥冠军谢儮好的真实故事及教练拿督拉昔西迪努力不懈的奋斗史。如今，该电影正如火如荼进行拍摄中，主演陈泽耀自曝为了拍这部电影瘦了12公斤，大拇指和右脚板还因此受伤，指甲随时都会脱落！ 　　《GOLD》导演郑建国、主演陈泽耀及吕杨周二晚（28日）在沙亚南美拉华蒂室内体育馆接受大马媒体联访。在电影《GOLD》饰演大马羽球残奥冠军“谢儮好”的陈泽耀表示，自己很荣幸可以饰演“谢儮好”的角色，还能帮忙推广残奥运动，这也是他从影以来最有挑战的一部作品，身为右撇子的他，必须学习改用左手打球，难度非常高。 　　陈泽耀透露，当时在接演这部电影时，所有人都不好看自己可以练到用左手打球时，好胜心很强的他不甘心，想证明给所有人看，自己也可以用左手打球，“把不可能变成可能”。

吉隆坡29日讯）由Astro Shaw与Act 2 Pictures携手制作的本地新电影《GOLD》，讲述大马羽球残奥冠军谢儮好的真实故事及教练拿督拉昔西迪努力不懈的奋斗史。如今，该电影正如火如荼进行拍摄中，主演陈泽耀自曝为了拍这部电影瘦了12公斤，大拇指和右脚板还因此受伤，指甲随时都会脱落！ 　　《GOLD》导演郑建国、主演陈泽耀及吕杨周二晚（28日）在沙亚南美拉华蒂室内体育馆接受大马媒体联访。在电影《GOLD》饰演大马羽球残奥冠军“谢儮好”的陈泽耀表示，自己很荣幸可以饰演“谢儮好”的角色，还能帮忙推广残奥运动，这也是他从影以来最有挑战的一部作品，身为右撇子的他，必须学习改用左手打球，难度非常高。 　　陈泽耀透露，当时在接演这部电影时，所有人都不好看自己可以练到用左手打球时，好胜心很强的他不甘心，想证明给所有人看，自己也可以用左手打球，“把不可能变成可能”。

Adrift in a lush, nocturnal urban landscape, Nick is a post-modern urban hero asserting his anarchistic agenda on the endless maze of virgin exterior walls that comprise downtown Seattle and Portland. For writer/director Bolton's lonely "tagger" protagonist, the vast wall surfaces of deserted alleys and trainyards are at once a daunting symbol of capitalist oppression and a texturally rich, seamless tableau ripe for exploitation to amplify his artistic dialectic of anger and rebellion. His own virtually anonymous existence seemingly only secondary to the painted surfaces and "rupture the system" manifesto which more poignantly evidence his presence, Nick's prodigious solo graffiti output is interrupted by friendship with another young tagger. Their communication begins as less verbal than a kind of shared graphic tour de force; their enormous collaborative graffiti murals appear to emerge as the unmistakable offspring of their kindred spirit. But eventually their assumptions about one another are disproved as political, emotional and ethical issues arise which cause their relationship to dissolve into the background of urban detritus, and the artists themselves emerge only further atomized and alienated by the experience. Compelling themes, sensitive performances, and luscious visuals define this film which is a revealing immersion into the experiential reality of those daring to make their art in a socially condemned arena. For a film ostensibly focusing on manipulated surfaces, Bolton's cinematic artistry probes deep into the consciousness of the "tagger" and "graffiti artist" sub-culture.

Adrift in a lush, nocturnal urban landscape, Nick is a post-modern urban hero asserting his anarchistic agenda on the endless maze of virgin exterior walls that comprise downtown Seattle and Portland. For writer/director Bolton's lonely "tagger" protagonist, the vast wall surfaces of deserted alleys and trainyards are at once a daunting symbol of capitalist oppression and a texturally rich, seamless tableau ripe for exploitation to amplify his artistic dialectic of anger and rebellion. His own virtually anonymous existence seemingly only secondary to the painted surfaces and "rupture the system" manifesto which more poignantly evidence his presence, Nick's prodigious solo graffiti output is interrupted by friendship with another young tagger. Their communication begins as less verbal than a kind of shared graphic tour de force; their enormous collaborative graffiti murals appear to emerge as the unmistakable offspring of their kindred spirit. But eventually their assumptions about one another are disproved as political, emotional and ethical issues arise which cause their relationship to dissolve into the background of urban detritus, and the artists themselves emerge only further atomized and alienated by the experience. Compelling themes, sensitive performances, and luscious visuals define this film which is a revealing immersion into the experiential reality of those daring to make their art in a socially condemned arena. For a film ostensibly focusing on manipulated surfaces, Bolton's cinematic artistry probes deep into the consciousness of the "tagger" and "graffiti artist" sub-culture.

旅役者

旅役者