Загрузка видео...

Не удалось загрузить видео

На главную

another korean surgeon has released a video praising sung hanbin’s visuals, alongside riize’s wonbin and txt’s beomgyu 🔥 next is sung hanbin. like wonbin, he possesses all the classic charms of a beautiful-boy idol. his face shape and overall proportions are nearly perfect, with a slightly more developed lower...

95,418 просмотров • 2 месяцев назад •via X (Twitter)

Комментарии: 0

Нет доступных комментариев

Здесь появятся комментарии из оригинального поста

Похожие видео

There are so many subtle, but deliberate, animation choices with Alastor’s expressions during this scene that shift it from just a brutal, cruel rejection into something more complex. On the surface, the rejection is theatrical, performative. It’s too over-the-top with its mockery, so much so that Vox is taken aback by Alastor’s reaction, even tries to laugh along with him at first because it’s so seemingly misplaced. His body language is a contradiction: he hides his face initially, hiding that initial reaction from Vox and the viewer — almost as if he’s recalibrating, trying to reposition the hurt of thinking Vox was also just attempting to use him for his power. It’s a quick withdrawal from a character usually so present and visible. When he turns back to Vox, his eyes read wounded and confused at the suggestion. Canonically, Alastor is fixated on autonomy and control, both in life and in Hell. The partnership Vox poses, to Alastor, is interpreted as a transaction, one where he is reduced to a tool, an asset, a resource. His laugher is more defensive than genuine here — it’s the sound of Alastor refusing the premise before Vox can further define the relationship for him. He grabs at his hair, something we’ve only seen when he’s stressed and seemingly losing that control. It’s one of those rare moments where Alastor’s invulnerability shatters, where something has truly gotten under his skin, and where he’s felt it all. Alastor’s perpetual smile means that every small, physical shift is amplified as a more emotional tell. Especially here.

⊹ ࣪ ˖ ၊၊||၊ ⋆˙alastor fm 𐂂 (🎙)

23,074 просмотров • 6 месяцев назад

This is a day when words grow heavy. For what we feel goes beyond ordinary pain; What we experience surpasses ordinary mourning. In these days, we stand in silence filled with prayer. Our Holy Patriarch, His Holiness and Beatitude Ilia II, has gone to be with the Lord bringing with him his labor and his works. We, his people, his flock, his spiritual children, are his works. The Lord sent him to us as one man, and he returns with an entire nation - so visibly, so united, so unified, as has been revealed in these solemn days. We are the generation of the Patriarch. We are witnesses to a unique event, when an entire nation is spiritually united around one person; When every active clergyman in Georgia has been ordained with his blessing; When nearly all Christians in Georgia have been baptized with his blessing. The present state, character, and form of our two-thousand-year-old Church have been shaped by him. His Holiness and Beatitude became that firm link for our nation and Church that connected our past to the present, and the present to the future, in an apocalyptic era of godlessness and nihilism. Truly, we have witnessed a miracle from God - the Georgian Church, risen from the ashes and shaped by him alone anew, with his own hands. He was able to do this because he understood what mattered most. In today’s world, many values compete for primacy - freedom, equality, solidarity, justice. His Holiness and Beatitude gave each its proper place, but taught us the most important truth: freedom, equality, and all other things lose their meaning if they are not grounded in the highest value - love. We had a Patriarch of love, whose tireless preaching embodied it. Through his life, he became an example of how one can love all: one’s own and strangers, friends and enemies, the righteous and sinners. He accomplished the impossible - as a Christian, he fulfilled the law of Christ; as a monk, he kept his vows; as a Patriarch, he bore the heaviest cross of his nation. His earthly journey has ended, but love remains - his love for us, which in these days the whole nation has returned with gratitude. This was his main dream: to see his nation united in the Church of Christ. He accomplished this. And thus he has entered the presence of the Lord - righteous and full of grace. It is we, his generation - those who lived with him, saw him, felt his grace, and bear witness to his greatness. But his story does not end here. After us, once again, his generation will continue the path - the generation of his godchildren, our children, who carry his name, his blessing, and his grace. In this way, he built a bridge across time and bound our nation together. “Great are You, O Lord, and wondrous are Your works.” May the memory of our Patriarch be eternal! May his prayers and intercession protect all of Georgia!

Shalva Papuashvili 🇬🇪

35,552 просмотров • 5 месяцев назад

Asked Nuggets coach David Adelman about the season that Jaylen Brown has had, and he gushed about Brown as both a player and a person. "The the elite shooting from mid range is such a big deal in our game, it's the late-clock ability, his overall size, his ability to play in the middle of the floor, which is really hard to come double people and not give up the three point line to a team like they have, I would just say his continued evolution in his game. "He's an elite, All-Star player, two-way player. I just watched him grow over the years, not just the championship year, but with Jayson Tatum, obviously out, more responsibility falls into his hands, and I thought they did a great job building around him for this particular season, with all the shooting that surrounds him." "He's a problem. He's not fun to watch on tape when you have to play against him. I'm a fan of his, just as a pure basketball person, not just as a coach. Actually got to spend some time in Africa, he was such an impressive person. He's good for the NBA. He's going to be a probelm for us tonight." "There was an Africa game that I coach in, that he played in. They used to do that yearly in South Africa. It's an amazing event. He came down there for that. And some of the events that we had to do -- humanitarian stuff, you go out and you see these communities, and just to see his investment in it was really impressive. And he was at a much younger age then. And I remember him in the bubble, speaking up at meetings and things like that." "Some people are born to lead. He definitely stands out as one of those people."

Noa Dalzell 🏀

98,397 просмотров • 8 месяцев назад

This scene adds so much to Boromir's death. He left a place where he was hailed as a hero, but perhaps also the lone hope of a country trapped in the shadow of Mordor. And if that evil is unleashed in full, Gondor will receive its wrath first. The weight of the burden he carries is tremendous from that alone. Add to that a doting father of whom he is both wary and weary, and a brother whom he loves and has to leave with that same father. From all of that he comes to Rivendell, a stranger, and from a country that represents man more than any other. And remember, "Men are weak." They allowed the Enemy to live on through that weakness. Nobody trusts them, therefore nobody trusts Boromir. And as it turns out, he is weak indeed. The Ring plays upon his despair. Tempts him to bring the quest to ruin in its earliest days. And perhaps the one person in whom he might find hope, Aragorn, spurns him and Gondor entirely. And then his weakness causes his greatest failure, as he tries to take the Ring for himself. But then he sees his error in his moment of greatest failure, and rather than succumbing to that failure, he rises and defends the Fellowship, defends the friends of the one he tried to harm, and friends of his own whom he had grown close to during the journey. He takes three arrows for these friends, and then, as he lay dying, Aragorn honors him and gives him hope that perhaps Gondor might be saved after all. And whether Boromir realized it or not before he died, Aragorn's resolve to become that man, to become the King of Gondor, starts with honoring a man who showed the weakness he feared, and yet overcame it in the end. Boromir is, in a sense, a repentant version of Isildor. And in that, Boromir dies not in dishonor, but as the hero we saw in Faramir's memories.

Tolkien Universe

20,130 просмотров • 3 дней назад

Andrei Tarkovsky on Ingmar Bergman's Shame (1968): "Let us look at Bergman's Shame. The film doesn't contain a single 'actor's piece' for the performer to 'give away' the director's purpose, to play the conception of the persona, his attitude to it, to assess it in relation to the overall idea; and the latter is entirely hidden within the dynamic of the characters' lives, at one with it. The people in the film are crushed by circumstances; they act only in accordance with their situation, to which they themselves are subordinate; they make no attempt to proffer us any idea, any perspective on what is happening, or to draw any conclusion. All of that is left to the film as a whole, to the director's vision. And how superbly it is accomplished! You cannot say in simple terms who amongst them is good or bad. I could never say that von Sydow is a bad man. They are all partly good and partly bad, each in his own way. No judgements are passed, because there is no hint of tendentiousness in any of the actors, and the circumstances of the film are used by the director to explore the human possibilities which they test, and not for a moment in order to illustrate a thesis. Max von Sydow's character is developed with masterly power. He is a very good man; a musician; kind and sensitive. It turns out that he is a coward. But by no means every bold man is a good human being, and cowards are not always scoundrels. Of course, he is weak and irresolute. His wife is far stronger than he, so much so that she can overcome her fear. The hero lacks that strength. He is tormented by his own weakness, vulnerability, lack of resilience; he tries to hide, to cower in a corner, not to see and not to hear; and he does this like a child, naively and with complete sincerity. But when circumstances nevertheless force him to defend himself, he instantly turns into a scoundrel. He loses all that was best in him; but the drama and absurdity of his situation is that as he is now he becomes necessary to his wife, who, in her turn, looks to him for protection and succour instead of despising him as she always had. When he beats her about the face and says 'Get out!' she goes crawling after him. There is something here of the age-old idea of passive good and active evil; but its expression is immensely complex. At the beginning of the film the hero cannot even kill a chicken, but as soon as he has found a way of defending himself he becomes a cruel cynic. He has something of Hamlet: my view is that the Prince of Denmark perishes not as a result of the duel, when he dies physically, but immediately after the 'rat' scene, when he understands how irreversible are those laws of life which have forced him, a man of humanity and intellect, to act like the inferior people who inhabit Elsinore. Von Sydow is now a sinister character, afraid of nothing: he kills; will not raise a finger to save his fellows; pursues only his own interests. The point is that you have to be a person of great integrity to feel fear in the face of the foul necessity to kill and humiliate. And by shedding that fear and apparently acquiring courage, a person in fact loses his spiritual strength and intellectual honesty and parts from his innocence. War is the obvious catalyst for the cruel, anti-human elements in people. Bergman uses the war in this film exactly as he uses the heroine's illness in Through a Glass Darkly: to explore his view of man." — "Sculpting in Time" by Andrei Tarkovsky (translated by Kitty Hunter-Blair, 1987)

RadiantFilm

27,723 просмотров • 7 месяцев назад