Kate debuts new hair as she celebrates wedding anniversary with Prince William in Scotland
The Princess of Wales has debuted a new hairstyle as she marked her 14th wedding anniversary with a trip to Scotland with Prince William.
Kate has been known for her trademark long, dark hair for years, but has now opted for a lighter, honey-brown hue as the northern hemisphere summer approaches.
The couple, who tied the knot in 2011 at Westminster Abbey, are currently on a two-day visit to the Isle of Mull, off the country's west coast.
The whistlestop tour will see them meet with local craftspeople, farmers and residents and help highlight the importance of protecting and championing the natural environment.
For their overnight stay, William and Kate are staying in a self-catering cottage, where it's expected they'll celebrate their special occasion privately.
The pair actually first met in Scotland, while they were classmates at the University of St Andrew's in Fife back in 2001.
They soon began dating, and wed on April 29, 2011, in a lavish royal event watched by an estimated billion people around the world.
Meanwhile, their Scottish getaway this week marks Kate's first overnight tour since her cancer diagnosis early last year.
She stepped back from royal duties after going public with her difficult news, undergoing chemotherapy for several months before announcing she had completed treatment in September.
Earlier this year, Kate revealed she is now in remission, and is continuing her gradual return to public life.
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Sydney Morning Herald
2 days ago
- Sydney Morning Herald
This master filmmaker realised his work was meaningless. So he made more art
When he won the Palme d'Or with Uncle Boonme in 2010, he was approached to make independent American films – but preferred writing his own and working with his trusted producers. So, was he never offered a Hollywood superhero movie? 'I wish,' Weerasethakul says. 'That would make my day.' But he quickly plays down his interest. 'I really like special effects so if I do it, it will be to learn that.' For the new installation, Weerasethakul wanted to create 'something about movement, about components of cinema, about activating space that is not normally there'. It continues one of the masters of slow cinema's fascination with dreams, nature, time, ghosts and memory. After earlier versions were exhibited in Bangkok and Japan, Weerasethakul recruited two artists from Bangkok experimental studio DuckUnit, Rueangrith Suntisuk and Pornpan Arayaveerasid, to create a new version with him for the MCA. He says installations allow him to create a different relationship between the viewer and the image than he can with a film. 'In cinemas, you just become zombies,' he says. 'Just hypnotised.' While he tries to break that down by making audiences more aware of time than in a conventional film – using such techniques as a meditative pace, unusual sounds and unexpected framing – an installation lets the viewer create their own experience. MCA senior curator Jane Devery says Weerasethakul is rare among artists for having equal status in film and visual arts. 'With film, it's generally 90 minutes long, you sit in a theatre and you're kind of directed how to behave and how to experience the work, whereas with installation the viewer has greater agency,' she says. 'You can choose what to look at, how much time you spend here, how you move around the work. So it's a very different experience.' When he last visited for the opening of an installation at the Sydney Biennale in 2016, Weerasethakul was planning to make his first film outside Thailand because of concerns about censorship at a politically volatile time. That became Memoria, which had Swinton as a Scottish expat in Colombia searching for the source of strange booming sound that only she could hear. Weerasethakul is no longer worried about Thailand authorities blocking artistic expression. Loading 'Questions [about] authority, the monarchy and all these taboos shifted really quickly and there are more younger people allowed to lead,' he says. 'As an older generation, I used to lose hope in living there and so-called freedom. Now it's much more open.' Despite that change, Weerasethakul is still planning to shoot his next film outside Thailand. He will shoot what's reportedly called The Fountains of Paradise, inspired by writer Arthur C. Clarke's life, in Sri Lanka with Swinton starring again. 'It's going to be focused on Sigiriya, this mountain rock in Sri Lanka,' Weerasethakul says. 'That's a big fascination for me. 'In Close Encounters of the Third Kind, Richard Dreyfuss was really attracted to this mountain. It's the same for me.' Swinton has become such a muse that she also features in a new installation opening in Amsterdam next month. 'Because of her playfulness, it's almost like she's water or something I can sculpt and play together,' he says.
The Age
2 days ago
- The Age
This master filmmaker realised his work was meaningless. So he made more art
When he won the Palme d'Or with Uncle Boonme in 2010, he was approached to make independent American films – but preferred writing his own and working with his trusted producers. So, was he never offered a Hollywood superhero movie? 'I wish,' Weerasethakul says. 'That would make my day.' But he quickly plays down his interest. 'I really like special effects so if I do it, it will be to learn that.' For the new installation, Weerasethakul wanted to create 'something about movement, about components of cinema, about activating space that is not normally there'. It continues one of the masters of slow cinema's fascination with dreams, nature, time, ghosts and memory. After earlier versions were exhibited in Bangkok and Japan, Weerasethakul recruited two artists from Bangkok experimental studio DuckUnit, Rueangrith Suntisuk and Pornpan Arayaveerasid, to create a new version with him for the MCA. He says installations allow him to create a different relationship between the viewer and the image than he can with a film. 'In cinemas, you just become zombies,' he says. 'Just hypnotised.' While he tries to break that down by making audiences more aware of time than in a conventional film – using such techniques as a meditative pace, unusual sounds and unexpected framing – an installation lets the viewer create their own experience. MCA senior curator Jane Devery says Weerasethakul is rare among artists for having equal status in film and visual arts. 'With film, it's generally 90 minutes long, you sit in a theatre and you're kind of directed how to behave and how to experience the work, whereas with installation the viewer has greater agency,' she says. 'You can choose what to look at, how much time you spend here, how you move around the work. So it's a very different experience.' When he last visited for the opening of an installation at the Sydney Biennale in 2016, Weerasethakul was planning to make his first film outside Thailand because of concerns about censorship at a politically volatile time. That became Memoria, which had Swinton as a Scottish expat in Colombia searching for the source of strange booming sound that only she could hear. Weerasethakul is no longer worried about Thailand authorities blocking artistic expression. Loading 'Questions [about] authority, the monarchy and all these taboos shifted really quickly and there are more younger people allowed to lead,' he says. 'As an older generation, I used to lose hope in living there and so-called freedom. Now it's much more open.' Despite that change, Weerasethakul is still planning to shoot his next film outside Thailand. He will shoot what's reportedly called The Fountains of Paradise, inspired by writer Arthur C. Clarke's life, in Sri Lanka with Swinton starring again. 'It's going to be focused on Sigiriya, this mountain rock in Sri Lanka,' Weerasethakul says. 'That's a big fascination for me. 'In Close Encounters of the Third Kind, Richard Dreyfuss was really attracted to this mountain. It's the same for me.' Swinton has become such a muse that she also features in a new installation opening in Amsterdam next month. 'Because of her playfulness, it's almost like she's water or something I can sculpt and play together,' he says.
Sydney Morning Herald
2 days ago
- Sydney Morning Herald
Why our biggest orchestra is headed out of the city and into the suburbs
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