Akira: the synopsis for the live-action movie

Akira: the synopsis for the live-action movie

Claudia Fuggetti · 10 months ago · Art

The synopsis of the live-action movie dedicated to the manga Akira has just been released. The film, produced by Leonardo DiCaprio and directed by Taika Waititi, is based on the manga series written and illustrated by Katsuhiro Otama, set in a post-apocalyptic Tokyo of 2060.

The live-action movie produced by Leonardo DiCaprio sees the story move from the East to a reconstructed New Manhattan, where the head of a biker gang saves his friend from a medical experiment.

Here’s the synopsis that came out of Production Weekly:

“When a young man’s telekinesis is discovered by the military, he is taken in to be turned into a super weapon and his brother must race to save him before Manhattan is destroyed by his powers. Kaneda is a bar owner in Neo-Manhattan who is stunned when his brother Tetsuo is abducted by Government agents lead by the Colonel. Desperate to get his brother back, Kaneda agrees to join Ky Reed and her underground movement who are intent on revealing to the world what truly happened to New York City 30 years ago when it was destroyed. Kaneda believes their theories to be ludicrous, but after facing his brother again is shocked when he displays telekinetic powers. Ky believes Tetsuo is headed to release a young boy. Akira, who has taken control of Tetsuo’s mind, Kaneda clashes with the Colonel’s troops on his way to stop Tetsuo from releasing Akira, but arrives too late. Akira soon emerges from his prison courtesy of Tetsuo as Kaneda races to save his brother before Akira once again destroys Manhattan island as he did thirty years ago”.

Akira: la sinossi del live-action prodotto da Leonardo DiCaprio | Collater.al
Akira: the synopsis for the live-action movie
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Akira: the synopsis for the live-action movie
Akira: the synopsis for the live-action movie
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The surreal and psychedelic universe by Alex Gamsu Jenkins

The surreal and psychedelic universe by Alex Gamsu Jenkins

Claudia Fuggetti · 10 months ago · Art

Alex Gamsu Jenkins is an English illustrator who is very reminiscent of the Italian Gianluca Lerici, aka Prof. Bad Trip, both for his stylistic trait and for the psychedelic colors he uses inside his creations.

Ed And it is the madness that conquers, intrigues and strikes the viewer straight at the heart, who at times feels almost distracted by these figures. The subconscious takes shape and becomes, through a sort of metamorphosis, a strange mutant creature that transmits the anxieties of the human being, as if it were part of a delirious trip in the style of Fear and Loathing in Las Vegas.

You have to indulge in madness in art, not limit it, because if Alex were like everyone else he wouldn’t be so interesting.

L'universo surreale e psichedelico di Alex Gamsu Jenkins | Collater.al
L'universo surreale e psichedelico di Alex Gamsu Jenkins | Collater.al
L'universo surreale e psichedelico di Alex Gamsu Jenkins | Collater.al
L'universo surreale e psichedelico di Alex Gamsu Jenkins | Collater.al
L'universo surreale e psichedelico di Alex Gamsu Jenkins | Collater.al
L'universo surreale e psichedelico di Alex Gamsu Jenkins | Collater.al
L'universo surreale e psichedelico di Alex Gamsu Jenkins | Collater.al
L'universo surreale e psichedelico di Alex Gamsu Jenkins | Collater.al
The surreal and psychedelic universe by Alex Gamsu Jenkins
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The surreal and psychedelic universe by Alex Gamsu Jenkins
The surreal and psychedelic universe by Alex Gamsu Jenkins
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This mural from Utrecht looks like a library shelf

This mural from Utrecht looks like a library shelf

Claudia Fuggetti · 10 months ago · Art

Dutch street artists Jan Is De Man and Deef Feed have recently created a mural in an apartment building in Utrecht that is incredibly inspired by the Kansas City Public Library, which we had previously talked about here.

The wall of the three-storey building has become the perfect canvas to paint a bookcase composed of several shelves, which include a selection of the two artists’ favorite books, as well as some invented titles. The greyness of the buildings is transformed into something new: that’s how the city becomes colorful and fun.

If you like to see how street art interacts with the surrounding environment, changing its perception, we recommend that you also take a look at the works of Demsky J., which you can find here.

This mural from Utrecht looks like a library shelf
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This mural from Utrecht looks like a library shelf
This mural from Utrecht looks like a library shelf
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Let’s Talk, Charlie Clift’s photo campaign on mental illness

Let’s Talk, Charlie Clift’s photo campaign on mental illness

Giulia Ficicchia · 10 months ago · Art

To tell you about this photographic project, I need to tell you something: for about two years I have been suffering, in order, from generalized anxiety disorder, panic disorder, agoraphobia and depression and every day I wonder if I have not always suffered from some of these things, without admitting it to myself.

The difficult part after all was never to realize that suddenly my heart beats crazy, even skipping a few beats if necessary, or that my breath is quite short, rather it was hard to give a shape and a reason to the thoughts that accompany all this, such as the fear of dying from a moment to another, that of being affected by something that makes me less than the media of people around me, that of not deserving positive things but only negative ones, etc..

In short, without bothering you with my mental vicissitudes, I am the perfect subject to be part of the photographic campaign of Charlie Clift: Let’s Talk, which was born with the intent to open a conversation about mental illnesses, clean them from that layer made of stigma and shame, know them to be able to fear them less. In her shots, Charlie – who has suffered from depression for a long time – relies on the help of the lettering artist Kate Forrester, who paints on the faces of volunteers and subjects of the photos, the words they would use to describe the mental disorders of which they are affected.

There are those who have written on a cheek that they feel fractured within it, those on the forehead admit that they do not feel worthy of feeling happiness, those who have a face full of hopelessness, darkness, pain.  All in white characters, which unlike the daily struggle with their disease, will go away passing us water. For this reason, Charlie immortalizes these moments, these faces, these words written on skin, so that he can begin a conversation, a virtually raised hand that is added to them and that tells his story.

Let’s Talk, Charlie Clift’s photo campaign on mental illness
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Let’s Talk, Charlie Clift’s photo campaign on mental illness
Let’s Talk, Charlie Clift’s photo campaign on mental illness
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Fuorisalone 2019: the car signed by Guillermo Santomá

Fuorisalone 2019: the car signed by Guillermo Santomá

Claudia Fuggetti · 10 months ago · Art

It’s made of Rimowa‘s suitcases, the aluminum machine exhibited inside the Spazio Maiocchi on the occasion of Design Week in Milan. Both the creative studio Kaleidoscope and the famous Spanish designer Guillermo Santomá took part in the project.

The car has been named Gas in honor of Ed Ruscha’s famous “Twentysix Gasoline Stations” series, but the installation is also capable of animating with light and sound. To complete the project we find a photo book and a short film, made for the occasion by Thibaut Grevet, set between the landscape of the desert of Los Monegros and the artist’s studio in Barcelona.

Check out our gallery below and take a look at the best of Design Week here.

Fuorisalone 2019: the car signed by Guillermo Santomá | Collater.al
Fuorisalone 2019: the car signed by Guillermo Santomá | Collater.al
Fuorisalone 2019: the car signed by Guillermo Santomá | Collater.al
Fuorisalone 2019: the car signed by Guillermo Santomá | Collater.al
Fuorisalone 2019: the car signed by Guillermo Santomá | Collater.al
Fuorisalone 2019: the car signed by Guillermo Santomá
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Fuorisalone 2019: the car signed by Guillermo Santomá
Fuorisalone 2019: the car signed by Guillermo Santomá
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