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PROGRAM

2013


ASIA PACIFIC’S HIGHEST ACCOLADE IN FILM. AN INTERNATIONAL CULTURAL PROGRAM FROM BRISBANE, AUSTRALIA. A COLLABORATION WITH UNESCO AND FIAPF.

The Asia Pacific Screen Awards is an international cultural program driven by Brisbane City Council through economic development board Brisbane Marketing. 2 | 7TH ANNUAL ASIA PACIFIC SCREEN AWARDS

PROMOTING THE CINEMATIC EXCELLENCE OF ASIA PACIFIC. BRINGING TOGETHER THE MOST RESPECTED NAMES IN FILM. FOSTERING INTERNATIONAL RELATIONSHIPS AND CULTURAL DIVERSITY. 7TH ANNUAL ASIA PACIFIC SCREEN AWARDS | 3


CONTENTS 32

06 Message from the Lord Mayor of Brisbane

07 Message from the Executive Chairman of the Asia Pacific Screen Awards 08 Message from the Director-General of UNESCO

48 Brisbane – Australia’s New World City 50 APSA Presenting Partner

52 APSA NETPAC Development Prize

53 Message from the Motion Picture Association

09 Message from the President of FIAPF

10 Message from the Patron of the Asia Pacific Screen Awards

54 MPA APSA Academy Film Fund

55 MPA APSA Academy Film Fund Panellists

11 Message from the President of the Asia Pacific Screen Academy

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46 Wide Angle

26 The Judging Process

27 International Nominations Council

28 APSA Academy Voting Process Independent Voters

48

30 The Award

32 The Nominees

34 Best Documentary Feature Film 35 Best Children’s Feature Film 36 Best Animated Feature Film 12 APSA Region

14 The APSA Story

16 The Asia Pacific Screen Academy 18 The Ceremony

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56 APSA Academy Children’s Film Fund

57 APSA Academy Children’s Film Fund Panellists 58 Bulgari Save the Children

20 Ceremony Hosts

60 Credits

22 International Jury President

64 Partners

62 Acknowledgements

21 Ceremony Performers

65 2013 APSA Academy Inductees

24 International Jury

66 Official Submitting Organisations

21

37 Best Screenplay

38 Achievement in Cinematography 39 Achievement in Directing

40 Best Performance by an Actress

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41 Best Performance by an Actor 42 Best Feature Film

43 UNESCO and Jury Grand Prize 44 FIAPF Award Winner

Asia Pacific Screen Academy President Dr Jack Thompson AM at the 2012 APSA.

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MESSAGE FROM THE LORD MAYOR OF BRISBANE As the Lord Mayor of Brisbane, it is my great pleasure to welcome you to the seventh annual Asia Pacific Screen Awards. This year, Brisbane City Council announced its support of APSA with an ongoing financial commitment to host and manage the awards. With Brisbane as the new home for APSA, I am determined to ensure that we continue to deliver on the high standards these awards have become known for since their inception in 2007. Asia Pacific is the world’s fastest-growing film region, encompassing 70 countries and 4.5 billion people. Over half of the world’s film and multi-media production originates from this region, with the industry set to expand in the years to come. As Australia’s new world city, our decision to host these prestigious awards and secure APSA’s international secretariat and Academy is about positioning Brisbane for business opportunities while continuing to foster cultural relationships with our regional neighbours. Film can not only open doors, but open minds. As an art form, film is a powerful platform that can be used to encourage cultural diversity and educate people on the political, social and economic state of the world. Congratulations to all the nominees on the standard of films submitted for this year’s awards – I wish you all the best of luck. Thank you to everyone who made this event possible. I hope you enjoy tonight’s ceremony.

MESSAGE FROM THE EXECUTIVE CHAIRMAN OF THE ASIA PACIFIC SCREEN AWARDS It is no mean feat to become Asia Pacific’s highest accolade in film in just seven years and APSA’s triumphs don’t stop there. The MPA APSA Academy Film Fund has supported 12 projects to date and we are watching their progress with delight as they finalise scripts, go into production, and begin to entertain and inform audiences around the world. Now in its third year, the APSA Academy Children’s Film Fund is also gaining great momentum and we were very pleased to release a “first look” image from the 2011 supported feature, The Stone With Three Eyes, by Chinese Tibetan filmmaker Songtaijia. We are honoured to welcome such a prestigious and talented group of filmmakers to Brisbane in 2013, which is yet another fine achievement for APSA. Features in competition include films not only awarded within their own countries and regions, but also at the world’s leading film festivals, with the line-up including multiple award-winners from Cannes, Berlin, Toronto, Sundance, Venice and Tribeca. Among this year’s nominees, first-time feature filmmakers are competing with some of the most established and renowned filmmakers in the region, and indeed the world, setting a most difficult task for the International Jury. In my first year as Executive Chairman, I would like to particularly acknowledge APSA’s Founding Chairman, Des Power AM, and his selfless contribution to APSA’s success. His wealth of knowledge and experience remains an asset to the Advisory Board which also includes Harvey Lister and Geoff Rodgers, outstanding leaders in entertainment, venue management, communications and marketing. The Advisory Board adds immense expertise to APSA’s mission of promoting and acclaiming cinematic excellence and, through film, developing greater understanding of cultural diversity. I also warmly acknowledge Professor Hong-Joon Kim who chaired APSA’s International Nominations Council for the seventh year, and his Councillors; Shyam Benegal, International Jury President, and his Jury members; and extend our gratitude for their wisdom and deep appreciation of film that has delivered all nominees and winners to these Awards.

Cr Graham Quirk

Lord Mayor of Brisbane

With the support of the Lord Mayor of Brisbane, Brisbane City Council, UNESCO, FIAPF, MPA and 4 Boys Films, I am very determined to make APSA even more relevant and beneficial for APSA Academy members and the filmmakers of the 70 countries and areas of Asia Pacific. With APSA’s proud history as our foundation, we will continue to enhance Asia Pacific’s film industry to the benefit of this region and beyond.

Michael Hawkins

Executive Chairman Asia Pacific Screen Awards 6 | 7TH ANNUAL ASIA PACIFIC SCREEN AWARDS

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MESSAGE FROM THE DIRECTOR-GENERAL OF UNESCO I am pleased to send this message of support to the Asia Pacific Screen Awards. I wish to congratulate the Queensland Governor, Ms Penelope Wensley, as well as the Lord Mayor of Brisbane, Mr Graham Quirk, for their help in finding a long term home for these important Awards. UNESCO is guided by the commitment to promote cultural diversity as a source of belonging and identity as well as a wellspring for creativity and innovation. In a world changing quickly, at a time when all societies are transforming, I believe we need to promote ever deeper intercultural dialogue in order to advance respect for human rights, while preserving the “independence, integrity and fruitful diversity of cultures,” as the UNESCO Constitution states. Film has a vital role to play here, and this is the importance of the Asia Pacific Screen Awards – in providing a platform to express the fabulous cultural diversity of this region and to support the flourishing creativity of its arts. Film is far more than entertainment. It is one of the most powerful means we have to explore the human condition and to raise questions about bettering human rights and dignity. This is our shared responsibility and duty. I wish to thank the Asia Pacific Screen Awards for supporting these goals. Most of all, I thank every creator and artist for their commitment to making the most of diversity for the benefit of all and to encouraging the dialogue we need for a more peaceful and just world.

Irina Bokova Director-General UNESCO

MESSAGE FROM THE PRESIDENT OF FIAPF FIAPF has been a proud partner of the Asia Pacific Screen Awards since their inception under the guidance of founding Chairman Des Power AM. In just seven years, APSA has highlighted and promoted across the globe the creativity and the diversity of film production in Asia Pacific, showcasing the works of some of its most distinguished filmmakers. By serving as submitting organisations to APSA, FIAPF’s national member organisations contribute by broadening the field of films presented for consideration and support the promotion and circulation of their countries’ production out of their national borders. Like in other regions of the world, Asia Pacific now has its own prestigious awards to celebrate the region’s filmmakers and films. I am happy to see that edition after edition, APSA has attracted more and more submissions, continuing to discover new talents and offering a powerful platform to honour those who are seminal in developing a strong and creative film industry. On behalf of FIAPF Members, I would like to congratulate this year’s nominees and convey our warmest thanks to Executive Chairman Michael Hawkins, Director of the Awards Competition Maxine Williamson and their team, International Jury and the City of Brisbane for believing in films with us. As the international organisation representing film producers across the world, FIAPF is committed to our partnership with APSA and its important work in honouring the artistry of filmmakers of Asia Pacific.

Luis Alberto Scalella

President FIAPF – International Federation of Film Producers Associations

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MESSAGE FROM THE PATRON OF THE ASIA PACIFIC SCREEN AWARDS

MESSAGE FROM THE PRESIDENT OF THE ASIA PACIFIC SCREEN ACADEMY

I would like to congratulate everyone involved in the exciting new beginning of the Asia Pacific Screen Awards in 2013, led by Executive Chairman Michael Hawkins. My sincere gratitude and best wishes also go to the Founder and former Chairman, Des Power AM, for his outstanding leadership and selfless commitment to APSA. I hope this year’s awards will once again bring to life the rich cinematic achievement of the Asia Pacific region.

I am truly delighted Brisbane is the new home of the Asia Pacific Screen Awards. Having originated in Queensland, it’s fantastic the Awards will now be set in its capital city in the years to come. I congratulate Lord Mayor Graham Quirk and his councillors on their decision to support APSA and shine a spotlight on Brisbane at a time when the whole world is looking to the Asia Pacific region.

APSA has developed into a global celebration beyond the Asia Pacific region through the common visual language of film that allows different people and cultures to connect and share their experiences.

Just as Asia Pacific continues to augment its standing as an integral player in world cinema, the APSA Academy continues to strengthen its role as a key industry network within the region. The Academy now brings together over 700 of the region’s most respected names in film, a number that grows by approximately 100 people per year as new winners, nominees, Jury and Nominations Council members are inducted. It’s wonderful to see APSA’s ongoing support and recognition of Academy members resulting in their continued success as well as a coalition between the APSA Academy and the European Film Academy.

Thanks to the special commitment and passion shown by APSA, Asian movies have been better promoted and widely celebrated, not only as a “genre” but also as an “industry”. As the APSA patron, I feel especially proud of APSA’s accomplishments and would like to express my gratitude to all APSA Academy members for their artistic achievements.

Kim Dong-ho

Chairman of the Presidential Committee for Cultural Enrichment Dean of the Graduate School of Cinematic Contents, Dankook University Founder and Honorary Festival Director of the Busan International Film Festival

Maryam Ebrahimi represents one such success story, having received a $US25,000 grant from the MPA APSA Academy Film Fund in 2011 for her documentary No Burqas Behind Bars. The film premiered in 2012 and went on to receive numerous accolades including Best Documentary at the Paris International Film Festival and the Special Jury Prize at Festival International du Film des Droits de l’Homme. No Burqas Behind Bars is nominated for Best Documentary Feature Film at this year’s Asia Pacific Screen Awards. Ms Ebrahimi is one of nine nominees in this year’s Awards who are already part of the APSA family. The remaining nominees have the great fortune of joining a community that fosters collaboration and business opportunities and encourages the exchange of knowledge and ideas. Just as film connects people to the diverse issues influencing the world, the APSA Academy connects a diverse network of filmmakers as they strive to share their voice through the most eloquent of mediums.

Dr Jack Thompson AM

President of the Asia Pacific Screen Academy

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4.5 BILLION PEOPLE 70 COUNTRIES AND AREAS ONE THIRD OF THE EARTH HALF THE WORLD’S FILM Television written and directed by Mostofa Sarwar Farooki, co-written by Anisul Hoque, co-produced by Mahboob Rahman.

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THE SEVENTH ANNUAL ASIA PACIFIC SCREEN AWARDS THE APSA STORY

APSA AIMS

The region’s highest accolade in film, the Asia Pacific Screen Awards, was established in 2007.

• Acclaim filmmaking in the Asia Pacific region that best reflects its culture, origins and cinematic excellence

Headquartered in Brisbane, Australia, APSA is now funded by Brisbane City Council which has announced a three-year commitment to manage the Awards as well as APSA’s international secretariat and Academy.

• Acclaim the people behind this excellence

Over the past seven years, more than 1400 films have entered into APSA’s competition; films that clearly demonstrate a rich slate of diversity – each telling its own story, in its own way, from its country of origin. This is what the Asia Pacific Screen Awards celebrate. This year, the nominations encompass more Asia Pacific countries than ever before, making it APSA’s most international event to date.

• Promote this outstanding work in film to a global audience in order to broaden the market appeal of such works • Encourage collaboration between filmmakers • Develop, through film, greater understanding of the region’s various cultures • Take the creativity of our neighbouring cultures in the vast Asia Pacific region to the world

We encourage the collaboration of filmmakers throughout this important region through the APSA Academy and support Academy members in the crucial development stage of their film projects through our Academy Film Funds. Together with UNESCO, we promote a greater understanding of the diversity across cultures. In conjunction with FIAPF–International Federation of Film Producers Associations, we further the common interests of Asia Pacific film producers. Through the Australian Broadcasting Corporation’s (ABC) Australia Network, the ceremony is broadcast to 46 countries across Asia, the Pacific and Indian subcontinent, with a special television package featuring interviews with key filmmakers and guests at this year’s ceremony. This year, a live webcast to a global audience is being facilitated by ANTV. 14 | 7TH ANNUAL ASIA PACIFIC SCREEN AWARDS

TH Sweet Pepper Land directed and written by Hiner Saleem. 7My ANNUAL ASIA PACIFIC SCREEN AWARDS | 15


THE ASIA PACIFIC SCREEN ACADEMY

The Asia Pacific Screen Academy was established in 2008 to encourage dialogue, collaboration and business opportunities for the region’s filmmakers. It provides a platform to foster opportunities for co-production among filmmakers and the exchange of knowledge and ideas between the 70 countries and areas that form the APSA network. All APSA nominees, winners, Jury and Nominations Council members are inducted into the Academy which comprises the most respected names in film from the region, as well as some from outside it. Comprising over 700 members and growing by approximately 100 people per year as new nominees are inducted, the APSA Academy stimulates cross-border collaboration with several projects between Academy members currently in discussion and development. Two film funds have been established exclusively for Academy members. The MPA APSA Academy Film Fund, wholly supported by the Motion Picture Association (MPA), provides four $US25,000 grants each year. The APSA Academy Children’s Film Fund, founded by 4 Boys Films, offers two $AU20,000 grants annually. President of the APSA Academy, Australian screen legend Dr Jack Thompson AM, extends his warm welcome to this year’s new Academy inductees. 16 | 7TH ANNUAL ASIA PACIFIC SCREEN AWARDS

The Grandmaster directed and produced by Won Kar Wai, co-producedTHby Chan Ye Cheung, Megan Ellison and Jacky Pang Yee Wah.

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THE AWARDS CEREMONY The domeTH of the Main Auditorium at Brisbane City Hall.

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THE PERFORMERS Musical Director Tenzin Choegyal brings together five extraordinary musical talents to weave a tapestry of sound from the Asia Pacific region. Internationally recognised since the age of 15, William Barton (didgeridoo, Australia) has performed with the London and Berlin Philharmonic Orchestras and composed music for the Beijing Olympics opening ceremony. A master of his instrument and experienced collaborator, William won an ARIA in 2012 for best classical album with Kalkadungu.

THE HOSTS

Shirin Majd (opera, Iran) began studying music at the age of 10 and went on to study opera in Armenia, Austria and at the prestigious Universitat Mozerteum Salzburg. Shirin is currently working towards a Post Graduate Diploma at the Queensland Conservatorium. Baatasukh Batsukh (vocals and morin khuur, Mongolia) is a master of the horseheaded fiddle – morin khurr – and the traditional overtone throat singing style. Toko-Ton is a Brisbane-based Japanese Taiko drumming group which combines movement and rhythm with the traditional Japanese dynamic art form Wadaiko.

Stunning Indian ensemble Surabi comprises Rahim Zullah on vocals, Ravikesh Singh on tabla and Sudha Manium on sitar performing a semi-classical piece “madhu ban mei radhika nache re” from Kohinoor, a 1960 Bollywood film produced by Dr V. N. Sinha. Tenzin Choegyal (vocals and instrumentalist, Tibet) composes music which is strongly influenced by his family’s nomadic heritage. Tenzin appears regularly at major events such as Woodford Folk Festival and WOMAD and recently played Carnegie Hall in New York alongside notables such as Philip Glass and Patti Smith. Tenzin is also Creative Director of the annual Festival of Tibet and the Himalayan Film Festival.

CEREMONY HOSTS AND PERFORMERS

Sofie Formica

Chen Lei

Sofie Formica began her television career at the age of 14 and hasn’t looked back since. Her resume boasts appearances on Australian favourites Wombat, Saturday Disney, Now You See It (as Australia’s first female game show host), Just Kidding, Home and Away, and as an original member of The Great Outdoors.

Chen Lei is the leading presenter of China’s International Channel Shanghai (ICS). She serves as the news anchor of Prime News and the presenter of Talk to Lei, a 30-minute show in which she interviews well known Chinese and international guests. Chen is also the presenter of My Dream, a bilingual charity program co-created by ICS and Shanghai Red Cross.

In 1995, Formica moved to Los Angeles where she worked as a reporter on Extra, a national entertainment magazine show. During this time Formica interviewed many Hollywood celebrities including Bruce Willis, Meg Ryan, Nicole Kidman and the cast of Friends. With her profile rising, in 1999 Formica was handpicked by Oprah Winfrey to appear in a 13-part series, Oprah Goes Online. After returning to Australia, Formica became the host of The Great South East, where you can catch her each Sunday afternoon exploring South-East Queensland’s treasures.

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Chen began her career as anchor and journalist for On The Town, Hello, Shanghai, Entertainment Now, On The Road for STV, Around China for CCTV, and Shanghai Bund. She has also been the bilingual presenter for many international events and live shows, including the Shanghai International Film Festival, APEC, L’OREALLYCRA Media In Style Awards Ceremony and Shanghai Creative Industry Week. Chen has conducted many exclusive interviews, with her most notable to date including Giorgio Armani, Arnold Schwarzenegger, Placido Domingo, ABBA, Claudia Schiffer, Victoria Beckham, Vivienne Westwood, Zhang Yimou, Peter Buffett and Malaysian Prime Minister Mahathir Mohamad.

Performer Tenzin Choegyal.

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INTERNATIONAL JURY PRESIDENT

24th Berlinale, Ankur was India’s Official Entry for the Academy Awards®, received three National Film Awards and introduced actress Shabana Azmi (APSA 2007 International Jury President) to the screen.

Shyam Benegal Shyam Benegal has made 26 feature films, many documentaries and several television series including, notably, a 53-hour TV series on the History of India. He has won the National Film Award for Best Feature Film in Hindi seven times as well as 28 awards in other categories. His debut feature, Ankur (1974), confirmed Benegal as a member of India’s New Wave Cinema. Nominated for the Golden Bear at the

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Among his many national and international awards are two of the Indian Government’s most prestigious awards. In 1976 he received the Padma Shri, which recognises the distinguished contribution of a citizen of India in various spheres of activity including the arts, and in 1991 he received the even more prestigious Padma Bhushan, awarded in recognition of distinguished service of a high order to the nation in any field. In 2004, Benegal received the Indira Gandhi National Integration Award and in 2005, the Dadasaheb Phalke Award for Lifetime Achievement. In 2007, he was awarded the honorary title of Doctor of Letters from the

Jamia Millia University, New Delhi and also from the University of Calcutta in 2011.

L-R: Discovery of India, Netaji, Benegal on the set of his new film Samvidhaan (photo by Satyen K. Bordoloi), Manthan, Welcome to Sajjanpur.

Benegal was a Homi Bhabha fellow (197072) during which time he studied Children’s Television with CTW in New York and worked as Associate Producer with WGBH, Boston. He has lectured at many institutions in India and abroad and has participated in seminars on subjects dealing with cinema, television, information technology and aspects of social and cultural change. Benegal was a Member of the Indian Parliament’s Upper House, Rajya Sabha, from 2006 to 2012, and now runs film production company Sahyadri Films in Mumbai. He is currently shooting Samvidhaan (Constitution), a television series revolving around the establishment of the Indian constitution in 1950, due to premiere in early 2014.

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Hon Dr Malani Fonseka

The Honourable Dr Malani Fonseka is widely regarded as the “Queen of Sri Lankan Cinema”, this year celebrating 50 years of acting on television, stage and screen. In 2010, Dr Fonseka was appointed as a Member of the Sri Lankan Parliament. Starting her career in stage productions, Dr Fonseka made her feature film debut with Tissa Liyansuriya’s Punchi Baba (The Little Baby, 1968). Since then she has acted in more than 150 feature films in addition to many television and stage appearances. Having worked with Sri Lanka’s finest directors, she has won many accolades both locally and internationally. In 1985, Dr Fonseka was conferred with the Kala Suri, the national honour for special contributions to the development of the arts, followed in 1996 by the the Wishwa Prasadini Appreciation Award for her services rendered

Kim Tae-yong

Tamer Levent

His feature film directorial debut was Memento Mori, a horror film set in an all-girls high school, which he co-directed with fellow KAFA graduate Kyu-Dong Min. Together they were nominated for the Grand Prix at the Paris Film Festival and the Grand Jury Prize at the Slamdance Film Festival. Memento Mori was a widely influential film of its genre and is now considered a classic of its time.

Levent starred in 2012 APSA Best Feature Film Tepenin Ardi (Beyond The Hill) gaining him an APSA nomination for Best Performance by an Actor as well as the Best Actor Award from both the 24th Ankara International Film Festival and the 3rd Malatya Film Festival in Turkey.

Korean writer and director Kim Tae-yong studied filmmaking at the Korean Academy of Film Arts (KAFA) after majoring in political science in college.

His next feature film Family Ties, an examination of family relationships in three separate portraits, won Best Film at Thessaloniki International Film Festival and the Republic of Korea’s Grand Bell Award for Best Film. Late Autumn, starring internationally

Legend of Turkish stage and screen Tamer Levent is a revered actor and theatre director whose work has been widely acclaimed across the world.

As a theatre director who studied at the Ankara State Conservatory, several of Levent’s plays have been invited to show at festivals in Russia, Canada, Korea and Iran. He has served as the general director of Turkish State Theatres and is the president of the Theatre, Opera and Ballet Members Foundation (TOBAV) where he is leading a national campaign called “Yes To Art”.

Christoph Schaub

Renowned Swiss writer and director Christoph Schaub has directed 18 feature films and documentaries, many of which have been invited to screen at festivals throughout the world. In his native Switzerland he has been nominated for the Swiss Film Prize five times for features Happy New Year, Jeune Homme, Sternenberg, Still Life and Giulias Verschwinden (Julia’s Disappearance). Julia’s Disappearance, starring Bruno Ganz and Corinna Harfouch and based on the novel by best-selling Swiss writer Martin Suter, won the Audience Award at Switzerland’s prestigious Locarno International Film Festival in 2009. Schaub’s most recent feature film, thriller Nachtlärm (Lullaby Ride), is also adapted from a Martin Suter novel. Schaub’s fascinating documentaries have a particular focus on architectural and urban themes. His feature documentary in the Asia

Albert Lee

Albert Lee has been one of the most active and prolific film producers in Hong Kong and China for the past decade. As CEO of Emperor Motion Pictures, he has produced more than 20 feature films across a range of genres, and as such, helped elevate the company to become one of the most prominent film sales and production companies in the region. Lee became a member of the APSA Academy in 2011, for the action comedy Rang zidan fei (Let the Bullets Fly, People’s Republic of China (Mainland China/Hong Kong)), starring Chow Yun-Fat, which received APSA nominations for Best Feature Film and Achievement in Directing. Both a critical and box office success, Let the Bullets Fly became China’s highest-grossing film of all time during its release and received many accolades including over 60 wins and nominations at the Asian Film Awards, Taiwan

INTERNATIONAL JURY

to Sri Lanka’s cinema industry, both awarded by the Sri Lankan President. Dr Fonseka received the Presidential Award for Best Actress three times for her roles in Bambaru Avith (The Wasps Are Here, 1978), Wasanthaye Dawasak (One Day in the Spring, 1979) and Aradhana (Invitation, 1981), as well as more than a dozen Signis (OCIC) Awards and Sarasaviya Film Awards along with many other national awards including an Honorary Doctorate by the University of Visual and Performing Arts, Colombo. For one of her most recent films, Akasa Kusum (Flowers of the Sky), she was awarded the Silver Peacock for Best Actress at the 39th International Film Festival of India, the Best Actress Award at Italy’s Levante International Film Festival, Best Actress at the SAARC Film Festival, Best Actress at the Goa Film Festival and nominated for Best Performance by an Actress at the 2009 Asia Pacific Screen Awards. In addition to her acting career, Dr Fonseka has produced and directed three films including Sasara Chetana (1984), Ahinsa (1987) and Sthree (Woman, 1991). She was also a member of the International Jury of the International Film Festival of India (IFFI) in 2012.

acclaimed actress Tang Wei (Lust, Caution) as a prisoner on leave to attend a funeral in Seattle, was a co-production by the Republic of Korea, Hong Kong PRC, People’s Republic of China and the US. The film screened at the Toronto, Berlin and Busan International Film Festivals and became the highest-grossing Korean film released in China. Wei Tang received four Best Actress awards for her role. Kim’s recent short film You Are More Than Beautiful was commissioned as one of four shorts by different filmmakers for the micromovie omnibus Beautiful, produced by the Hong Kong International Film Festival Society (HKIFFS) in its inaugural collaboration with China’s reputed Internet TV company Youku. Of the four films, You Are More Than Beautiful was selected to screen at the 2013 Sundance Film Festival. Kim is currently in production with his next feature film.

As a prolific and much-sought-after film actor, Levent has recently starred in Hakan Kursan’s action thriller Ayaz, Kürşat Kızbaz’s biopic of the Turkish Sufi and poet Yunus Emre – the Sound of Love, Özcan Deniz’s romantic drama Suve Ates and is currently in production for a role in Turkish auteur Nuri Bilge Ceylan’s Kis uykusu (Winter Sleep). He is currently starring in Georgian filmmaker and APSA Academy member George Ovashvili’s follow-up film to Gagma napiri (The Other Bank), is performing in a weekly television historical series and is working on his most recent theatre production.

Pacific region, Bird’s Nest - Herzog & de Meuron in China (2008), follows two Swiss star architects on two very different projects: the national stadium for the 2008 Olympic Games in Beijing and an entire district in the provincial town of Jinhua, China. The documentary follows architects Jacques Herzog and Pierre de Meuron who, with artist Ai Weiwei as their general adviser and as a so-called “cultural interpreter”, literally build bridges between two cultures, two architectural traditions and two political systems. Schaub’s most recent documentary, Millions Can Walk, is the story of the 2012 month-long walk across India by many of its poorest people; the Jan Satyagraha, meaning March for Righteousness, which began on the anniversary of Gandhi’s birthday, October 2. The documentary is scheduled for its Swiss release in January 2014. As a member of the European Film Academy (EFA), Schaub’s appointment to the APSA International Jury highlights the established coalition between the APSA Academy and the EFA.

Golden Horse Awards, Hong Kong Film Awards and other film festivals and awards across Asia Pacific. Let the Bullets Fly was Lee’s second successful collaboration with director Jiang Wen, the first being The Sun Also Rises, starring Joan Chen and Jiang Wen, which competed for the Golden Lion at the 2007 Venice Film Festival. Visually poetic, The Sun Also Rises earned a 2007 APSA nomination for Achievement in Cinematography for Mark Ping Bin Lee. A long-time industry stalwart, Lee is a member of the China Film Association, has served as a board member of the Los Angeles-based Independent Film and Television Alliance (IFTA) and is an active member of the Hong Kong film industry. He has at various times served as a council member of the Hong Kong Film Development Council and as an adviser to the Hong Kong International Film Festival, the Hong KongAsia Film Financing Forum (HAF) and other industry bodies.

CNN named Dr Fonseka as one of Asia’s 25 greatest actresses of all time.

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NOMINATIONS COUNCIL Professor Hong-Joon Kim Professor, Department of Film, School of Film, TV and Multimedia, Korea National University of Arts

THE JUDGING PROCESS The Asia Pacific Screen Awards judging process is conducted in three phases before the International Jury assembles in Brisbane to determine winners in six of the nine categories. Preparatory work is performed by a preselection panel ahead of Nominations Council deliberations. The Council then votes for nominees in six award categories. APSA Academy members can vote to establish the winners in three award categories; Best Children’s Feature Film, Best Documentary Feature Film and Best Animated Feature Film. This year, APSA collaborated with the Australian Cinémathèque in the Gallery of Modern Art and Griffith University’s Film School to utilise world-class screening facilities for the International Jury to view and determine the 2013 APSA winners. As part of this judging process, the Australian Cinémathèque curated a free public screening program of a selection of 2013 APSA nominees with special events including question and answer sessions and panel discussions with a selection of the filmmakers. The program marked the first event of its type for APSA, with a number of these films screened for the first time in Brisbane, Queensland and Australia.

L-R: Philip Cheah, Kathryn Weir, Maxine Williamson, Lord Mayor Graham Quirk, Professor Hong-Joon Kim, Jeannette Paulson Hereniko, Peggy Chiao, Meenakshi Shedde.

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Professor Hong-Joon Kim was Festival Director of the Puchon International Fantastic Film Festival and Commissioner of the Korean Film Council from 2000-2005. His published books include I, a Filmmaker: Kim Hong-Joon’s Film Notes and Two or Three Things You Want to Know About Movies. Professor Kim is an award-winning director, and screenwriter of films including Jungle Story and La Vie En Rose. He hosted and co-wrote the television series Korean Classical Cinema Special.

Philip Cheah Vice-President, Network for the Promotion of Asian Cinema (NETPAC)

Message from the Director of the Awards Competition

Some 230 feature films from 41 Asia Pacific countries and areas have vied for a competitive place in the seventh annual Asia Pacific Screen Awards. Support for the awards grows exponentially with each year. I thank our founding partner FIAPF—International Federation of Film Producers Associations whose member organisations submit films to represent their industries. I thank the sales agents, distributors, film festivals, filmmakers and APSA Academy members who participate and whose ongoing support is proof that the region embraces an award and academy it can call its own. I have been given a tremendous opportunity to view this extraordinary film tableau from a region encompassing 70 countries and areas, and it is my privilege to assist in honouring the filmmakers whose work share’s an authentic artistry and boundless creativity. It is my job to present these films via the APSA process, to the acclamation of their peers, some of the finest and most revered exponents of their craft. Each year we view a broad sweep of genres; the epic, the historical drama, independent art films and commercial blockbusters, budgets big and small, established auteurs and emerging talents, all vying for Asia Pacific’s highest accolade in film. It is edifying to see the strength of Middle Eastern talent represented this year with 15 nominations. I particularly congratulate Palestine for its unprecedented five nominations and congratulate the Central

Asian country of Kazakhstan for its three nominations and for winning our NETPAC Development Prize for emerging filmmakers. The important task of putting these films through the rigour of the APSA judging process cannot be realised without the expertise of so many. I thank the pre-selection panels, International Nominations Council, independent voters and Academy members for their significant contributions. 39 exceptional films from 22 Asia Pacific countries and areas are being honoured. Determining the winners is a difficult task and I thank International Jury President Shyam Benegal and his eminent Jury for their tireless efforts. I also thank the APSA Academy for viewing and honouring the work of their peers. Much appreciation also goes to the Motion Picture Association and 4 Boys Films for their ongoing partnership with APSA in supporting the Academy Film Funds for script development, promoting diversity on screen and enabling our Academy members to bring their unique stories to life to enrich, interrogate, entertain and educate us all.

Maxine Williamson

Director, Asia Pacific Screen Awards Competition  

Philip Cheah is a film critic and is the editor of BigO, Singapore’s only independent pop culture publication. He is Vice-President of NETPAC and is currently program consultant for the Jogja-NETPAC Asian Film Festival, Cinema Digital Seoul Film Festival, South-East Asian Film Festival, Shanghai International Film Festival, Dubai International Film Festival and the Asia Pacific Films website. He is co-editor of the books, Garin Nugroho: And the Moon Dances; Noel Vera: Critic After Dark, Ngo Phuong Lan: Modernity and Nationality in Vietnamese Cinema.

Meenakshi Shedde Founder-President, NETPAC; Founder-Editor of Cinemaya, The Asian Film Quarterly Meenakshi Shedde is an independent film festival consultant, film curator, critic, director and journalist based in Mumbai. She is the India Consultant to the Berlin and Dubai Film Festivals and has curated Indian, Bollywood, Asian and World Cinema packages for international film festivals worldwide, including in Locarno, Busan and Mumbai as well as the Puchon International Fantastic Film Festival, World Cinema Amsterdam, International Film Festival of India, Made By Women Film Festival and Cannes in India Film Festival.

Jeannette Paulson Hereniko President, iFilm Connections: Asia & Pacific; President, Te Maka Productions, Inc.; President NETPAC/USA; Founding Director, Hawaii International Film Festival Jeannette Paulson Hereniko launched the Hawaii International Film Festival in 1981 and was the first director of the Palm Springs International Film Festival in 1990. As a founding board member of NETPAC, she established NETPAC/USA in 1994 and has served on film festival juries across Europe, Asia and the Pacific. In 2004, Hereniko produced an award-winning feature film from Fiji, The Land Has Eyes. In 2007 and 2008 she served as an international Consultant for the American Film Institute’s Project 20/20.

Kathryn Weir Head Curator, Australian Cinémathèque and International Contemporary Art, Queensland Art Gallery / Gallery of Modern Art Kathryn Weir leads the Australian Cinémathèque at GOMA, where she is also the head curator of international contemporary art. Weir worked previously at the National Gallery of Australia, Canberra, and in film production in Amsterdam. Her recent curatorial projects include New Asia Pacific Cinema: The Best of 2013 (2013), Mountains and Waters: Chinese Animation Since the 1930s (2012-13), Sculpture is Everything (2012), Women in Early Australian Film: Thoroughly Modern and Adorable Outcasts (2012), Lightness and Gravity (2012), 21st Century: Art in the First Decade (20102011) and Unseen: Cinema in the 21st Century (2011).

Peggy Chiao Producer, Author Peggy Chiao is a film producer based in Taiwan. She was the former chairperson of the prestigious Golden Horse Film Festival and the pioneer who cultivated the coproduction of films among China, Hong Kong and Taiwan. She is one of the major reasons that many Taiwanese directors enjoy success both domestically and internationally. Her film collaborations with a number of respected directors have garnered her international acclaim, including two Silver Bears from Berlin, the Golden Hugo from Chicago, two grand prizes at the Tribeca Film Festival, the FIPRESCI awards from the Cannes Film Festival and the Golden Horse Film Festival. Chiao has also sat on the jury of various international film festivals and is currently producing four films and teaching at the Graduate Institute of Filmmaking at the National Taipei University of the Arts.

Maxine Williamson Director of the Asia Pacific Screen Awards Competition A specialist in independent and foreign language film, Maxine Williamson joined the Asia Pacific Screen Awards in 2007 after 11 years’ in cinema exhibition and distribution including as General Manager of Dendy Cinemas Brisbane. Her extensive film experience equipped her well to establish and maintain the integrity and governance of the APSA Awards Competition, including the APSA Academy and the exclusive film development funds for its members. Williamson was a creative producer on the APSA documentary series Scene by Scene which promotes films and filmmakers of Asia Pacific and was broadcast yearly on CNN International from 2007 to 2009 and on the ABC network in 2010 and 2011. In 2012 she was a member of the Generation Jury at the 62nd Berlin International Film Festival and the NETPAC Jury for the Eurasia Film Festival in Kazakhstan. Earlier this year, she was a member of the International Chinese Film Festival Jury and Ingmar Bergman Jury for the Göteborg International Film Festival. She is a member of NETPAC and APN (Asia Pacific Producer’s Network).

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ACADEMY VOTING PROCESS

Indira Naidoo hosting the 2012 Asia Pacific Screen Awards.

In 2011, APSA introduced voting rights for its Academy members in selected categories for the first time. Academy members view and vote on eligible films using a unique high-quality online screening platform, APSA View. Through this platform, Academy members determine the winners for APSA’s Best Children’s Feature Film, Best Animated Feature Film and Best Documentary Feature Film categories. The APSA View application allows members to easily and securely watch eligible films wherever they are in the world. Voting is conducted within the APSA View system using an electronic ballot form, with results collated and then independently audited.

INDEPENDENT VOTERS

APSA PRE-SELECTION PANELS

APSA would like to thank its independent voters, all distinguished specialists in their fields, who gave their time and counsel to vote for the nominees and winners of Best Children’s Feature Film, Best Animated Feature Film and Best Documentary Feature Film.

BEST CHILDREN’S FEATURE FILM PRE-SELECTION PANEL

Hussain Currimbhoy Director of Programming, Sheffield Doc/Fest James Nolen Australian Centre for the Moving Image Kristy Matheson Australian Centre for the Moving Image Louise Harvey Lecturer, Griffith Film School Maryanne Redpath Generation Director, Berlin Film Festival Nina Riddel Icarus Films Otto Alder Animated Film Specialist, Film Festival Curator

Des Partridge Film Critic Derek Weeks Australian Teachers of Media Maxine Williamson Director, Asia Pacific Screen Awards Competition BEST DOCUMENTARY FEATURE FILM PRE-SELECTION PANEL Philip Cheah Vice-President, Network for the Promotion of Asian Cinema (NETPAC) Faramarz K-Rahber Documentarian and Academic BEST ANIMATED FEATURE FILM PRE-SELECTION PANEL Melanie Coombs Producer, Optimism Film Dr Peter Moyes Griffith Film School

Ruari Elkington Theatrical and Acquisitions Manager, Antidote Films

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Le Passé (The Past) directed by Asghar Farhadi and produced by Alexandre Mallet-Guy.

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THE AWARD RECIPIENTS OF AN ASIA PACIFIC SCREEN AWARD WILL RECEIVE A UNIQUE WORK OF ART TO ACKNOWLEDGE THEIR ACHIEVEMENT; A SYMBOL COMMON TO ALL CULTURES AND CIVILISATION – THE URN, THE VASE, OR THE VESSEL.

ARTIST’S STATEMENT “Year after year we see such excellent stories being expressed by the vibrant region of the Asia Pacific and I am always humbled to be asked to continue creating the Awards. It always gives me great pleasure that such talented filmmakers are rewarded with my glass vessels and I congratulate all the nominees. A lot of time goes into crafting the Awards and there is a little part of me in each artwork; it is such an honour that they are so well received within the film industry.”

Joanna Bone RCA

BIOGRAPHY Brisbane artist Joanna Bone is a graduate of the Royal College of Art in London and winner of Australia’s prestigious Ranamok National Glass Prize. Her work can be found in prominent private and public collections globally. Each APSA category winner receives one of Joanna’s exquisite glass vessels. The vessel presented to Iranian director Kioumars Pourahmad for his 2007 APSA Jury Grand Prize winning film, Night Bus, is now part of the permanent collection of the Film Museum of Iran.

Cho Min-soo accepting the 2012 APSA Jury Grand Prize for her performance in Pieta, directed and written by Kim Ki-duk and produced by Kim Soon-mo.

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THE NOMINEES

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The Act of Killing produced by Signe Byrge Sørensen, Joram Ten Brink, Christine Cynn, Anne Köhncke, Joshua Oppenheimer, Michael Uwemedimo and anonymous Indonesian producers.

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Beom-jo So-nyeon (Juvenile Offender)

The Act of Killing

Denmark, Norway, United Kingdom Produced by Signe Byrge Sørensen, Joram Ten Brink, Christine Cynn, Anne Köhncke, Joshua Oppenheimer, Michael Uwemedimo and anonymous Indonesian producers. Co-Produced by Torstein Grude, Bjarte Mørner Tveit, Joshua Oppenheimer and Christine Cynn. Anwar Congo and his friends have been dancing their way through musical numbers, twisting arms in film noir gangster scenes, and galloping across prairies as yodelling cowboys. Their foray into filmmaking is being celebrated in the media and debated on television, even though Anwar Congo and his friends are mass murderers.

BEST DOCUMENTARY FEATURE FILM

Shomrei Hasaf (The Gatekeepers)

Israel, France, Germany, Belgium Produced by Dror Moreh, Estelle Fialon and Phillipa Kowarsky and co-produced by Anna Van der Wee For the first time ever, six former heads of Israel’s domestic secret service agency, the Shin Bet, share their insights and reflect publicly on their actions and decisions. Since the Six Day War in 1967, Israel has failed to transform its crushing military victory into a lasting peace. Throughout that entire period, these heads of the Shin Bet stood at the centre of Israel’s decision-making process. The Gatekeepers offers an exclusive account of the sum of their successes and failures.

Frihet Bakom Galler (No Burqas Behind Bars)

Menstrual Man

Singapore, India Produced by Amit Virmani and Seah Kui Luan There are men who squirm at the mention of a woman’s period. And then there’s Muruganantham, a school dropout in India who went to great extremes to produce low-cost sanitary pads for his wife. Once mocked by his own community, he is now acknowledged as a visionary for empowering rural Indian women with access to both feminine hygiene and a livelihood. Menstrual Man underscores the importance of empowering women to combat poverty, and the power in every individual to make a difference.

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Sweden, Japan, Netherlands, Denmark Produced by Maryam Ebrahimi In a prison within a prison, 40 Afghani women and their 34 children are housed in a facility within a 500-man prison. Ironically, in one important way the women have more freedom here than if they were back home, with no one to punish them for showing their faces. No Burqas Behind Bars provides an insight into the lives of some of the most vulnerable and oppressed women on the planet.

Republic of Korea Produced by Park Joo-young Ji-gu is a 16-year-old juvenile offender under probation who lives with his only known relative, his bed-ridden grandfather. One day, he is caught committing burglary and without a parent to plead for him, the judge sentences Ji-gu to the juvenile reformatory. 11 months later, Ji-gu is informed that his grandfather has passed away and that his mother, who he thought was dead, had in fact run away from home after giving birth to him at age 17. After he is discharged, he and his young mother try to make up for lost time but he soon realises that his mother is much too young and he comes to understand why she had to leave him all those years ago.

Tabidachi no Shima Uta – Jugo no Haru (Leaving on the 15th Spring)

Japan Produced by Yasuhiro Masaoka, Hiroshi Higa and Takeshi Sawa Yuna lives on a remote Ryukyu Island in Japan, dividing her time between studies and tending the home for her father, a stoic sugar cane farmer. For reasons unknown to Yuna, her father has been ostracised by the rest of his family. Like generations before her, Yuna will move to the big island of Okinawa to finish her education, but before she leaves she must lead her traditional music circle in a farewell concert. Leaving on the 15th Spring provides a sensitive and poignant impression of a young girl on the cusp of adulthood, torn between the alternately attractive and conflicting natures of tradition and progress.

Shopping

Alam Laysa Lana (A World Not Ours)

Lebanon, United Kingdom, United Arab Emirates, Denmark, Palestine Produced by Patrick Campbell and Mahdi Fleifel A World Not Ours is an intimate portrait of three generations of exile in a refugee camp in southern Lebanon. Based on a wealth of personal recordings, family archives, and historical footage, the film is an illuminating study of belonging, friendship and family. Filmed over more than 20 years by multiple generations of the same family, A World Not Ours is an attempt to record what is being forgotten and mark what should not be erased from collective memory.

New Zealand Produced by Sarah Shaw and Anna McLeish New Zealand, 1981: After a chance encounter with charismatic thief Bennie and his close-knit gang of “shoppers”, Willie is seduced into a criminal world that allows him to escape mounting tensions with his volatile father. But as Bennie’s hold over him grows, Willie finds himself in over his head; and when his brother Solomon is left to fend for himself at home, Willie’s two worlds collide with shattering consequences.

NOMINEES

BEST CHILDREN’S FEATURE FILM

Wadjda

Lamma Shoftak (When I Saw You) Palestine, Jordan Produced by Ossama Bawardi and coproduced Rami Yasin, Sawsan Asfari, Maya Sanbar Jamo and Tariq Al Ghussein Jordan, 1967: Having been separated from his father in the chaos of the Palestinian war, 11-year-old Tarek and his mother Ghaydaa are among the latest wave of refugees flooding over the border into Jordan. Placed in temporary refugee camps, they wait, like the generation before them who arrived in 1948. With difficulties adjusting to life in the camp and a longing to be reunited with his father, Tarek searches for a way out and discovers a new hope emerging with the times. Eventually his free spirit and curious nature lead him to a group of people on a journey that will change their lives.

Saudi Arabia, Germany Produced by Roman Paul and Gerhard Meixner and co-produced by Amr Alkahtani Wadjda is a 10-year-old girl living in the capital of Saudi Arabia. She desperately wants to buy a bicycle but her mother won’t allow it. Wadjda decides to try and raise the money herself. When she hears of a cash prize for a Koran recitation competition, she devotes herself to the memorisation of Koranic verses. The competition isn’t going to be easy – especially for a troublemaker like Wadjda – but she refuses to give in.

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Asghar Farhadi Sa-i-bi (The Fake)

Republic of Korea Produced by Cho Young-kag With their municipality under threat from a menace of suitably biblical portent – it is scheduled to be flooded to make way for the construction of a hydro dam – the devout citizens of a rural village have placed their faith in Choi, a church elder who has promised to relocate the flock to a new housing development. Behind his guise of devotion, however, Choi is a practiced con man; his true aim is to defraud the villagers of their evidence of his past misdeeds. But Min-chul himself is hardly a saint, and when his attempts to expose Choi to the authorities fall on deaf ears, he makes a fateful decision to take matters into his own hands.

BEST ANIMATED FEATURE FILM

Koo! Kin-Dza-Dza

Russian Federation Produced by Sergey Selyanov, Leonid Yarmolnik, Yuri Kushnerev, Oleg Urushev and Konstantin Ernst A construction worker and a music student foolishly fiddle with an alien transportation device and are flung to a far-off planet from which they try to find their way home. The planet Pluk is an alien world of sand where a simple match stick is of unbelievable value, and people meet and greet each other by the colour of their pants.

Kaze Tachinu (The Wind Rises)

Sakasama no Patema (Patema Inverted)

Japan Produced by Mikio Ono In an underground world where tunnels extend everywhere, people wear protective clothes and lead quiet, enjoyable lives, Patema, a princess in her underground village, loves to explore the tunnels. Her favourite place is a “danger zone” that her village prohibits people from entering. Even though she’s scolded, Patema’s curiosity can’t be held back. No one ever explained what the supposed danger was. On her usual trip to the “danger zone”, Patema faces unexpected events and hidden secrets come to light.

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Japan Produced by Toshio Suzuki Jiro dreams of flying and designing beautiful aeroplanes, inspired by the famous Italian aeronautical designer Caproni. Nearsighted from a young age and unable to become a pilot, he joins the aircraft division of a major Japanese engineering company in 1927. His genius is soon recognised, and he grows to become one of the world’s most accomplished aeroplane designers. The Wind Rises follows Jiro’s path through love, perseverance, and the challenges of living and making choices in a turbulent world.

for Le Passé (The Past) France, Italy Three time APSA winner Asghar Farhadi has directed six short films and has written and directed two television series as well as many feature films including Dancing in the Dust (2003), Beautiful City (2004) and Fireworks Wednesday (2006). About Elly (2009) won the Silver Bear for Best Director at the Berlin Film Festival, Best Film at the Tribeca Film Festival as well as Best Screenplay and the Jury Grand Prize at APSA 2009. A Separation (2011) received over 70 international awards, including the 2011 APSA Best Feature Film, Golden Globe for Best Foreign Language Film, the César for Best Foreign Film and the Academy Award for Best Foreign Language Film. The Past premiered at the 2013 Cannes Film Festival and is Iran’s official entry into the 2014 Academy Awards®.

Denis Osokin

for Nebesnye Ženy Lugovykh Mari (Celestial Wives of the Meadow Mari) Russian Federation Denis Osokin was born in Kazan in 1977. He studied psychology at Warsaw University and is a graduate of the philology department of Kazan University. As a writer of short stories he has won several prestigious prizes. He also worked in television in Kazan, where his projects included documentaries on the culture and traditions of the people of the Volga region. Osokin won the Gorn Prize for Best Script at this year’s Kinotavr Open Russian Film Festival for Nebesnye Ženy Lugovykh Mari (Celestial Wives of the Meadow Mari). His screenplay of Ovsyanki (Silent Souls), adapted by Osokin from his own novel, won him the Best Screenplay Award at the 2011 APSAs, Mar Del Plata Film Festival and the Russian Nika Awards. The film also won multiple awards at the 67th Venice Film Festival, including the FIPRESCI Prize.

U-Wei Bin Hajisaari

Mostofa Sarwar Farooki and Anisul Hoque

Goopi Gawaiya Bagha Bajaiya (The World of Goopi and Bagha)

India Produced by Children’s Film Society, India Goopi and Bagha are two wise fools; one lives to sing and the other to play the drum. Despite their acute ineptness, their passion for music knows no bounds. When the villagers cannot bear to listen to them anymore, both are banished to the same forest. The two hapless souls sing and play together only to be surrounded by melancholic ghosts who they enchant with their peculiar musical talent. As a gift, they acquire four boons from the king of ghosts. They use three, but one boon is still owed to them and will be granted by the ghost king when they need to use it – and so begins the story of Goopi and Bagha.

for Television Bangladesh, Germany Mostofa Sarwar Farooki is a contemporary Bangladeshi film director and screenwriter. He is also the pioneer of an avant-garde filmmakers’ movement called “Chabial”. Variety’s Jay Weissberg described Farooki as “a key exemplar of Bangladeshi new wave cinema movement”. Anisul Hoque is a Bangladeshi screenwriter, novelist, dramatist, and journalist. He won the Bangla Academy Award, a top literary prize for creative genius. Farooki and Hoque have collaborated on feature films including Bachelor (2003), Made in Bangladesh (2007), Third Person Singular Number (2009), and most recently, Television (2012), which was selected as the Bangladeshi entry for the Best Foreign Language Film at the 86th Academy Awards®.

NOMINEES

BEST SCREENPLAY

Ritesh Batra

for The Lunchbox India, France, Germany Ritesh Batra is a writer and director based in Mumbai and New York. In 2009, Batra was selected for the Sundance Writers and Directors labs for his feature project The Story of Ram. He was also named the Sundance Time Warner Storytelling Fellow and an Annenburg Fellow. His short film Café Regular, Cairo was featured in the 2012 International Film Festival of Rotterdam and the 2012 Tribeca Film Festival. The Lunchbox, his debut feature film, won the Audience Choice Award at this year’s Cannes Film Festival, an Honorable Mention from the 2012 Cinemart Jury as part of the International Film Festival of Rotterdam, and has won awards at both the Odessa and Reykjavik International Film Festivals.

for Hanyut (Almayer’s Folly) Malaysia U-Wei Bin Hajisaari is a published art writer, essayist and newspaper columnist. His film Woman, Wife and Whore (1993), received five awards at the 11th Malaysian Film Festival, including Best Film, Best Director and Best Screenplay. In 1995, The Arsonist, was invited to Un Certain Regard in Cannes Film Festival as well as Berlin, Montreal, Nantes, Fribourg, New York and Busan and was awarded Grand Prix at the Brussels Film Festival. Nantes Film Festival held a retrospective on his work in 2001. His latest film Hanyut (Almayer’s Folly) received a Special Honour Award at this year’s Asean International Film Festival.

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Anthony Chen Ehab Assal

for Omar Palestine Cinematographer and co-producer Ehab Assalʼs cinematic background started in the 1990s as a camera assistant on some iconic Hollywood films including The Apostle (1997) and The Insider (1999). Assal then returned to Palestine where he continued as a cinematographer on shorts and documentaries and first camera assistant on feature films. Now based in Nazareth, Ehab runs his newly formed production company, Yellowdawn Productions. Assal’s most recent works as a cinematographer include Elvis of Nazareth (2011), First Lesson (2010), Beatitudes (2009), and A Boy, A Wall and a Donkey (2008).

ACHIEVEMENT IN CINEMATOGRAPHY

Lu Yue

for Yi Jiu Si Er (Back to 1942) People’s Republic of China One of China’s leading cinematographers since the 1980s, Lu Yue has worked alongside directors including Zhang Yimou, John Woo and Feng Xiaogang and on the directorial debuts of filmmakers including Joan Chen. In 1996, he was nominated for an Academy Award for his work on Zhang Yimou’s Shanghai Triad. In 2009, he won China’s prestigious Golden Rooster award for his breakthrough cinematography on Feng Xiaogang’s Assembly and most recently for Back to 1942. Lu is also active as a director with his most recent film, The Obscure (2007), invited to screen at the Venice Film Festival.

Murat Aliyev

for Shal (The Old Man) Kazakhstan Born in the Republic of Kyrgyzstan in 1948, Murat Aliyev graduated from the film operator faculty of the VGIK film school in Moscow in 1979 and now works with the film studio Kyrgyzfilm. Among Aliyev’s recent works are Border (2011), The Uranium Typhoon (2010), Kelin (2008) and Petrarka’s Readings (2007).

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Emir Baigazin

for Uroki Garmonii (Harmony Lessons) Kazakhstan, Germany, France Born in 1984 in Kazakhstan, Emir Baigazin graduated from the Kazakh National Academy of Arts in 2009. In 2007, his project Steppe was selected for hands-on training at the Asian Film Academy during the Busan International Film Festival and in February 2008, Baigazin participated at the Berlinale Talent Campus. His debut feature, Harmony Lessons, won two awards at this year’s Berlin International Film Festival, the Grand Jury Prize for Best New Director at the Seattle International Film Festival, and the top international prize at Moscow’s 2Morro Film Festival. Baigazin is currently working on a sequel to Harmony Lessons under a Berlinale residency grant.

Hirokazu Kore-eda

Mandy Walker ASC ACS

for Tracks Australia, United Kingdom Mandy Walker is one of Australia’s most acclaimed and in-demand cinematographers having worked on a number of feature films including Red Riding Hood (2011), Beastly (2011), Australia (2008), Shattered Glass (2003), Lantana (2001) and Love Serenade (1996), winner of the Cannes Camera d’Or. Walker has received a number of awards for her work including a Satellite Award, Hollywood Film Award for Cinematographer of the Year, Award of Distinction from the Australian Cinematographers Society and in 2006 she was named as one of the Variety 10 cinematographers to watch. She also has an impressive portfolio of International TV commercials with numerous awards of excellence including for her work on the Chanel No5 mini film.

for Ilo Ilo Singapore Born in 1984 in Singapore, Anthony Chen has written and directed eight short films including G-23 (2005), Grandma (2007) and Haze (2008). Grandma was nominated for the Palme d’Or for Short Film at the 60th Cannes Film Festival, and was awarded a Special Mention, the first time a Singapore film was awarded in Cannes. In 2009, he received the Young Artist Award from the National Arts Council of Singapore. Ilo Ilo (2013) marks his feature film debut and it has already won multiple top awards such as the coveted Camera d’Or Award at this year’s Cannes Film Festival, and four awards at the recent Golden Horse Awards in Taipei, including Best Film and Best New Director. Ilo Ilo is Singapore’s official entry into the 2014 Academy Awards.

Rajeev Ravi

for Monsoon Shootout India, United Kingdom, Netherlands Rajeev Ravi is an Indian cinematographer, film director and film producer. After graduating from the Film and Television Institute of India in 1997, he started his career by assisting in the Malayalam film, Pranayavarnangal (1998). Ravi debuted as an independent cinematographer with the film Chandni Bar (2001) and followed this with Dev.D (2009) which saw him claim the Filmfare Award for Best Cinematography in 2010, That Girl in Yellow Boots (2010) and 2012 APSA Jury Grand Prize winner Gangs of Wasseypur Part 1 and 2 (2012) among others. Ravi has collaborated with director Anurag Kashyap on several feature films in Bollywood.

for Soshite chichi ni naru (Like Father, Like Son) Japan After graduating from Waseda University in 1987, Tokyo-born Hirokazu Kore-eda joined TV Man Union where he directed several prize-winning documentaries. In 1995, his directorial debut Maborosi won the 52nd Venice International Film Festival’s Golden Osella Prize. In 1999, he received international acclaim for After Life, followed by Distance (2001), Nobody Knows (2004), Hana (2006), Still Walking (2008) and Air Doll (2009), which received its world premiere in Un Certain Regard at the 62nd Cannes International Film Festival. In 2011, Kore-eda won the Best Screenplay Award at the 59th San Sebastian International Film Festival with I Wish, which was also nominated for the 2012 APSA Best Children’s Feature Film. Like Father, Like Son competed for the Palme d’Or at this year’s Cannes Film Festival, winning the Jury Prize and a commendation from the Ecumenical Jury.

ACHIEVEMENT IN DIRECTING

Shahram Mokri

Hiner Saleem

for My Sweet Pepper Land Iraqi Kurdistan, France, Germany Born in 1964 in Akré, Iraq, Hiner Saleem first gained international attention when his undercover footage of the living conditions of Iraqi Kurds was shown at the Venice Film Festival in 1992. Since Saleem’s debut feature, Kebab Connection (1998), he has written and directed several films including Beyond our Dreams (1999) and Vodka Lemon (2003), which was awarded Best Film at the Venice Film Festival in 2005. His feature film, Kilomètre Zéro (2004), was part of the official selection at the Cannes Film Festival and was followed in 2007 by the release of Dol ou la Vallée des Tambours (Beneath the Rooftops of Paris) (2007) and If You Die, I’ll Kill You (2011). My Sweet Pepper Land has won the special Jury Award at the Abu Dhabi Film Festival, Best Film at the Chicago Film Festival and Best Film at the Duhok Film Festival in Kurdistan.

for Mahi Va Gorbeh (Fish and Cat) Islamic Republic of Iran Born in Marand, Iran, Shahram Mokri is a graduate of cinema from Tehran’s Soureh College. He started making short films in 2000 and has edited eight television series and more than 20 short and documentary films. His short films brought him national and international recognition along with his debut feature film, Ashkan, The Charmed Ring And Other Stories (2009). His sophomore feature Fish and Cat won the Special Orrizonti Award for Innovative Content at this year’s Venice Film Festival and Best Film at the Lisbon and Estoril Film Festival in Portugal.

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Aaron Pedersen Golshifteh Farahani

in My Sweet Pepper Land Iraqi Kurdistan, France, Germany Born in Iran, Golshifteh Farahani was just 14 when she appeared in her first role in Dariush Mehrjui’s The Pear Tree, for which she won the Best Actress award at the Fajr International Film Festival in Tehran. Since then, she has become one of the most renowned Iranian actresses, appearing in 20 films including Half Moon, M for Mother and Shirin. Her international breakthrough came in 2008 when she starred alongside Leonardo DiCaprio in Ridley Scott’s Body of Lies. About Elly (2009) was the last film she completed in Iran, having since appeared in There be Dragons (2010), Chicken with Plums (2011), The Patience Stone (2012), and Just Like a Woman (2012).

BEST PERFORMANCE BY AN ACTRESS

Negar Javaherian

in The Painting Pool Islamic Republic of Iran Born in 1982, Negar Javaherian started her career as a stage actress at the age of 16 before graduating from the Art and Architecture University in Tehran. In 2001, she acted in her first film I’m Taraneh, I’m 15. Javaherian has won numerous prizes, most notably, the Best Actress award for Before the Burial (2008) at the 11th Osian Cine Fan Film Festival, Best Actress in the Leading Role for Gold & Copper (2011) at the 28th Fajr Film Festival and Best Actress in a Supporting Role for Here, Without Me (2011) at the 15th Cinema Home Ceremony.

Whirimako Black

Ayça Damgacı

in Yozgat Blues Turkey, Germany Ayça Damgacı studied Dramaturgy and Theater Criticism at Istanbul University. From 1998 to 2011, she acted in and co-directed several plays at the Tiyatro Oyunevi theatre in Istanbul. Damgacı co-wrote and acted in Gitmek: My Marlon and Brando (2008), which recounts the true story of her travel southeast during the Iraq War to rescue her love, a Kurdish actor trapped behind the border. Her performance won Best Actress awards at the Istanbul, Sarajevo, Tetouan (Morocco), and Nuremberg Film Festivals. She has also acted in cinema movies including Ay Lav Yu (2010), and Do Not Forget Me Istanbul (2011) and is the creator and vocalist of the band Göçebe Şarkılar. She is currently acting in the TV show Aramizda Kalsin.

NOMINEES

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in Tuakiri Huna (White Lies) New Zealand Whirimako is a New Zealand Māori recording artist, with White Lies (2013) marking her acting debut. She specialises in jazz, blues and traditional Māori musical forms. Having recorded eight solo albums, Whirimako sings primarily in Te Reo Māori and also uses traditional Māori instruments in her music. Through her collaboration with One Giant Leap producers Jamie Catto and Duncan Bridgeman, Whirimako’s track Ta Moko featured on the One Giant Leap debut album alongside other world-renowned musicians and performers. In 2006, Whirimako was made a member of the New Zealand Order of Merit (MNZM) for services to Māori Music and in 2011 received an Arts Foundation Laureate Award.

in Mystery Road Australia Aaron Pedersen originally studied journalism before transitioning his career to his acting passion. His television credits include Jack Irish: Black Tide, Jack Irish: Bad Debts, City Homicide, East West 101, The Secret Life of Us, Water Rats, MDA, Grass Roots, BlackJack: Dead Memory and The Circuit, where he became one of the country’s first Aboriginal leads on television. Pedersen has appeared in the feature films Bad Karma (2012) and Darklovestory (2006) for which he won a Melbourne Underground Film Festival Award for Best Actor, Queen of Hearts (2004), Saturday Night (2000) and Dead Heart (1996). He has also directed his own short documentary, My Brother Vinnie (2006), for which he received the Best Short Documentary award at the Melbourne International Film Festival.

Adam Bakri

in Omar Palestine Israeli born Adam Bakri makes his feature film debut in Omar. A day after graduating from New York’s Lee Strasberg Institute, Bakri sent an audition tape to director Hany Abu-Assad, and was on the set of Omar the following month. During his two-year acting program, he participated in several theater productions. Before moving to New York, Bakri attended Tel Aviv University where he double-majored in English Literature and Theater Arts. During that time he acted in a number of short films.

Lee Byung-hun

Zhang Ziyi

in Yi dai zong shi (The Grandmaster) Hong Kong (PRC), People’s Republic of China Zhang Ziyi entered China’s prestigious Central Academy of Drama at the age of 17. Her first major role was in The Road Home (1999). She achieved international recognition with leading roles in Crouching Tiger, Hidden Dragon (2000), Rush Hour 2 (2001), House of Flying Daggers (2004) and Memoirs of a Geisha (2005). Ziyi has been nominated for numerous awards including three BAFTA Awards and a Golden Globe Award. She won Best Supporting Actress at the 16th Independent Spirit Awards and in 2006 was named Most Popular Actress by the Beijing New Film Association. In 2013, she won the Golden Horse for Best Actress for The Grandmaster.

in Masquerade Republic of Korea Korean actor Lee Byung-hun has taken on a broad spectrum of roles over the years, with film credits including The Good, the Bad, the Weird (2008) and I Saw the Devil (2011). Lee’s role in the global blockbuster, G.I. Joe: The Rise of Cobra (2009), established him as an international star and he continued his Hollywood success in Red 2 (2013), starring alongside Bruce Willis, Catherine Zeta Jones and John Malkovich. In Masquerade (2012), Lee returns to the Korean film industry with the first period drama of his career. He has received several awards throughout his career including Best Actor at the 42nd Baeksang Arts Awards, 25th Critics Choice Awards and the 1st Busan Film Critics Awards. He won Best Actor and Popularity Award for Masquerade at the Korean Bell Awards.

NOMINEES

BEST PERFORMANCE BY AN ACTOR

Yerbolat Toguzakov

Tatsuya Nakadai

in Nippon no higeki (Japan’s Tragedy) Japan Tatsuya Nakadai’s film debut came when director Masaki Kobayashi cast him in The Thick Walled Room (1953). Nakadai was subsequently cast in the lead role in Kobayashi’s epic trilogy The Human Condition for which he received international acclaim. He continued to collaborate with Kobayashi on many more films including Harakiri (1962) and Haru’s Journey (2010). Nakadai also worked frequently with director Akira Kurosawa, appearing in Kagemusha (1980) and Ran (1985). In addition to Nakadai’s impressive film career, he has starred in numerous theatre productions including Hamlet, Othello, Don Quixote and Driving Miss Daisy. Among Nakadai’s many accolades are a Golden Arrow Award and two Blue Ribbon Awards for Best Actor. Nakadai has received high honour in Japan with The Order of the Rising Sun, Gold Rays with Rosette in 2003 and was named Person of Cultural Merit in 2007.

in Shal (The Old Man) Kazakhstan Yerbolat Toguzakov was born in Kazakhstan and graduated from the Almaty Planning and Economic Faculty of the Institute of National Economy in 1970, but Toguzakov dreamed of working in film. In 1974 the Kazakhfilm studio sent Toguzakov to Moscow for a two year course at the State Cinema of the USSR. He has since acted in feature films including The Gift to Stalin (2008), The Road to Home (2009), Kelin (2010) and The Tale of Pink Hare (2011). In 2012 Toguzakov won Kazakhstan’s National Award for “Actor of the Year”.

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Omar

Le Passé (The Past)

France, Italy Produced by Alexandre Mallet-Guy Following a four year separation, Ahmad returns to Paris from Tehran in order to finalise his divorce from his French wife Marie. During his brief stay, Ahmad discovers the conflicting nature of Marie’s relationship with her daughter Lucie. Ahmad’s efforts to improve this relationship soon unveil a secret from their past.

Palestine Produced by Hany Abu-Assad, Waleed F. Zuaiter and David Gerson Omar is accustomed to dodging surveillance bullets to cross the separation wall to visit his secret love Nadia. But occupied Palestine knows neither simple love nor clear-cut war. The sensitive young baker becomes a freedom fighter and when he is captured after a deadly act of resistance, Omar falls into a cat-andmouse game with the military police. Suspicion and betrayal jeopardise his trust in childhood friends Amjad and Tarek, Nadia’s militant brother. Omar’s feelings are torn apart but it’s soon evident that everything he does is for his love of Nadia.

BEST FEATURE FILM

Television

Bangladesh, Germany Produced by Mostofa Sarwar Farooki and co-produced by Mahboob Rahman As a leader of the local community, Chairman Amin bans every kind of image in his water locked village in rural Bangladesh. He even claims that imagination is sinful. But change is a desperate wind and the tension between tradition and modernity grows to such an extent that it starts to leave a ripple effect on the lives of a group of typically colourful and eccentric people in the village. In the end, television, which Chairman Amin hated so much, comes to his rescue and helps him reach a transcendental state where he and his God are unified.

With You, Without You

Soshite chichi ni naru (Like Father, Like Son)

Japan Produced by Matsuzaki Kaoru and Taguchi Hijiri Ryota has earned everything he has by his hard work and believes nothing can stop him from pursuing his perfect life. Then one day, he and his wife, Midori, get an unexpected phone call from the hospital. Their six-year-old son, Keita, is not “their” son – the hospital gave them the wrong baby. Ryota is forced to make a life-changing decision, to choose between “nature” and “nurture” and starts to question himself: has he really been a “father” all these years?

Sri Lanka Produced by Lasantha Navarathna and Mohamed Adamaly When lonely, tortured pawnbroker Sarathsiri marries the enigmatic Selvi, he thinks he has finally found a way to put his past behind him. But a chance visit from an old friend opens up wounds that threaten to tear open the fabric of a mutilated nation coming to grips with the unspeakable cost of a 30-year civil war. Will love help them cross the bridge? Or will the past continue to colour the present?

The Turning

Australia Produced by Robert Connolly and Maggie Miles Seventeen Australian directors from diverse artistic disciplines each create a chapter of the hauntingly beautiful novel by multi awardwinning author Tim Winton. The linking and overlapping stories, adapted for screen by talented writers, explore the extraordinary turning points in ordinary people’s lives in a stunning portrait of a small coastal community. As characters face second thoughts and regret, relationships irretrievably alter, resolves are made or broken, and lives change direction forever.

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UNESCO AWARD

JURY GRAND PRIZE

The United Nations Educational, Scientific, and Cultural Organization (UNESCO) award for outstanding contribution to the promotion and preservation of cultural diversity through film.

Nominees and nominated films from all award categories are eligible for these prizes to be decided by the APSA Jury.

The Jury can, at its discretion, present a further award: the Jury Grand Prize.

Shopping produced by Sarah Shaw and Anna TH McLeish, directed by Mark Albiston and Louis Sutherland.

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FIAPF AWARD

L-R: The Terror Live, Hwang Jin Yi, Spin Kick, Addicted, Lee Choon-yun.

FIAPF — ­ lnternational Federation of Film Producers Associations honours Lee Choon-yun for his outstanding achievements in film in the Asia Pacific region. It is without doubt that the Whispering Corridors series broke new ground for Korean-style horror in the 1990s, often marked as the starting point for “K-Horror” films. In a domestic market that generally shies away from sequels, its success has become a working model for others to follow. Championed by producer Lee Choonyun, the series began in 1998 and now has a total of five instalments, with the franchise seeing both commercial success in Korea and recognition internationally through the home market and festival circuit, bringing many genre fans worldwide to discover Korean cinema. The acclaim this brand has achieved is highly commendable and an acknowledgement to the

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determination, commitment and creativity Lee brought to the series. Born in 1951, Lee began his career in musical theatre, before entering the world of Korean film in the mid to late 1980s. Having originally worked with artistic projects such as Kim Ki-young’s Hunting for Idiots (1984) and Jang Sun-woo’s Age of Success (1988), Lee soon found himself with the reputation for launching many young stars’ careers, perhaps initially in Kang Woo-suk’s Happiness Does Not Come in Grades (1989) which gave Lee Mi-yeon her breakout role. The Whispering Corridors series itself provided the launching platform for many of today’s beloved stars, including Choi Kang-hee, Kim Gyu-ri, Kim Ok-bin and Kong Hyo-jin. However, the most successful actress

Lee is credited with having been responsible for is Shim Eun-ha, who worked with Lee on Art Museum by the Zoo (1998) and Interview (2000).

2013 APSA International Jury member Kim Taeyong and most recently with Kim Byung-woo on the surprise smash hit The Terror Live (2013).

Lee launched his production company, Cine2000, in the wake of the film liberalisation movement in Korea in the 1990s, and has gone on to contribute greatly to the diversity of Korean genre films, developing more than 20 features. Notable productions include Park Chan-wook’s Trio (1997), the melodrama Interview (2000), the erotic drama Addicted (2002), the sports comedy Spin Kick (2003), the period biopic Hwang Jin Yi (2007) and the hit action-comedy Running Turtle (2009) starring Kim Yun-seok. Lee has a reputation for giving opportunities to many young filmmakers and first time directors, including Min Kyu-dong,

As he approaches 30 years in the industry, Lee has developed a “big brother” image, working as a mediator between experienced filmmakers and emerging talents, as well as providing a strong connection between industry and government. He is an opinion leader on policy issues and industry conditions, and has stood as chairman of the Coalition for Cultural Diversity in Moving Images.

of Korean film might even be able to recognise him on screen, as the producer known for his sense of humour often makes cameo appearances in a wide range of films. Kieran Tully Artistic Director, Korean Film Festival in Australia

Acknowledged as one of the most important players in modern Korean cinema, Lee Choonyun has been a symbol for the industry during the time of its greatest developments. Avid fans

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WIDE ANGLE

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Kaze Tachinu (The Wind Rises)THproduced by Toshio Suzuki and directed by Hayao Miyazaki.

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WELCOME TO BRISBANE

L-R: The Brisbane River and city, Clem Jones Promenade at the South Bank Parklands, kayaking on the Brisbane River, Streets Beach at the South Bank Parklands, the Gallery of Modern Art, Scenic Rim.

Australia’s new world city; a modern, vibrant destination nestled in the south-east corner of Queensland. A visit to Brisbane will give you many opportunities to explore, indulge and relax. A cosmopolitan city with a friendly attitude and an exceptional natural environment, Brisbane boasts an exciting array of leisure and cultural pursuits. Brisbane’s riverside cultural precinct is a destination in itself. Here you’ll find world-class venues including GoMA, the largest gallery of modern art in Australia, and the Queensland Performing Arts Centre, home to some of the world’s greatest blockbuster stage shows. Culture vultures should venture into Brisbane’s urban precincts and uncover intriguing independent galleries, outdoor theatre and fringe performances. Brisbane’s dining scene is a melting pot of Australia’s best chefs and freshest produce. It’s where the country’s most exciting food trends evolve, with an innovative array of fine dining, contemporary restaurants and bespoke cafés and bars – all served up in beautiful riverside locations, trendy urban villages or breezy Queenslander style buildings. 48 | 7TH ANNUAL ASIA PACIFIC SCREEN AWARDS

The city boasts over 1800 parks and reserves and over 1200 kilometres of bikeways and walkways, giving you plenty of opportunity to enjoy Brisbane’s spectacular outdoor lifestyle and recharge your soul in the natural playground right on Brisbane’s doorstep. Take any direction out of the city to find a world just waiting to be explored. To the north, a backyard of rolling hills and quaint country towns in Somerset; the Scenic Rim’s World Heritage rainforests in the west; and, to the east, the gorgeous blue water and breathtaking hinterland of Moreton Bay, Redlands and Stradbroke Island, the second largest sand island in the world. Whether you choose to swim in Australia’s only inner-city beach at the famed South Bank Parklands, cruise the river in a kayak, cuddle a koala, climb the Story Bridge or escape the city for aquatic adventures and dolphin feeding, Brisbane will deliver an unforgettable experience.

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PRESENTING PARTNER

Echo Entertainment Group, owner of Treasury Casino & Hotel Brisbane, is the Presenting Partner of the 7th Annual Asia Pacific Screen Awards. Like the Asia Pacific film industry, Echo Entertainment has both a proud history and great aspirations for the future in Brisbane. Our Treasury Casino & Hotel has been entertaining Queenslanders and visitors to Brisbane for over 18 years. We are proud to support the Asia Pacific Screen Awards; a truly international, world-class event befitting Brisbane, as Australia’s new world city. Congratulations to all the nominees and winners of this year’s Asia Pacific Screen Awards.

www.treasurycasino.com.au

Brisbane City.

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MESSAGE FROM THE MOTION PICTURE ASSOCIATION

APSA NETPAC DEVELOPMENT PRIZE A Separation produced and directed by Asghar Farhadi.

Designed to nurture outstanding talent in the region, a prize of $US10,000 is offered by APSA in collaboration with the Griffith Film School and Network for the Promotion of Asian Cinema (NETPAC). All films in competition for APSA are eligible. The 2013 APSA NETPAC Jury comprised APSA Nominations Council NETPAC members Jeannette Paulson Hereniko, Peggy Chiao and Kathryn Weir. The 2013 APSA NETPAC Development Prize recipient is: Adilkhan Yerzhanov Director, screenwriter and cinematographer For Stroiteli (Constructors) Kazakhstan

JURY CITATION “The APSA NETPAC Development Prize is awarded to Stroiteli (Constructors) for its striking visual qualities and unique insights into contemporary social conditions in Kazakhstan from the perspective of children trying to survive in a harsh environment. Adilkhan Yerzhanov is a promising new voice from Central Asia. Stroiteli offers viewers a strong viewpoint, a compelling storyline and an emotional journey on the part of its three characters – all achieved in a pared-back style and with minimum resources.”

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Two brothers and their little sister are thrown out of their flat because they haven’t paid the rent. The orphans pack up their few possessions and go out to the country, where the family owns a small plot of land. The children set up camp, knowing they have to fend for themselves, but this solution is insecure, too: they are told, in no uncertain terms, that all plots will shortly pass to the state unless at least the foundations of a house have been laid. So, the fractious siblings must unite in a common cause, borrowing or stealing tools and supplies to stake their lasting claim.

We are enormous fans and supporters of the Asia Pacific Screen Awards and are delighted to see that they will be staged in Brisbane once again, this year under the guidance and support of Brisbane City Council. The establishment of the Asia Pacific Screen Awards onto the world stage in 2007 was a timely recognition of the growth and development of cinema in the Asia Pacific region. Since then, the APSAs have proved to be a world-class platform for acknowledging many of the region’s most distinguished and talented filmmakers, playing an important role in expanding the audience of Asia Pacific films around the globe. The formation of the Asia Pacific Screen Academy was another visionary initiative, as this growing assembly of filmmakers has proven to include some of the most influential and successful filmmakers in the past five years. We are proud to partner with APSA in the MPA APSA Academy Film Fund, which enters its fourth year in 2013. Since its inception, we have been able to support 12 Asia Pacific Screen Academy members with grants to help them realise their stories for the screen.

Our original intention was to provide assistance in that most important period in film production – the development phase – and our hope was that some high-quality films would be made. That was before we came to see the finished productions. What extraordinary films they are. Not only was Asghar Farhadi’s A Separation honoured with an incredible number of awards, including the Academy Award for Best Foreign Film, others such as Maryam Ebrahimi’s No Burqas Behind Bars revealed the quality of storytelling in the productions that the Fund has been able to support over the years. I would like to acknowledge the dedication and professionalism of the MPA APSA Academy Film Fund selection panellists, so competently chaired by Andrew Pike. The ability to identify the potential for a quality feature film from a synopsis is a particular and valuable skill, and to date, the selected film projects have proved to be outstanding.

Michael C. Ellis President and Managing Director, Asia Pacific Motion Picture Association

We congratulate all of the nominees for the 2013 Asia Pacific Screen Awards and look forward to joining you for this wonderful celebration of film in our region.

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MPA APSA ACADEMY FILM FUND PANELLISTS

Zeynep Özbatur Atakan receiving the 2012 MPA APSA Academy Film Fund grant for her project No Tears.

MPA APSA ACADEMY FILM FUND

Maryam Ebrahimi’s Frihet Bakom Galler (No Burqas Behind Bars).

The MPA APSA Academy Film Fund aims to stimulate collaboration between filmmakers across Asia Pacific. This $US100,000 development fund provides four $US25,000 grants each year and is wholly supported by the Motion Picture Association (MPA).

Maryam Ebrahimi’s Frihet Bakom Galler (No Burqas Behind Bars).

Now in its fourth year, the Film Fund is available exclusively to APSA Academy members and provides financial support during the crucial development phase of production. The Fund was established to stimulate film production in the Asia Pacific region and to encourage dialogue, collaboration and business opportunities for the region’s filmmakers. Among the 70 countries embraced by APSA, development grants have already been awarded to 12 Academy members to assist them in realising their stories for the screen.

MPA APSA Academy Film Fund Success Story Swedish-based Iranian documentary filmmaker Maryam Ebrahimi received a $US25,000 grant for her documentary Frihet Bakom Galler (No

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Burqas Behind Bars) in 2011. Filmed in an Afghani women’s prison, No Burqas Behind Bars premiered in November 2012 at the International Documentary Festival Amsterdam, the world’s leading documentary festival, and had its Swedish premiere at the Göteborg International Film Festival, the largest film event in Scandinavia, in January 2013, where it was nominated for the Best Nordic Documentary. Since then, No Burqas Behind Bars won Best Documentary at the Paris International Film Festival in February and the Special Jury Prize at Festival International du Film des Droits de l’Homme. No Burqas Behind Bars is nominated for the 2013 APSA Best Documentary Feature Film.

ANDREW PIKE (CHAIRMAN) LATIKA PADGAONKAR

SHERWOOD HU

Andrew Pike is a film historian and documentary filmmaker, producer, distributor and exhibitor. During the 1980s he specialised in bringing renowned films from Japan and China to Australian audiences and implemented many innovative distribution and marketing activities for which he won the Australian Film Institute’s Byron Kennedy Award in 1986.

Sherwood Hu studied at The Public Theater in New York, received his Masters of Arts degree from New York State University and earned a PhD in directing from the University of Hawaii. He created the stage production The Legend of Prince Lanling, receiving an Honorable Mention from the Kennedy Arts Center, which he later adapted into his first feature Warrior Lanling (1995). His first English language film Lani Loa - The Passage (1998) was presented by Francis Ford Coppola.

He has distributed major Australian films including Shine and Strictly Ballroom, the work of documentary directors such as Dennis O’Rourke and Bob Connolly, and the early work of feature film directors such as Jane Campion, Baz Luhrmann, Vincent Ward and Scott Hicks. Pike directed Angels of War, which won Best Documentary at the 1982 AFI Awards and Best Documentary at the 1982 Nyon Film Festival, Switzerland. He co-authored a seminal book, Australian Film 1900-1977, published by Oxford University Press. In 2007, he was awarded an Order of Australia Medal for his services to the film industry and the community, and an honorary doctorate from the University of Canberra. In 2003, Pike was appointed by the French government to the rank of Chevalier dans l’Ordre des Arts et Lettres for his promotion of French cinema in Australia. He is a Board member of the National Film and Sound Archive of Australia, was an APSA International Jury member in 2009 and chaired the assessment panel for the inaugural MPA APSA Academy Film Fund in 2010.

Latika Padgaonkar is a columnist, editor of several books, translator, former Joint Director of Osian’s-Cinefan Film Festival and former Executive Editor of Cinemaya, The Asian Film Quarterly. She wrote a regular column for The Sunday Times of India from Paris in the 1980s and was later the Paris correspondent of The Telegraph, published in Kolkata. Currently, she writes extensively on films and books in newspapers and on websites. As a trustee of the India’s Network for the Promotion of Asian Cinema (NETPAC) and a member of FIPRESCI (Federation Internationale de la Presse Cinematographique) she has been on the jury of several national and international film festivals. For many years she was National Information Officer at UNESCO’s Regional Office in New Delhi. Currently, in her capacity as a member of the Programme Committee of the Pune International Centre, she has organised small festivals in Pune in collaboration with the National Film Archive of India.

Hu returned to China in 2005 where he produced and directed a 40-episode television series, Purple Jade, for China Central Television. His feature Prince of the Himalayas (2006) received the award for Best Film at the Calabria International Film Festival along with awards from the Monaco Film Festival, China-America Film Festival, American Shakespeare Association and Beijing International Film Festival. His stage musical Growing Happiness was awarded the Best Production in 2012 by the Chinese Theater Association. As the founder of the Shanghai Media Image Art Center, he contributes a lot of his time to study a new entertainment art form mixed with film, theatre, computer arts, digital science and high-tech engineering in a dome environment.

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CHILDREN’S FILM FUND PANELLISTS

APSA ACADEMY CHILDREN’S FILM FUND

The Stone With Three Eyes produced by Songtaijia.

The APSA Academy Children’s Film Fund is a development fund which specifically aims to support new children’s feature films at creative inception that carry positive, life-affirming messages specifically for and about children in Asia Pacific. The fund was established in 2011 as a partnership between APSA and Academy member Butch Jimenez’s Manila-based 4 Boys Films. It offers two $AU20,000 grants annually exclusively to Academy members. Jimenez was inducted into the APSA Academy as the Producer of 2007 Best Children’s Feature Film nominee, The Bicycle. The fund was established in honour of his four sons, Miguel, Benjamin, Joaquin and Mateo. “I’ve always believed that children’s films have a unique power to influence young hearts and minds. My hope is that the partnership with APSA will encourage Asia Pacific filmmakers to make more children’s films to bridge cultural divides and leave a positive mark for the next generation,” Mr Jimenez said. Feature length narrative films, documentaries and animated feature films are eligible to apply and projects are judged on the same criteria that apply to films in the APSA competition – films that reflect their cultural origins, demonstrate cinematic excellence and are deemed Asia Pacific in origin.

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Children’s Film Fund Success Story

As submissions opened for their third year, APSA was pleased to release a “first look” image from the APSA Children’s Film Fund supported feature The Stone With Three Eyes by Chinese Tibetan filmmaker Songtaijia. Songtaijia was granted $AU20,000 in 2011 and the film is now nearing completion. The Stone With Three Eyes is a moving tale of redemption and a quietly powerful contemplation on the Buddhist concepts of attachment and impermanence. It is the story of three generations of a Tibetan family whose relationships have been distorted by historical, ethical and cultural wounds as seen through the eyes of a little girl. Songtaijia was inducted into the Academy in 2011 when he was nominated for Achievement in Cinematography for Old Dog.

ANNE DEMY-GEROE

GRAEME ISAAC

MARYAM EBRAHIMI

Anne Démy-Geroe is a Co-Artistic Director of the Iranian Film Festival Australia and was the Artistic Director then Executive Director of the Brisbane International Film Festival from 1991 to 2009. Her interest in Asian cinema led to the establishment of the sole Australian NETPAC jury at the Brisbane International Film Festival and a FIPRESCI jury for Asia Pacific cinema.

Graeme Isaac has worked as a producer for more than 30 years across both drama and documentary genres, with his films screened and awarded in film festivals worldwide. He has worked on many crosscultural projects, producing films with indigenous filmmakers and communities in Australia as well as consulting in Indonesia on both drama features and documentaries.

Born in Iran in 1976, Maryam Ebrahimi studied at the Art University of Tehran and continued her education at the University of Konstfack in Stockholm, where she now lives and works. She has made several artistic videos with political and social themes.

Démy-Geroe, who is a NETPAC board member, teaches Asia Pacific cinema at Griffith Film School and is currently a doctoral candidate on Iranian Cinema. She was an organiser for the Queensland Images Film Festival in 1989, has worked on the annual Queensland New Filmmakers Awards for many years, silent film festivals and Queensland regional film festivals. She was a judge for the Queensland Premier’s Literary Awards and a past Council Member of the National Film and Sound Archive. She has served on international juries from Hawaii to Tehran for NETPAC and others. In 2003, Anne was awarded an Australian Centenary Medal for services to the film industry.

His feature musical Bran Nue Dae was the number two Australian box office hit of 2010, screened in competition in Berlin, Toronto and Sundance and was a 2010 APSA nominee for Best Children’s Feature Film. His two previous documentaries, Dhakiyarr Vs The King and In My Father’s Country, screened in competition at Sundance, Amsterdam, Jerusalem, Vancouver and Chicago. Isaac is also an organiser and selector for INPUT, the international public interest television conference, and was co-director of last year’s international conference held in Sydney.

Ebrahimi was inducted into the APSA Academy in 2011 for her documentary I Was Worth 50 Sheep – a tragic story about the selling of young girls in Afghanistan in the name of marriage, for a piece of land or sheep – which won the 2011 APSA Best Documentary Feature Film. In the same year, she received a $US25,000 grant from the MPA APSA Academy Film Fund to develop her feature documentary No Burqas Behind Bars, which went on to premiere in November 2012 at the International Documentary Festival in Amsterdam, the world’s leading documentary festival, and receive a nomination for the 2013 APSA Best Documentary Feature Film. Ebrahimi is currently filming her new feature documentary The Confiscated Images.

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BULGARI SAVE THE CHILDREN For the fourth year, the Asia Pacific Screen Awards joins forces with Bulgari through their partnership with global humanitarian organisation Save the Children. Once again, Bulgari presents the Asia Pacific Screen Award for Best Children’s Feature Film. APSA Nominees will wear specially designed Bulgari Save the Children rings on the APSA Red Carpet and during the Ceremony to highlight Save the Children’s work to improve the quality of education for children affected by conflict, emergencies and natural disaster. Bulgari’s association with the international film industry dates back to the 1950s when stars were frequently seen wearing Bulgari jewels both on and off the sets of Cinecittà. Elizabeth Taylor is known to have quipped that Bulgari was one of the great perks of filming Cleopatra in Rome – but it is not La Dolce Vita glamour that brings this iconic jeweller to present the Best Children’s Feature Film – it’s the plight of the world’s neediest children.

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On the 125th anniversary of its foundation, Bulgari launched a major fundraising project with Save the Children for the defence of children’s rights. More than $AU22 million was raised to improve the quality of education for children worldwide through the Rewrite the Future campaign. In October 2010, a specially designed silver ceramic ring was launched at the Rome Film Festival. Bulgari is improving the lives of some of the world’s neediest children in 18 countries, providing quality educational opportunities to transform children’s lives. Each year, the films in the APSA Best Children’s Feature Film category open our eyes to the experiences of children across Asia Pacific, many of whom are affected by conflict and natural disaster. APSA is honoured to continue on this partnership with Bulgari to assist in creating awareness of children in need.

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CREDITS

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TH Sweet Pepper Land directed and written by Hiner Saleem. 7My ANNUAL ASIA PACIFIC SCREEN AWARDS | 61


ACKNOWLEDGEMENTS

The Asia Pacific Screen Awards is an international cultural program managed by Brisbane City Council through its economic development board Brisbane Marketing. BRISBANE CITY COUNCIL

Graham Quirk, Lord Mayor of Brisbane Cr Julian Simmonds, Chairman of the Finance, Economic Development and Administration Committee The Councillors of Brisbane City Council

PATRONS

Kim Dong-ho, Patron, Asia Pacific Screen Awards Dr Jack Thompson AM, President, Asia Pacific Screen Academy

APSA BOARD OF DIRECTORS

Michael Hawkins, Executive Chairman Des Power AM, Director and Founding Chairman Geoff Rodgers, Director Harvey Lister, Director

APSA INTERNATIONAL JURY

Shyam Benegal, President, India The Hon Dr Malani Fonseka, Sri Lanka Kim Tae-yong, Republic of Korea Tamer Levent, Turkey Christoph Schaub, Switzerland Albert Lee, Hong Kong

APSA INTERNATIONAL NOMINATIONS COUNCIL Professor Kim Hong-Joon, Chairman, Republic of Korea Jeannette Paulson Hereniko, Hawaii Kathryn Weir, Australia Meenakshi Shedde, India Peggy Chiao, Taiwan Philip Cheah, Singapore Maxine Williamson, Australia

THE AWARDS CEREMONY

Welcome to Country Shannon Ruska

Ceremony Hosts

Chen Lei, People’s Republic of China Sofie Formica, Australia

Guest Performers

and staff

EVENT PRODUCTION Loud Events

Marianne Edmonds Helena Medhurst

TPD Media Peter Threlfall Kylie Taylor

Tenzin Choegyal William Barton Shirin Majd Baatasukh Batsukh Toko-Ton Surabi

PRESENTING PARTNER

RED CARPET MC

Cathy Gallagher Alicia Brescianini

Katherine Feeney, Nine Network

THE AWARD ARTIST

Joanna Bone, RCA

BRISBANE MARKETING

Ian Klug, Chairman and Board of Directors John Aitken, Chief Executive Officer Shane Rodgers, Director, Marketing and Communications Lewis Ramsay, Director, Commercial Maxine Williamson, Director, Awards Competition - APSA Lung Ong, Manager, Awards Competition - APSA Jaclyn McLendon, Production Manager - APSA Alyssa Green, Manager, Marketing and Communications - APSA Nikki Reid, Manager, Ceremony Production - APSA Sheree Kumar, Executive, Awards Program and Competition - APSA Stephen Bryett, Creative Manager Brisbane Marketing management

62 | 7TH ANNUAL ASIA PACIFIC SCREEN AWARDS

John Redmond, Chief Executive Officer, Echo Entertainment Geoff Hogg, Managing Director, Treasury Casino & Hotel Brisbane

CG PUBLICITY APSA INDEPENDENT VOTERS

Hussain Currimbhoy Director of Programming, Sheffield Doc/Fest James Nolen, Australian Centre for the Moving Image Kristy Matheson, Australian Centre for the Moving Image Maryanne Redpath, Generation Director, Berlin Film Festival Otto Alder, Animated Film Specialist, Film Festival Curator Ruari Elkington, Theatrical and Acquisitions Manager, Antidote Films Nina Riddel, Icarus Films Louise Harvey, Griffith Film School

APSA PRE-SELECTION PANELS

Best Children’s Feature Film Des Partridge, Film Critic Derek Weeks, Australian Teachers of Media

Best Documentary Feature Film

Philip Cheah, Vice-President, NETPAC Faramarz K-Rahber, Documentarian and Academic

FIAPF, Paris

Benoît Ginisty, Director General

EUROPEAN FILM AWARDS / EUROPEAN FILM ACADEMY

Melanie Coombs, Producer, Optimism Film Dr Peter Moyes, Griffith Film School

Wim Wenders, President, European Film Academy Marion Döring, Director European Film Academy, Producer European Film Awards Jürgen Biesinger, Executive Producer, European Film Awards

Feature Film Panel

UNESCO

Best Animated Feature Film

Anne Demy Géroe, APSA Nominations Council founding member and co-director, Iranian Film Festival Australia Adrienne Mc Kibbins, film critic and historian

FIAPF

Executive Committee Luis Alberto Scalella, President T.P. Aggarwal, First VicePresident Alex Eyengho, Vice-President for Africa Chris Marcich, Vice-President for America Mohammad Mehdi Asgarpoor, Vice-President for Asia Sanping Han, Vice President for Asia Börje Hansson, Vice-President for Europe Aurelio de Laurentiis, Honorary President Michael von Wolkenstein, Treasurer Fabia Buenaventura, Auditor Laxmanan Suresh, Auditor Other Members Bernardo Bergeret Matthew Deaner Klaus Hansen Reynolds Mastin Supran Sen

Irina Bokova, Director-General Jānis Kārkliņš, Assistant Director General for Communication and Information Francesco Bandarin, Assistant Director-General for Culture Guy Berger, Director, Division of Freedom of Expression and Media Development Eric Falt, Assistant DirectorGeneral, Sector for External Relations and Public Information Neil Philippe Ford, Director, Bureau of Public Information Susan Williams, Chief of the Press and Media Unity

AUSTRALIAN PERMANENT DELEGATION TO UNESCO

George Mina, Ambassador to UNESCO Janine Pitt, Minister Counsellor Anne Siwicki, Policy Officer

AUSTRALIAN NATIONAL COMMISSION FOR UNESCO Annmaree O’Keeffe AM, Chair Martin Hadlow, Deputy Chair Chrissy Grant, Member

Craig Roy, Member Professor Abdullah Saeed AM, Member Professor Margaret Sheil, Member

MOTION PICTURE ASSOCIATION OF AMERICA

Christopher J. Dodd, Chairman and Chief Executive Officer

MOTION PICTURE ASSOCIATION

Michael C. Ellis, President and Managing Director, Asia Pacific Stephen P. Jenner, Director of Communications, Asia Pacific Edward Neubronner, Senior Vice President and Regional Operations Officer, Asia Pacific Neil Gane, Managing Director, Australasia, Australian Screen Association William Feng, General Manager and Chief Representative, MPA China Tony Eaton, Managing Director, New Zealand Screen Association Jaehoon Shim, Managing Director, MPA Korea June Tan, Communications Executive, Asia Pacific

4 BOYS FILMS

Butch Jimenez, Founder

THE DIPLOMATIC COMMUNITY

APSA thanks the many Embassies, Consultates and representatives from the diplomatic community of Australia, Asia Pacific and beyond who have provided support to APSA.

FILM FESTIVALS, DISTRIBUTORS AND SALES AGENTS

APSA thanks the many film festivals, distributors and sales agents from across the Asia Pacific region and Europe.

INTERPRETERS

APSA thanks the many interpreters and translators engaged across the Asia Pacific region.

VOLUNTEERS

APSA is grateful for the hard work and dedication of our volunteers, Student Ambassadors and Brisbane Greeters.

SPECIAL THANKS

Chris Saines, Director, QAGOMA Kathryn Weir, Head of International Art and the Australian Cinémathèque, GOMA Rosie Hays, Associate Curator, Australian Cinémathèque, GOMA Amanda Slack-Smith, Assistant Curator, Australian Cinémathèque, GOMA Steve Gooding, Cinema Technical Coordinator, Australian Cinémathèque, GOMA Greg Bowden, Director of Strategy, Communications and Economic Development, Brisbane City Council Herman van Eyken, Head of Griffith Film School Donna Hamilton, Executive Support Officer, Griffith Film School Brett Wiltshire, Studio Supervisor, Griffith Film School Judy Yeh, Cinema Technician, Griffith Film School Hugh Whitehouse, Creative Director, The Media Architects

Kevin Chang, Secretary General of Asia Pacific Producers Network Kiki Fung, Brisbane International Film Festival International Event Coordinators Network (IECN), Department of Immigration and Border Protection Geoff Gardner, APSA Academy member Kieran Tully, Artistic Director, Korean Film Festival in Australia Peta Astbury, Australia Network Nasrin Vaziri Simon Holt, Brisbane Times

AUSTRALIAN GOVERNMENT DEPARTMENT OF FOREIGN AFFAIRS AND TRADE (DFAT)

Derek Brown, Queensland State Director Matthew Harrison, Deputy State Director, Queensland Kate Taylor, Cultural Diplomacy Section Brisbane City Council Napoleon Perdis PTDM Hair Brisbane International Film Festival ANTV Iranian Film Festival Australia Mirror Vision Youku VAC Radio Brisbane Times Lone Pine Koala Sanctuary Epicure Screen Showcase

7TH ANNUAL ASIA PACIFIC SCREEN AWARDS | 63


FOUNDATION PARTNERS

THE ASIA PACIFIC SCREEN ACADEMY

The Asia Pacific Screen Awards and Academy President Dr Jack Thompson AM welcome the 2013 inductees into the Asia Pacific Screen Academy - an illustrious body of filmmakers from across the Asia Pacific region. PRESENTING PARTNERS

OFFICIAL PARTNERS

MEDIA & INDUSTRY PARTNERS

64 | 7TH ANNUAL ASIA PACIFIC SCREEN AWARDS

2013 INDUCTEES Aaron Pedersen

Joram ten Brink

Phillipa Kowarsky

Adam Bakri

Joshua Oppenheimer

Rajeev Ravi

Alexandre Mallet-Guy

Kang Yi-Kwan

Rami Yasin

Amit Virmani

Kim Tae-yong

Ritesh Batra

Amr Alkahtani

Konstantin Erns

Robert Connolly

Anisul Hoque

Lasantha Nawaratha

Sarah Shaw

Anna McLeish

Latika Padgaonkar

Sawsan Asfari

Anna Van Der Wee

Lee Byung-hun

Seah Kui Luan

Anne Köhncke

Leonid Yarmolnik

Shahram Mokri

Annemarie Jacir

Louis Sutherland

Sherwood Hu

Anthony Chen

Maggie Miles

Shilpa Ranade

Ayça Damgacı

Mahboob Rahman

Shyam Benegal

Bjarte Mørner Tveit

Mahdi Fleifel

Signe Byrge Sørensen

Cho Young-Kag

Mandy Walker ASC ACS

Takeshi Sawa

Christine Cynn

Mark Albiston

Tariq Al Ghussein

Christoph Schaub

Matsuzaki Kaoru

Tatiana Ilunia

David Gerson

Maya Sanbar Jamo

Tatsuya Nakadai

Denis Osokin

Meenakshi Shedde

Torstein Grude

Dror Moreh

Michael Hawkins

U-Wei Bin Hajisaari

Ehab Assal

Michael Uwemedimo

Waleed F. Zuaiter

Emir Baigazin

Mikio Ono

Whirimako Black

Estelle Fialon

Mohamed Adamaly

Yasuhiro Masaoka

Georgi Daneliya

Mostofa Sarwar Farooki

Yasuhiro Yoshida

Golshifteh Farahani

Murat Aliyev

Yasuhiro Yoshiura

Haifaa Al Mansour

Negar Javaherian

Yeon Sang-ho

Hany Abu-Assad

Oleg Urushev

Yerbolat Toguzakov

Hayao Miyazaki

Ossama Bawardi

Yuri Kushnerev

Hiner Saleem

Park Joo-Young

Zhang Ziyi

Hiroshi Higa

Patrick Campbell

7TH ANNUAL ASIA PACIFIC SCREEN AWARDS | 65


OFFICIAL SUBMITTING ORGANISATIONS

The Asia Pacific Screen Awards and FIAPF thanks the following organisations for their invaluable assistance and ongoing support in representing their country or area in the 2013 APSA’s.

ARMENIA

INDIA*

MACAU (S.A.R.)

AUSTRALIA*

INDONESIA

MALAYSIA

National Cinema Center of Armenia Screen Producers Association of Australia – SPAA

AZERBAIJAN

Narimanfilm MMC

BAHRAIN

Gulf Film Festival

BANGLADESH

Film Federation of India Indonesian Motion Picture Producers Association

IRAN, ISLAMIC REPUBLIC OF*

Iranian Society of Film Directors

IRAQ

Gulf Film Festival

International Film Festival Bangladesh

ISRAEL

BHUTAN

JORDAN

Motion Picture Association of Bhutan

CHINA, PEOPLE’S REPUBLIC OF* China Film Producers Association

FIJI

Fiji Audio Visual Commission

GEORGIA

Georgian National Film Center

HONG KONG (PRC)

Hong Kong International Film Festival Society

Israeli Film Fund Royal Film Commission

KAZAKHSTAN*

International Film Festival – Eurasia

KOREA, REPUBLIC OF

Korean Film Producers Association

KUWAIT

Macao Cultural Centre

TAJIKISTAN

NEPAL

THAILAND

Nepal Film Producer’s Association

NEW ZEALAND

New Zealand Film Commission

OMAN

Gulf Film Festival

PAKISTAN

Karachi International Film Festival

PHILIPPINES

Movie Producers and Distributors Association of the Philippines (MPDAP)

QATAR

Gulf Film Festival

SAUDI ARABIA

LAO, PEOPLE’S DEMOCRATIC REPUBLIC

SINGAPORE

LEBANON

Lebanon Ministry of Culture

* Denotes a FIAPF Member Organisation ** Denotes a FIAPF Accredited Film Festival

66 | 7TH ANNUAL ASIA PACIFIC SCREEN AWARDS

Bureau of Audiovisual and Music Industry Development, Taiwan

National Film Development Corporation (FINAS)

Gulf Film Festival

Ministry of Information and Culture – Cinema Department

TAIWAN

Gulf Film Festival

Singapore Film Commission

SRI LANKA

National Film Corporation of Sri Lanka

Union of Filmmakers of Tajikistan Federation of National Film Association of Thailand

TURKEY*

International Istanbul Film Festival

UNITED ARAB EMIRATES Gulf Film Festival

VIETNAM

Vietnam Cinema Department, Ministry of Culture and Information

YEMEN

Gulf Film Festival

CONSULTING ORGANISATIONS

Indonesia Balinale International Film Festival in Bali Japan UNIJAPAN Qatar Doha Film Institute Vanuatu Further Arts


7TH ANNUAL

PROGRAM

Level 8, Roy Harvey House, 157 Ann Street, Brisbane Qld 4000 Australia PO Box 12260, George Street, Brisbane Qld 4003 Australia T +61 7 3006 6200 F +61 7 3006 6252 Asia Pacific Screen Awards is an international cultural program driven by Brisbane City Council through Brisbane Marketing, endorsed by UNESCO and FIAPF-International Federation of Film Producers Associations.

www.asiapacificscreenacademy.com

2013

APSA Program 2013  
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