Latest news with #BlossomsShanghai
Korea Herald
04-07-2025
- Entertainment
- Korea Herald
Hong Kong auteur Wong Kar-wai's first TV series 'Blossoms Shanghai' to air on SBS
Award-winning series to hit Korean TV, streaming services Studio S, the drama production arm of Seoul Broadcasting System, is bringing Hong Kong auteur Wong Kar-wai's first-ever television series 'Blossoms Shanghai' to South Korean audiences. The period drama will premiere Monday on SBS F!L UHD, with streaming availability beginning Tuesday on multiple streaming channels, including Tving, Watcha, Wavve, KT GenieTV, LG U+TV and SK Broadband Btv. 'Blossoms Shanghai' marks Wong's long-awaited series debut. Widely regarded as one of Asia's most influential filmmakers, Wong is known for acclaimed features such as "In the Mood for Love" (2000), "Chungking Express" (1994) and "Happy Together" (1997). Set in 1990s Shanghai, "Blossoms Shanghai" follows Ah Bao (Hu Ge), a young man from modest beginnings who rises to wealth amidst the city's rapid economic transformation. Based on Jin Yucheng's 2012 novel of the same name, which won China's prestigious Mao Dun Literature Prize, the project has been years in the making. Wong acquired the rights in 2014 and spent roughly seven years developing the series, with three additional years dedicated to production. 'Blossoms Shanghai' originally premiered in December 2023 on China's television channel CCTV-8 and China's streaming service Tencent Video. The series went on to earn the best creative award at the Asia Contents Awards held alongside the Busan International Film Festival in 2024.
Yahoo
25-06-2025
- Entertainment
- Yahoo
L'Officiel Releases Two Heavyweight Covers as part of its Global Voice
PARIS, NEW YORK and SINGAPORE, June 25, 2025 /PRNewswire/ -- AMTD Group Inc. ("AMTD" or the "Group"), alongside The Generation Essentials Group (NYSE: TGE), a subsidiary of the Group under AMTD Digital (NYSE: HKD), jointly announced the launch of two L'Officiel heavyweight covers to signify both its global presence and demonstrate influences across key markets worldwide. The June Issue of L'Officiel Paris, China, and HKSAR features the beloved Chinese actress Tang Yan (Tiffany). In 2024, she garnered widespread acclaim for her portrayal of "Miss Wang," the leading female character in "Blossoms Shanghai" directed by world renowned director and producer Wong Kar-wai. "Blossoms Shanghai" is one of the most popular Chinese TV series in recent years, achieving an impressive 1.582 billion effective views. This TV series was the biggest winner at the 29th Shanghai TV Festival Magnolia Awards, securing five awards including Best TV Series (China), Best Adapted Screenplay, Best Actor in a Leading Role (Hu Ge), Best Cinematography, and Best Art Direction. The series further garnered recognition at major industry festivals, receiving accolades from the 10th Wenrong Awards, the 32nd China TV Golden Eagle Award, and the 34th China TV Drama Flying Apsaras Award. Tang Yan's exceptional acting and outstanding performance in this series also earned her nominations for Best Actress at The Magnolia Awards, Flying Apsaras Award, and China TV Golden Eagle Award. Recently, Tang Yan revealed her journey in the latest triple-country June issue of L'Officiel, following her return to television as Ji Tan Yin in the popular new drama "A Moment but Forever", which marked her first costume drama after a five-year hiatus. The Summertime Issue of L'Officiel Hommes Italia features Rafael Leão, one of the most explosive wingers in the global football scene. Renowned for his exceptional technique and blistering speed, Rafael played a key role in AC Milan's 2022 Serie A title victory, which has earned him the MVP award for the 2021–22 season. Beyond football, Rafael is a multifaceted artist and entrepreneur— he has released two albums under the pseudonym WAY 45 and embodies an urban aesthetic through his streetwear brand, Son is Son. Just weeks after leading Portugal to victory in the Nations League, the champion shared his story and perspective in the latest issue of L'Officiel Hommes Italia. About The Generation Essentials Group (formerly known as World Media and Entertainment Universal Inc.) The Generation Essentials Group, jointly established by AMTD Group, AMTD IDEA Group (NYSE: AMTD; SGX: HKB) and AMTD Digital Inc. (NYSE: HKD), is headquartered in France and focuses on global strategies and developments in multi-media, entertainment, and cultural affairs worldwide as well as hospitality and VIP services. TGE comprises L'Officiel, The Art Newspaper, movie and entertainment projects. Collectively, TGE is a diversified portfolio of media and entertainment businesses, and a global portfolio of premium properties. About AMTD Group AMTD Group is a conglomerate with a core business portfolio spanning across media and entertainment, education and training, and premium assets and hospitality sectors. About AMTD IDEA Group AMTD IDEA Group (NYSE: AMTD; SGX: HKB) represents a diversified institution and digital solutions group connecting companies and investors with global markets. Its comprehensive one-stop business services plus digital solutions platform addresses different clients' diverse and inter-connected business needs and digital requirements across all phases of their life cycles. AMTD IDEA Group is uniquely positioned as an active super connector between clients, business partners, investee companies, and investors, connecting the East and the West. For more information, please visit or follow us on X (formerly known as "Twitter") at @AMTDGroup. About AMTD Digital Inc. AMTD Digital Inc. (NYSE: HKD) is a comprehensive digital solutions platform headquartered in France. Its one-stop digital solutions platform operates key business lines including digital media, content and marketing services, investments as well as hospitality and VIP services. For AMTD Digital's announcements, please visit Safe Harbor Statement This press release contains statements that may constitute "forward-looking" statements pursuant to the "safe harbor" provisions of the U.S. Private Securities Litigation Reform Act of 1995. These forward-looking statements can be identified by terminology such as "will," "expects," "anticipates," "aims," "future," "intends," "plans," "believes," "estimates," "likely to," and similar statements. Statements that are not historical facts, including statements about the beliefs, plans, and expectations of TGE, AMTD IDEA Group and/or AMTD Digital, are forward-looking statements. Forward-looking statements involve inherent risks and uncertainties. Further information regarding these and other risks is included in the filings of TGE, AMTD IDEA Group and AMTD Digital with the SEC. All information provided in this press release is as of the date of this press release, and none of TGE, AMTD IDEA Group and AMTD Digital undertakes any obligation to update any forward-looking statement, except as required under applicable law. For AMTD IDEA Group:IR OfficeAMTD IDEA GroupEMAIL: ir@ For AMTD Digital Inc.:IR OfficeAMTD Digital ir@ For The Generation Essentials Group:IR OfficeThe Generation Essentials GroupEMAIL: tge@ View original content to download multimedia: SOURCE AMTD Digital; AMTD IDEA Group; The Generation Essentials Group Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data
The Verge
18-06-2025
- Entertainment
- The Verge
Chungking Express
Andrew Webster In the mood for streaming. Wong Kar-wai, the director behind and In the Mood For Love, made his first TV series with the 30-episode-long Blossoms Shanghai, which aired in China in 2023. And soon you'll be able to watch it yourself: it's coming to the Criterion Channel 'later this year.'
South China Morning Post
26-04-2025
- Entertainment
- South China Morning Post
‘Global' Hong Kong mustn't lose sight of its own beauty
Hong Kong doesn't need to chase the sameness of Coldplay concerts and viral trends. It needs to be assured in its own taste This spring, In the Mood for Love is once again flickering on cinema screens in Hong Kong. More than two decades on, Wong Kar-wai's film has lost none of its glow. A meditation on time, restraint and unspoken desire, it quietly signals that Hong Kong once moved to a different rhythm. It is tempting to read this re-release as political, especially in a city where cultural memory has become a muted form of dissent. In truth, the film captures not the colonial past but the emotional present. What draws people to Wong's work is not nostalgia – rather, it's atmosphere, mood or the slow, deliberate pacing of life. Much of In the Mood for Love was filmed in Bangkok, a location chosen not for strict accuracy but for its ability to evoke a Hong Kong that no longer physically existed. That choice says everything: Wong is not archiving the past; he is conjuring up its emotional temperature and memories of fleeting spaces. With projects such as his television series Blossoms Shanghai and his curatorial work for the Prada restaurant in Shanghai, Wong continues to shape mood. Though set in the 1990s, Blossoms often evokes 1920s Shanghai through layered interiors and stained light. Wong insists that beauty does not belong in archives but in daily life: in stairwells, gestures and silence. For the director, Shanghai and Hong Kong are not just cinematic backdrops but emotional landscapes. Born in one city and raised in the other, he embodies haipai – Shanghai style – a cross-cultural current flowing between the two cities. His films trace a rhythm once shared by the cities, carried by migration, commerce and memory. Some of the world's most influential business empires, from China Merchants to Jardine Matheson, are not just headquartered in Hong Kong, they were born or remade here. Many would have begun as modest ventures in a city that offered rare opportunities for growth at the edge of empires. Maggie Cheung in a still from the 25th anniversary edition of In The Mood For Love. Photo: Jet Tone Production The city's commercial rise was never just the product of laissez-faire ideals. It was shaped by family businesses, trading houses and cross-border capital that found in Hong Kong a unique stage. In return, they shaped the city – how people dressed, ate and imagined their place in the world. Newsletter Daily Opinion By submitting, you consent to receiving marketing emails from SCMP. If you don't want these, tick here {{message}} Thanks for signing up for our newsletter! Please check your email to confirm your subscription. Follow us on Facebook to get our latest news. These firms could not have emerged the same way anywhere else. This is not to romanticise capital, but to recognise Hong Kong as a place of reinvention. Today, the critical question is not whether Hong Kong still matters, but whether its influence can shift from efficiency to authorship. If the hands that once shaped its commerce still define its skyline, perhaps they can also help restore a more deliberate kind of beauty. Not branding. Not nostalgia. Not luxury for its own sake, but a textured, intentional authenticity. Adrian Cheng's K11 represented one recent attempt at this, bringing art into retail before the market was ready. The timing was unfortunate. But the aspiration remains compelling: what if a city could feel again? Something seems to be shifting. The popularity of local films like The Last Dance and a renewed interest in tailoring and neon signs are no accident. They reflect a hunger for something more grounded. Global aesthetic slop, homogenised, packaged and served with algorithmic precision, is wearing thin. As conspicuous consumption evolves, catching a Coldplay concert has become social currency; that too says something about the city. Chris Martin at Coldplay's concert at the Kai Tak Stadium on April 9. Photo: Harvey Kong Hong Kong does not need to chase sameness. It needs to remember and be assured in its own taste, whether it's smoke curling up from incense coils at Man Mo Temple, chandeliers glittering at the Peninsula, or red plastic stools gleaming under fluorescent light. These are not trends, but texture – identity, even. And there are ways to carry them forward without flattening them into another viral design language. Hong Kong can still absorb global influences and express them in a vocabulary that feels local and lived in, as it once did. It shouldn't need to mimic the next trending aesthetic to matter. It should let its inheritance evolve into something alive. To return to Wong, the point is not to look back, but inwards, asking what kind of future knows how to feel deeply. Policy can support this shift. The aesthetic life is not a luxury but a civic resource. Private-public partnerships might seed a film archive in Sai Ying Pun or fund apprenticeships in Cantonese opera and letterpress. There could even be another Hong Kong-Shanghai cultural corridor – to give the next generation tools to see. Business once sculpted Hong Kong. It can set the city's cultural pulse racing again. Bring back the neon. Bring back the stories. Bring back the belief that living beautifully is still possible – not for old times' sake, but for a future that remembers how to see.
South China Morning Post
26-04-2025
- Entertainment
- South China Morning Post
‘Global' Hong Kong mustn't lose sight of its own beauty
This spring, In the Mood for Love is once again flickering on cinema screens in Hong Kong. More than two decades on, Wong Kar-wai's film has lost none of its glow. A meditation on time, restraint and unspoken desire, it quietly signals that Hong Kong once moved to a different rhythm. Advertisement It is tempting to read this re-release as political, especially in a city where cultural memory has become a muted form of dissent. In truth, the film captures not the colonial past but the emotional present. What draws people to Wong's work is not nostalgia – rather, it's atmosphere, mood or the slow, deliberate pacing of life. Much of In the Mood for Love was filmed in Bangkok, a location chosen not for strict accuracy but for its ability to evoke a Hong Kong that no longer physically existed. That choice says everything: Wong is not archiving the past; he is conjuring up its emotional temperature and memories of fleeting spaces. With projects such as his television series Blossoms Shanghai and his curatorial work for the Prada restaurant in Shanghai, Wong continues to shape mood. Though set in the 1990s, Blossoms often evokes 1920s Shanghai through layered interiors and stained light. Wong insists that beauty does not belong in archives but in daily life: in stairwells, gestures and silence. For the director, Shanghai and Hong Kong are not just cinematic backdrops but emotional landscapes. Born in one city and raised in the other, he embodies haipai – Shanghai style – a cross-cultural current flowing between the two cities. His films trace a rhythm once shared by the cities, carried by migration, commerce and memory. Advertisement
