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The MOViE MOViE channel (Now TV ch116) has always strived to showcase award-winning films, or films featured in international film festivals. Following a focus on works featured at Cannes in May, the channel will premiere a number of acclaimed heavy-hitters, including: a new digital restoration of the Oscar-nominated Dogtooth; the topical sensation Conclave; and a depiction of the life of “La Divina” – one of the great voices of opera: Maria Callas – in the biopic Maria. You really don’t want to miss this!
Greek director Yorgos Lanthimos earned 11 Academy-award nominations in 2024 with Poor Things, ending up with four wins, Emma Stone’s Best Actress win among them. Back in 2009, Lanthimos’ controversial and shocking Dogtooth won the Un Certain Regard Prize. Conclave garnered widespread international acclaim across many award circuits, and with the recent relevancy of the papacy, the film has resurged into the cultural spotlight. Maria brought a Golden Globe Best Actress nomination for Angelina Jolie, as well as an Oscar nomination for Best Cinematography. Someone once said, fear of loss comes from the joy of having!
For this issue’s Life Behind Movies section, we’ve invited the Love Lies screenwriter and director Ho Miu Kei to speak on this theme of loss, her experience and perspectives as a filmmaker, as well as her personal Topicks. The MM team also had the pleasure of conducting an interview with Shiori Ito, the director of Black Box Diaries who recently visited Hong Kong for a press run; she spoke of her experience with sexual assault in the workplace: the trauma and pain she endured, which she believes, through the power of creation, became her voice – that in the form of a film, faithfully tells her story in her own words.
In the face of fear, the steeled and brave you, with arms open wide, can carry much more!
P.S. MMM 小編在今期花了不少心思創作一個 crossword 小遊 戲。不妨試玩一下，看看你有多了解 MOViE MOViE 電影頻 道的片庫！
EMMY
所有文章內容僅代表作者個人 觀點及意見 並不代表本刊立場 the views, information, or opinions expressed in the magazine are solely those of the individuals involved and do not necessarily represent those of movie movie
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EDITORS’ NOTES
在手忙腳亂的趕稿日子使我更把握時間觀賞影 視作品 ，最近時常在連看 2 集 La casa de papel （Money Heist）抑或看 1 套 2 小時半起跳的電影 作掙扎 ，但最後我都會選擇先看 1 集半的 La casa de papel 然後再看一套 2 小時半的電影 。 Sleep is for the weak!
P.S. We’ve included a small crossword in this issue of MMM Have a go at it, see how much you know MOViE MOViE’s catalogue! （人少少講個秘密比大家知 icon is my comfort food
I’ve been making bread lately. I hope to make more of the sort. Also, I have been eating a lot of mangosteens – it’s one of the only reasons I look forward to the summer.
MOViE MOViE
text by phoebe chiu director of movie movie
相隔一年半，【 LIFE IS ART 光影藝術祭 2025 】將於 6 月 6 日至 29 日回歸！
The year is 1995. Mangya, A northwestern border town of China has become a ghost town since the once-prosperous mine and border trade shut down. The town has become an island, isolated from the outside world.
There is only one police station with three police officers and one gun. XIA Ran, a retired soldier, has spent over a decade here. There’s a saying that he’s the last survivor of the battlefield but he never talks about his story.
Sandstorms hit the town once a year, and a catastrophic, once-in-a-decade sandstorm is forecasted for this year. The storm looms on the horizon; the final transport out of town has long left. In the dead of night, five corpses are tossed into the oil tank in the town’s sole gas station. The piercing silence is interrupted by a pack of uninvited guests.
However, what frightens XIA Ran more than the murders is that the gas station’s tank has been emptied and the town’s phone line has been severed. As the sandstorm closes in on Mangya, he realizes that everyone in town has been trapped. Even worse, it seems that some of the town people have their own secrets too...
TRAPPED
《 28 年後》
28 YEARS LATER
導演 director
丹尼波爾 danny boyle
演員 cast
艾菲威廉斯 alfie williams
祖迪高瑪 jodie comer
阿倫泰勒約翰遜 aaron taylor-johnson
賴夫費恩斯 ralph fiennes
志路易斯帕利 chi lewis-parry
上映日期 19-6-2025
Sony Pictures is set to release 28 Years Later, the highly anticipated third installment. Days became weeks. Weeks became years. What has society become in this post-apocalyptic world?
Academy Award®-winning director Danny Boyle and Academy Award®-nominated writer Alex Garland reunite for 28 Years Later, a terrifying new story set in the world created by 28 Days Later It’s been almost three decades since the rage virus escaped a biological weapons laboratory, and now, still in a ruthlessly enforced quarantine, some have found ways to exist amidst the infected. One such group of survivors lives on a small island connected to the mainland by a single, heavilydefended causeway. When one of the group leaves the island on a mission into the dark heart of the mainland, he discovers secrets, wonders, and horrors that have mutated not only the infected but other survivors as well.
獻映 。
HANS ZIMMER & FRIENDS: DIAMOND IN THE DESERT
導演 director
paul dugdale
演員 cast
hans zimmer
billie eilish
christopher nolan
denis villeneuve
timothée chalamet
zendaya
25-6-2025
Hans Zimmer & Friends: Diamond in the Desert captures an extraordinary live performance of some of Zimmer’s most revered compositions, including music from Dune, Gladiator, Interstellar, The Lion King, and much more. Decades of cinematic masterpieces are brought to life by his band and a world-class orchestra at Dubai’s iconic Coca-Cola Arena and beyond. From the dunes of the Arabian Desert, to the heights of the Burj Al Arab, these performances deliver an intimate and unique experience of Zimmer’s most loved and renowned movie soundtracks.
Featuring conversations with Billie Eilish, Sir Christopher Nolan, Denis Villeneuve, Finneas, Jerry Bruckheimer, Johnny Marr, Pharrell Williams, Tanya Lapointe, Timothée Chalamet and Zendaya, the film offers viewers a rare glimpse into Zimmer’s creative process, exploring the drive to create and stories behind his closest collaborations.
Jerry Bruckheimer serves as Executive Producer. Directed by Emmy-winning and multi Grammynominated Paul Dugdale, this film captures the magic and storytelling power of Zimmer’s music in an unforgettable cinematic experience.
Limited Hans Zimmer & Friends: Diamond in the Desert screenings exclusively at Broadway Cinemas!
百老匯院線獨家限量呈獻 Hans Zimmer & Friends: Diamond in the Desert ！
Hans Zimmer & Friends: Diamond in the Desert 捕捉了一場非凡的現場音樂表演，當中包括了
Hans Zimmer 一些最被推崇的作品 :《沙丘》、《帝 國驕雄》、《星際啟示錄》和《獅子王》等經典配樂。 數十年的電影配樂傑作由他的樂隊和世界級管 弦樂團在杜拜標誌性的可口可樂體育場及其他地 點華麗呈現。從阿拉伯沙漠的沙丘到帆船酒店的 高處 ，這些演奏帶來了一場深入人心且獨特的音 樂體驗 ，讓觀眾沉浸於 Hans Zimmer 最受喜愛的 電影配樂之中 。
由 Jerry Bruckheimer 擔任執行製作 ，艾美獎得 主和多次獲得格林美獎提名的 Paul Dugdale 執 導 ，完美捕捉了 Hans Zimmer 音樂的魔力和敘事 魅力 ，為觀眾帶來令人難忘的觀影體驗 。
《 HANS ZIMMER & FRIENDS: DIAMOND IN THE DESERT》
《 腓尼基大作戰》 THE PHOENICIAN SCHEME
導演 director
韋斯安德遜 wes anderson
演員 cast
班尼斯奧狄多路 benicio del toro
米亞薛爾波頓 mia threapleto
米高施拿 michael cera
裏茲阿邁德 riz ahmed
湯漢斯 tom hanks
拜仁鈞士頓 bryan cranston
上映日期 29-5-2025
1950. Anatole “Zsa-zsa” Korda (Benicio del Toro), enigmatic industrialist, one of the richest men in Europe, survives another attempt on his life (his sixth plane crash). Korda’s wide-ranging, wildly complex, and ruthless business practices have made him an enemy to not just rival enterprises but also governments of every ideology across the globe – and a target for assassins. Now he is in the final stages of a decades-long, careerdefining project (Korda Land and Sea Phoenician Infrastructure Scheme), the expansive exploitation of a potentially-rich/long-dormant region. The risk to his personal capital has become incalculable. The threats to his life are ongoing. He chooses this moment to appoint and prepare a successor: his twenty-year-old estranged daughter Liesl (currently, a nun).
With personal tutor Bjorn (Michael Cera) in tow, Zsa-zsa and Liesl sweep across Modern Greater Independent Phoenicia meeting their assorted partners on a mission to close The Gap (a rapidly expanding financial shortfall) which Zsa-zsa quantifies as: “Everything we got – plus a little bit more.”
Along the way: Liesl investigates the unsolved murder, a decade earlier, of Zsa-zsa’s first wife (her mother).
In Zsa-zsa Korda, Wes Anderson, Roman Coppola, and (especially) Benicio del Toro create an instantly iconic antihero. Inscrutable, compelling, worldly, and completely singular in Wes Anderson’s world. Del Toro’s dominating, magnetic presence, on screen in nearly every scene, delivers a character for the ages. Exhilarating and hilarious, a work of pure pleasure, but also strikingly moving as a father and daughter find each other.
From three-time Oscar® nominee and Golden Globe winner Dean DeBlois, the creative visionary behind DreamWorks Animation’s acclaimed How to Train Your Dragon trilogy, comes a stunning liveaction reimagining of the film that launched the beloved franchise.
On the rugged isle of Berk, where Vikings and dragons have been bitter enemies for generations, Hiccup (Mason Thames; The Black Phone, For All Mankind) stands apart. The inventive yet overlooked son of Chief Stoick the Vast (Gerard Butler, reprising his voice role from the animated franchise), Hiccup defies centuries of tradition when he befriends Toothless, a feared Night Fury dragon. Their unlikely bond reveals the true nature of dragons, challenging the very foundations of Viking society.
With the fierce and ambitious Astrid (BAFTA nominee Nico Parker; Dumbo, The Last of Us) and the village’s quirky blacksmith Gobber (Nick Frost; Snow White and the Huntsman, Shaun of the Dead) by his side, Hiccup confronts a world torn by fear and misunderstanding.
As an ancient threat emerges, endangering both Vikings and dragons, Hiccup’s friendship with Toothless becomes the key to forging a new future. Together, they must navigate the delicate path toward peace, soaring beyond the boundaries of their worlds and redefining what it means to be a hero and a leader.
Set against the vibrant backdrop of a 1960s-inspired, retro-futuristic world, Marvel Studios’ The Fantastic Four: First Steps introduces Marvel’s First Family – Reed Richards/Mister Fantastic, Sue Storm/Invisible Woman, Johnny Storm/Human Torch and Ben Grimm/The Thing as they face their most daunting challenge yet.
Johanne falls in love for the first time, with her teacher. To preserve her feelings, she documents her emotions and experiences in writing. When her mother and grandmother read what she has written, they are initially shocked by its intimate content but soon see that it has literary potential. As they debate whether to publish it, Johanne navigates the gap between her romantic fantasy and reality, and all three women confront their differing views on love, sexuality, and selfdiscovery. Part of the SEX-DREAMS-LOVE trilogy of Norwegian novelist and writer-director Dag Johan Haugerud, the tender coming-of-age tale won the Golden Bear at the Berlin International Film Festival.
The fundamental question of what “sex” truly is remains ever-present in our minds. Is it merely desire, or is it something that defines us? Is the act of sex a means of possessing another’s body, or is it a yearning for intimacy when our bodies collide? In the first installment of Dag Johan Haugerud’s Oslo Trilogy, these questions are explored by two heterosexual married men who undergo unexpected experiences that challenge their perceptions of sexuality, gender, and identity. One, in his bewildering dream, encounters David Bowie, gazing at him as if he is a woman. The other has a sexual encounter with another man, without considering it either as an expression of homosexuality, or infidelity as long as he is being honest with his wife. Both begin to strip away the masks imposed by society, liberate themselves from conventional morality, and embark on a journey to uncover the unspoken truths behind sexual desire. Panorama, Berlinale.
In Love, the second installment of Dag Johan Haugerud’s Oslo Trilogy, middle-aged doctor Marianne finds herself drawn into a world of spontaneous intimacy after following a fellow nurse, Tor’s, suggestion. To understand the most ambiguous concept of love, they navigate their respective relationships, Marianne with a divorced geologist and Tor with an older man confronting his past. Through intimate companionship, endless conversation, and gentle compassion, they contemplate the nature of love. Set against the vibrant backdrop of Oslo, the film celebrates individualism while redefining love in a modernized world. In Competition, Venice Film Festival.
Parthenope, born in the sea of Naples in 1950, searches for happiness over the long summers of her youth, falling in love with her home city and its many memorable characters. From Academy Award-winning filmmaker Paolo Sorrentino comes a monumental and deeply romantic story of a lifetime. This tale is a no-holds-barred exploration of the relentless pursuit of freedom, the insatiable love for a city with countless faces, and the myriad forms of love itself – some uplifting, some destructive, some kept secret. Parthenope is surrounded by the vibrant, fallen, and ironic souls of Naples, tragically beautiful in their despair. In Competition, Cannes Film Festival. 15 David Di Donatello Nominations, including for best film, director, actress, actor, original screenplay, and cinematography.
In a Hong Kong theater, far from the Academy Awards where her documentary was recently nominated and the Japanese society it critiques, Shiori Ito stands with perfect posture, her responses measured yet unflinching. The audience has just witnessed Black Box Diaries, her chronicle of sexual assault and institutional betrayal – a film that exists, as she explains, only because justice failed her.
“If I didn't suffer, maybe I wouldn’t have even thought about making a film,” Ito reflects, her voice steady despite the gravity of her words. “If I had no problem to report to the police, I wouldn’t have gone public. If I had no problem with how the media reported or how the justice system worked, I wouldn’t have written a book or made a film.”
Back in 2017, Ito did something few Japanese women had ever done – she publicly accused her aggressor of sexual assault. The backlash hit hard and fast. Threats forced her to flee Japan, finding sanctuary with two women in London who offered her both a safe house and, crucially, the support to begin documenting her story.
The film’s title comes from Ito’s personal diaries, journals she kept throughout her ordeal that became the backbone of a documentary that took over four years to edit. She published her first book shortly after going public with her allegations in 2017. Unlike the memoir, which she wrote as a journalist without putting in her emotions, the film let her tell her story as a survivor.
This duality of being both subject and storyteller presented unique challenges. “I’ve made many other documentary films about other people’s lives, and there I can do my work as a director,” she explains. “But when I had to tell my own story, it was a challenge. I didn’t know how much emotion I could show. And I had to learn to be vulnerable.” The filmmaking process itself became a form of exposure therapy. “My editor and I had to face over 450 hours of footage. And it was reliving the trauma I wish I could have forgotten, but I faced it.”
One particularly poignant scene features footage of Ito contemplating suicide, which she had no memory of recording until her editor discovered it a year into the editing process.
“When you are at your lowest point, you have no energy. And when you start recovering, it’s really dangerous,” she reflects. What kept her alive was her determination not to become “a bad example,” to prove that speaking out about sexual violence didn’t have to end in destruction.
Throughout the film, unexpected allies emerge, notably a hotel doorman who witnessed crucial evidence and an investigator who supported her case. Ito refers to them as her “heroes”, even as she acknowledges the systemic failures they operated within. “It’s not about these individuals,” she clarifies. “What I want to talk about is the system, the legal system, the media, and how we seek justice.”
Her courage has led to real change. In 2017, shortly after she went public, Japan updated its sexual assault laws for the first time in 110 years, expanding the definition of rape to include male victims. In 2023, the age of sexual consent was raised from 13 to 16. Yet, Ito points out that consent itself remains poorly addressed in Japanese law – a gap she hopes her film will help close.
Despite its international success, Black Box Diaries has yet to be screened in Japan. When asked why, Ito chooses her words carefully. “There are many obstacles,” she says, adding that such challenges aren’t unique to Japan. “When you talk about sexual violence, remember sometimes it comes with power corruption, and that makes it so difficult.”
However, the film isn't all darkness. There are moments of unexpected humor, too. “It was important to break the stigma,” Ito explains. “Survivors aren’t just crying. We have an everyday life. We laugh.”
As the conversation concludes, Ito offers a statement that complicates the narrative of the brave truth-teller that has been constructed around her. “The most important thing is to stay alive. Survival is most important,” she advises to anyone who might be struggling. “I've been told that I’m brave, but I’m not.”
This disavowal of heroism represents perhaps Ito’s most radical act in a culture that often reduces complex narratives to binary oppositions. Through her film and her continued engagement with audiences worldwide, she insists on the messy, unresolved nature of trauma and recovery, on the possibility of speaking without claiming moral superiority, and on the right to tell one’s story without becoming a symbol.
In a world increasingly skeptical of institutional authority yet hungry for uncomplicated heroes, Ito offers something more valuable: a testament to the transformative potential of personal pain. “Something that makes you suffer can also be energy to tell a story,” she reflects, articulating the alchemical process through which trauma becomes testimony. “I think because I suffer, I start creating what I wanted to tell.”
Through her film, Ito breaks the suffocating silence around sexual violence in Japan. Where her culture demands discretion, she offers unwavering revelation – not as a crusader, but as a witness who understands that what remains hidden cannot be healed. “Every problem has to be visible to be solved,” she insists with hard-won clarity.
Kevin Ma is a writer and English subtitler in the film industry, and the Hong Kong Consultant for Italy’s Udine Far East Film Festival. He was an English Editor at YesAsia.com and the Entertainment Editor of Cathay Pacific’s inflight magazine. He has contributed to publications by the Asian Film Awards. South Korea’s Bucheon International Fantastic Film Festival, Poland’s Five Flavours Film Festival, Hong Kong International Film Festival, Hong Kong Asian Film Festival and the Hong Kong Film Archive.
As I write this piece, the Catholic Church’s College of Cardinals have voted for a new pope in the Vatican after the death of Pope Francis. After several rounds of voting, they have chosen Leo XIV, who will be the first American-born Pope in the history of the Catholic Church.
Snarkier personalities on the internet have jokingly (and maybe a little distastefully) comment that this conclave seems like an extreme promotional tactic for Conclave, the Oscarnominated political drama that is also one of the few films to comprehensively take audiences inside the notoriously mysterious papal conclave. However, it’s hard to ignore the eerie timing of real-life parallels, and unsurprisingly, the news about Pope Francis’ ailing health and the conclave that followed his death did indeed drive viewership and social media metrics for the film to skyrocket around the world.
For centuries, the papal conclave has fascinated the world for its high stakes and elaborately secretive nature. It’s hard to believe that the process to choose a man who will influence over a billion Roman Catholic followers around the world is still done with only a hundred-plus men completely shut off from the world for days, but it’s perhaps the black-box nature of it that has kept us fascinated all along. And it is our desire to get a glimpse into the process that makes director Edward Berger and screenwriter Peter Straughan’s adaptation of Robert Harris’ novel such a gripping piece of cinema.
HABEMUS PAPAM!
Like many elections in democracies around the world and even the Catholic Church today, the papal conclave in the film is a battle between radically fundamental traditionists (represented by Italian cardinal Tedesco), progressive reformers (represented by American cardinal Bellini) and so-called “moderates” who stand somewhere in between. “If there was only certainty and no doubt, there would be no mystery. And therefore, no need for faith. Let us pray that God will grant us a Pope who doubts,” says dean Lawrence (Ralph Finnes), the conclave’s host, in guidance to the cardinals before the vote.
With that as its thesis, Straughan uses Conclave to make a powerful statement about the divisive nature of contemporary global politics. As the fundamentalist far right seems to be experiencing a resurgence in many countries around the world, Straughan reminds us that viewing the world in absolutes prevents us from listening to one another, and therefore makes us incapable of achieving any kind of common consensus. As these men bicker over political beliefs and fragile alliances, Berger brilliantly uses sound design to remind viewers of the turmoil unfolding in the real world off-screen as the people wait with bated breath.
Straughan and Berger also deserve credit for not letting their big message get in the way of Conclave’s more scandalous elements. Despite being men of faith with elevated status and authority, the cardinals in the film resort to dirty tactics and malicious backstabbing that feel more at home in Mean Girls or House of Cards than an Oscar-caliber prestige drama. In fact, the cardinals’ shenanigans in Conclave are so outrageous that fans of the film have affectionately nicknamed the film “Gossip Popes,” after the hit US TV series Gossip Girls, which depict privileged young people betraying each other to climb atop the social food chain.
In addition to all the critical acclaim, the most ringing endorsement for Conclave yet may be the one from the Catholic Church itself. Not only did Straughan say that he was able to speak directly to a cardinal to learn about procedures of a conclave and even received a private tour of the Vatican, the media reported that many first-time participants of this most recent conclave – including the cardinal who would eventually become Pope Leo XIV –watched the film to get an idea of what to expect. With that and multiple reports of misconduct among the cardinals “leaked” to the press before voting even began, it would appear that the line between life and art has once again been blurred.
kevin ma
TOPICKS BY JENNY TSOI
jenny tsoi @akumachiwawa
香港動畫師 曾參與多套獨立
動畫及廣告。喜歡動畫、畫畫
和電影，比起文字更擅長用畫
面表達。
汪汪夢裡人》ROBOT DREAMS
盜墓奇美拉》LA CHIMERA
攻殼機動隊》GHOST IN THE SHELL
擦紙膠頭》ERASERHEAD
青春末世物語》HAPPYEND
illustration by jenny tsoi
tsoi
JUNE
《狗牙（全新數碼修復）》 DOGTOOTH (DIGITALLY RESTORED) Leave the Family? You’ll lose your fangs trying.
除非你的犬齒脫落
扭曲的一家五口 ， 想離開父母
DOGTOOTH
導演 director
尤格藍西莫 yorgos lanthimos
演員 cast
christos stergioglou
michele valley
angeliki papoulia
獨家首播 EXCLUSIVE PREMIERE
08/06 (SUN) 22:00
09/06 (MON) 24:05
「 媽媽 ，什麼是『 喪屍 』？」 “ Mom, what’s a zombie?”
「 這個詞從哪學的 ？」 “ Where did you hear that word?”
「 不記得了 ，也許是爸爸說的 」
“ I don’t remember. Probably Dad.”
「『 喪屍 』是一朵小小的黃花 」 “ A zombie is a small yellow flower.”
誰說男人不可以勾心鬥角
只怕一教宗成萬骨枯
The prevailing victor of men’s gossip and conspiracies stands on a mound of flesh and bones.
《教宗選戰》 CONCLAVE
CONCLAVE
導演 director
愛德華伯格 edward berger
演員 cast
賴夫費恩斯 ralph fiennes
史丹利圖治 stanley tucci
尊力高 john lithgow
伊莎貝拉羅莎里尼 isabella rossellini
獨家首播 EXCLUSIVE PREMIERE
22/06 (SUN) 22:00
23/06 (MON) 23:30
「 但你應該知道 ，他在最後的日子也心存疑慮 」
“ But you should know that he had his own doubts towards the end.”
「 什麼 ？ 教宗對天主有疑惑 ？」
“ Well, the pope had doubts about God?”
「 不 ，從未 」
“ No. Never about God.”
「 他是對教會失去信心 」
“ What he had lost faith in was the Church.”
《美聲歌后：瑪麗亞》 MARIA
導演 director
柏保羅賴尼因 pablo larraín
演員 cast
安祖蓮娜祖莉 angelina jolie
皮爾弗朗卓斯高法費奴
pierfrancesco favino
艾芭諾宜娃查 alba rohrwacher
高迪史麥菲 kodi smit-mcphee 一代美聲歌后傳奇殞落
獨家首播 EXCLUSIVE PREMIERE
29/06 (SUN) 22:00
30/06 (MON) 23:40
A once-in-a-lifetime voice never fades; its sound sings in the heart, for eternity.
「 寶貝 ，你已經 53 歲了
你從未享受過自由 忘掉音樂 ，好好活著 」 “ Baby, you’re 53 years old. You’ve never been free. Forget the music and live.”
《達利：慾望之謎》 DALILAND
導演 director
瑪麗哈倫 mary harron
演員 cast
賓京士利 ben kingsley
芭芭拉蘇高娃 barbara sukowa
艾薩米勒 ezra miller
獨家首播 EXCLUSIVE PREMIERE
1/6 (SUN) 22:00
2/6 (MON) 24:05
DALILAND
In 1973, a young gallery assistant goes on a wild adventure behind the scenes as he helps the aging genius Salvador Dali prepare for a big show in New York.
Baltimore. New Year's Eve. A talented but troubled police officer (Shailene Woodley) is recruited by the FBI's chief investigator (Ben Mendelsohn) to help profile and track down a disturbed individual terrorizing the city.
Félicie is a young orphan from Brittany who has only one passion: dance. With her best friend Victor, who wants to become a great inventor, they come up with a madcap scheme to escape their orphanage for Paris, the City of Lights, with its Eiffel Tower still under construction! Félicie has to fight like she has never fought before, she has to outdo herself and learn from her mistakes to make her craziest dream come true: becoming a prima ballerina at the Paris Opera.
Among the G7 nations, Japan accepts the fewest number of refugees. Many displaced people live under restrictions, waiting years for the government to decide their fate. This is the vulnerable situation facing Sarya, the 17year Kurdish heroine of this empathetic feature directorial debut by Emma Kawawada, a member of Hirokazu Koreeda’s production company. Fleeing to Japan as a small child with her parents, Sarya has only known Japan as her home even though her appearance makes her an outsider. When her father’s asylum application is denied, the normal teenage life she desperately wants moves increasingly out of reach, her tribulations brought vividly to the screen through Kurdish-Japanese model-turned-actor Lina Arashi.
Though an ice hockey player, teenager Takuya isn’t very passionate about sports, but his eyes light up when he spots young figure skater Sakura on the ice. Seeing traces of his young self in Takuya, Sakura’s coach Arakawa decides to train Takuya and Sakura as a duo. Loosely inspired by his own experiences as a skater, Hiroshi Okuyama’s follow-up to his critically acclaimed debut Jesus is a sublime sports film that lifts the spirits with its transcendent beauty while gently subverting genre conventions. Premiered at Cannes’ Un Certain Regard section, this melancholic wintry tale is one of the best coming-of-age films of the year.
A party was held for the 70th birthday of their father, Shohei. What was told to his daughters, who haven’t all gathered together for a long time, is the fact that their strict father had contracted dementia.
While being confused about the situation of their father losing his memory day after day, the family members reconsider their own situation by facing that reality.
One day, the family members learn that a “lovely memory” that everyone in their family had forgotten, is still living in Shohei.
A resurfaced clip of an unreleased interview featuring late rapper, rapist and abuser XXXTentacion, sometimes referred by the diminutive ‘X’, went viral earlier this year. The clip sees him responding to the question of his father’s involvement with a painfully wrought performance.
“What’s that? What’s a father?” X says as he carves a chuckle from somewhere deep. Then, a comically quick change of face to a lowery posture of brooding suffering. Hilarity and virality aside, X’s question – out of his mouth a statement: of the lack of a fatherly presence in his own upbringing –taken at face value, inquires like a child’s unfettered curiosity, upon life at its most basic and confounding.
There is at least one simple answer for everybody; with a glance above, towards the branching tendrils of the family tree, the riddle can be solved with the simple concept of paternity: the father makes up half of us. But X knows this. If the question solely sought for biology, the would-be meme would instead come from absurd obviousness.
So, a father is something more; one end of a mystical bond between patriarch and kin. Then, what does a father don itself in: iron-cladded image, worked from duty, pride, the sanctity of blood? Or, delicate fabric spun of yarned breath, its flowing indistinguishable from the billows of nature?
爸爸可否不要老》THE FATHER 14/06 (SAT) 22:00
Father, father
《變鈦》TITANE 07/06 (SAT) 22:00
28/06 (SAT) 22:00
《美麗男孩》BEAUTIFUL BOY
21/06 (SAT) 22:00 《被消失的殺神》KNOX GOES AWAY
In Beautiful Boy, Steve Carell plays a father who has a trying relationship with his son. The son, played by Timothée Chalamet, finds his relationship with drugs to the detriment of the ones with his family and friends. Here, in tragic tenderness, anchored by two great performances, is a father compelled and tested by his sense of duty to his son; though not to say it is without love. Meanwhile, automotive body horror Titane laces its themes of fatherhood with spills and stains of blood and oil. The Palme d’Or winning jaw-dropper follows a serial killer taking refuge, seeking solace in the role of a father’s lost son. The beautiful relationship that blossoms between the two seeks neither blood nor biology. Here, in contrast, is father, son and bond borne from the wreckages of grief, love, and scrap metal carrion.
The Father and Knox Goes Away center on fathers afflicted with dementia. The former, starring Anthony Hopkins, has his horrifying descent uncoil in a hypnagogic nightmare. The latter follows a contract killer (played by Michael Keaton), long estranged from his family, with a chance for redemption against the hurrying cadence of looming dementia. Here, we have two images of the father at its self-reckoning end: Keaton, fearing for his family, still embodies the virtues of the culturalized image of a father, the ideal of the selfsacrificial, masculine vanguard. On the other hand, Hopkins renders his journey with a terrifying loss of self as figures and time shift in a matter-of-fact fashion – any semblance of anything paternal is lost. We might not be sure what a father looks like, but we see with sobering clarity through Hopkins’ tears as he asks who he is what a father, lost and almost no longer, does.
Do these four films comprehensively reveal the figure of the father? With all its complexities and contradictions, the question of the father is unsurprisingly unnarrowed. Instead, we stand where we started, with four grand films; in breaths equivocal, continuous and feature-long, they –like films at their very best do – ask a myriad of questions. “What’s a father?” is one that comes up a lot.
CROSSWORD
1 David Bowie song that soundtracks Callum and Sophie’s last dance in Aftersun
4 The brand of the titular car in Drive My Car
5 Rossy , legendary Spanish actress, pillar of Pedro Almodovar’s cinematic universe
8 How composer Ennio Morricone and actress Isabella Rossellini might greet each other
9 Double feature, quite literally
12 Laura in Lynch and Frost’s Twin Peaks
13 In La Chimera, the Anatolian goddess the sculpture “not made for human eyes” depicts
14 Home to director Yorgos Lanthimos
17 Famous Schubert hymn, sung by Callas in her 2024 biopic
19 Author of The Wild Palms, the first book picked up by Hirayama in Perfect Days
20 What the characters in My Sunshine might wear on their feet
22 Bay Area backdrop to Vertigo, colloquially
The sound made by a Tom and Jerry character with a stubbed toe; or the 2023 Best Picture winner, for short
3 Central song of Robot Dreams
6 German expressionist choreographer and dancer Philippine Bausch better known as
7 Thai director Apichatpong Weerasethakul’s nickname
10 French New Wave director Rohmer
11 The six-week period leading up to easter observed by the people seen in Conclave
12 The classic dish Dodin serves the prince in The Taste of Things
15 The fish in the Japanese title of Ozu’s An Autumn Afternoon
16 What the main character of Titane has sex with
18 Alvar , Finnish architect and designer known as “The Father of Modernism”
