The title is not simply borrowed interest: The film emulates the painting in a deeply respectful way, in setting, but also in its lengthy, episodic sweep and its deceptive, loose-yet-controlled aesthetic, which evokes the airy yet precise strokes of Huang’s inkbrush.
His first feature film was “Rebels of the Neon God” in 1992, a film about troubled youth in Taipei, and with his second film, “Vive L’Amour” in 1994, won the Golden Lion (best picture) at the 1994 Venice Film Festival. Along with Edward Yang and Hou Hsiao-hsien, Tsai Ming-liang is one of Taiwan’s most prominent Taiwanese directors.
In occasion of the screening of his Vr film “The Deserted” and a selected retrospective of his movies at the Taiwan Film Festival UK in London we speak with him about a different approach to Vr cinema,
Where there were numerous trees.
I could not find his trail
But saw the trees in the breeze.”
After the shooting on his 2001 film “What Time Is It There?” was finished, one of the central locations for the movie, the Skywalk in front of New Railway Station in Taipei was torn down. As the urban landscape changes, so does the memory of a place, resulting in a loss of orientation in people. His short feature “The Skywalk Is Gone” can therefore be seen as both a companion piece to “What Time Is It There?” but also as a further exploration on the changing face of the city and the loss of memory that comes with it.
At the centre of the film, a young woman named Hsiang-chi (Chen Shiang-chyi) tries to find a street vendor, Hsiao-kang (Lee Kang-sheng). However, since the Skywalk where the vendor
Along with the Criterion Collection and Janus Films’ library of 1,000 feature films, 350 shorts, and 3,500 supplementary features–including trailers, introductions, behind-the-scenes documentaries, interviews, video essays, commentary tracks, and rare archival footage–the service will also house films from Sony Pictures, Warner Bros., Paramount Pictures, Metro Goldwyn Mayer (MGM), Lionsgate, IFC Films, Kino Lorber, Cohen Media, Milestone Film and Video, Oscilloscope, Cinema Guild, Strand Releasing, Shout Factory, Film Movement,
seems like a broken face…”
If we walk the place of our childhood, comparing it to the place we remember often reveals a stark contrast to the present. Of course, places and people change over time, but the reality of something having changed, perhaps beyond recognition is quite shocking and demonstrates our own state of helplessness in the face of time. Literature, film, art and even music have always been ways to preserve these images, these times, places and people we remember in order to stop the mercilessness of forgetting what once was.
In many ways, Chinese director Zhu Xin has therefore chosen one of the fundamental tasks for his first feature, which is art as a means to preserve. Growing up in the city of Hangzhou, he aimed to construct “Vanishing Days” as a kind of map based on how it is now and how he remembers it.
A “veteran” of Fresh Wave, Hing Weng Eric Tsang has participated in different roles to many editions. Last year he was the Dop behind his friend’s Jun Li’s short “Liu Yang He” that won the Fresh Wave Open Division Best Film Award. This year Eric – who seems to have a Mida’s touch – is on the director’s chair with a movie that he has also written, “The Umbrella”, and that is – again – the winner of the Fresh Wave Best
Why wait? The time for such think pieces is now, especially since Hollywood’s tendency to snub Asian talent is hardly limited to studio projects. Just compare the history of Oscar’s foreign-language category to that of world cinema overall, where the influence of such Asian masters as John Woo, Wong Kar-wai, Jia Zhangke and Edward Yang has been ignored over the years. And if the organization doesn’t wake up and realize the bias,
This year’s list was curated from top 10 lists from 209 film critics across 43 countries, including IndieWire’s own Kate Erbland and Christian Blauvelt. BBC Culture awarded 10 points to each critics’ first-ranked film, 9 for the second-ranked, and so on down to one. The finalized top 100 list was curated based on this point system.
Sitting on the top of the BBC Culture list is Akira Kurosawa’s “Seven Samurai.” The film’s breathtaking scope and intimate character work has
In the aftermath of the New York Film Festival, reporter Vincent Canby wrote an article about the films of the festival he aptly named “Why Some Films Don’t Travel Well”. Works such as Zhang Yimou’s “Red Sorghum”, Andrei Konchalovsky’s “Asya’s Happiness” and Hou Hsiao-Hsien’s “Daughter of the Nile” are mostly relevant thanks to their “sociology factor” Canby begins his article, an aspect that these works are and have been applauded for around the world while as films themselves they are not that interesting. Hou Hsiao-Hien, one of the most popular directors of Taiwanese New Cinema along with Edward Yang, was still trying to find a cinematic language for his films, one which strongly resembled the works of Yasujiro Ozu in terms of style and content, the sense of resignation, as
Having expanded to include the cinematic offerings of 13 countries – China, Japan, South Korea, North Korea, Taiwan, Hong Kong, Singapore, Indonesia, Philippines, Thailand, Vietnam, Malaysia and Myanmar – Leaff’s 2018 programme focuses on the “future”. Through the lens and unique perspectives of East Asian filmmakers, Leaff offers compelling insight into not only the future of those in East Asia but in London, with vital and thought – provoking dialogues being opened up around subjects such as youth, human interaction, development, cultural and social issues.
Leaff will screen 6 International premieres, 8 European premieres and 23 UK premieres,
First-time feature director Jenny Lu directs this intensely felt personal drama about the immigrant experience in the UK and the accompanying state of invisibility – part survival strategy, part byproduct of prejudice and hypocrisy.
Tina, played by Teresa Daley, is a young Taiwanese arts graduate living with her British boyfriend in London, frantically sending out CVs, getting no job offers and desperately short on cash. Then she gets word that someone needs a “receptionist”, but not at the kind of hipster media company she once yearned for. Tina has to be the “receptionist” for a brothel run out of a rented suburban semi by the motherly Lily (Sophie Gopsill), which employs two cynical yet melancholy sex workers.
We’ll be beautiful people again
With beautiful lives.”
One of the central themes of the cinema of Taiwanese director Tseng Ying-ting is human interaction and how outside factors from politics to economy influence it. In his new film “The Last Verse” he and his co-writer Shih Hong-ru focus on how globalization and growing democratization have influenced our world, but especially Asian countries. In his statement on the film the director describes how “the escalating poverty and hopelessness in the seemingly rich society” has become the thematic core of the film.
The Last Verse is screening at the 17th New York Asian Film Festival
However, especially economic factors as well as immigration play a huge role in how many young people experience the world. As recession forces people to leave their homes and their families, both of these concepts have changed their meaning since they became more international.
On the occasion of the international premiere of his film “Cyclops” at the Nippon Connection – Japanese Film Festival , director Norichika Oba talks about the current state of the Japanese movie industry, his troubles shooting on a small budget and ultimately reveals the meaning of the Cyclops.
Your debut film “Nora” came out in 2010 and won several awards. “Cyclops” was released eight years after that. What happened in between that?
I had wanted to film another movie for some time. But I didn’t see the point in hurrying the creative process just to shoot a film quickly.
Japan’s Skip City International D-Cinema Festival has unveiled the line-up for its 15th anniversary edition (July 13-22), including a new competition section for Japanese features.
The Japanese Feature Film Competition will screen four titles from young Japanese filmmakers, including two world premieres – Kenichiro Hiro’s coming-of-age drama Beyond The Blue and Shinzo Katayama’s Siblings Of The Cave, starring Yuya Matsuura and Misa Wada.
The remaining two films in this section are Hiroyuki Takebayashi’s High Sentiments Family and Norichika Oba’s Cyclops. In previous editions of the festival,
The best retrospective of 2018 thus far is the Sylvia Chang series, which wraps up with Edward Yang, King Hu, Jia Zhangke, and the woman herself.
A few more Kubrick films screen this weekend.
What did Hitchock and Jarmusch have in common? Birds, it turns out.
Restorations of A Fistful of Dollars and The Changeling are now playing.
The best retrospective of 2018 thus far is the Sylvia Chang series, which in its first weekend along offers Edward Yang, Johnnie To, Tsui Hark, and the woman herself.
More Kubrick films screen this week.
What did Hitchock and Jarmusch have in common? Birds, it turns out.
Godard’s underseen A Film Like Any Other plays on Friday.
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