分类： entertainment

Locajoy Theme Park in Yongchuan district, Chongqing, has orchestrated a distinctive dual celebration commemorating both the New Year and the two-year residency of four giant pandas within its facilities. The park’s animal care team designed an elaborate gastronomic experience for the pandas, transforming nutritious ingredients into artistic displays resembling traditional local street food.

The culinary specialists utilized bamboo leaves, fresh shoots, and an assortment of fruits including cherries, strawberries, and kiwis to create visually striking platters and skewers. Additional components such as sugarcane, corn, carrots, and bell peppers were incorporated to ensure both nutritional balance and visual appeal, mimicking the presentation of popular human snacks while maintaining appropriate dietary standards for the endangered species.

The four celebrated residents—Qing Hua, Qing Lu, Qiao Yue, and Ai Lian—originally from the China Conservation and Research Center for the Giant Panda in Sichuan province, have adapted exceptionally well since their translocation in late 2023. Park authorities report the pandas have not only thrived physically but have become central attractions, drawing considerable visitor attention and contributing significantly to conservation awareness efforts.

The anniversary event served dual purposes: celebrating the animals’ successful acclimatization and reinforcing the park’s commitment to innovative animal care practices. This approach demonstrates how modern zoological facilities can combine entertainment with substantive conservation education, creating meaningful experiences for both animals and visitors alike.

A groundbreaking nature documentary series showcasing Guangdong’s extraordinary ecological diversity has made its global debut, marking an unprecedented collaboration between British and Chinese media organizations. ‘Wild Guangdong,’ a three-part series produced through a partnership between BBC Studios and Guangdong Radio and Television Station, premiered simultaneously across international and domestic platforms in December.

Employing cutting-edge 4K ultra-high definition technology, the documentary presents an immersive visual journey through Guangdong’s varied ecosystems. The production represents the first time BBC Studios has partnered with provincial-level Chinese media, combining British documentary expertise with local ecological knowledge.

The series, which required three years of meticulous filming across seasonal cycles, captures rarely-seen wildlife behaviors and landscapes. From the primeval forests of northern Guangdong to the coral reefs of the South China Sea, the documentary team documented over 1,000 animal species and 6,000 plant species that thrive in the region’s unique microclimates and complex terrain.

Robi Stanton, President of Media and Streaming for BBC Studios Asia-Pacific, described the project as ‘a moving poem of harmonious coexistence’ that illustrates how Guangdong’s 130 million residents maintain ecological balance alongside rapid urban development. The documentary particularly highlights conservation success stories, including protection efforts for Chinese white dolphins and the discovery of a new species of eyelid gecko.

Beyond its television broadcast on BBC Earth Asia and Chinese networks, the series has reached international audiences through streaming platforms across Southeast Asia, South Korea, Hong Kong, and Taiwan, potentially reaching over 20 million households. Chinese viewers can access the documentary on major platforms including Youku, iQiyi, Tencent Video, and Bilibili.

Series producer Simon Winchcombe characterized the filming experience as ‘a fascinating journey’ that consistently yielded unprecedented wildlife footage. The documentary ultimately presents not just a catalog of species but compelling narratives about interdependence among life forms and the delicate balance between human progress and environmental preservation.

SEOUL, South Korea – The South Korean film industry mourns the loss of its most revered acting legend, Ahn Sung-ki, who passed away on Monday at age 74 after a prolonged battle with blood cancer. His death was confirmed by his management agency, The Artist Company, and Soonchunhyang University Hospital in Seoul.

Ahn’s extraordinary career spanned six decades, establishing him as one of the most accomplished and beloved figures in Korean cinema history. Born in 1952 in Daegu to a filmmaker father, Ahn began his acting journey at just five years old with his debut in “The Twilight Train” (1957). He would go on to appear in approximately 70 films as a child actor before temporarily leaving the industry to pursue a conventional education.

After graduating with top honors in Vietnamese studies from Hankuk University of Foreign Studies, Ahn faced employment challenges during the post-Vietnam War era when his specialized major held limited professional value. Following a period of unemployment, he returned to his true calling in 1977.

His breakthrough arrived in 1980 with Lee Jang-ho’s critically acclaimed coming-of-age drama “Good, Windy Days,” where his portrayal of working-class struggles during Korea’s rapid industrialization earned him the Best New Actor award at the Grand Bell Awards – Korea’s equivalent of the Oscars.

Throughout the 1980s and 1990s, Ahn dominated Korean cinema with an unparalleled series of performances across diverse genres. His remarkable filmography includes transformative roles as a Buddhist monk in “Mandara” (1981), a destitute beggar in “Whale Hunting” (1984), a Vietnam War veteran in “White Badge” (1992), a corrupt police officer in “Two Cops” (1993), and a special forces trainer in the blockbuster “Silmido” (2003).

Ahn’s unprecedented acting prowess earned him five Best Actor awards at the Grand Bell Awards – a record that remains unmatched in South Korean cinema. Beyond his professional achievements, he cultivated a public image as a humble, scandal-free family man who maintained a quiet personal life despite his superstar status. Numerous public surveys consistently identified him as the nation’s most beloved actor, solidifying his nickname “The Nation’s Actor.”

In reflecting on his extensive career, Ahn often noted that his role as a dedicated manager to a fading rock star in “Radio Star” (2006) most closely mirrored his own personality and approach to his craft.

South Korean indie filmmaker Yoon Ga-eun has unexpectedly captured the nation’s cinematic consciousness with her groundbreaking film ‘The World of Love,’ emerging as an unexpected box office phenomenon and cultural touchstone. The film, which has been hailed as “movie of the year” by Korean media, presents a revolutionary approach to portraying sexual violence survivors through the lens of everyday life rather than trauma recreation.

The narrative centers on Joo-in, a high school student navigating typical adolescent experiences—school dynamics, romantic relationships, and family interactions—while carrying the secret of childhood sexual assault by a relative. The film’s tension emerges not from graphic depictions of violence but from Joo-in’s refusal to sign a petition containing the statement: “Sexual violence leaves deep wounds that never heal and completely destroys a person’s life and soul.”

Yoon’s directorial approach deliberately avoids labeling her protagonist, instead focusing on Joo-in’s assertion that her trauma, while significant, does not define her entire identity. The filmmaker personally handwrote letters to journalists requesting they avoid mentioning sexual violence in their coverage, emphasizing her commitment to reframing the narrative around survivors.

The film has achieved remarkable commercial success, grossing over $1.1 million since its October release and earning a 9/10 rating on Naver, South Korea’s largest search portal. It has become the highest-grossing indie film of 2025 in South Korea, with acclaim from industry luminaries including Bong Joon-ho, director of ‘Parasite,’ who declared himself the “head of the Seoul branch of Yoon Ga-eun’s fan club.”

Beyond its artistic achievements, ‘The World of Love’ has sparked crucial conversations in South Korea’s patriarchal society about how survivors are perceived and treated. According to Cho Eunhee, director of Korea Sexual Violence Relief Center, the film arrives at an “incredibly right” cultural moment, building on the foundation of the 2017-2018 MeToo movement while creating space for discussing previously taboo subjects like familial abuse.

Audience responses have been profoundly emotional, with viewers reporting transformative cinema experiences. One children’s book editor described leaving the theater determined to become “a good adult who can stand beside all the children and teenagers who are trying so hard to grow up.” A survivor expressed feeling empowered, as if Joo-in was telling her, “I am living well, so let’s keep living well together.”

While some critics and survivors have noted the film may downplay the lasting damage of abuse and present idealized family support systems, film critic Min Youngjun emphasizes that the film’s true value lies in creating “a healthy space for talking about sexual violence and its victims.” The film demonstrates that meaningful dialogue emerges not from universal approval but from creating platforms for essential conversations about complex social issues.