Premiumthing Fashion Store – 40oz Beer Guns San Francisco 49ers Shirt

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“MoMA, as one of the most prestigious museums in the world, is essentially an arbiter of taste, of what is considered great art,” Sandoval says. “It’s kind of like that imprimatur from MoMA, saying that Mike De Leon belongs in the pantheon of the auteurs of world cinema. Especially since most of his output was in the ’70s and the ’80s, it goes to show that Philippine cinema—being part of what we know as third-world cinema—is not just all social realism.”With it, the West is once again reminded that the cinema of developing countries like the Philippines has always been here, in conversation with the rest of the world, and more than worthy of consideration. “There are other voices that are just as fascinating and perhaps even more daring and brave,” Sandoval says.

40oz Beer Guns San Francisco 49ers Shirt

Visual proof Kate Moss is currently having the time of her life came at a Diet Coke anniversary party in London last night. The fizzy drink brand might have turned 40, with Fat Tony spinning the decks and a tiered birthday cake to prove it, but all eyes were on Moss. Why? Two words. That. Dress. Wearing what can best be described as a sparkly sheer sheath with a waterfall neckline, Moss and her visible knickers called to mind that legendary fashion moment in 1993, when she unwittingly sparked the sheer slip dress trend at an Elite Models party. Three decades on, the “naked dress” has enjoyed something of a blockbuster resurgence at the hands of Gen-Z fashion plates enjoying a newfound sense of freedom after a couple of years in track pants. Moss, who took on a creative director role at the pop company in the spring, seems to be reclaiming her title as the original gossamer influencer. Last night’s whisper of a dress followed a major Saint Laurent moment at the WSJ Innovator Awards, which saw Kate present Anthony Vaccarello with the Fashion Innovator prize while modeling a diaphanous lime-green gown complete with a Grace Jones-esque hood. The Vogue verdict? Total goddess!

40oz Beer Guns San Francisco 49ers Shirt Hoodie

“Their collaboration worked because I think they’re both intellectuals,” Sandoval says. “As an actress, Charo brings to a role a certain kind of intellectual quality. And her performances are not melodramatic—they’re always women who have a certain interiority to them. And she knows, as a production person as well, that her performance is one piece of the puzzle to Mike’s vision.” Beyond the traditional director-muse dynamic, Santos-Concio says she felt empowered on De Leon’s sets. “We did not label each other as, ‘You’re the director, I’m the actress.’ We were two human beings collaborating. There was so much respect for his work, respect for his gift—and that’s also what he gave me. “He would say, ‘I only work with intelligent people,’” Santos-Concio continues, breaking into a laugh. “‘You’re not a robot here.’ So our conversations were very engaged. Sometimes he would consult me on certain things, then I would give my input. During editing, he’d sometimes make two versions and I’d be there and he’d ask me, ‘What flows better, Charo? This sequence before this sequence? Or the other way around?’” The MoMA retrospective comes at a time when Philippine cinema is once again making its presence felt on the world stage—be it through the Oscar buzz around Dolly De Leon’s (no relation) scene-stealing performance in Triangle of Sadness or well-received efforts by a new generation of buzzy young filmmakers like Sandoval. In the past, some critics deemed the kind of Philippine cinema that triumphed at international festivals poverty porn, catering, as Amy Qin put it in The New York Times in 2016, “to a widespread perception of the Philippines as a bleak, impoverished place of slums, corruption, and drugs.” Mike De Leon’s films have always avoided such characterizations.

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