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FILM CATEGORY
ALL WORKS

Young Lions Competitions Uzbekistan 2022
including participants from Kazakhstan and Kyrgyzstan
FILM JURY
Juan Pablo Valencia
Региональный креативный советник
FCB Artgroup (TICCA)
Анастасия Ли
CEO, Продюсер
Гибридная видео-продакшн студия DBLA
Узбекистан
Алексей Есипов
Продюсер, режиссер
Sintez Studio
Казахстан
CLIENT
The Ilkhom Center for Contemporary Art or the Ilkhom Theater is one of the first non-state theater groups in the Soviet Union. The only theatrical group independent of the state in Uzbekistan.

The Ilkhom Theater, one of the first professional non-state theaters in the history of the former Soviet Union, was founded in 1976 by director Mark Weil and a group of graduates of the Tashkent Theater and Art Institute. From the very beginning, the theater was formed as an ensemble consisting of freely improvising, sensitively hearing and understanding soloists.

The original name of ESTM was "Ilkhom" (experimental studio of theatrical youth - actors, artists, musicians, theater critics).
Years have passed. Since 1985, the time of freedom has come. By this period, "Ilkhom" managed to gain fame. As a truly independent theatre, somewhat ahead of its time, it managed to say a lot to the world before the outbreak of Perestroika and therefore did not want to repeat itself. Approximately from 1986 to 1990. “Ilkhom lost interest in plays with words and for a long time plunged into experimental work on performances without words. Performances-actions, visual theater-metaphor, theater of clownery. The life of a virtually new Ilkhom has begun. The actors who played the performances "Ragtime for Clowns", "Clomadeus", "Petrushka" brought new energy and a sense of the theater of the new time to Ilkhom.

Since 1989, the year the Studio of Dramatic Art was created on the basis of the theater, it can be considered that the next, or rather the third stage in the life of the Ilkhom Theater began. The graduation performance of the 1st studio (1993) was a fantasy performance about Samarkand, uniting the “Ilkhom” generations, based on the comedy “Happy Beggars” by K. Gozzi. The directors of the performance synthesized in it the traditions of the comedy dell'arte with the traditional Uzbek folk comedy - maskharaboz. To date, the theater has released Studio XI.
The fourth stage of the creative life of the Ilkhom Theater began after the tragic event of September 7, 2007 - the death of its permanent leader and founder, Mark Yakovlevich Vail. In memory of the deceased, Ilkhom became known as the Mark Weil Theater. Actor Boris Gafurov became the artistic director of Mark Weil's Ilkhom Theatre.
More than 10 years ago, the theater received the status of an NNO (Nongovernment Noncommercial Organiation) and became known as the Ilkhom Center for Contemporary Art (CCA Ilkhom).

The modern repertoire of Ilkhom is diverse - from works of world classics to works by young authors from all over the world, many of which were presented to the audience for the first time in this theater.
Today, the Mark Weil Theater "Ilkhom" is a cult place in the city that combines:
1. Theater venue - more than 20 performances: from world classics to modern drama.
2. Exhibition Hall - Public Art Festival, exhibitions of artists and photographers
3. Projects:
a. llkhomRockFest - performances by rock musicians
b. llkhomJazzCIub - jazz evenings, master classes, invited musicians from the CIS countries, Europe and the USA
c. Artyom Kim's laboratory "Theater + Music". Musical evenings of the Omnibus Ensemble
d. Inclusive theater laboratory - socialization of people with disabilities.
e. Master classes for adults and children in acting, vocals and stage speech
f. Contemporary Drama Festival

Thanks to its reputation and long-term creative connections, Ilkhom has been such a center for decades, bringing together actors, artists, and musicians.
“Our stage is just unedited life and real people. Finally, we are simply free to experiment with form and style in our performances, without declaring any commitment to any ideology” (Mark Weil).
PROBLEM
Over the past 10 years, attendance at the Ilkhom Theater has fallen by 40%.
The number of those wishing to enter the Professional Studio of the Ilkhom Theater has decreased by 70%. Which indicates a loss of interest in the creative profession.
People began to go to the theater less, because lack of technical equipment and financial dependence do not allow the theater to develop and remain attractive in the realities of the 21st century. Not only offline, but also online.

The problem is that we cannot produce a quality product and create new ones like the Center for Contemporary Art:
- Actors leave, they need to earn money;
- There is no way to hire professional marketers, designers who can package the product;
- There is no necessary technical base for creating unique performances;
- There is no prepared space to hold high-quality art residences;
- There is no space and opportunity to make our Studio with a unique system of education, created on the basis of the theater - free of charge.

We are ideal product manufacturers, but we are not professional enough to manage development, attract investments and agree on the terms of interaction with investors. We see a great future for the Ilkhom Center for Contemporary Art not only in the form of a theater, but also in other important formats - from music to visual art performances. But in order to reach this ideal future, where Ilkhom becomes a large and attractive center of modern culture, we need help.
SOLUTION
Creating a favorable cultural climate is the key to the prosperity of business in the country. That is why cultural ecology should be given no less attention than natural ecology. The attractiveness of a country for the emergence of local brands and for attracting international investment is largely determined by the level of its cultural development. Even professional specialists, when thinking about relocation, look at three factors, the country's financial potential, infrastructure, and spiritual needs. The theater falls into the last two. We call on the business community of Central Asia to become partners in solving this problem and to support the development of Ilkhom financially and technically.

This can be achieved through the creation of the Board of Trustees:
The Board of Trustees is the self-governing body of almost any popular theater - from the Moscow Art Theater to the National Theater of Great Britain. The Board of Trustees may include both investors and their representatives, including professional managers and specialists.

The tasks of the Board of Trustees are:
- Assistance to the Center for Contemporary Art "Ilkhom" in the development of the material and technical base, raising funds to ensure the activities of "Ilkhom";
- Development and implementation of plans for its activities in the interests of Ilkhom, its viewers and project participants;
- Assistance in improving the working conditions of the theater troupe;
- Strengthening the material and technical base;
- Assistance in the establishment and development of international cooperation in the field of theatrical art;
- And other targeted use of the funds of the Board of Trustees.
COMMUNICATION GOALS
Create awareness of the possibility and need to become a member of the Board of Trustees of the Ilkhom Center for Contemporary Art.
TARGET AUDIENCE
  1. Owners of large and small businesses
  2. Cultural funds
  3. Artists
  4. Banking structures
  5. International organizations
  6. Diplomatic Corps

Geography: Uzbekistan, Kyrgyzstan, Kazakhstan, Turkmenistan, Tajikistan
WHAT DO WE WANT THEM TO DO?
We want them to become interested in the opportunity to join the Ilkhom Board of Trustees and help revive the legendary Ilkhom Theater in a new, modern form, as befits a center of contemporary art.
KEY MESSAGE

Help us revive the legend.

WHAT ELSE DO YOU NEED TO KNOW?
First, Ilkhom is a repertory theater, on the stage of which world classics and modern dramaturgy are widely represented.
We are the only theater in Central Asia that uses subtitles for English speaking audiences.
Our audience largely consists of citizens of other countries who came to Uzbekistan for work or as tourists.

We have major awards:
- Prize "Action" (2006), established by the Council under the President of the Russian Federation for Culture and Art to support Russian theatrical initiatives for the Laboratory of Young Directors of the Central Asian Region and Kazakhstan.
- Prize Le Prix Paris-Europa / Paris - Europe (2007). The Paris-Europa Prize symbolizes Europe and aims to promote and reward the most significant projects in the field of theatrical arts and culture in general.
- In 2011, the Mark Weil Theater "Ilkhom" was awarded the Prince Claus Prize of the Netherlands Royal Foundation. The award is given to individuals, groups or organizations for outstanding achievements in the field of cultural and social development of society. The international jury awarded the Ilkhom Theater an award "for a high level of theatrical skill, a unique combination of modern theatrical forms with a classical theater school, street theater traditions and improvisation."
- Over the past 20 years, Ilkhom Theater performances have been presented at more than 35 International Theater Festivals in 22 countries, including Austria, Bulgaria, Germany, Italy, Holland, Denmark, Norway, Ireland, Yugoslavia, USA, Russia , Japan, France, Poland, etc., as well as 20 non-festival tours.

The strategic partner of the theater for many years has been the Swiss Cooperation Office of the Embassy of Switzerland in Uzbekistan.
Also, the projects of the theater at different times were supported by:
- Embassy of France in Uzbekistan
- Embassy of the Republic of Poland in Uzbekistan
- EU Mission in Uzbekistan
- UNICEF
- Goethe Institute in Uzbekistan
- US Embassy in Uzbekistan
- Embassy of Israel in Uzbekistan
- Embassy of Germany in Uzbekistan
- Fund for the Development of Culture and Art of the Republic of Uzbekistan
- Trademark Nescafe Gold
- BEELINE (Uzbekistan)
- Epson Company
- Yamaha (representation in Uzbekistan)
- KNAUF Company

We have never received subsidies from state organizations and cultural institutions of Uzbekistan.
MANDATORIES
- Theater logo
- Website of the Ilkhom Theater: http://ilkhom.com/
DELIVERABLES
1. A horizontal video film up to 60 seconds.
2. The written explanation (300 words) in a separate vertical/horizontal “.pdf” file A4:
- A short summary of what happens in the film (150 words)
- Cultural/context information (150 words). Please explain any cultural terms, references or viewing context which you feel need explanation.
3. Sound and voice(s) must be in Russian language.
4. Subtitles must be in English language.
5. No dubbing in English must be provided.
6. The film must be provided in “.mov” or “.mp4” formats. The written explanation must be provided in “.pdf” format (vertical/horizontal).
7. You can create as many films as you want and can.

No names, logos or any kind of information about participants on the creative work, please.
Files must be transferred via WeTransfer file sharing service. Internet link for the download must be provided to: official@canneslions.today until 21-00 +5GMT (Tashkent time) or 22-00 +6GMT (Almaty time), 1st of May 2022.
Filename of the film
must be XX Film YY where XX is the letter code of your country (UZ, KZ or KG) and YY is the number of your team (example KG Film 03). If you provide several films then add -01 or -02 to the name of the file (example UZ Film 05-01).
Filename of the Explanation must correspond to the name of the file with the film.
FILM WORKS
Film #1
GOD’S WILL
Description:
Evening. Office. A businessman goes through the mail and finds a letter in which his son confesses that he is gay.
In desperation, the father cries out to God. God promises to make things right if he helps Ilkhom.
The man searches the Internet for information and stumbles upon the Ilkhom Theatre website. This is a sign! He donates a large sum of money to the Theatre and immediately calls his son, but he doesn't answer.
At that moment, the father notices the flyer and realizes he has made a huge mistake: God has told him to help a terminally ill boy named Ilkhom.
Sounds fatal.
But the only truth of the story is that Theatre can die. And it will be the loss of the country's great son, misunderstood but native. God's will in the hands of those who are ready to help the Theatre.

Context:
How to explain to a person another's drama? How to convince him to invest his money not in a profitable business, but in art — invaluable with money and underestimated?
We tried to create a short novel in the best traditions of the Ilkhom Theatre — and dramatized a small death that brings back to life.
How does it feel to find out that your only heir is gay? How does it feel to find that out in a country that criminalizes homosexuality?
How does it feel to lose your most precious possession, the hope for the future you have invested all of yourself in?
Only the person who has lived it, at least pretend, can appreciate the great contribution that the sponsorship of the Ilkhom Theatre can make.
Film #2
WEIL DIDN’T DIE IN VAIN
Description:
The film, like the Theatre itself, raises an important philosophical question about the meaning of life. The past, present and future of the Ilkhom Theatre are metaphorically revealed through a poem
In the first part the viewer journeys into the past through the dark pages of Ilkhom's life — harsh censorship of art, threats to burn the Theatre for dissent, the murder of art director Mark Weil, and the risk of eviction by the Theatre's owner.
In the second part, the answer to the question "What is worth living for?" emerges and the great benefits that art and its inspirational guide, the Ilkhom Theatre, provide for human beings.
In conclusion, it is said that the life of Theatre is an extension of the life of Mark Weil himself, a person who died for art.
And only by supporting Theatre can we make sure that this death is not in vain.

Context:
The Ilkhom began as a small troupe with great ambition, seeking one thing in art: a piercing and sobering truth.
The Theatre blossomed under Mark Weil's direction. Audiences from around the world left rave reviews on the Theatre's walls. And Weil's play "The Happy Beggars" still draws full houses to this day for its lightness and time-sounding tone.
But there were other plays as well. More bold, frank and ahead of its time. Such was "The Imitation of the Koran" based on a poem by Alexander Pushkin. For this bold play the art director paid with his life.
Mark Weil was fatally stabbed to death in the entryway of his house, on the eve of the premiere play "Oresteia". Even bleeding on the operating table, he said: "I'm opening the new season tomorrow, no matter what happens..."
So how could a Theatre with such a history be allowed to die?
Film #3
CREATORS
Summary:
Film contains two main heroes — one is a businessman, another is an actor. During the film we see how they prepare for a presentation or for a performance. One of them writes a business plan, another writes a script for the play, a businessman explains the concept to his partner, and the actor is busy with a repetition of the play.
At the end both actor and businessman finish their speech — one does it for investors, another for the audience. Here we reveal that both actors and businessmen are in fact doing the same thing — they create.

Context:
The word “culture” means “something that was made, created by humans”. It means that businessmen, who build big companies and brands, and actors who make strong and impactful stories are not just entrepreneurs or artists — they are creators.
Film #4
ACT FOR CULTURE
Summary:
In the film we demonstrate a couple of contemporary dancers, who are representing Ilkhom theater.
While they dance, some other hands take away decorations on the stage one by one. Couple keeps dancing until hands take away the last decoration element, and when the stage becomes empty — the couple freezes and stays still.
After a while, an unknown man brings a chair to the stage, just when he puts the chair down, the couple continue dancing, as the stage is now not completely empty.

Context:
Ilkhom theater is a team of enthusiastic creators that keep on doing art while resources around are getting less and less. They do it because culture development is a very important aspect that helps Uzbekistan and its society to grow and evolve.
Through the metaphor of the stage that is getting more and more empty, we deliver a message that artists of Ilkhom keep working until the very last resource and support is still with them. At the end, we show a potential mecenate, who can bring a little help to Ilkhom, so that it could keep making art.
Film #5
MONEY THAT GAVE ULUGBEK
Summary:
The film is made in an abstract multiplication style, where we tell a story of Ulugbek, who donated to Ilkhom theater and how this donation impacts the country, city and people. We see how the troupe of artists get different ideas in their minds, transform them into art and deliver it to the auditory. Later we see how audiences get inspired by these ideas and start building their city, creating new businesses and making the country and society a better place. And all of it is a result of Ulugbek’s donation. And your donation, too. To declare this message we left a little “black mirror” at the end of the film, so that everybody could see that he/she can also be “Ulugbek”.

Context:
Usually social films are focused on triggering sorrow and almost never on real dividends that correct donations can give. In our film we decided to change emotional pattern and use more bright and creative forms to show that even a small action can lead to the birth of something massive and strong. Using a popular mechanic of a poem “House that Jack built” we illustrate how a little donation became a starting point for all plays, performances, and their cultural effect on people, who later create new businesses and develop their country and city. Also, using the cyclicity of a copywrite we show how small donations to art can again and again initiate a positive impact for society.
Film #6
TALENT IS TO BE SUPPORTED
Summary:
Ilkhom has been supporting talents since 1976. Now it’s time to support Ilkhom and unite in efforts to help new talents together, so that the movement can continue and the dream of Mark Weil can live on.
We decided to remind those who know Ilkhom well, and to inspire those who have yet to visit, by showing the intricate details that make up this magical kaleidoscope, as viewed through the eyes of a person coming to see a play. Journey through the gallery and buffet, down the steps under the watchful eye of the Master, and into the never- ending hallway, at the end of which awaits a promise of an unforgettable experience.

We shot the film on location at The Ilkhom Mark Weil Theater. We believe it was imperative for our story to be told among the halls, walls, lights and stage of this cultural phenomenon. We wanted to show everything that people adore in the theater, but lifeless, forgotten and abandoned. As our viewer hears the unique theater call and makes his way down the halls and towards the stage, he hears a voice. Not lifeless after all. Not forgotten. It’s a young actor declaring his rebellious cry for help in the form of a poem, calling for people to understand and remember that talent should always be upheld and supported. This is our message to the people who love art, who love theater and who love Ilkhom.

Context:
Through our research we came to the realization that the best theater trustees often come from the theater’s own audience. In the 46 years of its existence, The Ilkhom Mark Weil Theater has helped hundreds of young talents find their craft, became a staple of culture, loved and cherished by both the citizens and guests of Tashkent. Theater trustees usually provide at least one of 3 W’s - wealth, wisdom or work. Ilkhom’s loyal following is diverse and, we assume, must have many W’s - people willing to support the theater financially, provide knowledge on matters of both art and management, or simply work the ticket booth on weekends.
Film #7
Description:
The film illustrates an alternative reality, where integrated marketing and product placement has become the burden of art not only in movies and TV but also in theater. As the main characters act at the climax of the play, a grotesque and opaque commercial is run, where the lead character has to go out of character in order to play along with the commercial. Once the commercial is run, the lead character is lost and disgusted by what he did in order to survive, and contemplating the ways to return to acting the scene of the play where the climax was already disrupted by an advertisement.


Context:
The beauty of art is in its purity. This video demonstrates an exaggerated version of the harm that financial difficulties and commercial issues do on the art. And the main idea behind the video is that we should not let the art try to survive on its own; we must support the artists and Ilkhom theater in particular so that the burden of such issues is not their main concern and financial issues are not resolved at such a high cost.
The disruptive advertisement is a direct reference to the integrated marketing campaigns that online betting and online casino companies place in pirated and low quality movies. And just as irritating and unfitting those ads are in real life, these commercials appear in the most unsuitable moments in order to abuse the pinnacle of the play. And essentially, the scene in the play is where the actor has to die.
Film #8
Description:
The film illustrates an alternative reality, where integrated marketing and product placement has become the burden of art not only in movies and TV but also in theater. As the main actress is playing the climax of the play, a grotesque and opaque poster of a betting company is placed ahead of the characters, and the viewers are unable to see or hear the scene behind the poster. Once the banner is taken out, both of the characters are lying dead on stage, and the viewers have missed the pinnacle of the scene.

Context:
The beauty of art is in its purity. This video demonstrates an exaggerated version of the harm that financial difficulties and commercial issues do on the art. And the main idea behind the video is that we should not let the art try to survive on its own; we must support the artists and Ilkhom theater in particular so that the burden of such issues is not their main concern and financial issues are not resolved at such a high cost.
The disruptive advertisement is a direct reference to the integrated marketing campaigns that online betting and online casino companies place in pirated and low quality movies. And just as irritating and unfitting those ads are in real life, these commercials appear in the most unsuitable moments in order to abuse the pinnacle of the play. And essentially, the scene in the play is where the actors are dead.
Film #9
Idea:
Behind every great person is a great team. Magellan was the first to travel around the Earth, but he could not have done it alone: without partners, support and funding.
Even behind such a loner and an outcast like Van Gogh, there was his faithful brother and
comrade-in-arms - Theo.
It would seem that not only the head of the family, but all his relatives are involved in the simple task of pulling out a turnip.
In the video, we wanted to show that the artists of the Ilkhom Theater told stories and continue to do so, despite the difficulties. But in order for the theater to survive in the modern world and create the history of the culture of Uzbekistan, it also needs support.
Film #10
Description & Context:
This film illustrated the real life of people, dramatizing the problem of theatrical and other cultural figures who had to forget about the purpose due to the decline in popularity of cultural institutions in general. This is all reflected in the nostalgic performance of the role of Shakespeare's popular dramatic scene “to be or not to be” in the hangar of the construction facility, where they imagine themselves as theatrical heroes again. After all, people who have devoted themselves to the great have to work at unloved and hard jobs due to the decline in the popularity of theaters. By doing this, we wanted to remind people of the importance of talented people for the continued development of the cultural pride of the profession and legendary theaters that were forgotten in the digital era. The monologue "To be or not to be" with a subtitle implies many hidden themes: the purpose of people, art, nostalgia and, at the same time, faith in the best. Subconsciously, the devastation around shows the current state of the theater in an exaggerated form, which causes emotional sensitivity for honor, patriotic feelings and a desire to help through a “Call to Action” in the end of the film.

By this, we wanted to remind people the importance of theaters to continue living and developing, because by becoming a member of the Board of Trustees, they giving way more than the money - they giving people a chance to continue playing as freely improvising, sensitive hearing and understanding soloists and to popularize, strengthen, and revive the heritage of art and culture.
Economic rise, developed infrastructure, and spiritual needs are factors that's Uzbekistanians are paying attention at now. After all, culture and art is part of the education of the whole country, the whole society and one of the touristic attractions. This is a problem that all CIS multicultural mentality countries have, which the film will address if it becomes viral. We consider all target audience (such as international organizations, diplomatic structures and governmental structures most importantly) confronting truth and assisting in the solution of the problem, as well as successfully managing the theater morally and technically. Culture and art and also unite real people of multi cultures and diverse ethnics despite their belongings.

Proposal/Ideas for the future:
In Uzbekistan, the internet payment system, as well as charity transfers, have been actively developed in recent years and have quickly acquired popularity. Furthermore, the Central Asian mentality as a whole possesses the ability to aid and support people in need, as well as a desire for their civilization to remain strong. Our further suggestion is to set up an online payment or contribution account for anyone who wishes to donate (and maybe feel important as it is a need of all people). Moreover, integrating and partnering with bloggers, volunteers, and other culture-interested individuals would encourage others, promote awareness, and re-popularize theaters.
Film #11
Description:
This video begins with the fact that the screen shows photos of famous entrepreneurs who have changed the world with their products. Each of them is an engine of progress in this world and their stories inspire millions of people.
The video is accompanied by calm music, and all photos are illuminated by the light from the spotlight.
The key to the prosperity of any business in the country is a favorable cultural climate.
In the video, we presented a world in which there was no culture. And in a world without culture, there are no products that our world is rich in.
The message of this video is that business makes our world richer, and theater makes it more spiritual and cultural. Let's do it together.
The video appeals to entrepreneurs to support the Ilkhom Theater, become a member of the Board of Trustees and contribute to its development.

Context:
First of all, entrepreneurs think about their product and business, so we consider the loss or absence of these things in their lives as an emotional trigger in order to become part of the Board of Trustees.
Film #12
INSIGHT:
Each person is interested in what is directly related to him.
CAMPAIGN SUMMARY:
The Ilkhom Theater is one of the first independent theaters in history, which has shown thousands of incredible productions to the audience in more than 22 countries throughout its existence. Each of which is distinguished by its uniqueness and emotions experienced by the audience. These emotions are which connect visitors with the theater, give it the opportunity to feel each new story and experience it together with the actors. In our video, using footage of real productions of the theater by Mark Weil, we tried to convey the richness of the theatrical world, the versatility of its inhabitants and the impossibility of existence without an audience. Using call to action in the final frames of the video, we planned not only to interest the viewer in his involvement, but also to attract investors, without whom such an immense theater culture would not be able to develop further. After all, the theater begins when the audience appears ...
CULTURAL/CONTEXT INFORMATION:
Most of the frames used in the video are real shots of the Ilkhom Theater productions.Each of them is a unique cultural phenomenon and has no analogues abroad.That is why it is worth emphasizing the importance of the development of the art world, clearly demonstrating how vast it is.
Film #13
Description & Context:
In this video we used a popular in TikTok and easily recognizable form of humorous sketch. The main character is a grotesquely shown representative of one of the target audiences - a business owner who wants his business to flourish. Through dialogue with him, we talk about the possibility of becoming a trustee of the foundation, as well as about the positive consequences of such a decision.
Организатор конкурса Молодые Львы Узбекистана 2022
Школа Креативной Смелости Асхата Ускембаева
- Тренинговая и консалтинговая компания, работающая с рекламодателями, коммуникационными агентствами, ВУЗами в Казахстане, России, странах Центральной Азии и Восточной Европы.
- Эксклюзивный официальный представитель Международного Фестиваля Креативности Каннские Львы в Казахстане, Кыргызстане, Узбекистане, включая крупнейшие региональные фестивали креативности Spikes Asia, eurobest, Dubai Lynx, AMES.
- Издатель книги "Аргумент в пользу креативности".
Партнеры конкурса Молодые Львы Узбекистана 2022
MA'NO Branding
Брендинговое агентство - 3 года подряд лучшее в Узбекистане и Центральной Азии.
Маркетинговая Ассоциация Узбекистана
Маркетинговая ассоциация Узбекистана – крупнейшее профессиональное сообщество Центральной Азии. Создано в декабре 2016 года. Сегодня Ассоциация – это более 120 компаний партнеров и более 100 экспертов в области маркетинга. Целью Ассоциации является объединение юридических лиц и экспертов, заинтересованных в развитии маркетинга в Узбекистане, представление профессиональных интересов, совершенствование профессиональных норм и развитие кадрового потенциала маркетинговой отрасли, международное сотрудничество в области маркетинга и рекламы.
КОНТАКТЫ
E-mail: official@canneslions.today
Телефон: +7 701 715 3035
Telegram: Young Lions Uzbekistan