The "Amazing Shenzhen" Campaign Invited Indonesian Influencers to explore Shenzhen's Energy and Innovation
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About "Amazing Shenzhen"
"Amazing Shenzhen" is a global-facing city campaign inviting creators to explore Shenzhen's energy and innovation. For media inquiries and visual assets, contact: [email protected].
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Malay Mail
4 hours ago
- Malay Mail
China's first Legoland opens to tourists in Shanghai
SHANGHAI, July 5 — Thousands of local tourists poured into China's first-ever Legoland as it opened its gates in Shanghai today, the latest theme park hoping to capitalise on a domestic tourism boom. The Chinese branch of the British-owned theme park franchise is the biggest Legoland in the world. It drew in early customers who flocked to attractions including a miniature train ride and a dragon-themed rollercoaster. 'I personally love to play with Lego blocks and we have many sets at home... so I wanted to come to Legoland at the earliest opportunity,' said Shi, a 35-year-old resident of nearby city Hangzhou, who was visiting the park with his wife and child. Despite the Chinese economy's sluggish growth in recent years, domestic tourist spending grew 18.6 percent in the first quarter of this year compared to the previous year, according to statistics. 'Ever since the pandemic, I've made very few trips abroad,' said Shi, adding his family now travels to theme parks around China 'many times a year'. Eager Lego fans rushed into the park as soon as it opened, wearing themed shirts and waving branded flags as they enjoyed the 318,000-square-metre compound in scorching temperatures. Beijing has announced subsidies intended to make travelling within the country more affordable for Chinese citizens, and is pushing local governments to heavily market their attractions on social media. Companies have taken note of the wider local tourism boom and stepped up their plans in China. A new Spider-Man attraction at Shanghai Disneyland broke ground in May, while Warner Brothers is set to open a Harry Potter experience in Shanghai by 2027. Toy giant Hasbro said this week its giant Peppa Pig park in the city was now 'in the phase of creative design'. Chinese collectable toy maker Pop Mart has also opened an attraction in Beijing featuring life-sized versions of its popular Labubu toys. 'The various provinces are putting a lot of effort into expanding their tourism industries, and all of them have special attractions,' said Xu, a 34-year-old parent visiting Legoland on Saturday with his children. But profitability remains a problem, especially for local companies with less brand recognition. As of late 2024, around 40 percent of parks were still failing to turn a profit, according to state media reports. Yet analysts point to a growing population of retirees and job market changes as key factors pushing more locals to visit domestic attractions. 'The labour market is turning more flexible,' said Ernan Cui, China consumer analyst at Gavekal Research. 'More people have leisure time to travel around.' — AFP
Free Malaysia Today
6 hours ago
- Free Malaysia Today
Tiara Jacquelina tells of financial toll in championing the arts in Malaysia
(From left) Kakiseni president and film director Low Ngai Yuen (moderator), classical dancer Ramli Ibrahim, producer Tiara Jacquelina and fashion designer Bernard Chandran at the arts forum organised by the Merdeka Award Trust. KUALA LUMPUR : Award-winning producer and director Tiara Jacquelina has opened up about the immense challenges of financing the arts in Malaysia after pouring her own money and energy into creating large-scale productions that championed Malaysian stories. Tiara, a driving force behind some of Malaysia's most iconic productions, described the pressure of justifying art in commercial terms as exhausting. The arts advocate told a forum here today that despite her commitment to national identity and cultural storytelling, she grew tired of constantly having to 'knock on doors' just to make a case for support. 'I did it all for the love of the arts, but I learned the hard way that passion alone isn't sustainable,' said the founder of the Enfiniti Academy of Musical Theatre and Performing Arts. At one point, Tiara secured RM1 million in sponsorship from a major corporate body. However, she said it was an amount that came with strings attached. She was expected to deliver up to three times in returns, alongside key performance indicators (KPIs), publicity deliverables, and media coverage. Instead of nurturing creativity, she found herself buried in spreadsheets. 'Just as I was stepping into the director's role, I was handed demands for TV airtime, publicity, ticket targets and other requests. That's not the role of an artist – that's a media agency's job,' she said. Tiara added that because of the lack of proper partnerships available to artists, many of them have had to compromise their visions to fit into corporate moulds. 'Beyond sponsorships, what we really need is a model thinking in terms of community and ecosystem building. 'If we want to see a thriving arts sector in the next five years, both the government and corporate Malaysia must commit to long-term investment in the development of artists and their work.' Tiara was speaking at a forum titled Profit Meets Performance: When Arts Means Business organised by the Merdeka Award Trust here. Low Ngai Yuen, president of the arts and culture NGO Kakiseni and moderator of the session, agreed that the arts ecosystem in Malaysia lacks the structure and support needed for creatives to thrive. Dancer and founder of the Sutra Foundation, Ramli Ibrahim, noted that the value of the arts should not be measured by financial metrics alone. 'You can't define the success of the arts in ringgit and sen,' he said, stressing that the 'profit' of arts lies in its influence on people. Fashion designer Bernard Chandran took the conversation further, stating creatives needed to be given freedom by businesses in order to see their visions realised. 'You can have all the money and tools in the world, but if they don't represent your aesthetic, your voice — it means nothing.'
Malay Mail
14 hours ago
- Malay Mail
‘28 Years Later' and ‘F1' prove that excellent films are still possible during the summer blockbuster season
JULY 5 — It's been a while since I last felt overwhelmed by the sheer number of choices available in Malaysian cinemas during the summer blockbuster season. The last time I felt this way was probably before Covid-19 hit and changed the way people consume movies and how Hollywood studios distribute theirs forever. When you combine the post-Covid effects of movie consumption with the Writers Guild of America strike in 2023, which pushed the production and release of quite a number of big Hollywood movies by at least a year or even more, the lack of excitement during the summer blockbuster season in the last few years is quite understandable. This year, however, has seen that excitement back with a vengeance, with plenty of big titles and surprise hits making their way into local cinemas, with 10 out of the top 20 worldwide box-office hits of the year consisting of summer movies like Lilo & Stitch, How To Train Your Dragon, Thunderbolts, Mission Impossible: The Final Reckoning, Final Destination: Bloodlines and Ballerina. The newly opened F1 is already at number 11 in the worldwide box-office charts at the time of writing, and will surely climb up further in the next few weeks. What really got me excited, though, is the surprising quality of quite a few of these summer blockbuster hits, especially the two titles I'll be talking about below. Even the genre hits like Final Destination: Bloodlines and Ballerina have delivered exactly what they promised with great quality and craftsmanship. 28 Years Later The first two movies, 28 Days Later and 28 Weeks Later, were very different from each other, and it is only fair that this new movie, which has been announced to be the start of a new trilogy, is also different from the previous two. Yes, this one also involves fast zombies (or infected, as the movie calls them) and uses different types of consumer and professional grade digital cameras (including iPhones here), but director Danny Boyle and writer Alex Garland have decided to give us what is, first and foremost, a coming-of-age film instead. Taking place 28 years after the Rage virus first spread, Britain has now been entirely cut off from the rest of the world by a strictly enforced quarantine (echoes of Brexit, anyone?), with neighbouring countries doing patrols around British waters to ensure that the quarantine remains in place. The movie focuses on a community of uninfected survivors living on an island that's connected to the mainland by a causeway that disappears during high tide. A rite of passage within this community involves young men being sent out to the mainland to kill at least one infected. This is where the movie's main character, a 12-year-old boy named Spike (a beautifully nuanced performance from Alfie Williams), and his family come in. Boyle and Garland put the audience in Spike's shoes as we experience everything from his point of view, from the trauma of his first journey to the mainland, to his eventual decision to sneak out his mother (who suffers from a mysterious disease that leaves her in and out of lucidity) from the island to search for the fabled Dr Kelson (Ralph Kelson) to help cure her. There are still plenty of scary and unforgettable encounters with the infected here, but the movie takes an unexpectedly beautiful turn once the third act arrives and it becomes a hugely moving meditation on the inevitability of death. And once you hear the way the movie plays with the phrase memento mori (which means 'remember, you must die') and introduces the phrase memento amoris (which can be interpreted as 'remember, you are loved'), there will not be a dry pair of eyes in the cinema. Definitely one of my favourite movies of the year. US actor and producer Brad Pitt poses on the red carpet upon arrival for the European Premier of F1 The Movie, at Cineworld Leicester Square, central London. — AFP pic F1 I was not as impressed as many were by director Joseph Kosinski's previous film, the well-reviewed and very well-received (by audiences) box-office hit Top Gun: Maverick. I thought it was a decently made piece of hokum, but there was just too much cheese in it for my liking. Kosinski has delivered another piece of hokum with F1, but this time I'm fully on board as it just gets every single thing right. It's a story that's been told many, many times before; an underdog story about a reckless/wily veteran mentoring a younger version of himself. The underdog veteran in this case is Sonny Hayes (played by Brad Pitt), a former F1 prodigy who met with an accident and watched his life go off the rails courtesy of a gambling addiction, living in a van and chasing his rush of adrenaline as he moves from one motorsport to another, before getting recruited by his old F1 racing buddy to mentor the talented but hot-headed rookie Joshua Pierce (Damson Idris) in his struggling F1 team APXGP. Like I mentioned before, we've seen this story told many times before, even in the Pixar animated movie Cars, which is exactly why what Kosinski has managed to achieve here is so impressive. Like Barbie, this is a movie that's been directly licensed by the brand, and Kosinski has taken full advantage to give the audience, even those without much knowledge of Formula 1 racing, a first-class seat to witness the inner workings of this highly profitable world. It's a feel-good Hollywood movie that hits every single narrative beat you'd expect it to, but it's delivered in such a professional manner that you can't help yourself from cheering for these underdog characters all the way to the finish line. This one's the very definition of cinematic comfort food. * This is the personal opinion of the columnist.
