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Sopida Rodsom

Sopida Rodsom

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Articles (165)

āļ­āļąāļ›āđ€āļ”āļ•āļžāļīāļāļąāļ” 12 āļšāļēāļĢāđŒāļŠāļļāļ”āļ„āļđāļĨāđƒāļ™āļĒāđˆāļēāļ™āļ‹āļ­āļĒāļ™āļēāļ™āļē-āđ€āļĒāļēāļ§āļĢāļēāļŠ

āļ­āļąāļ›āđ€āļ”āļ•āļžāļīāļāļąāļ” 12 āļšāļēāļĢāđŒāļŠāļļāļ”āļ„āļđāļĨāđƒāļ™āļĒāđˆāļēāļ™āļ‹āļ­āļĒāļ™āļēāļ™āļē-āđ€āļĒāļēāļ§āļĢāļēāļŠ

āļĒāđˆāļēāļ™āđ€āļĒāļēāļ§āļĢāļēāļŠāļŦāļĢāļ·āļ­āđ„āļŠāļ™āđˆāļēāļ—āļēāļ§āļ™āđŒāļ‚āļ­āļ‡āđ€āļĄāļ·āļ­āļ‡āđ„āļ—āļĒ āđ‚āļ”āļĒāđ€āļ‰āļžāļēāļ°āļ‹āļ­āļĒāļ™āļēāļ™āļē āļ—āļĩāđˆāđ€āļĢāļēāļ•āđ‰āļ­āļ‡āđāļ§āļ°āđ€āļ§āļĩāļĒāļ™āđ„āļ›āļāļīāļ™āļ­āļēāļŦāļēāļĢāļˆāļĩāļ™āđāļĨāļ°āļ­āļēāļŦāļēāļĢāļ—āļ°āđ€āļĨāļ­āļĢāđˆāļ­āļĒāđ† āļĄāļēāļāļąāļ™āļ•āļąāđ‰āļ‡āđāļ•āđˆāļĒāļąāļ‡āđ€āļ›āđ‡āļ™āđ€āļ”āđ‡āļ āļāļĨāļēāļĒāļĢāđˆāļēāļ‡āļāļĨāļēāļĒāđ€āļ›āđ‡āļ™āđāļ­āđ€āļĢāļĩāļĒāļŠāļļāļ”āļŪāļīāļ›āļ—āļĩāđˆāđ€āļĢāļĩāļĒāļ‡āļĢāļēāļĒāđ„āļ›āļ”āđ‰āļ§āļĒāļšāļēāļĢāđŒāđ€āļˆāđ‹āļ‡āđ† āļ—āļĩāđˆāđ€āļĢāļēāļ­āļĒāļēāļāļŠāļ§āļ™āđƒāļŦāđ‰āļ—āļļāļāļ„āļ™āđ€āļ›āļīāļ”āļ›āļĢāļ°āļ•āļđāđ€āļ‚āđ‰āļēāđ„āļ›āļ™āļąāđˆāļ‡āļŠāļ™āļ—āļ™āļēāļāļąāļšāļšāļēāļĢāđŒāđ€āļ—āļ™āđ€āļ”āļ­āļĢāđŒ āļŠāļąāđˆāļ‡āđ€āļ„āļĢāļ·āđˆāļ­āļ‡āļ”āļ·āđˆāļĄāļ—āļĩāđˆāļœāļŠāļĄāļœāļŠāļēāļ™āđ„āļ­āđ€āļ”āļĩāļĒāļŠāļļāļ”āļšāļĢāļĢāđ€āļˆāļīāļ”āđāļĨāļ°āļ§āļąāļ•āļ–āļļāļ”āļīāļšāļžāļīāļŠāļ”āļēāļĢ āđāļĨāļ°āļˆāļīāļšāļ„āđ‡āļ­āļāđ€āļ—āļĨāļ™āļąāđ‰āļ™āļ—āđˆāļēāļĄāļāļĨāļēāļ‡āļšāļĢāļĢāļĒāļēāļāļēāļĻāļŠāļļāļ”āļžāļīāđ€āļĻāļĐ āđ€āļ„āļĨāđ‰āļēāļāļąāļšāļšāļ—āļŠāļ™āļ—āļ™āļēāļāļąāļšāļ„āļ™āļŠāļ™āļīāļ—āļĒāļēāļ§āđ† āđ„āļ›āļ„āđˆāļ­āļ™āļ„āļ·āļ™ āļ›āļĨ. āļ–āđ‰āļēāđ€āļĄāļēāđāļĨāđ‰āļ§āļ­āļĒāđˆāļēāļ‚āļąāļšāļĢāļ–āļāļĨāļąāļšāļ™āļ°
āļ—āļĩāđˆāļāļīāļ™ āļ—āļĩāđˆāđ€āļ—āļĩāđˆāļĒāļ§ āļ—āļĩāđˆāļŠāļīāļĨ āđƒāļ™āļĒāđˆāļēāļ™āļāļļāļŽāļĩāļˆāļĩāļ™

āļ—āļĩāđˆāļāļīāļ™ āļ—āļĩāđˆāđ€āļ—āļĩāđˆāļĒāļ§ āļ—āļĩāđˆāļŠāļīāļĨ āđƒāļ™āļĒāđˆāļēāļ™āļāļļāļŽāļĩāļˆāļĩāļ™

āļŦāļēāļāļˆāļ°āļžāļđāļ”āļ–āļķāļ‡āļŠāļļāļĄāļŠāļ™āđ€āļāđˆāļēāđāļāđˆāļĢāļīāļĄāđāļĄāđˆāļ™āđ‰āļģāđ€āļˆāđ‰āļēāļžāļĢāļ°āļĒāļēāđƒāļ™āļāļĢāļļāļ‡āđ€āļ—āļžāļŊ āļ—āļĩāđˆāļĒāļąāļ‡āļ„āļ‡āļ„āļ§āļēāļĄāļŠāļģāļ„āļąāļāļ—āļēāļ‡āļ”āđ‰āļēāļ™āļ›āļĢāļ°āļ§āļąāļ•āļīāļĻāļēāļŠāļ•āļĢāđŒ āļĻāļīāļĨāļ›āļ° āđāļĨāļ°āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄ āļŠāļļāļĄāļŠāļ™āļāļļāļŽāļĩāļˆāļĩāļ™āļšāļ™āļāļąāđˆāļ‡āļ˜āļ™āļšāļļāļĢāļĩāļāđ‡āļ™āđˆāļēāļˆāļ°āđ€āļ›āđ‡āļ™āļŠāļļāļĄāļŠāļ™āđāļĢāļāđ† āļ—āļĩāđˆāļŦāļĨāļēāļĒāļ„āļ™āļ™āļķāļāļ–āļķāļ‡ āđ€āļžāļĢāļēāļ°āļŠāļļāļĄāļŠāļ™āļŠāļēāļ§āđ„āļ—āļĒāđ€āļŠāļ·āđ‰āļ­āļŠāļēāļĒāđ‚āļ›āļ•āļļāđ€āļāļŠāđāļŦāđˆāļ‡āļ™āļĩāđ‰āļ•āļąāđ‰āļ‡āļĢāļāļĢāļēāļāļĄāļēāļ™āļēāļ™āļ•āļąāđ‰āļ‡āđāļ•āđˆāļŠāļĄāļąāļĒāļžāļĢāļ°āđ€āļˆāđ‰āļēāļ•āļēāļāļŠāļīāļ™āļ—āļĢāļ‡āļāđˆāļ­āļ•āļąāđ‰āļ‡āļāļĢāļļāļ‡āļ˜āļ™āļšāļļāļĢāļĩ āļ āļēāļĒāļŦāļĨāļąāļ‡āļˆāļēāļāļāļēāļĢāđ€āļŠāļĩāļĒāļāļĢāļļāļ‡āļĻāļĢāļĩāļ­āļĒāļļāļ˜āļĒāļēāļ„āļĢāļąāđ‰āļ‡āļ—āļĩāđˆāļŠāļ­āļ‡āđƒāļ™āļ›āļĩ āļž.āļĻ. 2310 āđ‚āļ”āļĒāļ–āļķāļ‡āđāļĄāđ‰āļˆāļ°āļœāđˆāļēāļ™āļāļēāļĨāđ€āļ§āļĨāļēāļĄāļēāļ™āļēāļ™āļāļ§āđˆāļē 200 āļ›āļĩ āļŠāļļāļĄāļŠāļ™āļāļļāļŽāļĩāļˆāļĩāļ™āļāđ‡āļĒāļąāļ‡āđ‚āļ”āļ”āđ€āļ”āđˆāļ™āđƒāļ™āđ€āļ­āļāļĨāļąāļāļĐāļ“āđŒāļ‚āļ­āļ‡āļ§āļīāļ–āļĩāļŠāļĩāļ§āļīāļ•āļ„āļ§āļēāļĄāđ€āļ›āđ‡āļ™āļ­āļĒāļđāđˆāļ—āļĩāđˆāļŠāļ‡āļšāļŠāļļāļ‚āļĢāļ°āļŦāļ§āđˆāļēāļ‡āļŠāļēāļ§āļžāļļāļ—āļ˜ āļŠāļēāļ§āļ„āļĢāļīāļŠāļ•āđŒ āđāļĨāļ°āļŠāļēāļ§āļ­āļīāļŠāļĨāļēāļĄ āļĢāļ§āļĄāđ„āļ›āļ–āļķāļ‡āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāļ—āļĩāđˆāļŦāļĨāļēāļāļŦāļĨāļēāļĒāļ‚āļ­āļ‡āļŠāļēāļ§āđ„āļ—āļĒ āđāļĨāļ°āļžāđˆāļ­āļ„āđ‰āļēāļŠāļēāļ§āļˆāļĩāļ™āļ—āļĩāđˆāļ­āļĒāļđāđˆāđƒāļ™āļĨāļ°āđāļ§āļāđ€āļ”āļĩāļĒāļ§āļāļąāļ™     āļāļēāļĢāđ€āļ”āļīāļ™āļ—āļēāļ‡āļĄāļēāđ€āļ—āļĩāđˆāļĒāļ§āļŠāļļāļĄāļŠāļ™āļāļļāļŽāļĩāļˆāļĩāļ™āļāđ‡āļ‡āđˆāļēāļĒāđāļŠāļ™āļ‡āđˆāļēāļĒ āđ€āļžāļĩāļĒāļ‡āđƒāļŠāđ‰āļšāļĢāļīāļāļēāļĢāđ€āļĢāļ·āļ­āļ”āđˆāļ§āļ™āđ€āļˆāđ‰āļēāļžāļĢāļ°āļĒāļēāđāļĨāļ°āļ‚āļķāđ‰āļ™āļ—āļĩāđˆāļ—āđˆāļēāļ§āļąāļ”āļāļąāļĨāļĒāļēāļ“āļĄāļīāļ•āļĢ āļˆāļēāļāļ™āļąāđ‰āļ™āļāđ‡āđ€āļ”āļīāļ™āđ€āļ—āđ‰āļēāđ€āļ‚āđ‰āļēāļŠāļļāļĄāļŠāļ™āļŊ āđƒāļŠāđ‰āđ€āļ§āļĨāļēāđ€āļžāļĩāļĒāļ‡āļ›āļĢāļ°āļĄāļēāļ“ 3 āļ™āļēāļ—āļĩ āļ‹āļķāđˆāļ‡āļĢāļ°āļŦāļ§āđˆāļēāļ‡āļ—āļēāļ‡āļāđ‡āļŠāļēāļĄāļēāļĢāļ–āđāļ§āļ°āļŠāļĄ āļ§āļąāļ”āļāļąāļĨāļĒāļēāļ“āļĄāļīāļ•āļĢ āļ§āļąāļ”āđ€āļāđˆāļēāđāļāđˆāļ—āļĩāđˆāļ›āļĢāļ°āļ”āļīāļĐāļāļēāļ™āļŦāļĨāļ§āļ‡āļžāđˆāļ­āđ‚āļ• āļŦāļĢāļ·āļ­āļ—āļĩāđˆāļ„āļ™āđ„āļ—āļĒāđ€āļŠāļ·āđ‰āļ­āļŠāļēāļĒāļˆāļĩāļ™āļŠāļąāļāļāļēāļĢāļšāļđāļŠāļēāļāļąāļ™āđƒāļ™āļ™āļēāļĄ āļ‹āļģāļ›āļ­āļāļ‡ āđāļĨāļ°āļĻāļēāļĨāđ€āļˆāđ‰āļēāđ€āļāļĩāļĒāļ™āļ­āļąāļ™āđ€āļāļ‡ āļĻāļēāļĨāđ€āļˆāđ‰āļēāđāļĄāđˆāļāļ§āļ™āļ­āļīāļĄāđ€āļāđˆāļēāđāļāđˆāđāļĨāļ°āļŠāļĄāļšāļđāļĢāļ“āđŒāļ—āļĩāđˆāļŠāļļāļ”āđƒāļ™āļāļąāđˆāļ‡āļ˜āļ™āļšāļļāļĢāļĩāļāđ‡āđ„āļ”āđ‰āđ€āļŠāđˆāļ™āļāļąāļ™ āļŠāđˆāļ§āļ™ āļ§āļąāļ”āļ‹āļēāļ‡āļ•āļēāļ„āļĢāļđāđ‰āļŠ āļ§āļąāļ”āļ„āļĢāļīāļŠāļ•āđŒāļ—āļĩāđˆāđ‚āļ”āļ”āđ€āļ”āđˆāļ™āļ”āđ‰āļ§āļĒāđ‚āļšāļŠāļ–āđŒāļŠāļ–āļēāļ›āļąāļ•āļĒāļāļĢāļĢāļĄāđāļšāļšāđ€āļĢāđ€āļ™āļŠāļ‹āļ­āļ‡āļŠāđŒāđāļĨāļ°āļ™āļĩāđ‚āļ­āļ„āļĨāļēāļŠāļīāļ āļžāļĢāđ‰āļ­āļĄāļĒāļ­āļ”āđ‚āļ”āļĄāļŠāđ„āļ•āļĨāđŒāļ­āļīāļ•āļēāļĨāļĩ āļ‹āļķāđˆāļ‡āđ€āļ›āđ‡āļ™āļāļēāļĢāļˆāļģāļĨāļ­āļ‡āđ‚āļ”āļĄāļ‚āļ­āļ‡āļĄāļŦāļēāļ§āļīāļŦāļēāļĢāļŸāļĨāļ­āđ€āļĢāļ™āļ‹āđŒāļ•āļąāđ‰āļ‡āļ•āļĢāļ°āļŦāļ‡āđˆāļēāļ™āļ„āļ­āļĒāļ•āđ‰āļ­āļ™āļĢāļąāļšāļ­āļĒāļđāđˆāļ”āđ‰āļēāļ™āļŦāļ™āđ‰āļēāļŠāļļāļĄāļŠāļ™āļāļļāļŽāļĩāļˆāļĩāļ™     āļĄāļēāļ—āļģāļ„āļ§āļēāļĄāļĢāļđāđ‰āļˆāļąāļāļŠāļļāļĄāļŠāļ™āļāļļāļŽāļĩāļˆāļĩāļ™āđāļĨāļ°āļ§āļīāļ–āļĩāļŠāļĩāļ§āļīāļ•āļ—āļĩāđˆāļ™āđˆāļēāļŠāļ™āđƒāļˆ āļœāđˆāļēāļ™āļāļēāļĢāđ€āļ”āļīāļ™āđ€āļĨāđˆāļ™āļ•āļēāļĄāļ•āļĢāļ­āļāļ‹āļ­āļāļ‹āļ­āļĒāđ€āļĨāđ‡āļāđ† āļĢāļēāļĒāļĨāđ‰āļ­āļĄāđ„āļ›āļ”āđ‰āļ§āļĒāļšāđ‰āļēāļ™āđ„āļĄāđ‰āļŦāļĨāļąāļ‡āđ€āļāđˆāļē āļ•āļąāļ”āļāļąāļšāļ āļēāļžāļāļĢāļēāļŸāļŸāļīāļ•āļĩāđ‰āļ•āļēāļĄāļāļēāļœāļ™āļąāļ‡āļ—āļĩāđˆāļ”āļđāļ™āļģāļŠāļĄāļąāļĒ
10 āļ āļēāļžāļĒāļ™āļ•āļĢāđŒāļŠāļģāļŦāļĢāļąāļšāļ„āļ™āđ€āļšāļ·āđˆāļ­āļŦāļ™āļąāļ‡āļĢāļąāļāļŠāđˆāļ§āļ‡āļ§āļēāđ€āļĨāļ™āđ„āļ—āļ™āđŒ

10 āļ āļēāļžāļĒāļ™āļ•āļĢāđŒāļŠāļģāļŦāļĢāļąāļšāļ„āļ™āđ€āļšāļ·āđˆāļ­āļŦāļ™āļąāļ‡āļĢāļąāļāļŠāđˆāļ§āļ‡āļ§āļēāđ€āļĨāļ™āđ„āļ—āļ™āđŒ

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āļĢāļ§āļĄāļĢāđ‰āļēāļ™āļ­āļēāļŦāļēāļĢāđāļĨāļ°āļĢāđ‰āļēāļ™āļāļēāđāļŸāļ™āđˆāļēāļ™āļąāđˆāļ‡āđƒāļ™āļĒāđˆāļēāļ™āļ­āļēāļĢāļĩāļĒāđŒ-āļ›āļĢāļ°āļ”āļīāļžāļąāļ—āļ˜āđŒ-āļŠāļ°āļžāļēāļ™āļ„āļ§āļēāļĒ

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The evolution of sex in Thai movies

The evolution of sex in Thai movies

“Isn't this movie a little too sexy?” “OMG, that sex scene was over the top!” “Hey, can that girl reveal her boobs in that scene?” Over the past years, you’ve probably heard these kinds of phrases directed towards Thai films. Sex scenes from Thai movies like Blissfully Yours (2002) and Jan Dara (2012), despite being pre-censored, raised social controversy among Thai moviegoers who accused the films’ more sensual scenes as “going against social norm and public morality.”   The question is, are Thai movies really more provocative now than they were in the past? We take a look at how sex has been portrayed in Thai films over the century.   The dawn of Thai movies Thais have been watching movies since 1897, but it was not until the huge success of Miss Suwan of Siam (1923), the first movie to have been filmed and produced in Thailand, and to feature all Thai actors and an all-Thai crew, that the local film industry began to blossom. The following years saw a number of Thai and international films being shown, while numerous movie theaters—Sala Chalermkrung, for instance—mushroomed throughout the kingdom.   Thai Film Archive/WikipediaMiss Suwan of Siam (1923) The first attempt to control Thailand’s over-the-top movie culture began in 1930 when the ruling monarch, King Rama VII, introduced the kingdom’s first censorship regulations after several complaints about the violence in the movies. The Siamese Revolution, which took place two years after, not only caused a big change in
Where to discover the traces of Portugal in Bangkok

Where to discover the traces of Portugal in Bangkok

2018 is a very meaningful year for Thailand and Portugal. The official bilateral relationship between the two nations, which was initiated way back in the Ayutthaya period, has come into its 500th anniversary—the longest Thailand has ever had with a European nation. Five centuries of friendship—without dissolution—has had its implications on both countries. You still find traces of Portuguese culture in Thai society, from food and drinks to language and architecture. The shophouses spread across the old town flaunt architecture partially inspired by Sino- Portuguese culture. Behind the Grand Palace walls, patrons visiting Great and Good Friends, the exhibition that embodies the 200th-year celebration of Thailand-USA relations, will notice that the first letter to mark the official beginning of the bilateral relationship was written in Portuguese, the official foreign language in the Thai royal court during that time (long before English was widely learned in Thailand). Many Thai egg yolk-based desserts—from foi thong to thong yod—are closely related to Portuguese sweets. Then there’s the popular egg tart, a Portuguese-born snack that arrived in Thailand via Macau. Not to mention, many Thai words are “borrowed” or "reinterpreted" from the Portuguese language. A little bit of Portugal surrounds you—and maybe is even in you. And it’s time you became aware of it.   The Timeline 1511 The first Portugal trading ship arrived in Ayutthaya. Trading began. 1518 The first official tradi
Things to do in Bangkok Old Town

Things to do in Bangkok Old Town

More than 200 years ago, Rattanakosin Island was a fortified city built Bangkok within the Chao Phraya River and within its numerous canals. Today, it is a thriving neighborhood that houses historic sites, temples, museums and restaurants serving authentic Thai fare. Hop on the ferry and spend your weekend at Museum Siam.  Enjoy a delicious lunch at Old Town CafÃĐ Bangkok and get a Thai massage at the massage school in Wat Pho.
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The best restaurants and cafes in Bangkok Old Town

The best restaurants and cafes in Bangkok Old Town

Surrounded by the Chao Phraya River and small canals, Rattanakosin Island is home to the Royal Palace, magnificent temples, fine museums and many historical places. It also has an abundance of restaurants, cafes and bars offering beautiful river views, nostalgic settings and some of the most authentic Thai food in the city. 
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āļāļ§āđˆāļē 200 āļ›āļĩāļāđˆāļ­āļ™ āđ€āļāļēāļ°āļĢāļąāļ•āļ™āđ‚āļāļŠāļīāļ™āļ—āļĢāđŒāļ„āļ·āļ­āđ€āļ‚āļ•āđ€āļĄāļ·āļ­āļ‡āļ—āļĩāđˆāļĨāđ‰āļ­āļĄāļĢāļ­āļšāļ”āđ‰āļ§āļĒāđāļĄāđˆāļ™āđ‰āļģāđ€āļˆāđ‰āļēāļžāļĢāļ°āļĒāļē āđāļĨāļ°āļ„āļĨāļ­āļ‡āļĄāļēāļāļĄāļēāļĒāļŦāļĨāļēāļĒāđ€āļŠāđ‰āļ™ āđāļ•āđˆāđƒāļ™āļ›āļąāļˆāļˆāļļāļšāļąāļ™āļĒāđˆāļēāļ™āđ€āļĄāļ·āļ­āļ‡āđ€āļāđˆāļēāđāļŦāđˆāļ‡āļ™āļĩāđ‰āđ„āļ”āđ‰āļāļĨāļēāļĒāļĢāđˆāļēāļ‡āđ€āļ›āđ‡āļ™āļžāļ·āđ‰āļ™āļ—āļĩāđˆāļ‚āļ­āļ‡āļšāđ‰āļēāļ™āđ€āļāđˆāļēāļ—āļĩāđˆāļĄāļĩāļŠāļ–āļēāļ›āļąāļ•āļĒāļāļĢāļĢāļĄāļ—āļĩāđˆāļ‡āļ”āļ‡āļēāļĄ āļ§āļąāļ”āļ§āļēāļ­āļēāļĢāļēāļĄ āļžāļīāļžāļīāļ˜āļ āļąāļ“āļ‘āđŒ āļĢāļ§āļĄāđ„āļ›āļ–āļķāļ‡āļĢāđ‰āļēāļ™āļ­āļēāļŦāļēāļĢāļĢāļŠāļŠāļēāļ•āļīāļ”āļąāđ‰āļ‡āđ€āļ”āļīāļĄāđāļšāļšāđ„āļ—āļĒāđāļ—āđ‰āđ† āļ—āļģāđ„āļĄāđ„āļĄāđˆāļĨāļ­āļ‡āļ‚āļķāđ‰āļ™āđ€āļĢāļ·āļ­āļ”āđˆāļ§āļ™ āđāļĨāđ‰āļ§āļ­āļ­āļāđ€āļ”āļīāļ™āļ—āļēāļ‡āđ„āļ›āļĢāļ­āļšāđ† āļĒāđˆāļēāļ™āđ€āļĄāļ·āļ­āļ‡āđ€āļāđˆāļēāļ—āļĩāđˆāļĄāļĩāļĄāļ™āļ•āļĢāđŒāđ€āļŠāļ™āđˆāļŦāđŒ āļŦāļĢāļ·āļ­āļˆāļ°āļĨāļ­āļ‡āđāļ§āļ°āđ„āļ›āļ—āļĩāđˆāđāļāļĨāđ€āļĨāļ­āļĢāļĩāđˆāļ—āļĩāđˆāļ™āđˆāļēāļŠāļ™āđƒāļˆ āļŦāļĢāļ·āļ­āļĢāđ‰āļēāļ™āļ­āļēāļŦāļēāļĢāđ„āļ—āļĒāļ­āļĢāđˆāļ­āļĒāđ† āļ”āļđāļāđ‡āđ„āļ”āđ‰āđ€āļŠāđˆāļ™āļāļąāļ™

Listings and reviews (42)

LadurÃĐe Salon de ThÃĐ

LadurÃĐe Salon de ThÃĐ

4 out of 5 stars
French pastry powerhouse Laduree has finally launched its Salon de ThÃĐ outpost in Thailand, pairing its famed macarons with savory Gallic classics. Breakfast sets Le Petit Dejeuner Champs-ElysÃĐe (B420) and Le Brunch (B890) are great ways to start of the day, while the vol-au-vent (free range chicken and wild mushroom served in crunchy puff pastry, B750) is great as a midday repast. Lazy afternoons are best spent digging into the Isphan (B350), a soft, rose-flavored macaron biscuit with rose petal cream, raspberries and lychees, and sipping MÃĐkange SpÃĐcial LadurÃĐe (B220), the cafÃĐ’s  signature black tea that combines loose leaves from China and Sri Lanka.
Beautiful Bangkok

Beautiful Bangkok

4 out of 5 stars
Let the festive season begin! Magnolia Quality Development Corporation Limited (MQDC) kicks off the holidays by bringing back Beautiful Bangkok, its signature light display that illuminates one of MQDC’s prime properties. Every night throughout the last two weeks of December, Magnolias Ratchadamri Boulevard will be irradiated with 3D mapping projections for a vibrant light and sound extravaganza supported by Ratchaprasong Square Trade Association (RSTA) and Tourism Authority of Thailand (TAT). Beautiful Bangkok 2019 @Magnolias Ratchadamri Boulevard: The Symphony of Happiness will (unlike last year’s event which highlighted the creations of foreign visual designers) shine the spotlight on local talent, including P7, Mue Bon, Pai Lactobacillus, Tikkywow, Keep Your Eyes On, TRK, and Bonus TMC. Each visual artist or collective will take turns painting the soaring building with breathtaking 3D art from 18 to 31 December. Each projection will be displayed for 15 minutes every evening at 19:00, 19:20, 19:40, 20:00, 20:20, 20:40 and 21:00 (on opening night, the first show starts at 19:20 and the last at 21:20). A special countdown display will be projected on New Year’s Eve at 23:55.
The Proposal and The Bear

The Proposal and The Bear

Adapted from two of renowned Russian playwright and short-story writer Anton Chekhov's one-act comedic plays; A Marriage Proposal (1890) and The Bear (1888), this comedic performance explored love and hate between two couples. The Proposal and The Bear, produced by Department of Dramatic Arts, Faculty of Arts, Chulalongkorn University, aims to show how people can be caught up to emotion and how they ignore their true feeling because of affected emotion.  The show is performed in Thai with English subtitle. Wednesday-Saturday, 7.30pm and Saturday-Sunday, 2pm until 18 November at Sodsai Pantoomkomol Centre for Dramatic Arts. Ticket is B500 (B450 for group of more than 5 people and B350 for student).
Mihara Tofuten

Mihara Tofuten

5 out of 5 stars
When you hear “omakase,” you probably envision a series of premium sushi bites carefully prepared by an experienced chef. Japanese restaurant Miraha Tofuten, the newest brainchild of award-winning chef Gaggan Anand and his peers, offers an omakase-style service, but with a twist—the discreet eatery is Thailand’s, and probably the world’s, first tofu omakase diner. As the story goes, Gaggan fell in love with the tofu from this 57-year-old bean curd eatery in Fukuoka called Mihara. He was so into it that he convinced food blogger Tan Raitiemtarn, and restaurateurs Varesara “Big” Smitasir of Khua Kling Pak Sod and Takeshi Fukuyama of La Maison de La Nature Goh—to bring this tofu experience to Bangkok, with plans to elevate it with his signature visionary style. Set in a converted townhouse, the Mihara Tofuten in Bangkok is discreetly hidden in a small alley away from the bustle of the main Narathiwat drag. The entrance leads you through a compactsized zen-like garden and into a minimalist dining room. The menu revolves around 16-course dishes (B4,900). The set arouses the appetite with the creamy tofu milk that’s served with a teaspoon of yuzu jam. This is followed by a three-course bento meal featuring Mihara’s signature yuki tofu, which is so soft, hence the name (yuki means “snow” in Japanese), but still full-flavored. The rest of the meal is, in true omakase-style “up to the chef,” who will take you on a heavenly tofu journey with creative dishes like zaru tofu (bamboo baske
Baan Sakul Thong

Baan Sakul Thong

The food at Baan Sakulthong may be a far cry from the authentic fare served in Portugal, but the restaurant is a testament of how the Portuguese greatly influenced Thai cuisine. The lineage of the Sakulthong family can be traced back to the Portuguese settlers who migrated to the Kudeejeen quarter from Ayutthaya in the 18th century, hence Baan Sakulthong churns out dishes with Portuguese influences following the recipe of Chawee Sakhulthong, the owner’s great-grandmother. A set menu consists of three Thai-style appetizers, followed by five main courses with Portuguese accents and one dessert. Menu highlights include traditional appetizers such as jeeb tua nok (bird-shaped Thai dim sum) and chor muang (a purple chewy treat stuffed with savory filling). The signature main dish is a Portuguese-style kanom jeen, a filling noodle dish that tops rice vermicelli with minced chicken red curry mixed with coconut cream. Advanced booking is required.
The Architectural Ensemble of Wang Na

The Architectural Ensemble of Wang Na

4 out of 5 stars
A prequel exhibition to what could probably be the biggest historical showcase of Wang Na, or the Front Palace, that's happening in December, The Architectural Ensemble of Wang Na delves into the long-forgotten history of the royal complex that was once the residence of many crown princes of Siam. The exhibit uses interactive 3D renditions to reveal how the Front Palace encouraged political and international relations in the olden days.
Baba Beach Club

Baba Beach Club

Some hotels might offer music in your room (or in the spa) to some extent, but this is not the case at Baba Beach Club, a resort that aims to be a destination for music enthusiasts. Baba is located 20 minutes from Phuket International Airport in Phang-Nga, one of the island’s more quiet areas, which means you get the accessibility to Phuket Town minus the tourists. Then again, you probably won’t even want to venture outside while you’re here. The hotel has dining outlets that offer everything from Italian to Thai to Japanese cuisine, a poolside bar that slings colourful, fruit-decorated cocktails, and a swimming pool that looks out to the sea. You even get access to 200 meters of unspoiled beach. The highlight of the hotel, though, is access to 24/7 music. Lounge music curated exclusively for the resort is played throughout the day (you can download the playlist from Soundcloud), but come sundown, a DJ takes over to play more upbeat tunes. Baba Beach Club also hosts open-air pool parties and special events such as “Casual Saturdays,” which brings in famous local and international guest DJs to entertain the crowd. Best flexible rate for one night in a Baba Suite starts from B10,500.
Holiday Inn Vana Nava Hua Hin

Holiday Inn Vana Nava Hua Hin

Hua Hin has always been the place for an easy weekend getaway for Thais, who come to enjoy the seaside resort’s white-sand beaches, relaxing atmosphere and quaint fisherman-village feel. In recent years, Hua Hin has welcomed a spate of malls, hotels and entertainment complexes, one of which is Holiday Inn Vana Nava Hua Hin, a resort hotel within the Vana Nava Hua Hin mixed use complex. The hotel itself is stunning—vibrant interiors inspired by the sea, a breath-taking infinity pool and a rooftop bar called Vana Nava Sky designed by Ashley Sutton, the genius behind Bangkok cocktail haunts Sing Sing Theater and Iron Fairies. Sure the fact that the rooftop bar walks out to a glass-floor sky deck is pretty cool, but what we really love about this place, is how it offers the best amenities and services for couples with children. Not only does the hotel have a Kids Club, it also has Kid Suites equipped with bunk beds and toys. Did we mention that the hotel directly connects to Vana Nava Water Jungle water park? Hotel guests are given a special wristwatch that they can use to enter the venue, pay for food and services, and to open the doors to their room (so you won’t have to carry around your keycard and worry about it getting wet or lost). Standard room starts from approximately B3,900 per night.
Don Giovanni

Don Giovanni

3 out of 5 stars
Italian restaurant Don Giovanni, which has stood the test of time for more than two decades, thrills   gourmands with an all-new range of dishes for the season. Bring your appetite to indulge in the finest-quality Culatello ham served with sweet melon (B860), pumpkin and rosemary risotto with Alaskan scallops or king prawns wrapped in parma ham (B750). More delectable dishes, such as the pan-fried Australian tenderloin with seared foie gras (B1,650) and a frozen chocolate soufflÃĐ served with chocolate tuile (B330) reflect the kitchen’s penchant for traditional fare.
Jake Bugg Live in Bangkok

Jake Bugg Live in Bangkok

For the first time ever, British singer/songwriter Jake Bugg is heading to Bangkok to play an exclusive gig for Thai fans. Ticket costs B2,600 and will go on sale on 17 March at Thai Ticket Major.  The 24-year-old indie folk star rose to fame shortly after releasing his self-title album in 2012, featuring hit-making singles like "Two Fingers," "Lighting Bolt," and "Country Song." His latest album Hearts That Strain, launched last year, also includes a smash-hit, "Waiting" feat. Noah Cyrus.   
Santa Cruz Church

Santa Cruz Church

One of the oldest Catholic churches in Bangkok, Santa Cruz Church was built in 1770 to cater to the religious needs of foreigners living on the west bank of the Chao Phraya. The original wooden structure was severely destroyed in a fire accident, but was rebuilt using brick in 1916 during the reign of King Rama VI. The church boasts a Renaissance-neoclassical architecture with a recognizable dome that’s reminiscent of the Duomo in Florence.
Kuan An Keng Shrine

Kuan An Keng Shrine

One of the oldest shrines in Thonburi, Kuan An Keng has been praised for its perfectly preserved wooden carvings and mural paintings. The shrine was awarded Best Architectural Preserve by the Association of Siamese Architects in 2008. At the center of the sacred venue is a statue of Guanying, the Chinese goddess of mercy. The shrine also has an open-air roof that’s reflective of traditional Chinese-style architecture.

News (275)

These are the most anticipated movies of 2019

These are the most anticipated movies of 2019

Thrilling superhero sagas and bold live-action adaptations light up the screens this 2019. Here’s a shortlist of films worth buying a second tub of popcorn for.   Superheroes The Marvel Cinematic Universe isn’t quite squeezed out of ideas just yet. Starting off the year is Spider-Man: Into the Spider-Verse (10 Jan), an animated flick based on the Marvel Comics character Miles Morales/Spider-Man. In this version, everyone’s favorite wall-climbing hero encounters his counterparts from five parallel universes as he fights against a threat on all existing realities. Spunky teen Miles Morales is introduced as the new Spidey, although Peter Parker also makes an appearance.    The two other superhero movies from Marvel are Captain Marvel (6 Mar), based on the comic book superheroine (the first time a female superhero fronts a Marvel flick), and Avengers: Endgame (24 Apr), the last chapter of the Avengers franchise which immediately picks up where Avengers: Infinity War left off. The studio has also collaborated with Sony for Spider-Man: Far From Home, which is set to premiere on 3 July. We don’t have much details; we only know that it will star Jake Gyllenhaal. We’ll also see two new flicks from the X-Men franchise: the Jean Grey-centered Dark Phoenix (6 Jun), and The New Mutants (1 Aug), which will introduce us to five new superhumans: Magik, Wolfsbane, Cannonball, Sunspot and Mirage. DC, Marvel's biggest rival, will release Shazam!, a picture about a teenage boy given the abilit
āļāļēāļĢāļāļĨāļąāļšāļĄāļēāļ‚āļ­āļ‡āļžāļĩāđˆāđ€āļĨāļĩāđ‰āļĒāļ‡āļ—āļĩāđˆāđƒāļ„āļĢāđ† āļāđ‡āļŦāļĨāļ‡āļĢāļąāļāđƒāļ™ Mary Poppins Returns

āļāļēāļĢāļāļĨāļąāļšāļĄāļēāļ‚āļ­āļ‡āļžāļĩāđˆāđ€āļĨāļĩāđ‰āļĒāļ‡āļ—āļĩāđˆāđƒāļ„āļĢāđ† āļāđ‡āļŦāļĨāļ‡āļĢāļąāļāđƒāļ™ Mary Poppins Returns

āļŦāļĨāļąāļ‡āļˆāļēāļāļ āļēāļžāļĒāļ™āļ•āļĢāđŒ Mary Poppins āļ—āļĩāđˆāļ­āļ­āļāļ‰āļēāļĒāđƒāļ™āļ›āļĩ āļ„.āļĻ. 1964 āļ›āļĢāļ°āļŠāļšāļ„āļ§āļēāļĄāļŠāļģāđ€āļĢāđ‡āļˆāļ­āļĒāđˆāļēāļ‡āļ–āļĨāđˆāļĄāļ—āļĨāļēāļĒ āđāļĨāļ°āļŠāđˆāļ‡āđƒāļŦāđ‰āļŠāļ·āđˆāļ­āļ‚āļ­āļ‡Â Julie Andrews āđ€āļ›āđ‡āļ™āļ™āļąāļāđāļŠāļ”āļ‡āļĢāļ°āļ”āļąāļšāļ‹āļđāđ€āļ›āļ­āļĢāđŒāļŠāļ•āļēāļĢāđŒ āđƒāļ™āļŠāđˆāļ§āļ‡āļ›āļĨāļēāļĒāļ›āļĩāļ™āļĩāđ‰ āļžāļĩāđˆāđ€āļĨāļĩāđ‰āļĒāļ‡āļœāļđāđ‰āļĄāļĩāđ€āļ§āļ—āļĄāļ™āļ•āļĢāđŒāļāļĨāļąāļšāļĄāļēāļ­āļĩāļāļ„āļĢāļąāđ‰āļ‡āļāļąāļš Mary Poppins Returns āđ‚āļ”āļĒāđ„āļ”āđ‰Â Emily Blunt āļĄāļēāļĢāļąāļšāļšāļ—āđāļĄāļĢāļĩāđˆāđƒāļ™āļŦāļ™āļąāļ‡āđ€āļ§āļ­āļĢāđŒāļŠāļąāđˆāļ™āļ™āļĩāđ‰ āļ™āļ­āļāļˆāļēāļāļ™āļĩāđ‰āļĒāļąāļ‡āđ„āļ”āđ‰Â Rob Marshall āļœāļđāđ‰āļāļģāļāļąāļšāļĄāļ·āļ­āļ‰āļĄāļąāļ‡āļ—āļĩāđˆāđ€āļ„āļĒāļāļēāļāļœāļĨāļ‡āļēāļ™āļ āļēāļžāļĒāļ™āļ•āļĢāđŒāļ”āļąāļ‡āđ† āļĄāļēāļāļĄāļēāļĒāđ„āļĄāđˆāļ§āđˆāļēāļˆāļ°āđ€āļ›āđ‡āļ™Â Chicago, Memoirs of a Geisha, Pirates of the Caribbean: On Stranger Tides, Into the Woods āđāļĨāļ°āļ āļēāļžāļĒāļ™āļ•āļĢāđŒāđ„āļĨāļŸāđŒāđāļ­āđ‡āļāļŠāļąāđˆāļ™āļŠāļĢāđ‰āļēāļ‡āļˆāļēāļāļāļēāļĢāđŒāļ•āļđāļ™āļ„āļĨāļēāļŠāļŠāļīāļÂ The Little Mermaid āļ—āļĩāđˆāļ­āļĒāļđāđˆāđƒāļ™āļŠāđˆāļ§āļ‡āļĢāļ°āļŦāļ§āđˆāļēāļ‡āļāļēāļĢāļ–āđˆāļēāļĒāļ—āļģ āļ‹āļķāđˆāļ‡āđāļ„āđˆāļ™āļĩāđ‰āļāđ‡āļ™āđˆāļēāļˆāļ°āļĢāļąāļšāļ›āļĢāļ°āļāļąāļ™āđƒāļ™āđ€āļ™āļ·āđ‰āļ­āđ€āļĢāļ·āđˆāļ­āļ‡āļ—āļĩāđˆāļŠāļ§āļ™āļ•āļīāļ”āļ•āļēāļĄ āđāļĨāļ°āļ āļēāļžāļ—āļĩāđˆāļŠāļ§āļĒāļ‡āļēāļĄāļ•āļĢāļ°āļāļēāļĢāļ•āļēāļ‚āļ­āļ‡āļ āļēāļžāļĒāļ™āļ•āļĢāđŒāđ„āļ”āđ‰āđ€āļ›āđ‡āļ™āļ­āļĒāđˆāļēāļ‡āļ”āļĩ       "āļ‰āļąāļ™āđ€āļ­āļ‡āļāđ‡āđ€āļ•āļīāļšāđ‚āļ•āļĄāļēāļāļąāļš Mary Poppins āļŠāļģāļŦāļĢāļąāļšāļ‰āļąāļ™āđāļĨāđ‰āļ§āđ€āļ˜āļ­āđ€āļ›āđ‡āļ™āđ€āļŦāļĄāļ·āļ­āļ™āļ‹āļđāđ€āļ›āļ­āļĢāđŒāļŪāļĩāđ‚āļĢāđˆāđ€āļĨāļĒāļāđ‡āļ§āđˆāļēāđ„āļ”āđ‰ āđ€āļ§āļ—āļĄāļ™āļ•āļĢāđŒāļ‚āļ­āļ‡āđ€āļ˜āļ­āļ—āļģāđƒāļŦāđ‰āļ‰āļąāļ™āļ›āļĢāļ°āļŦāļĨāļēāļ”āđƒāļˆāļ­āļĒāļđāđˆāđ€āļŠāļĄāļ­ āļĄāļąāļ™āđ€āļŦāļĄāļ·āļ­āļ™āļāļąāļšāļ§āđˆāļēāđ€āļ˜āļ­āđ€āļ‚āđ‰āļēāļĄāļēāļ—āļģāđƒāļŦāđ‰āļ—āļļāļāļ­āļĒāđˆāļēāļ‡āļĄāļąāļ™āļ”āļđāđ€āļ‚āđ‰āļēāļ—āļĩāđˆāđ€āļ‚āđ‰āļēāļ—āļēāļ‡āđ„āļ›āļŦāļĄāļ” āđāļĨāļ°āļ‰āļąāļ™āļāđ‡āļĒāļąāļ‡āđ€āļŠāļ·āđˆāļ­āļ”āđ‰āļ§āļĒāļ§āđˆāļēāļ āļēāļžāļĒāļ™āļ•āļĢāđŒāđ€āļĢāļ·āđˆāļ­āļ‡āļ™āļĩāđ‰āđ€āļ›āđ‡āļ™āļŦāļ™āļķāđˆāļ‡āđƒāļ™āļ āļēāļžāļĒāļ™āļ•āļĢāđŒāđƒāļ™āļ”āļ§āļ‡āđƒāļˆāļ‚āļ­āļ‡āđƒāļ„āļĢāļŦāļĨāļēāļĒāđ† āļ„āļ™āđ€āļŠāđˆāļ™āļāļąāļ™" āļ™āļąāļāđāļŠāļ”āļ‡āļŠāļēāļ§āļŠāļēāļ§āļ­āļąāļ‡āļāļĪāļĐāļāļĨāđˆāļēāļ§Â "āļ–āļķāļ‡āđāļĄāđ‰āļ‰āļąāļ™āļˆāļ°āđ„āļĄāđˆāđ„āļ”āđ‰āļĄāļĩāļžāļĢāļŠāļ§āļĢāļĢāļ„āđŒāļ—āļēāļ‡āļ”āđ‰āļēāļ™āļāļēāļĢāļĢāđ‰āļ­āļ‡āđāļĨāļ°āļāļēāļĢāđ€āļ•āđ‰āļ™āļāđ‡āļ•āļēāļĄ āđāļ•āđˆāļ‰āļąāļ™āļŠāļēāļĄāļēāļĢāļ–āđāļŠāļ”āļ‡āļ„āļ§āļēāļĄāđ€āļ›āđ‡āļ™ Mary Poppins āđ„āļ”āđ‰āļ­āļĒāđˆāļēāļ‡āļĄāļąāđˆāļ™āđƒāļˆāđāļĨāļ°āđ„āļŦāļĨāļĨāļ·āđˆāļ™ āđ€āļžāļĢāļēāļ°āļœāļđāđ‰āļāļģāļāļąāļš Rob Marshall āļĄāļąāļāļˆāļ°āļĄāļĩāļ§āļīāļ˜āļĩāļ—āļĩāđˆāļ—āļģāđƒāļŦāđ‰āļ„āļļāļ“āļĢāļđāđ‰āļŠāļķāļāļ§āđˆāļēāļ„āļļāļ“āļŠāļēāļĄāļēāļĢāļ–āļ—āļģāđ„āļ”āđ‰āļ—āļļāļāļ­āļĒāđˆāļēāļ‡āđƒāļ™āđ‚āļĨāļāļ™āļĩāđ‰ āļ™āļ­āļāļˆāļēāļāđƒāļ™āļāļēāļ™āļ°āļ™āļąāļāđāļŠāļ”āļ‡āđāļĨāđ‰āļ§ āđ€āļ‚āļēāļĒāļąāļ‡āļ—āļģāđƒāļŦāđ‰āļ‰āļąāļ™āđ€āļŠāļ·āđˆāļ­āļ”āđ‰āļ§āļĒāļ§āđˆāļēāļ‰āļąāļ™āļŠāļēāļĄāļēāļĢāļ–āđ€āļ›āđ‡āļ™āļ™āļąāļāđ€āļ•āđ‰āļ™āđ„āļ”āđ‰āđ€āļŠāđˆāļ™āļāļąāļ™"       āļ āļēāļžāļĒāļ™āļ•āļĢāđŒāļ āļēāļ„āļ•āđˆāļ­āđ€āļĢāļ·āđˆāļ­āļ‡āļ™āļĩāđ‰āļˆāļ°āļšāļ­āļāđ€āļĨāđˆāļēāđ€āļĢāļ·āđˆāļ­āļ‡āļĢāļēāļ§ 25 āļ›āļĩāđƒāļŦāđ‰āļŦāļĨāļąāļ‡āļˆāļēāļāļ āļēāļžāļĒāļ™āļ•āļĢāđŒāđ€āļĢāļ·āđˆāļ­āļ‡āđāļĢāļ āđ‚āļ”āļĒāđ€āļ™āļ·āđ‰āļ­āđ€āļĢāļ·āđˆāļ­āļ‡āļˆāļ°āļ­āļĒāļđāđˆāđƒāļ™āļŠāđˆāļ§āļ‡āļĒāļļāļ„āļ›āļĩ 30 (āļŠāđˆāļ§āļ‡āđ€āļ”āļĩāļĒāļ§āļāļąāļšāļ•āļ­āļ™āļ—āļĩāđˆÂ P. L. Travers āđ€āļ‚āļĩāļĒāļ™āļŦāļ™āļąāļ‡āļŠāļ·āļ­āļŠāļļāļ”āļ™āļĩāđ‰āļ‚āļķāđ‰āļ™āļĄāļē) āļ‹āļķāđˆāļ‡āđ€āļ›āđ‡āļ™āļŠāđˆāļ§āļ‡āđ€āļĻāļĢāļĐāļāļāļīāļˆāļ•āļāļ•āđˆāļģ āđāļ–āļĄāļ āļĢāļĢāļĒāļēāļ‚āļ­āļ‡Â Michael Banks (āļĨāļđāļāļŠāļēāļĒāļ‚āļ­āļ‡āļ āļēāļžāļĒāļ™āļ•āļĢāđŒāđ€āļ§āļ­āļĢāđŒāļŠāļą
āļ›āļĩ 2019 āļĄāļĩāļŦāļ™āļąāļ‡āļ­āļ°āđ„āļĢāļ”āļđāļšāđ‰āļēāļ‡? āļĄāļąāļ”āļĢāļ§āļĄāļ āļēāļžāļĒāļ™āļ•āļĢāđŒāļāļ§āđˆāļē 30 āđ€āļĢāļ·āđˆāļ­āļ‡āļ—āļĩāđˆāļ„āļļāļ“āđ„āļĄāđˆāļ„āļ§āļĢāļžāļĨāļēāļ”āđƒāļ™āļ›āļĩāļŦāļ™āđ‰āļē

āļ›āļĩ 2019 āļĄāļĩāļŦāļ™āļąāļ‡āļ­āļ°āđ„āļĢāļ”āļđāļšāđ‰āļēāļ‡? āļĄāļąāļ”āļĢāļ§āļĄāļ āļēāļžāļĒāļ™āļ•āļĢāđŒāļāļ§āđˆāļē 30 āđ€āļĢāļ·āđˆāļ­āļ‡āļ—āļĩāđˆāļ„āļļāļ“āđ„āļĄāđˆāļ„āļ§āļĢāļžāļĨāļēāļ”āđƒāļ™āļ›āļĩāļŦāļ™āđ‰āļē

āļŦāļĨāļēāļĒāļ›āļĩāļĄāļēāļ™āļĩāđ‰āļ™āļąāļšāđ€āļ›āđ‡āļ™āļ›āļĩāļ—āļ­āļ‡āļ‚āļ­āļ‡āļ„āļ­āļ āļēāļžāļĒāļ™āļ•āļĢāđŒ āđ€āļžāļĢāļēāļ°āļ„āđˆāļēāļĒāļŦāļ™āļąāļ‡āļ•āđˆāļēāļ‡āļžāļēāļāļąāļ™āļŠāđˆāļ‡āļŦāļ™āļąāļ‡āļ”āļĩāđ† āļĄāļēāđƒāļŦāđ‰āļ”āļđāļāļąāļ™āđ€āļžāļĩāļĒāļš āđāļĨāļ°āđāļ™āđˆāļ™āļ­āļ™āļ§āđˆāļēāļ›āļĩ āļ„.āļĻ. 2019 āļāđ‡āļĄāļĩāļ āļēāļžāļĒāļ™āļ•āļĢāđŒāļˆāđˆāļ­āļ„āļīāļ§āđ€āļ‚āđ‰āļēāđ‚āļĢāļ‡āļāļąāļ™āđ€āļžāļĩāļĒāļš āđ„āļĄāđˆāļ§āđˆāļēāļˆāļ°āđ€āļ›āđ‡āļ™āļŦāļ™āļąāļ‡āļ‹āļđāđ€āļ›āļ­āļĢāđŒāļŪāļĩāđ‚āļĢāđˆ āļŦāļ™āļąāļ‡āļ āļēāļ„āļ•āđˆāļ­ āļŦāļ™āļąāļ‡āļŠāļĒāļ­āļ‡āļ‚āļ§āļąāļ āļŦāļ™āļąāļ‡āļ”āļąāļ”āđāļ›āļĨāļ‡āļˆāļēāļāđ€āļāļĄāļŦāļĢāļ·āļ­āļāļēāļĢāđŒāļ•āļđāļ™ āļĢāļ§āļĄāđ„āļ›āļ–āļķāļ‡āļŦāļ™āļąāļ‡āļ•āđˆāļēāļ‡āđ† āļ­āļĩāļāļĄāļēāļāļĄāļēāļĒāļŦāļĨāļēāļĒāđ€āļĢāļ·āđˆāļ­āļ‡ āļ‡āļēāļ™āļ™āļĩāđ‰āđ€āļĢāļēāļˆāļķāļ‡āđ„āļ”āđ‰āļĢāļ§āļšāļĢāļ§āļĄāļ āļēāļžāļĒāļ™āļ•āļĢāđŒāđ€āļ”āđ‡āļ”āđ† āļ—āļĩāđˆāļ„āļļāļ“āđ„āļĄāđˆāļ„āļ§āļĢāļžāļĨāļēāļ”āđ„āļ›āļ”āļđāđƒāļ™āđ‚āļĢāļ‡āđ€āļ›āđ‡āļ™āļ­āļąāļ™āļ‚āļēāļ”   Superhero Movies āđ€āļĢāļĩāļĒāļāļ§āđˆāļēāđ€āļĒāļ­āļ°āļˆāļ™āļ•āđ‰āļ­āļ‡āļ‚āļ­āļĄāļąāļ”āļĢāļ§āļĄāđ€āļ›āđ‡āļ™āļŦāļąāļ§āļ‚āđ‰āļ­āđ€āļ”āļĩāļĒāļ§āļŠāļģāļŦāļĢāļąāļšāļŦāļ™āļąāļ‡āļ‹āļđāđ€āļ›āļ­āļĢāđŒāļŪāļĩāđ‚āļĢāđˆāļ—āļĩāđˆāļ—āļļāļāļ„āđˆāļēāļĒāļžāļĢāđ‰āļ­āļĄāđƒāļˆāļāļąāļ™āđ€āļ‚āđ‡āļ™āļ­āļ­āļāļĄāļēāđƒāļŦāđ‰āļ”āļđāļāļąāļ™ āđ‚āļ”āļĒāļ›āļĢāļ°āđ€āļ”āļīāļĄāđ€āļĢāļ·āđˆāļ­āļ‡āđāļĢāļāļ‚āļ­āļ‡āļ›āļĩāļāļąāļšÂ Spider-Man: Into the Spider-Verse (10 āļĄāļāļĢāļēāļ„āļĄ) āļ āļēāļžāļĒāļ™āļ•āļĢāđŒāļ­āļ™āļīāđ€āļĄāļŠāļąāđˆāļ™āļ—āļĩāđˆāļ āļēāļžāļŠāļ§āļĒāļĢāļēāļ§āļāļąāļšāļŦāļĨāļļāļ”āļĄāļēāļˆāļēāļāļāļēāļĢāđŒāļ•āļđāļ™āļ„āļ­āļĄāļīāļāļŠāđŒāļˆāļēāļāļ„āđˆāļēāļĒāđ‚āļ‹āļ™āļĩāđˆāļ—āļĩāđˆāļžāļēāđ€āļĢāļēāđ„āļ›āļžāļšāļāļąāļšāļŠāđ„āļ›āđ€āļ”āļ­āļĢāđŒāđāļĄāļ™āļˆāļēāļāļˆāļąāļāļĢāļ§āļēāļĨāļ„āļđāđˆāļ‚āļ™āļēāļ™āļ•āđˆāļēāļ‡āđ† āļ™āļģāļ—āļĩāļĄāđ‚āļ”āļĒ Miles Morales āđ€āļ”āđ‡āļāļŠāļēāļĒāļ§āļąāļĒāļĢāļļāđˆāļ™āļ—āļĩāđˆāļĄāļĩāļžāļĨāļąāļ‡āđāļšāļšāļŠāđ„āļ›āđ€āļ”āļ­āļĢāđŒāđāļĄāļ™ āļŠāļĄāļ—āļšāļ”āđ‰āļ§āļĒ Peter Parker, Gwen Stacey āļĢāļ§āļĄāđ„āļ›āļ–āļķāļ‡āļ•āļąāļ§āļĨāļ°āļ„āļĢāđƒāļŦāļĄāđˆāđ† āļ—āļĩāđˆāđ€āļĢāļēāđ„āļĄāđˆāđ€āļ„āļĒāđ€āļˆāļ­āļĄāļēāļāđˆāļ­āļ™ āļ—āļēāļ‡āļāļąāđˆāļ‡āļ„āđˆāļēāļĒāļĄāļēāļĢāđŒāđ€āļ§āļĨāļāđ‡āđ„āļĄāđˆāļ™āđ‰āļ­āļĒāļŦāļ™āđ‰āļēāļŠāđˆāļ‡āļĄāļēāđ€āļ­āļēāđƒāļˆāđāļŸāļ™āđ† āļāļąāļ™ 2 āđ€āļĢāļ·āđˆāļ­āļ‡āļ„āļ·āļ­āļ‹āļđāđ€āļ›āļ­āļĢāđŒāļŪāļĩāđ‚āļĢāđˆāļŠāļēāļ§āļŠāļļāļ”āđāļāļĢāđˆāļ‡Â Captain Marvel (6 āļĄāļĩāļ™āļēāļ„āļĄ) āđāļĨāļ°Â Avengers: Endgame (24 āđ€āļĄāļĐāļēāļĒāļ™) āļšāļ—āļŠāļĢāļļāļ›āļ‚āļ­āļ‡āļĄāļŦāļēāļŠāļ‡āļ„āļĢāļēāļĄāđƒāļ™ Avengers: Infinity War āļ‹āļķāđˆāļ‡āļŦāļĨāļąāļ‡āļˆāļēāļāđ€āļ‰āļĨāļĒāđāļĨāđ‰āļ§āļ§āđˆāļēāđƒāļ„āļĢāļ•āļēāļĒāđƒāļ„āļĢāļĢāļ­āļ”āļšāđ‰āļēāļ‡ āđ€āļĢāļēāļāđ‡āļ™āđˆāļēāļˆāļ°āđ„āļ”āđ‰āđ€āļŦāđ‡āļ™āļĢāļēāļĒāļŠāļ·āđˆāļ­āļŦāļ™āļąāļ‡āđ€āļĢāļ·āđˆāļ­āļ‡āļ­āļ·āđˆāļ™āđ† āļ•āļēāļĄāļĄāļēāđƒāļ™āļ āļēāļĒāļŦāļĨāļąāļ‡ āļŠāđˆāļ§āļ™āļ āļēāļžāļĒāļ™āļ•āļĢāđŒÂ Spider-Man: Far From Home (3 āļāļĢāļāļŽāļēāļ„āļĄ) āļ­āļąāļ™āđ€āļ›āđ‡āļ™āļ„āļ§āļēāļĄāļĢāđˆāļ§āļĄāļĄāļ·āļ­āļĢāļ°āļŦāļ§āđˆāļēāļ‡āļ„āđˆāļēāļĒāļ”āļīāļŠāļ™āļĩāļĒāđŒāļāļąāļšāļ„āđˆāļēāļĒāđ‚āļ‹āļ™āļĩāđˆāļ™āļąāđ‰āļ™āļĒāļąāļ‡āđ„āļĄāđˆāđ„āļ”āđ‰āđ€āļ›āļīāļ”āđ€āļœāļĒāļĢāļēāļĒāļĨāļ°āđ€āļ­āļĩāļĒāļ”āļ­āļ°āđ„āļĢāļĄāļēāļāļ™āļąāļ āļ™āļ­āļāļˆāļēāļāļˆāļ°āđ„āļ”āđ‰āļ™āļąāļāđāļŠāļ”āļ‡āđ€āļˆāđ‰āļēāļšāļ—āļšāļēāļ— Jake Gyllenhaal āļĄāļēāļĢāļąāļšāļšāļ—āļ§āļēāļĒāļĢāđ‰āļēāļĒ Mysterio āđ€āļ—āđˆāļēāļ™āļąāđ‰āļ™ āļ”āđ‰āļēāļ™āļ„āļđāđˆāđāļ‚āđˆāļ‡āļ­āļĒāđˆāļēāļ‡āļ„āđˆāļēāļĒāļ”āļĩāļ‹āļĩāļ™āļąāđ‰āļ™āļžāļĢāđ‰āļ­āļĄāļŠāđˆāļ‡āļ āļēāļžāļĒāļ™āļ•āļĢāđŒāļĨāļģāļ”āļąāļšāļ—āļĩāđˆ 7 āļ‚āļ­āļ‡āđāļŸāļĢāļ™āđ„āļŠāļŠāđŒāļ­āļĒāđˆāļēāļ‡Â Shazam! (4 āđ€āļĄāļĐāļēāļĒāļ™) āļ—āļĩāđˆāđ€āļ”āđ‡āļāļ§āļąāļĒāļĢāļļāđˆāļ™Â Billy Batson āđ„āļ”āđ‰āļĢāļąāļšāļžāļĨāļąāļ‡āļžāļīāđ€āļĻāļĐāđāļĨāļ°āđ‚āļ•āđ€āļ›āđ‡āļ™āļ‹āļđāđ€āļ›āļ­āļĢāđŒāļŪāļĩāđ‚āļĢāđˆāļŠāļļāļ”āļŪāļēāđ„āļ”āđ‰ āđƒāļ™āļ‚āļ“āļ°āļ—āļĩāđˆāļāļąāđˆāļ‡āļĄāļ™āļļāļĐāļĒāđŒāļāļĨāļēāļĒāļžāļąāļ™āļ˜āļļāđŒāļāđ‡āđ„āļĄāđˆāļ™āđ‰āļ­āļĒāļŦāļ™āđ‰āļēāļžāļĢāđ‰āļ­āļĄāļ›āļĨāđˆ
āļ­āļĩāļ 10 āļ›āļĩāļ‚āđ‰āļēāļ‡āļŦāļ™āđ‰āļēāđ€āļĄāļ·āļ­āļ‡āđ„āļ—āļĒāļˆāļ°āđ€āļ›āđ‡āļ™āļ­āļĒāđˆāļēāļ‡āđ„āļĢ? āļĄāļ­āļ‡āļ­āļ™āļēāļ„āļ•āļœāđˆāļēāļ™āļŠāļēāļĒāļ•āļē 4 āļœāļđāđ‰āļāļģāļāļąāļšāđƒāļ™ Ten Years Thailand

āļ­āļĩāļ 10 āļ›āļĩāļ‚āđ‰āļēāļ‡āļŦāļ™āđ‰āļēāđ€āļĄāļ·āļ­āļ‡āđ„āļ—āļĒāļˆāļ°āđ€āļ›āđ‡āļ™āļ­āļĒāđˆāļēāļ‡āđ„āļĢ? āļĄāļ­āļ‡āļ­āļ™āļēāļ„āļ•āļœāđˆāļēāļ™āļŠāļēāļĒāļ•āļē 4 āļœāļđāđ‰āļāļģāļāļąāļšāđƒāļ™ Ten Years Thailand

āļŦāļĨāļąāļ‡āļˆāļēāļāđ„āļ”āđ‰āđ‚āļ­āļāļēāļŠāđ€āļ›āļīāļ”āļ•āļąāļ§āđƒāļ™āđ€āļ—āļĻāļāļēāļĨāļ āļēāļžāļĒāļ™āļ•āļĢāđŒāļ™āļēāļ™āļēāļŠāļēāļ•āļīāđ€āļĄāļ·āļ­āļ‡āļ„āļēāļ™āļŠāđŒāđ„āļ›āđ€āļĄāļ·āđˆāļ­āļŠāđˆāļ§āļ‡āļ•āđ‰āļ™āļ›āļĩāļ—āļĩāđˆāļœāđˆāļēāļ™āļĄāļē āđƒāļ™āļ—āļĩāđˆāļŠāļļāļ” Ten Years Thailand āļ āļēāļžāļĒāļ™āļ•āļĢāđŒāļĢāđˆāļ§āļĄāļ—āļļāļ™āļŠāļĢāđ‰āļēāļ‡āļĢāļ°āļŦāļ§āđˆāļēāļ‡āđ„āļ—āļĒ āļŪāđˆāļ­āļ‡āļāļ‡ āđāļĨāļ°āļāļĩāđˆāļ›āļļāđˆāļ™ āļ—āļĩāđˆāđ€āļ›āđ‡āļ™āđ‚āļ„āļĢāļ‡āļāļēāļĢāļ•āđˆāļ­āđ€āļ™āļ·āđˆāļ­āļ‡āļˆāļēāļāļ āļēāļžāļĒāļ™āļ•āļĢāđŒ Ten Years Hong Kong āđ„āļ”āđ‰āļĪāļāļĐāđŒāļ‰āļēāļĒāđƒāļ™āđ€āļĄāļ·āļ­āļ‡āđ„āļ—āļĒāđ€āļŠāļĩāļĒāļ—āļĩ āđ‚āļ”āļĒāļ āļēāļžāļĒāļ™āļ•āļĢāđŒāļˆāļ°āđ€āļ›āđ‡āļ™āļāļēāļĢāļĄāļ­āļ‡āļ›āļĢāļ°āđ€āļ—āļĻāđ„āļ—āļĒāđƒāļ™āļ­āļĩāļ 10 āļ›āļĩāļ‚āđ‰āļēāļ‡āļŦāļ™āđ‰āļēāļœāđˆāļēāļ™āļĄāļļāļĄāļĄāļ­āļ‡āļ‚āļ­āļ‡āļœāļđāđ‰āļāļģāļāļąāļš 4 āļ„āļ™ 4 āļ•āļ­āļ™āđ„āļ”āđ‰āđāļāđˆ   "Sunset" āđ‚āļ”āļĒ āļ­āļēāļ—āļīāļ•āļĒāđŒ āļ­āļąāļŠāļŠāļĢāļąāļ•āļ™āđŒ (Wonderful Town)   "The Planetarium" āļ‚āļ­āļ‡āļˆāļļāļŽāļāļēāļ™āļ™āļ—āđŒ āļĻāļīāļĢāļīāļœāļĨ (āļœāļđāđ‰āļˆāļąāļ”āļ™āļīāļ—āļĢāļĢāļĻāļāļēāļĢ Behind the Painting āđāļĨāļ° Museum of Kirati)   "Catopia" āļ‚āļ­āļ‡āļ§āļīāļĻāļīāļĐāļāđŒ āļĻāļēāļŠāļ™āđ€āļ—āļĩāđˆāļĒāļ‡ (āļˆāļēāļ āđ€āļ›āđ‡āļ™āļŠāļđāđ‰āļāļąāļšāļœāļĩ, āļĢāļļāđˆāļ™āļœāļĩ āđāļĨāļ°āļŠāļīāļ‡āļŠāļđāđˆ)   "The Monument" āļ‚āļ­āļ‡āļ­āļ āļīāļŠāļēāļ•āļīāļžāļ‡āļĻāđŒ āļ§āļĩāļĢāļ°āđ€āļĻāļĢāļĐāļāļāļļāļĨ (āļˆāļēāļ āļŠāļļāļ”āđ€āļŠāļ™āđˆāļŦāļē āđāļĨāļ°āļĨāļļāļ‡āļšāļļāļāļĄāļĩāļĢāļ°āļĨāļķāļāļŠāļēāļ•āļī)   āļˆāļēāļāļ•āļąāļ§āļ­āļĒāđˆāļēāļ‡āļ āļēāļžāļĒāļ™āļ•āļĢāđŒ āļœāļđāđ‰āļāļģāļāļąāļšāļ—āļąāđ‰āļ‡ 4 āđ„āļ”āđ‰āļ™āļģāđ€āļŦāļ•āļļāļāļēāļĢāļ“āđŒāļ—āļĩāđˆāđ€āļāļīāļ”āļ‚āļķāđ‰āļ™āļˆāļĢāļīāļ‡āđƒāļ™āđ€āļĄāļ·āļ­āļ‡āđ„āļ—āļĒāļĄāļēāđ€āļ›āđ‡āļ™āđāļĢāļ‡āļšāļąāļ™āļ”āļēāļĨāđƒāļˆāđƒāļ™āļāļēāļĢāļŠāļĢāđ‰āļēāļ‡āļŦāļ™āļąāļ‡ āđ„āļĄāđˆāļ§āđˆāļēāļˆāļ°āđ€āļ›āđ‡āļ™āļ„āļģāļŠāļąāđˆāļ‡āļ›āļĨāļ”āļ‡āļēāļ™āļĻāļīāļĨāļ›āļ°āđƒāļ™āļžāļīāļžāļīāļ˜āļ āļąāļ“āļ‘āđŒ āļāļŽāļĢāļ°āđ€āļšāļĩāļĒāļšāđƒāļ™āđ‚āļĢāļ‡āđ€āļĢāļĩāļĒāļ™ āđāļĨāļ°āđ€āļĢāļ·āđˆāļ­āļ‡āļ•āđˆāļēāļ‡āđ† āļ—āļĩāđˆāđ€āļĢāļēāđ€āļ„āļĒāļžāļšāđ€āļŦāđ‡āļ™āļ•āļēāļĄāļŦāļ™āđ‰āļēāļŦāļ™āļąāļ‡āļŠāļ·āļ­āļžāļīāļĄāļžāđŒāđƒāļ™āļŠāđˆāļ§āļ‡āđ„āļĄāđˆāļāļĩāđˆāļ›āļĩāļ—āļĩāđˆāļœāđˆāļēāļ™āļĄāļē ...āđāļĨāđ‰āļ§āļ­āļ™āļēāļ„āļ•āļ‚āđ‰āļēāļ‡āļŦāļ™āđ‰āļēāļ‚āļ­āļ‡āđ€āļĄāļ·āļ­āļ‡āđ„āļ—āļĒāļˆāļ°āđ€āļ›āđ‡āļ™āļ­āļĒāđˆāļēāļ‡āđ„āļĢ āļ•āļīāļ”āļ•āļēāļĄāļ āļēāļžāļĒāļ™āļ•āļĢāđŒ Ten Years Thailand āđ€āļ‚āđ‰āļēāļ‰āļēāļĒāļ§āļąāļ™āļ—āļĩāđˆ 13 āļ˜āļąāļ™āļ§āļēāļĄ
The new southern extension of BTS Sukhumvit Line is now open

The new southern extension of BTS Sukhumvit Line is now open

Good news for everyone. The new southern extension of BTS Sukhumvit Line is now open, allowing you to hop on and off for free for the first four months (until 15 April). The new line consists of eight stations and runs from the existing Samrong station to Kheha (National Housing Authority) station located in Samut Prakan province. They are Pu Chao, Chang Erawan, Royal Thai Naval Academy, Pak Nam, Srinagarindra, Phraek Sa, Sai Luat, and Kheha. While details about tickets have not been officially announced yet, we've heard that the ride will cost no more than B65 for the whole extension after 16 April. Stay tuned for more updates!       BTS Skytrain              
āļŠāļ§āļ™āđ€āļ‚āđ‰āļēāļ§āļąāļ”! āļĢāļ§āļĄāļžāļīāļāļąāļ” 3 āļ—āļĩāđˆāļˆāļąāļ”āđāļŠāļ”āļ‡āļ‡āļēāļ™āļĻāļīāļĨāļ›āļ°āļ‚āļ­āļ‡āļ‡āļēāļ™ Bangkok Art Biennale

āļŠāļ§āļ™āđ€āļ‚āđ‰āļēāļ§āļąāļ”! āļĢāļ§āļĄāļžāļīāļāļąāļ” 3 āļ—āļĩāđˆāļˆāļąāļ”āđāļŠāļ”āļ‡āļ‡āļēāļ™āļĻāļīāļĨāļ›āļ°āļ‚āļ­āļ‡āļ‡āļēāļ™ Bangkok Art Biennale

āļ‡āļēāļ™āđ€āļ—āļĻāļāļēāļĨāļĻāļīāļĨāļ›āļ°āļŠāļļāļ”āļĒāļīāđˆāļ‡āđƒāļŦāļāđˆ Bangkok Art Biennale āļ™āļ­āļāļˆāļēāļāļˆāļ°āļˆāļąāļ”āđāļŠāļ”āļ‡āļ‡āļēāļ™āļ‚āļ­āļ‡āļĻāļīāļĨāļ›āļīāļ™āļŠāļēāļ§āđ„āļ—āļĒāđāļĨāļ°āļŠāļēāļ§āļ•āđˆāļēāļ‡āļŠāļēāļ•āļīāļāļ§āđˆāļē 70 āļŠāļĩāļ§āļīāļ•āđāļĨāđ‰āļ§ āļŠāļ–āļēāļ™āļ—āļĩāđˆāļˆāļąāļ”āļ‡āļēāļ™āđāļ•āđˆāļĨāļ°āđāļŦāđˆāļ‡āļāđ‡āļĄāļĩāļ„āļ§āļēāļĄāļ™āđˆāļēāļŠāļ™āđƒāļˆāđ„āļĄāđˆāđāļžāđ‰āļāļąāļ™ āļ™āļ­āļāđ€āļŦāļ™āļ·āļ­āļˆāļēāļāļžāļīāļžāļīāļ˜āļ āļąāļ“āļ‘āđŒ āđāļāļĨāđ€āļĨāļ­āļĢāļĩāđˆ āđāļĨāļ°āļŦāđ‰āļēāļ‡āļŠāļĢāļĢāļžāļŠāļīāļ™āļ„āđ‰āļēāļ—āļĩāđˆāđ€āļĢāļēāđ€āļ„āļĒāļ™āļģāđ€āļŠāļ™āļ­āđ„āļ›āđāļĨāđ‰āļ§ āļ­āļĩāļāļŠāļ–āļēāļ™āļ—āļĩāđˆāļ—āļĩāđˆāļ‡āļēāļ™āđ€āļ—āļĻāļāļēāļĨāđāļŦāđˆāļ‡āļ™āļĩāđ‰āļˆāļąāļ”āļāđ‡āļ„āļ·āļ­āļ•āļēāļĄāļ§āļąāļ”āļ•āđˆāļēāļ‡āđ† āļĢāļīāļĄāđāļĄāđˆāļ™āđ‰āļģāđ€āļˆāđ‰āļēāļžāļĢāļ°āļĒāļē āļ‡āļēāļ™āļ™āļĩāđ‰āđ€āļĢāļēāļˆāļķāļ‡āđ„āļ”āđ‰āļĢāļ§āļšāļĢāļ§āļĄāļ‡āļēāļ™āļĻāļīāļĨāļ›āļ°āļ—āļĩāđˆāļ™āđˆāļēāļŠāļ™āđƒāļˆāļ•āļēāļĄāļ§āļąāļ”āļ•āđˆāļēāļ‡āđ† āļĄāļēāđƒāļŦāđ‰āļ„āļļāļ“āđāļĨāđ‰āļ§ āļ­āđˆāļēāļ™āđ€āļžāļīāđˆāļĄāđ€āļ•āļīāļĄ | āđƒāļ„āļĢāļ§āđˆāļēāļ‡āļēāļ™āļĻāļīāļĨāļ›āđŒāļ•āđ‰āļ­āļ‡āļ­āļĒāļđāđˆāđāļ•āđˆāđƒāļ™āđāļāļĨāđ€āļĨāļ­āļĢāļĩāđˆ āļĢāļ§āļĄāļžāļīāļāļąāļ”āļ‡āļēāļ™āļ­āļēāļĢāđŒāļ• Bangkok Art Biennale āđƒāļ™āļĻāļđāļ™āļĒāđŒāļāļēāļĢāļ„āđ‰āļēāđƒāļˆāļāļĨāļēāļ‡āļāļĢāļļāļ‡   āļ§āļąāļ”āļžāļĢāļ°āđ€āļŠāļ•āļļāļžāļ™āļ§āļīāļĄāļĨāļĄāļąāļ‡āļ„āļĨāļēāļĢāļēāļĄāļĢāļēāļŠāļ§āļĢāļĄāļŦāļēāļ§āļīāļŦāļēāļĢ (āļ§āļąāļ”āđ‚āļžāļ˜āļīāđŒ) āļ§āļąāļ”āđ‚āļžāļ˜āļīāđŒāļ„āļ·āļ­āļžāļĢāļ°āļ­āļēāļĢāļēāļĄāļŦāļĨāļ§āļ‡āļŠāļąāđ‰āļ™āđ€āļ­āļ āđāļĨāļ°āđ€āļ›āđ‡āļ™āļ§āļąāļ”āļ›āļĢāļ°āļˆāļģāļĢāļąāļŠāļāļēāļĨāļ—āļĩāđˆ 1 āļ™āļ­āļāđ€āļŦāļ™āļ·āļ­āļˆāļ°āđ€āļ›āđ‡āļ™āļ§āļąāļ”āļ—āļĩāđˆāļĄāļĩāđ€āļˆāļ”āļĩāļĒāđŒāļĄāļēāļāļ—āļĩāđˆāļŠāļļāļ”āđƒāļ™āļ›āļĢāļ°āđ€āļ—āļĻāđ„āļ—āļĒāļāļ§āđˆāļē 99 āļ­āļ‡āļ„āđŒ āđāļĨāļ°āļžāļĢāļ°āļžāļļāļ—āļ˜āđ„āļŠāļĒāļēāļŠāļŦāļĢāļ·āļ­āļžāļĢāļ°āļ™āļ­āļ™āđāļĨāđ‰āļ§ āļ§āļąāļ”āđ‚āļžāļ˜āļīāđŒāļĒāļąāļ‡āļ–āļ·āļ­āđ€āļ›āđ‡āļ™āļĄāļŦāļēāļ§āļīāļ—āļĒāļēāļĨāļąāļĒāđāļŦāđˆāļ‡āđāļĢāļāļ‚āļ­āļ‡āļ›āļĢāļ°āđ€āļ—āļĻāđ„āļ—āļĒ āđ€āļžāļĢāļēāļ°āļĄāļĩāļˆāļēāļĢāļķāļāļĻāļēāļŠāļ•āļĢāđŒāļ§āļīāļŠāļēāļ•āđˆāļēāļ‡āđ† āļ­āļĩāļāļ”āđ‰āļ§āļĒ āļœāļĨāļ‡āļēāļ™āļĻāļīāļĨāļ›āļ°āđƒāļ™āļ‡āļēāļ™ Bangkok Art Biennale āļĄāļĩāļ—āļąāđ‰āļ‡...     A Shadow of Giving āđ‚āļ”āļĒ āļ˜āļ§āļąāļŠāļŠāļąāļĒ āļžāļąāļ™āļ˜āļļāđŒāļŠāļ§āļąāļŠāļ”āļīāđŒ     Paths of Faith āđ‚āļ”āļĒ āļˆāļīāļ•āļ•āđŒāļŠāļīāļ‡āļŦāđŒ āļŠāļĄāļšāļļāļ     Sediments of Migration āđ‚āļ”āļĒ āļ›āļēāļ™āļžāļĢāļĢāļ“ āļĒāļ­āļ”āļĄāļ“āļĩ   āļ§āļąāļ”āļ›āļĢāļ°āļĒāļļāļĢāļ§āļ‡āļĻāļēāļ§āļēāļŠāļ§āļĢāļ§āļīāļŦāļēāļĢ (āļ§āļąāļ”āļ›āļĢāļ°āļĒāļđāļĢ) āļ§āļąāļ”āļ›āļĢāļ°āļĒāļđāļĢāļ„āļ·āļ­āļ§āļąāļ”āļ­āļēāļĢāļēāļĄāļŦāļĨāļ§āļ‡āļŠāļąāđ‰āļ™āđ‚āļ— āļŠāļĢāđ‰āļēāļ‡āļ‚āļķāđ‰āļ™āđƒāļ™āļŠāļĄāļąāļĒāļĢāļąāļŠāļāļēāļĨāļ—āļĩāđˆ 3 āđ€āļĄāļ·āđˆāļ­āļŠāļĄāđ€āļ”āđ‡āļˆāđ€āļˆāđ‰āļēāļžāļĢāļ°āļĒāļēāļšāļĢāļĄāļĄāļŦāļēāļ›āļĢāļ°āļĒāļļāļĢāļ§āļ‡āļĻāđŒ (āļ”āļīāļĻ āļšāļļāļ™āļ™āļēāļ„) āļĄāļ­āļšāļŠāļ§āļ™āļāļēāđāļŸāđƒāļŦāđ‰āļŠāļĢāđ‰āļēāļ‡āđ€āļ›āđ‡āļ™āļ§āļąāļ”āļ‚āļķāđ‰āļ™āļĄāļē āđ‚āļ”āļĒāļŠāļēāļ§āļšāđ‰āļēāļ™āļ™āļīāļĒāļĄāđ€āļĢāļĩāļĒāļāļ§āđˆāļē āļ§āļąāļ”āļĢāļąāđ‰āļ§āđ€āļŦāļĨāđ‡āļ āđ€āļžāļĢāļēāļ°āļāļģāđāļžāļ‡āļšāļēāļ‡āļŠāđˆāļ§āļ™āđ€āļ›āđ‡āļ™āļĢāļąāđ‰āļ§āđ€āļŦāļĨāđ‡āļ āļ—āļģāđ€āļ›āđ‡āļ™āļĢāļđāļ›āļ­āļēāļ§āļļāļ˜ āđ€āļŠāđˆāļ™ āļŦāļ­āļ āļ”āļēāļš āļ‚āļ§āļēāļ™ āđ€āļ›āđ‡āļ™āļ•āđ‰āļ™Â āļœāļĨāļ‡āļēāļ™āļĻāļīāļĨāļ›āļ°āđƒāļ™āļ‡āļēāļ™ Bangkok Art Biennale āļĄāļĩāļ—āļąāđ‰āļ‡...     What Will You Leave Behind? āđ‚āļ”āļĒ āļ™āļĩāđ‚āļ™āđˆ āļŠāļēāļĢāļ°āļšāļļāļ•āļĢ     Monuments of Memory, the Golden Room āđ‚āļ”āļĒ Paolo Canevari     Turtle Religion āđ‚āļ”āļĒ āļāļĪāļŠ āļ‡āļēāļĄāļŠāļĄ   āļ§āļąāļ”āļ­āļĢāļļāļ“āļĢāļēāļŠāļ§āļĢāļēāļĢāļēāļĄāļĢāļēāļŠāļ§āļĢāļĄāļŦāļēāļ§āļīāļŦāļēāļĢ (āļ§āļąāļ”āđāļˆāđ‰āļ‡) āļ§āļąāļ”āđāļˆāđ‰āļ‡āļ„āļ·āļ­āļŦāļ™āļķāđˆāļ‡āđƒāļ™āđāļĨāļ™āļ”āđŒāļĄ
āđ‚āļ„āđ‰āļ‡āļŠāļļāļ”āļ—āđ‰āļēāļĒ! 2 āļ™āļīāļ—āļĢāļĢāļĻāļāļēāļĢāļĻāļīāļĨāļ›āļ°āļ™āđˆāļēāļŠāļ™āđƒāļˆ āļ—āļĩāđˆāļˆāļ°āļˆāļąāļ”āđāļŠāļ”āļ‡āļ–āļķāļ‡āļŠāļīāđ‰āļ™āđ€āļ”āļ·āļ­āļ™āļ˜āļąāļ™āļ§āļēāļ„āļĄāļ™āļĩāđ‰āđ€āļ—āđˆāļēāļ™āļąāđ‰āļ™

āđ‚āļ„āđ‰āļ‡āļŠāļļāļ”āļ—āđ‰āļēāļĒ! 2 āļ™āļīāļ—āļĢāļĢāļĻāļāļēāļĢāļĻāļīāļĨāļ›āļ°āļ™āđˆāļēāļŠāļ™āđƒāļˆ āļ—āļĩāđˆāļˆāļ°āļˆāļąāļ”āđāļŠāļ”āļ‡āļ–āļķāļ‡āļŠāļīāđ‰āļ™āđ€āļ”āļ·āļ­āļ™āļ˜āļąāļ™āļ§āļēāļ„āļĄāļ™āļĩāđ‰āđ€āļ—āđˆāļēāļ™āļąāđ‰āļ™

āļ–āļķāļ‡āđāļĄāđ‰āļ›āļĩāļ™āļĩāđ‰āļˆāļ°āļĄāļĩāļ™āļīāļ—āļĢāļĢāļĻāļāļēāļĢāļ—āļĩāđˆāļ™āđˆāļēāļŠāļ™āđƒāļˆāļĄāļēāļāļĄāļēāļĒ āđāļ•āđˆāđ€āļ”āļ·āļ­āļ™āļ˜āļąāļ™āļ§āļēāļ„āļĄāļ™āļĩāđ‰āļ–āļ·āļ­āđ€āļ›āđ‡āļ™āļŠāđˆāļ§āļ‡āļ—āđ‰āļēāļĒāļ›āļĩāļ—āļĩāđˆāļŦāļĨāļēāļĒāđ† āļ™āļīāļ—āļĢāļĢāļĻāļāļēāļĢāļāļģāļĨāļąāļ‡āļˆāļ°āļ–āļķāļ‡āļŠāđˆāļ§āļ‡āļ›āļīāļ”āļ‰āļēāļāļĨāļ‡ āđ€āļĢāļēāļˆāļķāļ‡āļ‚āļ­āļ™āļģāđ€āļŠāļ™āļ­ 2 āļ™āļīāļ—āļĢāļĢāļĻāļāļēāļĢāļ—āļĩāđˆāļ™āđˆāļēāļŠāļ™āđƒāļˆāļ—āļĩāđˆāļˆāļ°āđāļŠāļ”āļ‡āļ–āļķāļ‡āļŠāļīāđ‰āļ™āļ›āļĩāļ™āļĩāđ‰āļĄāļēāđƒāļŦāđ‰āļ„āļļāļ“āđ„āļ”āđ‰āļĄāļĩāđ‚āļ­āļāļēāļŠāđāļ§āļ°āđ„āļ›āļŠāļĄāđ€āļ›āđ‡āļ™āļ„āļĢāļąāđ‰āļ‡āļŠāļļāļ”āļ—āđ‰āļēāļĒ   āļ„āļ§āļēāļĄāļ‡āļēāļĄāđāļĨāļ°āļ„āļ§āļēāļĄāļ™āđˆāļēāđ€āļāļĨāļĩāļĒāļ” : āļŠāļļāļ™āļ—āļĢāļĩāļĒāļĻāļīāļĨāļ›āđŒāđāļŦāđˆāļ‡āļĄāļēāļĢāļĻāļĩ āļĄāļđāļĨāļ™āļīāļ˜āļīāļŦāļĄāđˆāļ­āļĄāđ€āļˆāđ‰āļēāļŦāļāļīāļ‡āļĄāļēāļĢāļĻāļĩāļŠāļļāļ‚āļļāļĄāļžāļąāļ™āļ˜āļļāđŒ āļšāļĢāļīāļžāļąāļ•āļĢ   Beauty and Ugliness : Aesthetic of Marsi āļŦāļĢāļ·āļ­Â āļ„āļ§āļēāļĄāļ‡āļēāļĄāđāļĨāļ°āļ„āļ§āļēāļĄāļ™āđˆāļēāđ€āļāļĨāļĩāļĒāļ” : āļŠāļļāļ™āļ—āļĢāļĩāļĒāļĻāļīāļĨāļ›āđŒāđāļŦāđˆāļ‡āļĄāļēāļĢāļĻāļĩ āļ„āļ·āļ­āļ™āļīāļ—āļĢāļĢāļĻāļāļēāļĢāļ„āļĢāļąāđ‰āļ‡āļ—āļĩāđˆ 3 āļ‚āļ­āļ‡āļ—āđˆāļēāļ™āļŦāļāļīāļ‡āļ—āļĩāđˆāļˆāļąāļ”āđāļŠāļ”āļ‡āđƒāļ™āđ€āļĄāļ·āļ­āļ‡āđ„āļ—āļĒ āđāļĨāļ°āđ€āļ›āđ‡āļ™āļ™āļīāļ—āļĢāļĢāļĻāļāļēāļĢāļ„āļĢāļąāđ‰āļ‡āđāļĢāļāļŦāļĨāļąāļ‡āļˆāļēāļāļžāļĢāļ°āļ­āļ‡āļ„āđŒāļŠāļīāđ‰āļ™āļŠāļĩāļžāļīāļ•āļąāļāļĐāļąāļĒāđ€āļĄāļ·āđˆāļ­ āļž.āļĻ. 2556 āđāļ™āđˆāļ™āļ­āļ™āļ§āđˆāļēāļāļēāļĢāļˆāļąāļ”āđāļŠāļ”āļ‡āļ‡āļēāļ™āļĻāļīāļĨāļ›āļ°āđƒāļ™āļ§āļąāļ™āļ—āļĩāđˆāļĻāļīāļĨāļ›āļīāļ™āđ€āļˆāđ‰āļēāļ‚āļ­āļ‡āļœāļĨāļ‡āļēāļ™āđ„āļĄāđˆāđ„āļ”āđ‰āļ­āļĒāļđāđˆāļĢāđˆāļ§āļĄāđƒāļ™āļ§āļ‡āļ›āļĢāļ°āļŠāļļāļĄāļĒāđˆāļ­āļĄāđ„āļĄāđˆāđƒāļŠāđˆāđ€āļĢāļ·āđˆāļ­āļ‡āļ‡āđˆāļēāļĒ āļ”āļąāļ‡āļ™āļąāđ‰āļ™ āļœāļđāđ‰āļŠāđˆāļ§āļĒāļĻāļēāļŠāļ•āļĢāļēāļˆāļēāļĢāļĒāđŒ āļ”āļĢ.āļĻāļļāļ āļŠāļąāļĒ āļ­āļēāļĢāļĩāļĢāļļāđˆāļ‡āđ€āļĢāļ·āļ­āļ‡Â āļœāļđāđ‰āļĢāļąāļšāļŦāļ™āđ‰āļēāļ—āļĩāđˆāļ āļąāļ“āļ‘āļēāļĢāļąāļāļĐāđŒāļˆāļķāļ‡āđ„āļ”āđ‰āđƒāļŠāđ‰āđāļ™āļ§āļ—āļēāļ‡āļāļēāļĢāļ—āļģāļ§āļīāļˆāļąāļĒāļ”āđ‰āļēāļ™āļĻāļīāļĨāļ›āļ°āļĄāļēāļĻāļķāļāļĐāļēāļœāļĨāļ‡āļēāļ™āđ€āļžāļ·āđˆāļ­āđ„āļ‚āļŠāļđāđˆāļ›āļĢāļąāļŠāļāļēāļ—āļĩāđˆāļ‹āđˆāļ­āļ™āđ„āļ§āđ‰āđƒāļ™āļ‡āļēāļ™āļĻāļīāļĨāļ›āļ°āļ‚āļ­āļ‡āļŦāļĄāđˆāļ­āļĄāđ€āļˆāđ‰āļēāļĄāļēāļĢāļĻāļĩāļŠāļļāļ‚āļļāļĄāļžāļąāļ™āļ˜āļļāđŒ āļšāļĢāļīāļžāļąāļ•āļĢ āļ‹āļķāđˆāļ‡āļŦāļ™āļķāđˆāļ‡āđƒāļ™āļ™āļąāđ‰āļ™āļāđ‡āļ„āļ·āļ­āļ„āļ§āļēāļĄāļŦāļĄāļēāļĒāļ‚āļ­āļ‡ "āļŠāļļāļ™āļ—āļĢāļĩāļĒāļĻāļēāļŠāļ•āļĢāđŒ" āļ—āļĩāđˆāđ„āļĄāđˆāđ„āļ”āđ‰āļ–āļđāļāļ•āļĩāļāļĢāļ­āļšāđ€āļžāļĩāļĒāļ‡āļ„āļ§āļēāļĄāļ‡āļēāļĄāļ—āļ§āđˆāļēāļĒāļąāļ‡āļĢāļ§āļĄāļ„āļ§āļēāļĄāļ™āđˆāļēāđ€āļāļĨāļĩāļĒāļ” āļŦāļĢāļ·āļ­āļ„āļ§āļēāļĄāđ„āļĄāđˆāļ‡āļēāļĄāļ­āļąāļ™āđ€āļ›āđ‡āļ™āļŦāļ™āļķāđˆāļ‡āđƒāļ™āļ­āļ‡āļ„āđŒāļ›āļĢāļ°āļāļ­āļšāļ—āļēāļ‡āļĻāļīāļĨāļ›āļ°āļ”āđ‰āļ§āļĒ   āļĄāļđāļĨāļ™āļīāļ˜āļīāļŦāļĄāđˆāļ­āļĄāđ€āļˆāđ‰āļēāļŦāļāļīāļ‡āļĄāļēāļĢāļĻāļĩāļŠāļļāļ‚āļļāļĄāļžāļąāļ™āļ˜āļļāđŒ āļšāļĢāļīāļžāļąāļ•āļĢ   āļĢāļēāļ§āļĻāļ•āļ§āļĢāļĢāļĐāļ—āļĩāđˆ 19-20 āļ‚āļ“āļ°āļ—āļĩāđˆāđ‚āļĨāļāđāļŦāđˆāļ‡āļĻāļīāļĨāļ›āļ°āļāļģāļĨāļąāļ‡āļāđ‰āļēāļ§āđ€āļ‚āđ‰āļēāļŠāļđāđˆāļ„āļ§āļēāļĄāđ€āļ›āđ‡āļ™āđ‚āļĄāđ€āļ”āļīāļĢāđŒāļ™Â āđ„āļĄāđˆāļ§āđˆāļēāļˆāļ°āđ€āļ›āđ‡āļ™āļ›āđŠāļ­āļšāļ­āļēāļĢāđŒāļ• āđāļ­āđŠāļšāļŠāđāļ•āļĢāļ āļ§āļīāļ”āļĩāđ‚āļ­āļ­āļēāļĢāđŒāļ• āļĄāļĩāđ€āļ”āļĩāļĒāļ­āļēāļĢāđŒāļ•Â āļ—āļ§āđˆāļēāļŠāļīāđˆāļ‡āļŦāļ™āļķāđˆāļ‡āļ—āļĩāđˆāđāļ§āļ”āļ§āļ‡āļĻāļīāļĨāļ›āļ°āļĒāļąāļ‡āļāđ‰āļēāļ§āđ„āļĄāđˆāļžāđ‰āļ™āļ„āļ·āļ­āļāļēāļĢāļˆāļģāļāļąāļ”āļ‚āļ­āļšāđ€āļ‚āļ•āļ‚āļ­āļ‡āļ„āļģāļ§āđˆāļēāļĻāļīāļĨāļ›āļ°āđ„āļ§āđ‰āđ€āļ‰āļžāļēāļ°āļĻāļīāļĨāļ›āļīāļ™āđ€āļžāļĻāļŠāļēāļĒ āļ™āđ‰āļ­āļĒāļĄāļēāļāļ—āļĩāđˆāļˆāļ°āđ„āļ”āđ‰āļžāļšāđ€āļˆāļ­āļĻāļīāļĨāļ›āļīāļ™āļœāļđāđ‰āļŦāļāļīāļ‡Â āđ‚āļ”āļĒāđ€āļ‰āļžāļēāļ°āđƒāļ™āđ€āļĄāļ·āļ­āļ‡āđ„āļ—āļĒāļ™āļąāđ‰āļ™āļ§āļīāļŠāļēāļĻāļīāļĨāļ›āļ°āļ‹āļķāđˆāļ‡āđ„āļĄāđˆāđ„āļ”āđ‰āļ–āļđāļāļĄāļ­āļ‡āļ§āđˆāļēāđ€āļ›āđ‡āļ™āļŦāļ™āļķāđˆāļ‡āđƒāļ™āļ§āļīāļŠāļēāļŠāļĩāļžāļŠāļģāļŦāļĢāļąāļšāļŦāļēāđ€āļĨāļĩāđ‰āļĒāļ‡āļŠāļĩāļž āļĒāđˆāļ­āļĄāđ€āļ›āđ‡āļ™āļŠāļīāđˆāļ‡āđ„āļāļĨāļ•āļąāļ§āļŠāļģāļŦāļĢāļąāļšāļœāļđāđ‰āļŦāļāļīāļ‡āļ­āļĒāđˆāļēāļ‡āļĄāļēāļÂ āđāļĨāļ°āļ™āļąāđˆāļ™āļˆāļķāļ‡āļ—āļģāđƒāļŦāđ‰āļĻāļīāļĨāļ›āļīāļ™āļŦāļāļīāļ‡āļœāļđāđ‰āļĄāļĩāļ„āļ§āļēāļĄāđ€āļ‹āļ­āļĢāđŒāđ€āļĢāļĩāļĒāļĨāļĨāļīāļŠāļ•āđŒāđāļĨāļ°āđāļŸāļ™āļ•āļēāļŠāļ•āļīāļāđ€āļ›āđ‡āļ™āļ”āļąāđˆāļ‡āļĨāļēāļĒāđ€āļ‹āđ‡āļ™āļ•āđŒÂ āļŦāļĄāđˆāļ­āļĄāđ€āļˆāđ‰āļēāļĄāļēāļĢāļĻāļĩāļŠāļļāļ‚āļļ
Celebrate the diplomatic relation between Italy and Thailand at the spectacular dinner and concert gala on 7 Dec

Celebrate the diplomatic relation between Italy and Thailand at the spectacular dinner and concert gala on 7 Dec

This year marks an important milestone as we celebrate the 150th anniversary of the diplomatic relation between Italy and Thailand as well as 150th anniversary of the death of Gioacchino Rossini, a renowned Italian composer and creators of famous operas such as The Barber of Seville and Cinderella. So what could be better than celebrating the special event with two of the most significant arts in Italian culture—food and music?  Join the celebration at The Taste of Music, a charity dinner and concert gala on 7 December at Royal Ballroom, The Mandarin Oriental Hotel. The heartfelt dinner is created by chef Jules Dubois and accompanied by musical talents—internationally renowned baritone Marcello Rosiello, Italian tenor David Sotgiu and Thai pianists Nat Yontararak and Pana Yontararak. The performance will also be supported by 40-member Bromsgrove International School choir and Bangkok Music Society Choir. The ticket for this event is at THB4,500 and it will be used as a fund for The Home For The Aged Ratchasima, the new charity initiative by the Camillians in Thailand which was inaugurated last year to build a nursing home for underprivileged elderly Thai citizens. For reservation, call 0 2989 4873.
Best bites you can find at FederbrÃĪu Red Feather Club x Time Out Bangkok on 17-28 Dec

Best bites you can find at FederbrÃĪu Red Feather Club x Time Out Bangkok on 17-28 Dec

If you have been to FederbrÃĪu Red Feather Club x Time Out Bangok, you would be familiar with our chilling vibe as well as live music, cool drink and scrumptious food from restaurants across Bangkok. This time, we bring best dishes to FederbrÃĪu Red Feather Club x Time Out Bangok on 17-28 December at Sathorn Square where you can try everything from sausages and German food from G.J. Lecker and Gluten German, Mexican delicacies from La Monita, juicy steaks from Arno's Butcher and Eatery and Monster Beef, to burgers from Papa's Kitchen and other restaurants such as Spaghetti House, Viva 8, The Lobster Lab, Chicka Cheese, Eat Me Cheese, Kinza Gyoza, Aah Amm Kitchen, Saucey and Sushi Miro.     The Lobster Lab     G.J. Lecker     Gluten German     Saucey  
Bangkok That Was: āļ āļēāļžāļ­āļ”āļĩāļ•āļ‚āļ­āļ‡āļāļĢāļļāļ‡āđ€āļ—āļžāļŊ āļœāđˆāļēāļ™āđ€āļĨāļ™āļŠāđŒāļŠāđˆāļēāļ‡āļ āļēāļžāļ­āļīāļ•āļēāđ€āļĨāļĩāļĒāļ™ Fabrizio La Torre

Bangkok That Was: āļ āļēāļžāļ­āļ”āļĩāļ•āļ‚āļ­āļ‡āļāļĢāļļāļ‡āđ€āļ—āļžāļŊ āļœāđˆāļēāļ™āđ€āļĨāļ™āļŠāđŒāļŠāđˆāļēāļ‡āļ āļēāļžāļ­āļīāļ•āļēāđ€āļĨāļĩāļĒāļ™ Fabrizio La Torre

Fabrizio La Torre āļŠāđˆāļēāļ‡āļ āļēāļžāļŠāļēāļ§āļ­āļīāļ•āļēāļĨāļĩāđ€āļ”āļīāļ™āļ—āļēāļ‡āļĄāļēāļ—āļģāļ‡āļēāļ™āđƒāļ™āļāļĢāļļāļ‡āđ€āļ—āļžāļŊ āļĢāļ°āļŦāļ§āđˆāļēāļ‡āļ›āļĩ āļž.āļĻ. 2499-2504 āđāļĨāļ°āđ„āļ”āđ‰āđ€āļāđ‡āļšāļ āļēāļžāļŠāļĩāļ§āļīāļ•āļ›āļĢāļ°āļˆāļģāļ§āļąāļ™āļ‚āļ­āļ‡āļ„āļ™āđ„āļ—āļĒāđƒāļ™āļĒāđˆāļēāļ™āļ•āđˆāļēāļ‡āđ† āđ‚āļ”āļĒāļ™āļģāļŠāđ„āļ•āļĨāđŒāļāļēāļĢāļ–āđˆāļēāļĒāļ āļēāļžāđāļšāļš neo-realism āđ€āļžāļ·āđˆāļ­āđ€āļāđ‡āļšāļ āļēāļžāļ•āļēāļĄāļŠāļ āļēāļžāļ„āļ§āļēāļĄāđ€āļ›āđ‡āļ™āļˆāļĢāļīāļ‡āļ‚āļ­āļ‡āļœāļđāđ‰āļ„āļ™āđƒāļ™āļŠāļĄāļąāļĒāļ™āļąāđ‰āļ™ āđāļĨāļ°āļŠāļ°āļ—āđ‰āļ­āļ™āđƒāļŦāđ‰āđ€āļŦāđ‡āļ™āļ–āļķāļ‡āļ„āļ§āļēāļĄāļĢāļąāļāđāļĨāļ°āļœāļđāļāļžāļąāļ™āļāļąāļšāļ§āļīāļ–āļĩāļŠāļĩāļ§āļīāļ•āļ‚āļ­āļ‡āļ„āļ™āđ„āļ—āļĒ āļ‹āļķāđˆāļ‡āđāļ•āļāļ•āđˆāļēāļ‡āļˆāļēāļāļŠāļĩāļ§āļīāļ•āļĒāļļāđ‚āļĢāļ›āļ—āļĩāđˆāđ€āļ‚āļēāļœāļˆāļāļœāđˆāļēāļ™āļŠāļ‡āļ„āļĢāļēāļĄāđ‚āļĨāļāļ„āļĢāļąāđ‰āļ‡āļ—āļĩāđˆ 2 āļĄāļēāđ„āļĄāđˆāļ™āļēāļ™ āļ™āļīāļ—āļĢāļĢāļĻāļāļēāļĢ Bangkok That Was (āļ­āļ”āļĩāļ•āļšāļēāļ‡āļāļ­āļ) āļˆāļ°āļˆāļąāļ”āđāļŠāļ”āļ‡āļžāļĢāđ‰āļ­āļĄāļāļąāļ™āļŠāļ­āļ‡āļ—āļĩāđˆāļ„āļ·āļ­Â āļžāļīāļžāļīāļ˜āļ āļąāļ“āļ‘āļŠāļ–āļēāļ™āđāļŦāđˆāļ‡āļŠāļēāļ•āļī āļžāļĢāļ°āļ™āļ„āļĢ āđāļĨāļ°Â Serindia Gallery āđ‚āļ”āļĒāļ āļēāļĒāđƒāļ™āļ‡āļēāļ™āļĒāļąāļ‡āļĄāļĩāļŦāļ™āļąāļ‡āļŠāļ·āļ­āļŠāļđāļˆāļīāļšāļąāļ•āļĢ 148 āļŦāļ™āđ‰āļē āļ—āļĩāđˆāļ•āļĩāļžāļīāļĄāļžāđŒāļ āļēāļžāļ–āđˆāļēāļĒāļ‚āļ­āļ‡ Fabrizio āđƒāļ™āđ€āļ­āđ€āļŠāļĩāļĒāđ€āļ›āđ‡āļ™āļ„āļĢāļąāđ‰āļ‡āđāļĢāļāļ­āļĩāļāļ”āđ‰āļ§āļĒ Bangkok That Was āļˆāļąāļ”āđāļŠāļ”āļ‡āļ—āļĩāđˆÂ āļžāļīāļžāļīāļ˜āļ āļąāļ“āļ‘āļŠāļ–āļēāļ™āđāļŦāđˆāļ‡āļŠāļēāļ•āļī āļžāļĢāļ°āļ™āļ„āļĢ āđāļĨāļ°Â Serindia Gallery āļ•āļąāđ‰āļ‡āđāļ•āđˆāļ§āļąāļ™āļ—āļĩāđˆÂ 28 āļžāļĪāļĻāļˆāļīāļāļēāļĒāļ™ 2561 - 20 āļĄāļāļĢāļēāļ„āļĄ 2562   Bangkok That Was by Fabrizio La Torre   Bangkok That Was by Fabrizio La Torre   Bangkok That Was by Fabrizio La Torre      
āđ€āļˆāđ‰āļēāļŦāļāļīāļ‡āļ”āļīāļŠāļ™āļĩāļĒāđŒ āļ­āļĩāđ€āļšāļĒāđŒ āļ•āļđāđ‰āđ€āļāļĄ āđāļĨāļ°āļĄāļīāļ•āļĢāļ āļēāļž āļāļąāļšāļ āļēāļ„āļŠāļ­āļ‡āļ‚āļ­āļ‡āļāļēāļĢāļœāļˆāļāļ āļąāļĒāđƒāļ™āđ‚āļĨāļāļ­āļ­āļ™āđ„āļĨāļ™āđŒāļ‚āļ­āļ‡ Ralph āļˆāļ­āļĄāļ—āļļāļš

āđ€āļˆāđ‰āļēāļŦāļāļīāļ‡āļ”āļīāļŠāļ™āļĩāļĒāđŒ āļ­āļĩāđ€āļšāļĒāđŒ āļ•āļđāđ‰āđ€āļāļĄ āđāļĨāļ°āļĄāļīāļ•āļĢāļ āļēāļž āļāļąāļšāļ āļēāļ„āļŠāļ­āļ‡āļ‚āļ­āļ‡āļāļēāļĢāļœāļˆāļāļ āļąāļĒāđƒāļ™āđ‚āļĨāļāļ­āļ­āļ™āđ„āļĨāļ™āđŒāļ‚āļ­āļ‡ Ralph āļˆāļ­āļĄāļ—āļļāļš

āļŦāļĨāļąāļ‡āļˆāļēāļāļ›āļĨāđˆāļ­āļĒāļ āļēāļžāļĒāļ™āļ•āļĢāđŒāļ āļēāļ„āđāļĢāļÂ Wreck-It Ralph āđ€āļĢāļ·āđˆāļ­āļ‡āļĢāļēāļ§āļāļēāļĢāļœāļˆāļāļ āļąāļĒāļ‚āļ­āļ‡ Ralph āļ§āļēāļĒāļĢāđ‰āļēāļĒāđāļŠāļ™āđƒāļˆāļ”āļĩāđƒāļˆāđƒāļ™āđ€āļāļĄāļ•āļđāđ‰Â Fix-It Felix Jr. āļ—āļĩāđˆāđ€āļšāļ·āđˆāļ­āļāļēāļĢāđ€āļ›āđ‡āļ™āļ•āļąāļ§āļĢāđ‰āļēāļĒāļāļąāļšÂ Vanellope von Schweetz āļ™āļąāļāđāļ‚āđˆāļ‡āļĢāļ–āļ—āļĩāđˆāļĄāļĩāļāļĨāļīāļ•āļŠāđŒāļŦāļĢāļ·āļ­āļĢāļ°āļšāļšāļšāļāļžāļĢāđˆāļ­āļ‡āđƒāļ™āđ€āļāļĄāļ•āļđāđ‰Â Sugar Rush āļ‹āļķāđˆāļ‡āļ­āļ­āļāļĄāļēāļ‰āļēāļĒāļŠāļĢāđ‰āļēāļ‡āļ„āļ§āļēāļĄāļŠāļ™āļļāļāđ€āļĄāļ·āđˆāļ­āļ›āļĩ āļ„.āļĻ. 2012 āļ āļēāļžāļĒāļ™āļ•āļĢāđŒāļ­āļ™āļīāđ€āļĄāļŠāļąāđˆāļ™āđ€āļĢāļ·āđˆāļ­āļ‡āļ™āļĩāđ‰āļāļĨāļąāļšāļĄāļēāļ­āļĩāļāļ„āļĢāļąāđ‰āļ‡āļāļąāļšāļ āļēāļ„āļ•āđˆāļ­Â Ralph Breaks the Internet āļ—āļĩāđˆāļˆāļ°āļĒāđ‰āļēāļĒāļ„āļļāļ“āļ­āļ­āļāļˆāļēāļāļ•āļđāđ‰āđ€āļāļĄāđ„āļ›āļŠāļđāđˆāđ‚āļĨāļāļ‚āļ­āļ‡āļ­āļīāļ™āđ€āļ•āļ­āļĢāđŒāđ€āļ™āđ‡āļ• āđ€āļĄāļ·āđˆāļ­āļ—āļąāđ‰āļ‡āļŠāļ­āļ‡āļ•āđ‰āļ­āļ‡āļ•āļēāļĄāļŦāļēāļ­āļ°āđ„āļŦāļĨāđˆāļžāļ§āļ‡āļĄāļēāļĨāļąāļĒāļ—āļĩāđˆāļ§āļēāļ‡āļ‚āļēāļĒāđƒāļ™āļ­āļĩāđ€āļšāļĒāđŒ āļĄāļēāđāļ—āļ™āļ­āļąāļ™āļ—āļĩāđˆāđ€āļŠāļĩāļĒāļāđˆāļ­āļ™āļ—āļĩāđˆāđ€āļˆāđ‰āļēāļ‚āļ­āļ‡āļĢāđ‰āļēāļ™āđ€āļāļĄāļˆāļ°āđ€āļ­āļēāļ•āļđāđ‰āđ€āļāļĄÂ Sugar Rush āđ„āļ›āļ—āļīāđ‰āļ‡āđƒāļŦāđ‰āļˆāļ‡āđ„āļ”āđ‰     āđāļ™āđˆāļ™āļ­āļ™āļ§āđˆāļēāļ āļēāļžāļĒāļ™āļ•āļĢāđŒāđ€āļĢāļ·āđˆāļ­āļ‡āļ™āļĩāđ‰āđ€āļĢāļēāļˆāļ°āļĒāļąāļ‡āļžāļšāļāļąāļšāļ•āļąāļ§āļĨāļ°āļ„āļĢāļāļĨāļļāđˆāļĄāđ€āļ”āļīāļĄ āđ€āļžāļīāđˆāļĄāđ€āļ•āļīāļĄāļ„āļ·āļ­ cameo āļŦāļĢāļ·āļ­āļāļēāļĢāļ›āļĢāļēāļāļŽāļ•āļąāļ§āļ‚āļ­āļ‡āļ•āļąāļ§āļĨāļ°āļ„āļĢāđ€āļāļĄāļ”āļąāļ‡āđ† āļĄāļēāļāļĄāļēāļĒ āļĢāļ§āļĄāđ„āļ›āļ–āļķāļ‡āļ•āļąāļ§āļĨāļ°āļ„āļĢāļˆāļēāļāļ„āđˆāļēāļĒāļ”āļīāļŠāļ™āļĩāļĒāđŒāđ€āļ­āļ‡āđ„āļĄāđˆāļ§āđˆāļēāļˆāļ°āđ€āļ›āđ‡āļ™āļ­āļĩāļĒāļ­āļĢāđŒāļˆāļēāļ Winnie-the-Pooh āđ„āļ›āļˆāļ™āļ–āļķāļ‡āđ€āļŦāļĨāđˆāļēāļ—āļŦāļēāļĢāļŠāļ•āļĢāļ­āļĄāļ—āļĢāļđāļ›āđ€āļ›āļ­āļĢāđŒāļˆāļēāļ Star Wars āđāļĨāļ°āļ•āļąāļ§āļĨāļ°āļ„āļĢāđ„āļŪāđ„āļĨāļ•āđŒāļ­āļĒāđˆāļēāļ‡āđ€āļˆāđ‰āļēāļŦāļāļīāļ‡āļ”āļīāļŠāļ™āļĩāļĒāđŒāļ—āļĩāđˆāļĒāļāļ—āļĩāļĄāļ­āļ­āļāļĄāļēāļŠāļĢāđ‰āļēāļ‡āļŠāļĩāļŠāļąāļ™āđāļĨāļ°āļ„āļ§āļēāļĄāļ™āđˆāļēāļĢāļąāļāļāļąāļ™āļ­āļĒāđˆāļēāļ‡āļ–āđ‰āļ§āļ™āļŦāļ™āđ‰āļē āļĢāļ§āļĄāđ„āļ›āļ–āļķāļ‡āđ€āļāļĄāđāļ‚āđˆāļ‡āļĢāļ–āđƒāļŦāļĄāđˆāļŠāļļāļ”āļ­āļąāļ™āļ•āļĢāļēāļĒ Slaughter Race āļžāļĢāđ‰āļ­āļĄāļŦāļąāļ§āļŦāļ™āđ‰āļēāđāļāđŠāļ‡āļ„āđŒÂ Shank āļ—āļĩāđˆāđ„āļ”āđ‰āļ™āļąāļāđāļŠāļ”āļ‡āļŠāļēāļ§āļŠāļ§āļĒ Gal Gadot āļĄāļēāļĢāđˆāļ§āļĄāļžāļēāļāļĒāđŒāđ€āļŠāļĩāļĒāļ‡     āļŠāļīāđˆāļ‡āļ—āļĩāđˆāļ™āđˆāļēāļŠāļ™āđƒāļˆāļ‚āļ­āļ‡Â Ralph Breaks the Internet āļ­āļĒāļđāđˆāļ•āļĢāļ‡āļ—āļĩāđˆāđ€āļ™āļ·āđ‰āļ­āđ€āļĢāļ·āđˆāļ­āļ‡āļ—āļĩāđˆāļŠāļ™āļļāļāļŠāļ™āļēāļ™ āđāļĨāļ°āđ€āļĢāļ·āđˆāļ­āļ‡āļĢāļēāļ§āļ‚āļ­āļ‡āļĄāļīāļ•āļĢāļ āļēāļžāļĢāļ°āļŦāļ§āđˆāļēāļ‡āļ•āļąāļ§āļĨāļ°āļ„āļĢāļˆāļēāļāļ•āđˆāļēāļ‡āđ€āļāļĄāļ—āļĩāđˆāļ„āļ­āļĒāļŠāđˆāļ§āļĒāđ€āļŦāļĨāļ·āļ­āļāļąāļ™āđ€āļŠāđˆāļ™āđ€āļ„āļĒ āļœāļŠāļĄāļœāļŠāļēāļ™āļāļąāļšāļāļēāļĢāđāļ‹āļ§āđ‚āļĨāļāļ­āļīāļ™āđ€āļ•āļ­āļĢāđŒāđ€āļ™āđ‡āļ•āđāļĨāļ°āļŠāļąāļ‡āļ„āļĄāđ‚āļ‹āđ€āļŠāļĩāļĒāļĨāđƒāļ™āļ›āļąāļˆāļˆāļļāļšāļąāļ™āđ„āļ”āđ‰āļ­āļĒāđˆāļēāļ‡āļ•āļĨāļāļ‚āļšāļ‚āļąāļ™ āđ„āļĄāđˆāļ§āđˆāļēāļˆāļ°āđ€āļ›āđ‡āļ™āđ€āļĢāļ·āđˆāļ­āļ‡āļ‚āļ­āļ‡āļ§āļīāļ”āļĩāđ‚āļ­āđ„āļ§āļĢāļąāļĨ āļŦāļĢāļ·āļ­āļ›āđŠāļ­āļ›āļ­āļąāļžāļ§āļīāļ”āļĩāđ‚āļ­āļ—āļĩāđˆāđāļŠāļ™āļ™āđˆāļēāļĢāļģāļ„āļēāļ āļĢāļ§āļĄāđ„āļ›āļ–āļķāļ‡āļāļēāļĢāđāļ‹āļ°āļŠāļđāļ•āļĢāļŠāļģāđ€āļĢāđ‡āļˆāļ‚āļ­āļ‡āļ”āļīāļŠāļ™āļĩāļĒāđŒāđ€āļ­āļ‡ (āđ‚āļ”āļĒāđ€āļ‰āļžāļēāļ°āđ€āļĢāļ·āđˆāļ­āļ‡āđ€āļˆāđ‰āļēāļŦāļāļīāļ‡) āļ—āļĩāđˆāļ—āļģāđƒāļŦāđ‰āđ€āļĢāļēāļ‚āļģāđ„āļ”āđ‰āļ•āļĨāļ­āļ”āļ—āļąāđ‰āļ‡āđ€āļĢāļ·āđˆāļ­āļ‡ āđƒāļ„āļĢāļ—āļĩāđˆāļĒāļąāļ‡āļ•āļīāļ”āđƒāļˆāļāļąāļšāđ€āļĢāļ·āđˆāļ­āļ‡āļĢāļēāļ§āļŠāļ™āļļāļāđ† āļ‚āļ­āļ‡Â Wreck-It Ralph āđ€āļĢāļēāļ‚āļ­āļšāļ­āļāļ§āđˆāļēāļ āļēāļ„āļ•āđˆāļ­āđ€āļĢāļ·āđˆāļ­āļ‡āļ™āļĩāđ‰āđ„āļĄāđˆāļ—āļģāđƒāļŦāđ‰āļ„āļļāļ“āļœāļīāļ”āļŦāļ§āļąāļ‡āļ­āļĒāđˆāļēāļ‡āđāļ™āđˆāļ™āļ­āļ™     āļ āļēāļžāļĒāļ™āļ•āļĢāđŒāđ€āļ‚āđ‰āļēāđƒāļŦāļĄāđˆāļ›āļĢāļ°āļˆāļģāļŠāļąāļ›āļ”āļēāļŦāđŒāļ™āļĩāđ‰ Gravity of Love
āđ„āļĄāđˆāļ­āļĒāļēāļāļĢāļ­āđāļĨāđ‰āļ§āļˆāđ‰āļ°āļžāļĩāđˆāļˆāđ‹āļē āļ„āđˆāļēāļĒ Disney āđ€āļ•āļĢāļĩāļĒāļĄāđ€āļ‚āđ‡āļ™āļŦāļ™āļąāļ‡ 10 āđ€āļĢāļ·āđˆāļ­āļ‡āļŦāļĨāļēāļĒāļ­āļēāļĢāļĄāļ“āđŒāļŠāļ™āđ‚āļĢāļ‡āļ•āļĨāļ­āļ”āļ›āļĩāļŦāļ™āđ‰āļē

āđ„āļĄāđˆāļ­āļĒāļēāļāļĢāļ­āđāļĨāđ‰āļ§āļˆāđ‰āļ°āļžāļĩāđˆāļˆāđ‹āļē āļ„āđˆāļēāļĒ Disney āđ€āļ•āļĢāļĩāļĒāļĄāđ€āļ‚āđ‡āļ™āļŦāļ™āļąāļ‡ 10 āđ€āļĢāļ·āđˆāļ­āļ‡āļŦāļĨāļēāļĒāļ­āļēāļĢāļĄāļ“āđŒāļŠāļ™āđ‚āļĢāļ‡āļ•āļĨāļ­āļ”āļ›āļĩāļŦāļ™āđ‰āļē

āļ•āđ‰āļ­āļ‡āļĒāļ­āļĄāļĢāļąāļšāļ§āđˆāļēāđƒāļ™āļŠāđˆāļ§āļ‡ 4-5 āļ›āļĩāļŦāļĨāļąāļ‡āļĄāļēāļ™āļĩāđ‰ Disney āļŠāđˆāļ‡āļ āļēāļžāļĒāļ™āļ•āļĢāđŒāļ­āļ­āļāļĄāļēāļāļ§āļēāļ”āļ•āļĨāļēāļ”āļĄāļēāļāļĄāļēāļĒāļŦāļĨāļēāļĒāđ€āļĢāļ·āđˆāļ­āļ‡āļŦāļĨāļēāļāļŠāđ„āļ•āļĨāđŒ āđ„āļĄāđˆāļ§āđˆāļēāļˆāļ°āđ€āļ›āđ‡āļ™āļāļēāļĢāđŒāļ•āļđāļ™āļŠāļ™āļļāļāđ† āļŦāļ™āļąāļ‡āļ‹āļđāđ€āļ›āļ­āļĢāđŒāļŪāļĩāđ‚āļĢāđˆāļĄāļąāļ™āļŠāđŒāđ† āļĢāļ§āļĄāđ„āļ›āļ–āļķāļ‡āļ āļēāļžāļĒāļ™āļ•āļĢāđŒāđƒāļ™āđ€āļ„āļĢāļ·āļ­āļ­āļĩāļāļĄāļēāļāļĄāļēāļĒ āļ­āļĒāđˆāļēāļ‡āļ›āļĩāļ™āļĩāđ‰āļ›āļĩāđ€āļ”āļĩāļĒāļ§āļāđ‡āļĄāļĩāļ—āļąāđ‰āļ‡Â Avengers: Infinity War, Incredibles 2 āļŦāļĢāļ·āļ­Â Christopher Robin āļĄāļēāļ—āļģāđƒāļŦāđ‰āđ€āļĢāļēāđ€āļŠāļĩāļĒāļ•āļąāļ‡āļ„āđŒāļāļąāļ™āđ„āļ”āđ‰āļ•āļĨāļ­āļ”āļ—āļąāđ‰āļ‡āļ›āļĩ (āļ­āļĒāđˆāļēāļ‡āļ•āļ­āļ™āļ™āļĩāđ‰āļāđ‡āļĄāļĩ Ralph Breaks the Internet āļ āļēāļžāļĒāļ™āļ•āļĢāđŒāļ āļēāļ„āļ•āđˆāļ­āļ‚āļ­āļ‡Â Wreck-It Ralph āļ—āļĩāđˆāļāļģāļĨāļąāļ‡āļ‰āļēāļĒāļ­āļĒāļđāđˆāđƒāļ™āļ‚āļ“āļ°āļ™āļĩāđ‰ āđāļĨāļ°āļ āļēāļžāļĒāļ™āļ•āļĢāđŒÂ Mary Poppins Returns āļ—āļĩāđˆāļĄāļĩāļāļģāļŦāļ™āļ”āđ€āļ‚āđ‰āļēāļŠāđˆāļ§āļ‡āļ§āļąāļ™āļ„āļĢāļīāļŠāļ•āđŒāļĄāļēāļŠāļ™āļĩāđ‰) āļ›āļĩāļŦāļ™āđ‰āļēāđ€āļ­āļ‡āđ€āļĢāļēāļāđ‡āļĄāļĩāļ āļēāļžāļĒāļ™āļ•āļĢāđŒāļˆāļēāļ Disney āđƒāļŦāđ‰āļ”āļđāļāļąāļ™āļ­āļĩāļāļŦāļĨāļēāļĒāđ€āļĢāļ·āđˆāļ­āļ‡ āđ€āļĢāļēāļˆāļķāļ‡āđ„āļ”āđ‰āļ„āļąāļ”āđ€āļĨāļ·āļ­āļāļŦāļ™āļąāļ‡ 10 āđ€āļĢāļ·āđˆāļ­āļ‡ (āļžāļĢāđ‰āļ­āļĄāļ•āļąāļ§āļ­āļĒāđˆāļēāļ‡āļŦāļ™āļąāļ‡) āļ—āļĩāđˆāļ„āļļāļ“āđ„āļĄāđˆāļ„āļ§āļĢāļžāļĨāļēāļ”āļ”āđ‰āļ§āļĒāļ›āļĢāļ°āļāļēāļĢāļ—āļąāđ‰āļ‡āļ›āļ§āļ‡āļĄāļēāļāļēāļāđāļĨāđ‰āļ§   Captain Marvel āđ€āļ‚āđ‰āļēāļ‰āļēāļĒ 8 āļĄāļĩāļ™āļēāļ„āļĄ āļ āļēāļžāļĒāļ™āļ•āļĢāđŒāļĨāļģāļ”āļąāļšāļ—āļĩāđˆ 21 āļ‚āļ­āļ‡ Marvel Cinematic Universe āļˆāļ°āļžāļēāđ€āļĢāļēāļĒāđ‰āļ­āļ™āļāļĨāļąāļšāđ„āļ›āđƒāļ™āļ›āļĩ āļ„.āļĻ. 1995 āđāļĨāļ°āļ—āļģāļ„āļ§āļēāļĄāļĢāļđāđ‰āļˆāļąāļāļāļąāļšÂ Carol Danvers āļ­āļ”āļĩāļ•āļ™āļąāļāļšāļīāļ™āļāļ­āļ‡āļ—āļąāļžāļŠāļŦāļĢāļąāļāļ—āļĩāđˆāļ”āļĩāđ€āļ­āđ‡āļ™āđ€āļ­āđ„āļ”āđ‰āļĢāļąāļšāļāļēāļĢāļœāļŠāļĄāļāļąāļšāđ€āļ­āđ€āļĨāļĩāđˆāļĒāļ™āļŠāļēāļĒāļžāļąāļ™āļ˜āļļāđŒāļ„āļĢāļĩ āļˆāļ™āļ—āļģāđƒāļŦāđ‰āđ€āļ˜āļ­āļĄāļĩāļžāļĨāļąāļ‡āđ€āļ›āđ‡āļ™Â Captain Marvel āđ€āļ˜āļ­āļ•āđ‰āļ­āļ‡āđ€āļ”āļīāļ™āļ—āļēāļ‡āļāļĨāļąāļšāļĄāļēāļĒāļąāļ‡āđ‚āļĨāļāđ€āļĄāļ·āđˆāļ­āđ€āļāļīāļ”āļāļēāļĢāļ•āđˆāļ­āļŠāļđāđ‰āļĢāļ°āļŦāļ§āđˆāļēāļ‡āđ€āļ­āđ€āļĨāļĩāđˆāļĒāļ™ 2 āđ€āļœāđˆāļēāļžāļąāļ™āļ˜āļļāđŒāļ‹āļķāđˆāļ‡āļ­āļēāļˆāļ—āļģāđƒāļŦāđ‰āđ‚āļĨāļāļŠāļđāļāļŠāļīāđ‰āļ™āđ„āļ”āđ‰   Dumbo  āđ€āļ‚āđ‰āļēāļ‰āļēāļĒ 28 āļĄāļĩāļ™āļēāļ„āļĄ āļœāļđāđ‰āļāļģāļāļąāļšāđāļ™āļ§āđāļŸāļ™āļ•āļēāļ‹āļĩ Tim Burton āđ€āļ™āļĢāļĄāļīāļ•āđ€āļĢāļ·āđˆāļ­āļ‡āļĢāļēāļ§āļŠāļļāļ”āļ„āļĨāļēāļŠāļŠāļīāļāļ‚āļķāđ‰āļ™āļĄāļēāđƒāļŦāđ‰āļ­āļĩāļāļ„āļĢāļąāđ‰āļ‡ āļšāļ­āļāđ€āļĨāđˆāļēāđ€āļĢāļ·āđˆāļ­āļ‡āļĢāļēāļ§āļ‚āļ­āļ‡ Dumbo āļŠāđ‰āļēāļ‡āļšāļīāļ™āđ„āļ”āđ‰ āđ‚āļ”āļĒāđ€āļ§āļ­āļĢāđŒāļŠāļąāđˆāļ™āļ™āļĩāđ‰āļˆāļ°āđ„āļ”āđ‰āđāļĢāļ‡āļšāļąāļ™āļ”āļēāļĨāđƒāļˆāļĄāļēāļˆāļēāļāļāļēāļĢāđŒāļ•āļđāļ™āļ­āļ™āļīāđ€āļĄāļŠāļąāđˆāļ™āļ—āļĩāđˆāļ­āļ­āļāļ‰āļēāļĒāđƒāļ™āļ›āļĩ āļ„.āļĻ. 1941 āđ€āļĨāđ‡āļāļ™āđ‰āļ­āļĒ āđāļĨāļ°āļ™āļģāđāļŠāļ”āļ‡āđ‚āļ”āļĒ Colin Farrell, Michael Keaton āđāļĨāļ°Â Danny DeVito āđāļ„āđˆāļ”āļđāļ•āļąāļ§āļ­āļĒāđˆāļēāļ‡āļŦāļ™āļąāļ‡āļāđ‡āļšāļ­āļāđ„āļ”āđ‰āļ§āđˆāļēāļ•āđ‰āļ­āļ‡āļžāļāļ—āļīāļŠāļŠāļđāđˆāđ„āļ›āļ”āļđāļ­āļĒāđˆāļēāļ‡āđāļ™āđˆāļ™āļ­āļ™   Avengers 4 āđ€āļ‚āđ‰āļēāļ‰āļēāļĒ 3 āļžāļĪāļĐāļ āļēāļ„āļĄ View this post on Instagram Celebrate Marvel Studios’ 10th Anniversary with some of our favorite concept art from the past ten years. Photo Credit: