Selected Press Review Feff 2022_Vol 2

TIES THAT BIND in Udine!

TIES THAT BIND in

TIES THAT BIND’s second workshop takes place between April 25 – 29 in Udine (IT), in parallel to FOCUS ASIA the Industry section of the Udine Far East Film Festival.

TIES THAT BIND’s second workshop takes place between April 25 – 29 in Udine (IT), in parallel to FOCUS ASIA, the Industry section of the Udine

Far East Film Festival.

The rich programme of the plenary sessions for the TTB workshop is prepared in collaboration with FOCUS ASIA It features a co-production case study of PLAN 75 which will premiere in Un Certain Regard in Cannes this year The film is produced by TTB graduates Eiko-Mizuno Gray and Jason Gray (Loaded Films, JP), in co-production with TTB graduate Alemberg Ang (Daluyong Studios, PH) and Urban Factory (FR). Urban Distribution International handles sales. The case study will be moderated by Christophe Bruncher (TTB Head of Studies).

The rich programme of the plenary sessions for the TTB workshop is prepared in collaboration with FOCUS ASIA It features a co-production case study of PLAN 75, which will premiere in Un Certain Regard in Cannes this year The film is produced by TTB graduates Eiko-Mizuno Gray and Jason Gray (Loaded Films, JP), in co-production with TTB graduate Alemberg Ang (Daluyong Studios, PH) and Urban Factory (FR). Urban Distribution International handles sales. The case study will be moderated by Christophe Bruncher (TTB Head of Studies).

Another session will focus on Asian film distribution: post-pandemic, pre-what?, featuring speakers such as Todd Brown (XYZ Film, US), Silvia Simonutti (Wild Bunch, FR), Michael Werner (HK) and CAO LiuYing (Paralax Film, CN), moderated by Patrick Frater The TTB participants and Focus Asia industry guests will also get an overview of the current European distribution landscape in a panel with Svend Jensen (Arthouse, DK), Christine Eloy (Europa Distribution), Eve Gabereau (Modern Films, UK) and Sabine Hofmann (Polyfilm Verleih, AT), moderated by Patrick Breski

Another session will focus on Asian film distribution: post-pandemic, pre-what? featuring speakers such as Todd Brown (XYZ Film, US), Silvia Simonutti (Wild Bunch, FR), Michael Werner (HK), and CAO LiuYing (Paralax Film, CN), moderated by Patrick Frater The TTB participants and Focus Asia industry guests will also get an overview of the current European distribution landscape in a panel with Svend Jensen (Arthouse, DK), Christine Eloy (Europa Distribution), Eve Gabereau (Modern Films, UK) and Sabine Hofmann (Polyfilm Verleih, AT), moderated by Patrick Breski

Furthermore, the TTB participants will have the opportunity to receive feedback on the marketing and distribution potential of their projects from top-notch Asian and European distributors such as Vincent Quek (Anticipate Pictures, SG), Kana Koido (The Klockworks, JP), Pamela Lingyan Bai (Beijing Hugoeast Media, CN), Alba Fouché (Eurozoom, FR) and TTB graduates Stephan Holl (Rapid Eye Movies, DE), Samantha Faccio (Tucker Film, IT) and Fernanda Renno (Fidalgo Film Distribution, NO).

Furthermore, the TTB participants will have the opportunity to receive feedback on the marketing and distribution potential of their projects from top-notch Asian and European distributors such as Vincent Quek (Anticipate Pictures, SG), Kana Koido (The Klockworks, JP), Pamela Lingyan Bai (Beijing Hugoeast Media, CN), Alba Fouché (Eurozoom, FR) and TTB graduates Stephan Holl (Rapid Eye Movies, DE), Samantha Faccio (Tucker Film, IT) and Fernanda Renno (Fidalgo Film Distribution, NO).

The workshop will also provide further insight into private equity TTB group leader Bianca Balbuena (Epicmedia Productions, PH) will share her expertise on how to work with equity investors Individual meetings with TTB experts will be organised on topics such as Asian films and festivals with Roger Garcia (HK) and sales opportunities with Agathe Valentin (FR). TTB’s script consultants Clare Downs (UK) and Nayeem Mahbub (SE) will focus on developing their scripts.

The workshop will also provide further insight into private equity TTB group leader Bianca Balbuena (Epicmedia Productions, PH) will share her expertise on how to work with equity investors Individual meetings with TTB experts will be organised on topics such as Asian films and festivals with Roger Garcia (HK) and sales opportunities with Agathe Valentin (FR). TTB’s script consultants Clare Downs (UK) and Nayeem Mahbub (SE) will focus on developing their scripts.

TIES THAT BIND’s second workshop takes place between April 25 – 29 in Udine (IT), in parallel to FOCUS ASIA the Industry section of the Udine Far East Film Festival.

All participants will have individual meetings with key industry professionals of Focus Asia, to foster new collaborations between European and Asian professionals. These meetings will take place onsite and online on the specifically designed platform of Focus Asia. Additionally, they will have prearranged business angels meetings with industry professionals giving advice on their projects and next career steps. The business angels meetings will involve key industry experts such as Todd Brown (XYZ Films, US), Lucie Desquiens (Charades, FR), Paolo Bertolin (Venice Film Festival, IT), Jean-Baptiste Babin (Backup Media, FR), Barbie Heusinger (Sola Media, DE), Guillaume de Seille (Arizona Productions, FR), Lorna Tee (Macao IFF CN), and TTB graduates Stephan Holl (Rapid Eye Movies, DE), Eiko Mizuno-Gray (Loaded Films (JP), Nadia Trevisan (Nefertiti Film, IT) and Geremia Biagiotti (Intramovies, IT), and TTB pitching consultant Sibylle Kurz (DE).

The rich programme of the plenary sessions for the TTB workshop is prepared in collaboration with FOCUS ASIA It features a co-production case study of PLAN 75 which will premiere in Un Certain Regard in Cannes this year The film is produced by TTB graduates Eiko-Mizuno Gray and Jason Gray (Loaded Films, JP), in co-production with TTB graduate Alemberg Ang (Daluyong Studios, PH) and Urban Factory (FR). Urban Distribution International handles sales. The case study will be moderated by Christophe Bruncher (TTB Head of Studies).

All participants will have individual meetings with key industry professionals of Focus Asia to foster new collaborations between European and Asian professionals. These meetings will take place onsite and online on the specifically designed platform of Focus Asia. Additionally, they will have prearranged business angels meetings with industry professionals giving advice on their projects and next career steps. The business angels meetings will involve key industry experts such as Todd Brown (XYZ Films, US), Lucie Desquiens (Charades, FR), Paolo Bertolin (Venice Film Festival, IT), Jean-Baptiste Babin (Backup Media, FR), Barbie Heusinger (Sola Media, DE), Guillaume de Seille (Arizona Productions, FR), Lorna Tee (Macao IFF, CN), and TTB graduates Stephan Holl (Rapid Eye Movies, DE), Eiko Mizuno-Gray (Loaded Films (JP), Nadia Trevisan (Nefertiti Film, IT) and Geremia Biagiotti (Intramovies, IT), and TTB pitching consultant Sibylle Kurz (DE).

TIES THAT BIND is organised by the Friuli Venezia Giulia Audiovisual Fund, EAVE, Udine Far East Film Festival and Southeast Asian AudioVisual Association (SAAVA) and supported by the Creative Europe – MEDIA sub-programme of the European Union and Aurora Media Holdings. TIES THAT BIND is held in conjunction with Asia TV Forum & Market and ScreenSingapore

Another session will focus on Asian film distribution: post-pandemic, pre-what?, featuring speakers such as Todd Brown (XYZ Film, US), Silvia Simonutti (Wild Bunch, FR), Michael Werner (HK) and CAO LiuYing (Paralax Film, CN), moderated by Patrick Frater The TTB participants and Focus Asia industry guests will also get an overview of the current European distribution landscape in a panel with Svend Jensen (Arthouse, DK), Christine Eloy (Europa Distribution), Eve Gabereau (Modern Films, UK) and Sabine Hofmann (Polyfilm Verleih, AT), moderated by Patrick Breski

TIES THAT BIND is organised by the Friuli Venezia Giulia Audiovisual Fund, EAVE, Udine Far East Film Festival and Southeast Asian AudioVisual Association (SAAVA) and supported by the Creative Europe – MEDIA sub-programme of the European Union and Aurora Media Holdings. TIES THAT BIND is held in conjunction with Asia TV Forum & Market and ScreenSingapore

For more information please contact:

www.tiesthatbind.eu/2022/04/ties-that-bind-starts-today-in-udine/

For more information please contact:

www.tiesthatbind.eu/2022/04/ties-that-bind-starts-today-in-udine/

Furthermore, the TTB participants will have the opportunity to receive feedback on the marketing and distribution potential of their projects from top-notch Asian and European distributors such as Vincent Quek (Anticipate Pictures, SG), Kana Koido (The Klockworks, JP), Pamela Lingyan Bai (Beijing Hugoeast Media, CN), Alba Fouché (Eurozoom, FR) and TTB graduates Stephan Holl (Rapid Eye Movies, DE), Samantha Faccio (Tucker Film, IT) and Fernanda Renno (Fidalgo Film Distribution, NO).

The workshop will also provide further insight into private equity TTB group leader Bianca Balbuena (Epicmedia Productions, PH) will share her expertise on how to work with equity investors Individual meetings with TTB experts will be organised on topics such as Asian films and festivals with Roger Garcia (HK) and sales opportunities with Agathe Valentin (FR). TTB’s script consultants Clare Downs (UK) and Nayeem Mahbub (SE) will focus on developing their scripts.

All participants will have individual meetings with key industry professionals of Focus Asia, to foster new collaborations between European and Asian professionals. These meetings will take place onsite and online on the specifically designed platform of Focus Asia. Additionally, they will have prearranged business angels meetings with industry professionals giving advice on their projects and next career steps. The business angels meetings will involve key industry experts such as Todd Brown (XYZ Films, US), Lucie Desquiens (Charades, FR), Paolo Bertolin (Venice Film Festival, IT), Jean-Baptiste Babin (Backup Media, FR), Barbie Heusinger (Sola Media, DE), Guillaume de Seille (Arizona Productions, FR), Lorna Tee (Macao IFF CN), and TTB graduates Stephan Holl (Rapid Eye Movies, DE), Eiko Mizuno-Gray (Loaded Films (JP), Nadia Trevisan (Nefertiti Film, IT) and Geremia Biagiotti (Intramovies, IT), and TTB pitching consultant Sibylle Kurz (DE).

TIES THAT BIND is organised by the Friuli Venezia Giulia Audiovisual Fund, EAVE, Udine Far East Film Festival and Southeast Asian AudioVisual Association (SAAVA), and supported by the Creative Europe – MEDIA sub-programme of the European Union and Aurora Media Holdings. TIES THAT BIND is held in conjunction with Asia TV Forum & Market and ScreenSingapore

For more information please contact:

www.tiesthatbind.eu/2022/04/ties-that-bind-starts-today-in-udine/

FAR EAST FILM FESTIVAL

世

首 映 ， 這 好 消 息 讓 眾 台 前 幕 後 興 奮 不 已 。 電 影 由 影 后 惠 英 紅 （ 紅 姐 ） 伙 拍 吳 岱 融 飾 演

明 夫 妻 ， 由 吳 千 語 飾 演 女 兒 ， 打 造 出 部 感 動 人 心 的 電 影 。 故 事 真 人 真 事 改 編 ， 是 導 演

朱 鳳 嫻 的 原 生 家 庭 故 事

FAR EAST FILM FESTIVAL

映 ， 這 好 消 息 讓 眾 台 前 幕 後 興 奮 不 已 。 電 影 由 影 后 惠 英 紅 （ 紅 姐 ） 伙 拍 吳 岱 融 飾 演

夫 妻 ， 由 吳 千 語 飾 演 女 兒 ， 打 造 出 部 感 動 人 心 的 電 影 。 故 事 真 人 真 事 改 編 ， 是 導 演

世

Il regista Masaaki Yuasa, assieme ai suoi personaggi, riscrive la tradizione del teatro Nō rendendolo glam rock

嫻 的 原 生 家 庭 故 事 為 藍 本 講 述 父 母 失 明 誕 下 視 力 健 全 的 女 兒 女 兒 長 大 後 深 覺 只 母 的 盲 公 竹 家 人 又 愛 又 恨 。

“ I n u - o h ” e l ’i n t r i n s e c a p o t e n z a d e l l e s t o r i e m a i n a r r a t e

“ I n u - o h ” e l ’i n t r i n s e c a p o t e n z a d e l l e s t o r i

m a i n a r r a t e

FAR EAST FILM FESTIVAL Publicato 3 settimane fa il 28 Aprile 2022 Scritto da Valentina Pietrarca

路 瞳 行 》 是 跟 地 球 另

   



Publicato 3 settimane fa il 28 Aprile 2022 Scritto da Valentina Pietrarca

Il regista Masaaki Yuasa assieme ai suoi personaggi r scrive la tradizione del teatro Nō rendendolo glam rock

Il regista Masaaki Yuasa, assieme ai suoi personaggi, riscrive la tradizione del teatro Nō rendendolo glam rock

Essere originali conviene Milano: Immobile

Publicato 3 settimane fa il 28 Aprile 2022 Scritto da Valentina Pietrarca

CANNES 5 F in a C u t l a r t e o s e m R EV EWS L ATES T N F ES TI VAL F L M D A VED ER E PO

CANNES 5 L a 58° Ed iz I n t e r n a zio   

SKY

Blo

Inu-oh è l ultimo lungometraggio animato del regista giapponese Masaaki Yuasa L autore –già noto per il suo Mind Game (2004) e per aver diretto l anime Devilman Crybaby (2018) –ha presentato in anteprima il suo �lm a Venezia 78, nella sezione Orizzonti, e adesso lo ripropone al Far East Film Festival

Inu-oh: la narrazione come ricompensa per gli sconfitti

LATE

LATE

CANNES / 4 F o r e s t Wh i d e t t a g li s u

EVE

cco 181 s e d u z o n e

SKY SERIE TV   

CANNES / 5 F in a l C u t l a r t e o s e m

Inu-oh è l’ultimo lungometraggio animato del regista giapponese Masaaki Yuasa L’autore –già noto per il suo Mind Game (2004) e per aver diretto l’anime Devilman Crybaby (2018) –ha presentato in anteprima il suo �lm a Venezia 78, nella sezione Orizzonti, e adesso lo ripropone al Far East Film Festival

D RETTE EVE B lo cco 181 s e d u zio n e R E VI E WS L ATE S T N E WS L I VE S TR E AM I N G & O N D E M AN D S E R E TV TR AI L E R S I N TE R VI E WS M AG AZI N E F E S TI VAL F I L M D A VE D E R E P O

Ambientato nel Giappone del XIV secolo, Inu-oh narra le vicende dell omonimo protagonista, nato con una strana malformazione che gli ha distorto volto e arti Per nasconderlo al mondo, gli adulti l’hanno coperto con un lungo abito e una maschera che gli occulta costantemente il viso Quando, però, Inu-oh fa la conoscenza di Tomona, suonatore di biwa divenuto cieco, i due scoprono di avere un talento eccezionale pronto a sconvolgere le fondamenta del teatro Nō Il personaggio di Inu-oh è basato su una �gura realmente esistita Un drammaturgo e attore del teatro Nō che aveva raggiunto un incredibile successo in Giappone, ma del quale non è rimasta più alcuna traccia È proprio su questo che si è concentrato il regista nella realizzazione del �lm, che diviene

Inu-oh: la narrazione come ricompensa per gli sconfitti

Ambientato nel Giappone del XIV secolo, Inu-oh narra le vicende dell omonimo protagonista, nato con una strana malformazione che gli ha distorto volto e arti Per nasconderlo al mondo, gli adulti l’hanno coperto con un lungo abito e una maschera che gli occulta costantemente il viso Quando, però, Inu-oh fa la conoscenza di Tomona, suonatore di biwa divenuto cieco, i due scoprono di avere un talento eccezionale pronto a sconvolgere le fondamenta del teatro Nō

Inu-oh: la narrazione come ricompensa per gli sconfitti

Ambientato nel Giappone del XIV secolo, Inu-oh narra le vicende dell’omonimo protagonista, nato con una strana malformazione che gli ha distorto volto e arti Per nasconderlo al mondo, gli adulti l’hanno coperto con un lungo abito e una maschera che gli occulta costantemente il viso Quando, però, Inu-oh fa la conoscenza di Tomona, suonatore di biwa divenuto cieco, i due di t l t i l t l l f d t d l t t N

Il personaggio di Inu-oh è basato su una �gura realmente esistita Un drammaturgo e attore del teatro Nō che aveva raggiunto un incredibile successo in Giappone, ma del quale non è rimasta più alcuna traccia

È proprio su questo che si è concentrato il regista nella realizzazione del �lm, che diviene

Film Review: Audition (1999) by Takashi

Review: Audition (1999) by Takashi

Film Review: Audition (1999) by Takashi

“I can’t put my finger on it but there’s something wrong with her ”

“I can’t put my finger on it but there’s something wrong with her ”

Share

er year which sometimes ranged somewhere between six to seven movies According to Miike, the answer was obvious for he liked to keep himself busy with his films through the year Additionally, rejecting a producer s proposal, especially for an interesting idea, was something Miike could (and probably still can) not do, and in the end the people involved would find the right time and right place in his busy schedule to work everything out

“Audition” is screening at Udine Far East Film Festival

When writer Tony Rayns met Japanese director for one of the first times in the 1990s, he spoke to him about his incredible output per year, which sometimes ranged somewhere between six to seven movies According to Miike, the answer was obvious for he liked to keep himself busy with his films through the year Additionally, rejecting a producer ’s proposal, especially for an interesting idea, was something Miike could (and probably still can) not do, and in the end the people involved would find the right time and right place in his busy schedule to work everything out

When writer Tony Rayns met Japanese director for one of the first times in the 1990s, he spoke to him about his incredible output per year, which sometimes ranged somewhere between six to seven movies According to Miike, the answer was obvious for he liked to keep himself busy with his films through the year Additionally, rejecting a producer ’s proposal, especially for an interesting idea, was something Miike could (and probably still can) not do, and in the end the people involved would find the right time and right place in his busy schedule to work everything out

“Audition” is screening at Udine Far East Film Festival

“Audition” is screening at Udine Far East Film Festival

Ads by Stop seeing this ad Why this ad?

Ads by Stop seeing this ad Why this ad?

LOVE NONETHELESS (Ai nanoni, JŌJŌ Hideo, 2022) | Sonatine

LOVE NONETHELESS (Ai nanoni, JŌJŌ Hideo, 2022)

AL 24° FAR EAST FILM FESTIVAL (Udine, 22-30 aprile 2022) incitore del Premio alla Migliore Sceneggiatura

LOVE NONETHELESS (Ai nanoni, JŌJŌ Hideo, 2022)

IN CONCORSO AL 24° FAR EAST FILM FESTIVAL (Udine, 22-30 aprile 2022)

Vincitore del Premio alla Migliore Sceneggiatura

eless jpg

Kōji è un taciturno proprietario di un negozio di libri di seconda mano, quando Misaki, una studentessa delle scuole superiori, ruba un libro e scappa fuori dal negozio, l’uomo dopo averla inseguita per il vicinato scopre che lei è innamorata di lui, tanto che gli chiede subito di sposarlo. Disposta ad aspettare raggiungimento della maggiore età, Misaki, anche se respinta più volte da Kōji ritorna nel negozio e gli consegna ogni giorno una lettera con cui dichiara suoi sentimenti. Se dapprima l’uomo, sulla trentina, la prende per matta, la sua insistenza e la comprensione della purezza dei suoi sentimenti, fanno sì che questa strana frequentazione continui. Ma allo stesso tempo Kōji non si è mai ripreso dal fatto che una sua vecchia fiamma, Ichihana (Ikka), lo abbia abbandonato e che si stia per sposare con Ryōsuke, uomo sicuro di sé che però durante una visita alla wedding hall dove stanno organizzando il loro matrimonio, conosce Miki, la wedding planner con cui comincia ad avere incontri sessuali. Il ungometraggio rappresenta metà del dittico “L/R15”, un progetto di collaborazione fra il produttore Satō Gen e i registi e sceneggiatori Imaizumi Rikiya e Jōjō Hideo. Se questo film è stato diretto da Jōjō e scritto assieme ad Imaizumi, l’altra metà del progetto, Straying (Neko ga nigeta), uscito in Giappone il 18 marzo, è diretto da Imaizumi e scritto ancora una volta da entrambi, e, viste le scene d sesso che punteggiano lavori, tutti e due i film sono vietati ai minori di quindici anni. Jōjō ha lavorato in passato nel genere erotico e non è troppo conosciuto, né in patria né all’estero, mentre Imaizumi è un nome che è abbastanza noto e che di solito è sinonimo di un certo tipo di cinema, storie d’amore leggere commedie mai banali e spesso caratterizzate da una comicità e un senso ironico spiazzante, in questo senso vale la pena ricordare almeno il seminale Koppidoi neko https:/ sonatine2010 blogspot com/2012/11 koppidoi-neko-catch-terrible cat html?q Koppidoi] del 2012. Descritto da più parti come una sorta di riadattamento, o tentativo almeno di riadattare le commedie sexy degli anni settanta, Love Nonetheless è in realtà cosa assai diversa. Il marchio vietato ai minori di quindici anni e le scene d sesso, di certo importanti per la narrazione e lo sviluppo della storia, sono stati probabilmente e furbamente messi in primo piano quando il film è stato presentato, questo per attirare, giustamente, un certo tipo di pubblico. ]

Al suo profondo però Love Nonetheless è, anche se non soprattutto, un delicato e a tratti spietato ritratto dei sentimenti che animano rapporti fra i tre protagonisti adulti, Miki che fa parte del quadrangolo amoroso è qui in realtà una sorta di outsider, una trickster che vede da lontano e che provoca gli avvenimenti e aiuta e mettere sotto una luce diversa i sentimenti che intercorrono fra gli altri. Questo, innanzitutto, grazie al suo lavoro attuale di wedding planner che di coppie e pentimenti e crisi prematrimoniali ne deve aver viste molte, ma anche perché la sua occupazione precedente, che scopriamo nella parte finale del film, in una delle scene più divertenti del lavoro quando spiattella in faccia

‘Tales From The Occult’: Udine Review

BY TARA JUDAH | 29 APRIL 2022

‘Tales From The Occult’: Udine Review

The rst instalment of a new Hongkong horror omnibus gives old school scares with a contemporary twist

BY TARA JUDAH | 29 APRIL 2022

‘Tales From The Occult’: Udine Review

The rst instalment of a new Hongkong horror omnibus gives old school scares with a contemporary twist

BY TARA JUDAH | 29 APRIL 2022

The rst instalment of a new Hongkong horror omnibus gives old school scares with a contemporary twist

‘Tales From The Occult’: Udine Review

BY TARA JUDAH | 29 APRIL 2022

SOURCE: FAR EAST FILM FESTIVAL ‘TALES FROM THE OCCULT’

Dir: Fruit Chan, Fung Chi-chiang, Wesley Ip Sang-hoi. Hong Kong. 2022. 111 mins.

SOURCE: FAR EAST FILM FESTIVAL ‘TALES FROM THE OCCULT’

SOURCE: FAR EAST FILM FESTIVAL

‘TALES FROM THE OCCULT’

Dir: Fruit Chan, Fung Chi-chiang, Wesley Ip Sang-hoi. Hong Kong. 2022. 111 mins.

Newcomer Wesley Ip Sang-hoi joins veteran filmmakers Fruit Chan and Fung Chi-chiang for the first instalment of Media Asia’s new Hongkong omnibus series, Tales From The Occult Bringing together three distinct modern takes on the classic ghost story, Tales From The Occult is spooky rather than scary and even occasionally funny as each of the filmmakers use well-oiled horror tropes in a nod to the spectre of the territory’s past whilst also providing 111 minutes of quality genre entertainment.

Dir: Fruit Chan, Fung Chi-chiang, Wesley Ip Sang-hoi. Hong Kong. 2022. 111 mins.

111 minutes ofquality genre entertainment

Newcomer Wesley Ip Sang-hoi joins veteran filmmakers Fruit Chan and Fung Chi-chiang for the first instalment of Media Asia’s new Hongkong omnibus series, Tales From The Occult Bringing together three distinct modern takes on the classic ghost story, Tales From The Occult is spooky rather than scary and even occasionally funny as each of the filmmakers use well-oiled horror tropes in a nod to the spectre of the territory’s past whilst also providing 111 minutes of quality genre entertainment.

Newcomer Wesley Ip Sang-hoi joins veteran filmmakers Fruit Chan and Fung Chi-chiang for the first instalment of Media Asia’s new Hongkong omnibus series, Tales From The Occult Bringing together three distinct modern takes on the classic ghost story, Tales From The Occult is spooky rather than scary and even occasionally funny as each of the filmmakers use well-oiled horror tropes in a nod to the spectre of the territory’s past whilst also providing 111 minutes of quality genre entertainment.

Dir: Fruit Chan, Fung Chi-chiang, Wesley Ip Sang-hoi. Hong Kong. 2022. 111 mins.

111 minutes ofquality genre entertainment

Narratively efficient due to the short run-times of each individual film, all three ghost stories move along at a cracking pace – there is no time for tiresome false jump scares, or characters who don’t believe their friends are being haunted; all three shorts simply cut to the chase. And though each short film is distinct, there is tonal continuity in Henry Lai’s consistently creepy scores. A polished package, with a big enough name in Fruit Chan, Tales From The Occult should have no trouble finding its audience both at genre festivals and beyond – this would be a perfect Hallowe’en offering for cinemas or a streaming service.

Newcomer Wesley Ip Sang-hoi joins veteran filmmakers Fruit Chan and Fung Chi-chiang for the first instalment of Media Asia’s new Hongkong omnibus series, Tales From The Occult Bringing together three distinct modern takes on the classic ghost story, Tales From The Occult is spooky rather than scary and even occasionally funny as each of the filmmakers use well-oiled horror tropes in a nod to the spectre of the territory’s past whilst also providing 111 minutes of quality genre entertainment.

111 minutes ofquality genre entertainment

Narratively efficient due to the short run-times of each individual film, all three ghost stories move along at a cracking pace – there is no time for tiresome false jump scares, or characters who don’t believe their friends are being haunted; all three shorts simply cut to the chase. And though each short film is distinct, there is tonal continuity in Henry Lai’s consistently creepy scores. A polished package, with a big enough name in Fruit Chan, Tales From The Occult should have no trouble finding its audience both at genre festivals and beyond – this would be a perfect Hallowe’en offering for cinemas or a streaming service.

The first short, The Chink, is Ip’s directing debut. It begins with two teenage girls hanging out after school. After they part ways, and on her walk home alone, Yoyi (Cherry Ngan) follows a cat up to the titular chink between two walls. But when she pulls an obscuring object away

111 minutes ofquality genre entertainment

The first short, The Chink, is Ip’s directing debut. It begins with two teenage girls hanging out after school. After they part ways, and on her walk home alone, Yoyi (Cherry Ngan) follows a cat up to the titular chink between two walls. But when she pulls an obscuring object away

Narratively efficient due to the short run-times of each individual film, all three ghost stories move along at a cracking pace – there is no time for tiresome false jump scares, or characters who don’t believe their friends are being haunted; all three shorts simply cut to the chase. And though each short film is distinct, there is tonal continuity in Henry Lai’s consistently creepy scores. A polished package, with a big enough name in Fruit Chan, Tales From The Occult should have no trouble finding its audience both at genre festivals and beyond – this would be a perfect Hallowe’en offering for cinemas or a streaming service.

for a closer look she finds instead the cold, hard stare of a dead, rotting corpse. Editor Mathew Tang, who is also a producer on the project, cuts abruptly to the present day where the two girls, now women, are unpacking in Yoyi’s new apartment. As the story goes on, it becomes clear that the cut represents the callousness with which Yoyi has forgotten her past trauma, revisiting it now as, “The feeling’s been creeping back.”

The first short, The Chink, is Ip’s directing debut. It begins with two teenage girls hanging out after school. After they part ways, and on her walk home alone, Yoyi (Cherry Ngan) follows a cat up to the titular chink between two walls. But when she pulls an obscuring object away

Narratively efficient due to the short run-times of each individual film, all three ghost stories move along at a cracking pace – there is no time for tiresome false jump scares, or characters who don’t believe their friends are being haunted; all three shorts simply cut to the chase. And though each short film is distinct, there is tonal continuity in Henry Lai’s consistently creepy scores. A polished package, with a big enough name in Fruit Chan, Tales From The Occult should have no trouble finding its audience both at genre festivals and beyond – this would be a perfect Hallowe’en offering for cinemas or a streaming service.

Crafted entirely around that creeping tone, The Chink is all billowing curtains and growling, rumbling sound design. Her sensible Uncle Ronald (Lawrence Cheng), a psychiatrist, uses relaxation techniques to help Yoyi through her trauma, which he assumes to be imagined and not real. Ultimately, though, the surprise ending, which takes place in session, suggests some ghosts have greater impact than modern methods can manage.

The first short, The Chink, is Ip’s directing debut. It begins with two teenage girls hanging out after school. After they part ways, and on her walk home alone, Yoyi (Cherry Ngan) follows a cat up to the titular chink between two walls. But when she pulls an obscuring object away

In Fruit Chan’s Dead Mall, real estate, consumerism, pandemic panic and online influencers all come under attack. The aesthetic is claustrophobic, beginning with close ups of a crowd at a busy street crossing, wearing masks, mostly surgical style until Benny Chan’s slow motion focuses on gas masks, signalling something even more serious than the current Covid-19 pandemic. Moving indoors and with a smaller resolution handheld camera, Dead Mall is an assault of bright lighting, point of sale signage and eerily empty shopfronts. Our host is Wilson Yeung (Jerry Lamb), an online influencer for a channel called ‘The Gate To Wealth’. He is staging a video to encourage investment in the mall, working with its managers and a crew of paid actors. But things take a turn for the worse when a female figure wearing a gas mask starts stalking him and another influencer turns up to film in the mall.

The rst instalment of a new Hongkong horror omnibus gives old school scares with a contemporary twist

SOURCE: FAR EAST FILM FESTIVAL ‘TALES FROM THE OCCULT’

Finally, Fung Chi-chiang’s The Tenement, which blends comedy with horror, is both the most classic and revisionist of the three ghost

26/05/22, 12:41

Japan's Kitano gets lifetime achievement award at Italy film festival - The Mainichi

Japan's Kitano gets lifetime achievement award at Italy film festival - The Mainichi

Japan's National Daily Since 1922

Japan's Kitano gets lifetime achievement award at Italy film festival

Japan's Kitano gets lifetime achievement award at Italy film festival

Japan's Kitano gets lifetime achievement award at Italy film festival

April 30, 2022 (Mainichi Japan)

TOKYO (Kyodo) -- Japanese film director Takeshi

Kitano was honored Friday with a lifetime achievement award at the 24th Far East Film Festival in Italy for his contributions to the industry over more than 30 years.

TOKYO (Kyodo) -- Japanese film director Takeshi Kitano was honored Friday with a lifetime achievement award at the 24th Far East Film Festival in Italy for his contributions to the industry over more than 30 years.

TOKYO (Kyodo) -- Japanese film director Takeshi Kitano was honored Friday with a lifetime achievement award at the 24th Far East Film Festival in Italy for his contributions to the industry over more than 30 years.

Kitano, known by his stage name Beat Takeshi in Japan, was recognized with the Golden Mulberry Award for Lifetime Achievement for crafting "stories that were personal and universal, that amused and shocked and captivated audiences everywhere," a presenter at the award ceremony said.

Kitano, known by his stage name Beat Takeshi in Japan, was recognized with the Golden Mulberry Award for Lifetime Achievement for crafting "stories that were personal and universal, that amused and shocked and captivated audiences everywhere," a presenter at the award ceremony said.

Kitano, known by his stage name Beat Takeshi in Japan, was recognized with the Golden Mulberry Award for Lifetime Achievement for crafting "stories that were personal and universal, that amused and shocked and captivated audiences everywhere," a presenter at the award ceremony said.

Takeshi Kitano. (Kyodo)

Takeshi Kitano. (Kyodo)

"Many Italian film fans have grown up with his movies, the biggest Kitano film fan club is in Italy. It is a kind of Kitano religion here," the presenter said.

"Many Italian film fans have grown up with his movies, the biggest Kitano film fan club is in Italy. It is a kind of Kitano religion here," the presenter said.

"Many Italian film fans have grown up with his movies, the biggest Kitano film fan club is in Italy. It is a kind of Kitano religion here," the presenter said. The Far East Film Festival, dedicated to recognizing works made in Asia, started on April 22 for nine days in Udine.

The Far East Film Festival, dedicated to recognizing works made in Asia, started on April 22 for nine days in Udine.

The Far East Film Festival, dedicated to recognizing works made in Asia, started on April 22 for nine days in Udine.

"Thank you for (granting me) this amazing award," said Kitano during the ceremony, which he attended virtually from Japan, as he received a huge round of applause from the audience present at the event. "I want to visit Italy with a new movie (next time), to express my apology and gratitude," he added.

"Thank you for (granting me) this amazing award," said Kitano during the ceremony, which he attended virtually from Japan, as he received a huge round of applause from the audience present at the event. "I want to visit Italy with a new movie (next time), to express my apology and gratitude," he added.

"Thank you for (granting me) this amazing award," said Kitano during the ceremony, which he attended virtually from Japan, as he received a huge round of applause from the audience present at the event. "I want to visit Italy with a new movie (next time), to express my apology and gratitude," he added.

Kitano's popular works include crime drama "Hana-Bi," which won the Golden Lion at the Venice Film Festival in 1997, and "Zatoichi," for which he received the Silver Lion for Best Direction at the same festival in 2003.

Kitano's popular works include crime drama "Hana-Bi," which won the Golden Lion at the Venice Film Festival in 1997, and "Zatoichi," for which he received the Silver Lion for Best Direction at the same festival in 2003.

Kitano, who appeared in the war film "Merry Christmas, Mr. Lawrence," received the Legion of Honor, France's most prestigious award in 2016.

Kitano's popular works include crime drama "Hana-Bi," which won the Golden Lion at the Venice Film Festival in 1997, and "Zatoichi," for which he received the Silver Lion for Best Direction at the same festival in 2003.

Kitano, who appeared in the war film "Merry Christmas, Mr. Lawrence," received the Legion of Honor, France's most prestigious award in 2016.

Japan's Joe Hisaishi, who has composed music for Studio Ghibli, and kung fu movie star Jackie Chan have previously received the Far East Film Festival's lifetime achievement award.

Kitano, who appeared in the war film "Merry Christmas, Mr. Lawrence," received the Legion of Honor, France's most prestigious award in 2016.

Japan's Joe Hisaishi, who has composed music for Studio Ghibli, and kung fu movie star Jackie Chan have previously received the Far East Film Festival's lifetime achievement award.

Japan's Joe Hisaishi, who has composed music for Studio Ghibli, and kung fu movie star Jackie Chan have previously received the Far East Film Festival's lifetime achievement award.

https://mainichi.jp/english/articles/20220430/p2g/00m/0et/030000c

Takeshi Kitano. (Kyodo)

PR O J EC TS SUB M I T Y O UR F I LM F ESTI VA LS C O N TA C T Festivals•Japanese Reviews•Media Partners•Reviews•Udine Far East Film Fest val



Apr l 22 2022  Rouven L nnarz  4 M n Read



Share Th s!



Kitano



An impressive movie within Takeshi Kitano’s body of work as a filmmaker

Even though “Sonatine” was only his fourth fi m as a director, for many fans and critics it is still one of the best by Takeshi Kitano and arguably an important milestone in his career as it rece ved much internationa attention thanks to directors like Quentin Tarantino whose production company dec ded to release Sonatine as one of their first titles for American audiences However for Kitano himself the importance of this film s much more persona as it is artistic evident in the t tle of the movie itself which himself explains as an indicator that he finally was able to use the various dev ces and means within the medium on a basic evel, similar to a student of the p ano practicing basic pieces All modesty aside,

An impressive movie within Takeshi Kitano’s body of work as a filmmaker

“Sonatine” is quite an impressive movie which not on y continues its director’s themes of deconstruction, but also the idea of how beauty is connected to death

“Sonatine” is screening at Udine Far East Film Festival

Even though “Sonatine was only his fourth film as a director, for many fans and critics it is still one of the best by Takeshi Kitano and arguab y an mportant milestone in his career as it received much international attention, thanks to directors like Quentin Tarantino, whose production company decided to release Sonatine as one of their first t tles for Amer can audiences However for Kitano himself the mportance of this film is much more personal as it is artist c ev dent in the title of the movie itself which himself explains as an ndicator that he fina ly was able to use the various devices and means w th n the med um on a basic level, simi ar to a student of the piano practicing basic pieces All modesty aside, “Sonat ne” is quite an mpressive movie which not only continues ts director ’s themes of deconstruction, but also the idea of how beauty is connected to death

Even though “Sonatine was on y his fourth film as a director, for many fans and critics it is sti l one of the best by Takeshi Kitano and arguably an important milestone in his career as t received much international attent on, thanks to directors like Quent n Tarantino, whose production company decided to release Sonatine” as one of their first titles for American audiences However for Kitano himself the importance of this fi m is much more personal as it is artistic evident in the title of the movie itse f wh ch h mself explains as an indicator that he finally was able to use the various devices and means within the medium on a basic leve , s m lar to a student of the piano pract cing basic p eces A l modesty as de, “Sonatine” is quite an impressive movie which not only cont nues its director ’s themes of deconstruction, but also the dea of how beauty is connected to death

b F EA TUR ES  PR O J EC TS  R EVI EW S  PR O J EC TS SUB M I T Y O UR F I LM F ESTI VA LS C O N TA C T Fest vals•Japanese Reviews•Media Partners•Rev ews•Ud ne Far East F lm Festiva

Ads by Stop seeing this ad Why this ad?

Ad

Citizen K is

screening

Apri 25 2022  Rouven Linnarz  3 M n Read Rouven Linnarz  Add Comment  Share This! When at some point in the near future Neck is re eased it will not only be a new feature directed by Takeshi Kitano but a so as the filmmaker himself claimed his last directorial effort Given the pace with which he has worked and also the fact K tano tried to balance his many projects as a director a TV host a painter and an author (to name but a few) it is perhaps no surprise to hear the 75-year-old w shing to slow down a bit Still the phenomenon that is Kitano

Ads

by Stop seeing this ad Why this ad?

(https://www telefriuli it)

(https://www telefriuli it) (https://www udineseblog it)

(https://www udineseblog it)

(https://www ilfriuli it/BannerCounter ashx? id=1518) (https://www ilfriuli it/ id=1546)

(https://www ilfriuli it/BannerCounter ashx? id=1518)

NEWS

ULTIME

09 55 / Sagra del Vino, l'edizione della ripartenza (/articolo/gusto/sagra-del-vino-l-edizione-della-ripartenza/10/26548

09.55

(https://www ilfriuli it/BannerCounter ashx? id=1518)

Feff, successo per Focus Asia 2022

09 49 / Continua la

(https://www ilfriuli

Il film thailandese Blood Song: A Silent Ballad vince il 108 MEDIA Distribution Award

(https://www ilfriuli it/BannerCounter ashx? id=1518) (https://www

Feff, successo per Focus Asia 2022

Feff, successo per Focus Asia 2022

Il

Il film thailandese Blood Song: A Silent Ballad vince il 108 MEDIA Distribution Award



(https://ww id=1

film thailandese Blood Song: A Silent Ballad vince il 108 MEDIA Distribution Award

Con oltre 150 professionisti in presenza e quasi 100 partecipanti online collegati da tutto il resto del mondo, Focus Asia 2022 conferma il suo ruolo fondamentale nel panorama degli eventi dedicati a professionisti del settore interessati a sviluppare nuovi legami artistici e produttivi tra oriente e occidente

Un’edizione unica e speciale che a distanza di due più di due anni dall’inizio della pandemia ha visto per la prima volta di nuovo assieme tanti professionisti, decision maker e filmmaker da Asia e Europa Un ritorno alla normalità che conferma l essenza dell evento: creare connessioni reali in un piccolo mondo reale come quello creato dal Far East Film Festival a Udine Ma per non perdere quanto sviluppato nelle ultime due edizioni, la piattaforma costruita in partnership con WYTH ha permesso di mantenere il dialogo tra mondo fisico e virtuale, facilitando nell’arco di tre giorni oltre 200 appuntamenti ibridi tra ospiti e team in presenza con produttori e decision maker connessi online

30 aprile 2022

di tre giorni oltre 200 appuntamenti ibridi tra ospiti e team in presenza con produttori e decision maker connessi online

Con oltre 150 professionisti in presenza e quasi 100 partecipanti online collegati da tutto il resto del mondo Focus Asia 2022 conferma il suo ruolo fondamentale nel panorama degli eventi dedicati a professionisti del settore interessati a sviluppare nuovi legami artistici e produttivi tra oriente e occidente

Con oltre 150 professionisti in presenza e quasi 100 partecipanti online collegati da tutto il resto del mondo, Focus Asia 2022 conferma ruolo fondamentale nel panorama degli eventi dedicati a professionisti del settore interessati a sviluppare nuovi legami artistici e prod oriente e occidente

Un’edizione unica e speciale che a distanza di due più di due anni dall’inizio della pandemia ha visto per la prima volta di nuovo assieme tanti professionisti decision maker e filmmaker da Asia e Europa Un ritorno alla normalità che conferma l essenza dell evento: creare connessioni reali in un piccolo mondo reale, come quello creato dal Far East Film Festival a Udine Ma per non perdere quanto sviluppato nelle ultime due edizioni, la piattaforma costruita in partnership con WYTH ha permesso di mantenere il dialogo tra mondo fisico e virtuale, facilitando nell’arco di tre giorni oltre 200 appuntamenti ibridi tra ospiti e team in presenza con produttori e decision maker connessi online

(https://www ilfriuli it/BannerCounter ashx?id=1575)

Tutta questa serie di incontri ha aiutato i 24 progetti in sviluppo presentati all interno delle sezioni All Genres Project Market, Taiwan

Un’edizione unica e speciale, che a distanza di due più di due anni dall’inizio della pandemia, ha visto per la prima volta di nuovo assiem professionisti, decision maker e filmmaker da Asia e Europa Un ritorno alla normalità che conferma l’essenza dell’evento: creare conne reali in un piccolo mondo reale, come quello creato dal Far East Film Festival a Udine Ma per non perdere quanto sviluppato nelle ultim edizioni, la piattaforma costruita in partnership con WYTH ha permesso di mantenere il dialogo tra mondo fisico e virtuale, facilitando di tre giorni oltre 200 appuntamenti ibridi tra ospiti e team in presenza, con produttori e decision maker connessi online

Showcase e Ties That Bind a individuare nuovi partner e collaborazioni e i 6 film in post-produzione presentati all’interno della sezione Far East in Progress a raccogliere l interesse da parte di numerosi festival e distributori internazionali E proprio grazie alla rinnovata collaborazione con 108 MEDIA, il film Blood Song: A Silent Ballad, prodotto e diretto da Phanuthep Sutthithepthamrong - Zati Studio Co , Ltd, Thailand, ha vinto il prestigioso 108 MEDIA Distribution Award, premio di 15 000 dollari in distribuzione internazionale

(https://www ilfriuli it/BannerCounter ashx?id=1575)

Tutta questa serie di incontri ha aiutato i 24 progetti in sviluppo presentati all interno delle sezioni All Genres Project Market, Taiwan

Ma quest’anno la cerimonia di chiusura di Focus Asia ha rivelato anche un “premio sorpresa” per uno dei progetti in sviluppo: SEAScreen Project Market, uno degli storici partner del Ties That Bind workshop, ha voluto premiare il progetto thailandese The Cursed Land, diretto da Panu Aree & Kong Rithdee - Cinemasia con la selezione automatica per la prossima edizione del mercato di Singapore in programma in presenza il prossimo dicembre

Showcase e Ties That Bind a individuare nuovi partner e collaborazioni e i 6 film in post-produzione presentati all’interno della sezione Far East in Progress a raccogliere l interesse da parte di numerosi festival e distributori internazionali E proprio grazie alla rinnovata collaborazione con 108 MEDIA, il film Blood Song: A Silent Ballad, prodotto e diretto da Phanuthep Sutthithepthamrong - Zati Studio Co , Ltd, Thailand, ha vinto il prestigioso 108 MEDIA Distribution Award, premio di 15 000 dollari in distribuzione internazionale

Ma quest’anno la cerimonia di chiusura di Focus Asia ha rivelato anche un “premio sorpresa” per uno dei progetti in sviluppo: SEAScreen

(https://www ilfriuli it/BannerCounter ashx?id 1575)

Project Market, uno degli storici partner del Ties That Bind workshop, ha voluto premiare il progetto thailandese The Cursed Land, diretto da Panu Aree & Kong Rithdee - Cinemasia con la selezione automatica per la prossima edizione del mercato di Singapore in programma in presenza il prossimo dicembre

Tutta questa serie di incontri ha aiutato i 24 progetti in sviluppo presentati all interno delle sezioni All Genres Project Market Taiwan

Ma accanto alle opportunità di business offerte a tutti i progetti selezionati, Focus Asia 2022 ha proposto un ricco programma di eventi dedicati ai 250 partecipanti accreditati riuscendo così ad approfondire nel corso delle tre giornate diversi temi legati alle sfide che l’industria cinematografica mondiale si è trovata ad affrontare negli ultimi mesi Grazie alla collaborazione con Ties That Bind – il principale workshop di co-produzione tra i due continenti – e con la nuova partnership con Europa Distribution – il network di distributori indipendenti europei – è stato nuovamente possibile approfondire le sfide e le opportunità offerte dalla co-produzione internazionale tra Asia ed Europa, ma è stato anche possibile fare un’analisi dello stato attuale della distribuzione nel mercato asiatico e quello europeo Questa edizione del programma industry del Far East Film Festival si chiude dunque con un bilancio estremamente positivo che conferma l imprescindibile bisogno per l industria cinematografica di incontrarsi di persona per condividere un presente reale e sognare collaborazioni future

Showcase e Ties That Bind a individuare nuovi partner e collaborazioni e i 6 film in post-produzione presentati all’interno della sezione Far East in Progress a raccogliere l interesse da parte di numerosi festival e distributori internazionali E proprio grazie alla rinnovata collaborazione con 108 MEDIA, il film Blood Song: A Silent Ballad, prodotto e diretto da Phanuthep Sutthithepthamrong - Zati Studio Co , Ltd, Thailand, ha vinto il prestigioso 108 MEDIA Distribution Award, premio di 15 000 dollari in distribuzione internazionale

Ma accanto alle opportunità di business offerte a tutti i progetti selezionati, Focus Asia 2022 ha proposto un ricco programma di eventi dedicati ai 250 partecipanti accreditati, riuscendo così ad approfondire nel corso delle tre giornate diversi temi legati alle sfide che l’industria cinematografica mondiale si è trovata ad affrontare negli ultimi mesi Grazie alla collaborazione con Ties That Bind – il principale workshop di co-produzione tra i due continenti – e con la nuova partnership con Europa Distribution – il network di distributori indipendenti europei – è stato nuovamente possibile approfondire le sfide e le opportunità offerte dalla co-produzione internazionale tra Asia ed Europa, ma è stato anche possibile fare un’analisi dello stato attuale della distribuzione nel mercato asiatico e quello europeo

Ma quest’anno la cerimonia di chiusura di Focus Asia ha rivelato anche un “premio sorpresa” per uno dei progetti in sviluppo: SEAScreen

Project Market, uno degli storici partner del Ties That Bind workshop, ha voluto premiare il progetto thailandese The Cursed Land, diretto da Panu Aree & Kong Rithdee - Cinemasia con la selezione automatica per la prossima edizione del mercato di Singapore in programma in presenza il prossimo dicembre

Questa edizione del programma industry del Far East Film Festival si chiude dunque con un bilancio estremamente positivo che conferma l imprescindibile bisogno per l industria cinematografica di incontrarsi di persona per condividere un presente reale e sognare collaborazioni future

FOCUS ASIA – ricordiamo – è organizzato dal Centro Espressioni Cinematografiche/Far East Film Festival di Udine con la collaborazione del Fondo per l’Audiovisivo del Friuli Venezia Giulia Eave e il sostegno della Direzione Generale per il Cinema – MiC È sviluppato in collaborazione con il workshop Ties That Bind e promosso in associazione con Catalunya Film Commission & Catalan Films, Europa Distribution, European Film Promotion Golden Horse Film Project Promotion - Taiwan HAF - Hong Kong – Asia Film Financing Forum TAICCA - Taiwan VIPOJapan e Wyth Far East in Progress è supportato da 108 MEDIA

(https://www ilfriuli it/BannerCounter ashx?id=1575)

Ma accanto alle opportunità di business offerte a tutti i progetti selezionati Focus Asia 2022 ha proposto un ricco programma di eventi dedicati ai 250 partecipanti accreditati, riuscendo così ad approfondire nel corso delle tre giornate diversi temi legati alle sfide che l’industria cinematografica mondiale si è trovata ad affrontare negli ultimi mesi Grazie alla collaborazione con Ties That Bind – il principale workshop di co-produzione tra i due continenti – e con la nuova partnership con Europa Distribution – il network di distributori indipendenti europei – è stato nuovamente possibile approfondire le sfide e le opportunità offerte dalla co-produzione internazionale tra Asia ed Europa, ma è stato anche possibile fare un’analisi dello stato attuale della distribuzione nel mercato asiatico e quello europeo

0 10

Questa edizione del programma industry del Far East Film Festival si chiude dunque con un bilancio estremamente positivo che conferma l imprescindibile bisogno per l industria cinematografica di incontrarsi di persona per condividere un presente reale e sognare collaborazioni future

Tutta questa serie di incontri ha aiutato i 24 progetti in sviluppo presentati all’interno delle sezioni All Genres Project Market, Taiwan Showcase e Ties That Bind a individuare nuovi partner e collaborazioni e i 6 film in post-produzione presentati all’interno della sezione East in Progress a raccogliere l’interesse da parte di numerosi festival e distributori internazionali E proprio grazie alla rinnovata collaborazione con 108 MEDIA, il film Blood Song: A Silent Ballad, prodotto e diretto da Phanuthep Sutthithepthamrong - Zati Studio C Thailand, ha vinto il prestigioso 108 MEDIA Distribution Award, premio di 15 000 dollari in distribuzione internazionale

FOCUS ASIA – ricordiamo – è organizzato dal Centro Espressioni Cinematografiche/Far East Film Festival di Udine con la collaborazione del Fondo per l’Audiovisivo del Friuli Venezia Giulia, Eave e il sostegno della Direzione Generale per il Cinema – MiC È sviluppato in collaborazione con il workshop Ties That Bind e promosso in associazione con Catalunya Film Commission & Catalan Films, Europa Distribution, European Film Promotion Golden Horse Film Project Promotion - Taiwan HAF - Hong Kong – Asia Film Financing Forum TAICCA - Taiwan VIPOJapan e Wyth Far East in Progress è supportato da 108 MEDIA 0 10

FOCUS ASIA – ricordiamo – è organizzato dal Centro Espressioni Cinematografiche/Far East Film Festival di Udine con la collaborazione del Fondo per l’Audiovisivo del Friuli Venezia Giulia, Eave e il sostegno della Direzione Generale per il Cinema – MiC È sviluppato in collaborazione con il workshop Ties

e promosso in associazione con Catalunya Film Commission & Catalan Films, Europa Distribution, European

Ma quest’anno la cerimonia di chiusura di Focus Asia ha rivelato anche un “premio sorpresa” per uno dei progetti in sviluppo: SEAScre Project Market, uno degli storici partner del Ties That Bind workshop, ha voluto premiare il progetto thailandese The Cursed Land, dire Panu Aree & Kong Rithdee - Cinemasia, con la selezione automatica per la prossima edizione del mercato di Singapore, in programma presenza il prossimo dicembre

Ma accanto alle opportunità di business offerte a tutti i progetti selezionati, Focus Asia 2022 ha proposto un ricco programma di even dedicati ai 250 partecipanti accreditati, riuscendo così ad approfondire nel corso delle tre giornate diversi temi legati alle sfide che l’in

30 aprile 2022

Ho w f e s t i v a l s l i k e Fa r Ea s t

Fi l m Fe s t i v a l l o o k t o t h e p a s t

t o h e l p e n s u r e c i n e m a ’ s

Ar t ic le by J o lie Fa n Yu x u a n a t tend ee o f t he FEFF 20 22 Ca m p u s p r o g r a m m e fo r a s p ir ing w r iter s a nd c r it ic s

Ho w f e s t i v a l s l i k e Fa r Ea s t

Fi l m Fe s t i v a l l o o k t o t h e p a s t t o h e l p e n s u r e c i n e m a ’ s

f u t u r e

Ho w f e s t i v a l s l i k e Fa r Ea s t

Ar t ic le by J o lie Fa n Yu x u a n a t tend ee o f t he FEFF 20 22 Ca m p u s p r o g r a m m e fo r a s p ir ing w r iter s a nd c r it ic s

Fi l m Fe s t i v a l l o o k t o t h e p a s t

t o h e l p e n s u r e c i n e m a ’ s

The Far East Film Festival is designed to spark conversations about trends in contemporar y Asian cinema but the annual event also looks to the past to enter tain and inspire.

f u t u r e

B y Du a r t New s

Each in the nor thern Italian town of Udine, FEFF programmes a series of retrospectives, spotlighting films rarely seen outside Asia. It’s a end at film festivals all over the world, fueled by advances in archival technology that are able to bring these old films back to lifeand for veteran festival head and programmer Roger Garcia, these retrospectives are a vital component of any line-up.

1 0-05 -2 02

Ar t ic le by J o lie Fa n Yu x u a n a t tend ee o f t he FEFF 20 22 Ca m p u s p r o g r a m m e fo r a s p ir ing w r iter s a nd c r it ic s B y Du a r

“[Festivals] are like driving a car. You’re looking in the rear view mirror, you're looking at what speed you’re going at, and then you‘re looking ad. So, you’re looking at the past, present and future,” says Garcia, who programmed the “Odd Couples” retrospective at this edition of FEFF That’s the function of a film festival. I don’t believe in film festivals that only show new films, I think that is e. What festivals should tr y and do is not only introduce contemporar y cinema but also how to view the histor y of cinema.”

The Far East Film Festival is designed to spark conversations about trends in contemporar y Asian cinema but the annual event also looks to the past to enter tain and inspire.

Each year, in the nor thern Italian town of Udine, FEFF programmes a series of retrospectives, spotlighting films rarely seen outside Asia. It’s a growing trend at film festivals all over the world, fueled by advances in archival technology that are able to bring these old films back to lifeand for veteran festival head and programmer Roger Garcia, these retrospectives are a vital component of any line-up.

Film festivals are more than simply showcasing recent discoveries, exciting world premieres and acquiring exclusive film rights, they are a celebration of cinematic histor y, rescuing forgotten narratives from oblivion and giving them a platform to be seen again. To Garcia, festivals have the power to change the interpretation of cinematic heritage.

The Far East Film Festival is designed to spark conversations about trends in contemporar y Asian cinema but the annual event also looks to the past to enter tain and inspire.

“[Festivals] are like driving a car. You’re looking in the rear view mirror, you're looking at what speed you’re going at, and then you‘re looking down the road. So, you’re looking at the past, present and future,” says Garcia, who programmed the “Odd Couples” retrospective at this year ’s 24th edition of FEFF “ That’s the function of a film festival. I don’t believe in film festivals that only show new films, I think that is incomplete. What festivals should tr y and do is not only introduce contemporar y cinema but also how to view the histor y of cinema.”

Each year, in the nor thern Italian town of Udine, FEFF programmes a series of retrospectives, spotlighting films rarely seen outside Asia. It’s a growing trend at film festivals all over the world, fueled by advances in archival technology that are able to bring these old films back to lifeand for veteran festival head and programmer Roger Garcia, these retrospectives are a vital component of any line-up.

“Film festivals give you an oppor tunity to reevaluate and reflect on the histor y of cinema,” he says. “Film culture is not only writing now but also what writing was before, in cinema and in text. The only way you can get a perspective of where you are now is by understanding where you were before.”

Several major film festivals have turned retrospectives (usually blanketed together with the “Out of Competition” section) into permanent programmes running alongside main competitions: the Berlin International Film Festival’s “Berlinale Classics”, Karlovy Var y International Film Festival’s “Out of the Past”, and recently the Venice International Film Festival’s launch of the “Permanent Festival of Restored Film” are cases in point. These trends signal a ballooning awareness of the film festival’s preser vationist agendas and its significance in the revival and the recirculation of ‘old’ films into the current milieu.

Film festivals are more than simply showcasing recent discoveries, exciting world premieres and acquiring exclusive film rights, they are a celebration of cinematic histor y, rescuing forgotten narratives from oblivion and giving them a platform to be seen again. To Garcia, festivals have the power to change the interpretation of cinematic heritage.

“[Festivals] are like driving a car. You’re looking in the rear view mirror, you're looking at what speed you’re going at, and then you‘re looking down the road. So, you’re looking at the past, present and future,” says Garcia, who programmed the “Odd Couples” retrospective at this year ’s 24th edition of FEFF “ That’s the function of a film festival. I don’t believe in film festivals that only show new films, I think that is incomplete. What festivals should tr y and do is not only introduce contemporar y cinema but also how to view the histor y of cinema.”

“Film festivals give you an oppor tunity to reevaluate and reflect on the histor y of cinema,” he says. “Film culture is not only writing now but also what writing was before, in cinema and in text. The only way you can get a perspective of where you are now is by understanding where you were before.

Film festivals are more than simply showcasing recent discoveries, exciting world premieres and acquiring exclusive film rights, they are a celebration of cinematic histor y, rescuing forgotten narratives from oblivion and giving them a platform to be seen again. To Garcia, festivals have the power to change the interpretation of cinematic heritage.

“Rotterdam, and FEFF as well, are not going to just program canonical classics. Quite the contrar y, our festivals are going to look for past

Several major film festivals have turned retrospectives (usually blanketed together with the “Out of Competition” section) into permanent programmes running alongside main competitions: the Berlin International Film Festival’s “Berlinale Classics”, Karlovy Var y International Film Festival’s “Out of the Past”, and recently the Venice International Film Festival’s launch of the “Permanent Festival of Restored Film” are cases in point. These trends signal a ballooning awareness of the film festival’s preser vationist agendas and its significance in the revival and the recirculation of ‘old’ films into the current milieu.

“Film festivals give you an oppor tunity to reevaluate and reflect on the histor y of cinema,” he says. “Film culture is not only writing now but also what writing was before, in cinema and in text. The only way you can get a perspective of where you are now is by understanding where you were before.”

Several major film festivals have turned retrospectives (usually blanketed together with the “Out of Competition” section) into permanent programmes running alongside main competitions: the Berlin International Film Festival’s “Berlinale Classics”, Karlovy Var y International Film Festival’s “Out of the Past”, and recently the Venice International Film Festival’s launch of the “Permanent Festival of Restored Film” are cases in point. These trends signal a ballooning awareness of the film festival’s preser vationist agendas and its significance in the revival and the re-

FEFF

YOUNG CR I TI

CS MATH EW

SCOTT R

OG ER

G AR

CI A J

OLI E FAN Y UX UAN

HOW I T

WOR K

S? LOG I N / R EG I STER

FEFF

YOUNG CR I TI

CS MATH EW

SCOTT R

OG ER

G AR

CI A

In keeping with this move to spotlight the histor y of Asian cinema but also to show the full breadth of Asian classics, the FEFF launched the first edition of the Second-Hand Film Market in 2021. The aim is to promote the rediscovering and re-interpretation of restored hits that had previously been unseen within the popular festival circuit. It’s been a bold move as the market’s basic instinct is to “expose new talents so that their careers take off within the industr y,” according to Kaluđerčić Yet, by dovetailing the retrospective programme with the market, FEFF is tapping into the audience’s renewed fascination with these “classics” thereby increasing commercial release oppor tunities.

“FEFF did a robust job in covering the corners of Asian cinema and its histor y, creating its own channel for watching retrospectives that were previously not visible, granting watershed access to these films of histor y,” explains Paolo Ber tolin, a programmer at the Cannes Directors’ For tnight and the Venice International Film Festival as well as at FEFF

This year, FEFF showcased three retrospectives, all armed with 2K and 4K restorations. “Restored Classics” was screened physically at the Visionario cinema as well as online, via FEFF’s streaming channel. Included were films from Japan’s Mike Takashi (“Audition”), Fukasaki Kinji (“Battle Royale Director ’s Cut”) and Shinoda Masahiro (“Pale Flower”) as well as Hong Kong’s Johnny To (“The Heroic Trio”) and Taiwan’s lesserknown director of wuxia pictures, Joseph Kuo (“The Swordsman of all Swordsmen”).

There were also two thematic mavericks – “Odd Couples,” and “Visions of Manila” – specially curated programmes by Roger Garcia, Kiki Fung and Max Tessier Centred on re-reading film texts through a critical contemporar y lens, these profiles spark a dialogue between the West and the East, broaching complex notions of racial and class difference, from interracial romance to fantasies of urban life in the bustling Philippine capital. Subversive in their own right, these selections re-contextualise filmmaking from the past by giving voice to marginalized identities.

Garcia describes this paradox of the new within the old: “ The histor y of cinema is an evolving thing, we are making new discoveries all the time or we’re changing our views on cinema. Look at the ‘Odd Couples’ retrospective, we changed our views on relationships between men and women of different races.

Jolie Fan Yuxuan attended the Far East Film Festival as par t of its 2022 Campus programme for aspiring writers and critics

【喜歡妳是妳】赴意大利出席烏甸尼電影節　楊潮凱與各地電影人交

“The First Girl I Loved” is screening at Udine Far East Film Festival

【喜歡妳是妳】赴意大利出席烏甸尼電影節　楊潮凱與各地電影人交 流

 娛樂 12:12 2022/05/02

特首選舉

電 影 節 ， 今 站 輪 到 意 大 利 。

FESTIVALS: Korean, Chinese lms triumph at Far East Film Festival

Posted by Liz

FESTIVALS: Korean, Chinese lms triumph at Far East Film Festival

FESTIVALS: Korean, Chinese lms triumph at Far East Film Festival

Posted by Liz Shackleton

Streamlined by Liz Shackleton

Posted by Liz Shackleton

Miracle: Letters To The President (pictured), directed by Korea’s Lee Jang-hoon, was awarded the Golden Mulberry, the top audience award of the Far East Film Festival (FEFF) in Udine, Italy, at the festival’s closing ceremony on Saturday night (April 30).

The global film & streaming content revolution as seen from its outer reaches

Miracle: Letters To The President (pictured), directed by Korea’s Lee Jang-hoon, was awarded the Golden Mulberry, the top audience award of the Far East Film Festival (FEFF) in Udine, Italy, at the festival’s closing ceremony on Saturday night (April 30).

Purin Pictures unveils ve grant recipients in spring funding round

FESTIVALS: Korean,

SCMP Lifestyle / Entertainment

Lifestyle / Entertainment

Udine 2022: the 10 best movies at the Far East Film Festival, from Korean mystery Confession to Hong Kong romcom Far Far Away

Udine 2022: the 10 best movies at the Far East Film Festival, from Korean mystery Confession to Hong Kong romcom Far Far Away

 Far Far Away is a romantic comedy set against the backdrop of recent events in Hong Kong. Confession is a densely plotted film about a race to solve two deaths

• Far Far Away is a romantic comedy set against the backdrop of recent events in Hong Kong. Confession is a densely plotted film about a race to solve two deaths

 Two Korean gangster films stood out, as did the winner of the event’s top award, about a remote Korean village that builds its own railway station

• Two Korean gangster films stood out, as did the winner of the event’s top award, about a remote Korean village that builds its own railway station

Daniel Eagan

After 2021’s hybrid version, the 24th Far East Film Festival in Udine, Italy, returned this year to a full schedule of films screened to in-theatre guests.

Attendance surged to 40,000, some 70 filmmakers were present and, despite Covid -19 precautions, screenings in the 1,200-seat Teatro Nuovo were filled with enthusiastic fans.

Shum Ka-ki (front) and Jennifer Yu in a still from Far Far Away.

Only a handful of interviews had to be conducted via Zoom as a result of quarantine restrictions. Takeshi Kitano, recipient the Golden Mulberry Award for Lifetime Achievement, decided to not travel to Italy, turning back at the airport with his plane waiting. . He spoke to the audience on video before a screening of his film Sonatine

After 2021’s hybrid version, the 24th Far East Film Festival in Udine, Italy, returned this year to a full schedule of films screened to in-theatre guests.

Attendance surged to 40,000, some 70 filmmakers were present and, despite Covid-19 precautions, screenings in the 1,200-seat Teatro Nuovo were filled with enthusiastic fans.

Most tourists flying in to Venice’s Marco Polo Airport head straight for the canals and gondolas of one of the world’s most popular destinations. But for those looking to leave the crowds behind, just an hour’s drive in the other direction lies Friuli Venezia Giulia, one of the most unspoilt, refreshing and surprising parts of Italy.

This semi-autonomous region has its own language, distinctive cuisine, dramatic castles and scenic hills covered with vineyards. Cosmopolitan Friuli is more Mitteleuropa than Italy, as it borders Slovenia and Austria, stretching from the majestic port of Trieste, on the Adriatic, up to the snow-topped mountains of the Alps.

And right in the middle lies the ancient city of Udine, a seductive, eclectic mix of Venetian gothic palaces and decorative Habsburg literary cafes, frescoed medieval churches and modern art museums, rustic woodbeamed osterie (restaurants serving cheap local fare) and elegant fine-dining establishments. With barely a tourist in sight, this is the perfect place for a first taste of what Friuli has to offer.

My tour of Udine begins in its historical heart, the Piazza della Libertà, which dates back to the early 1400s, when the conquered city became part of

DESTINATION

Best in a supporting role

Swap overcrowded Venice for the ancient city of Udine, which offers a welcome alternative to the usual touristy fare, as Asian celebrities visiting for the Far East Film Festival discover.

Above: Udine’s Piazza della Libertà, which dates back to the early 1400s.

Below: a rustic osteria in the Italian city.

the Republic of Venice, a state of affairs that endured for almost four centuries. Atop a tall column, the noble Lion of Venice looks down on those strolling in the piazza, much like Nelson in London’s Trafalgar Square, while the centrepiece Torre dell’Orologio, lined by shady porticos, is almost a carbon copy of the clock tower in Venice’s Piazza San Marco.

The Venetians built a massive castle just above Udine’s piazza and a bubbling Renaissance fountain, and this classical composition is completed by the Loggia del Lionello, a pastel pink marble palazzo that is the home of the town hall. But this is only part of Udine’s diverse cultural influences, because after Napoleon swept the Venetians aside, Friuli became officially Habsburg, part of the Austro-Hungarian Empire until the end of World War I.

To get a feeling for this, I wander over to the edge of the piazza and grab a table at Caffè Contarena, a Viennese-style salon decorated in classic Jugendstil (art nouveau), with ornate art deco mosaics and chandeliers, serving irresistible hot chocolate and delicious sachertorte,

wicked negroni cocktails and mellow oak-aged grappa made by the women distillers of the local Nonino family.

And for those who time their visit for the month of April, Udine reserves a final, multiethnic surprise. For the past 24 years, Friuli’s capital has played host to the Far East Film Festival, a funky alternative to the likes of Cannes that devotes itself to showcasing the talent and latest movies coming out of East Asia. Walk into Caffè Contarena at lunchtime during the festival and the lounge is teeming with actors, directors and movie moguls from Hong Kong, mainland China, Singapore, South Korea, Japan, the Philippines, Malaysia, Thailand and Indonesia. And on this occasion, they all seem delighted to be discovering Udine.

“It took me 24 hours of different flights to get here but it is already worth it after my first Italian meal,” enthuses Philippine diva Sheila Francisco, who plays the lead role in the comedydrama Leonor Will Never Die. This is her first visit to Italy and the actress is planning a three-week stay. “The

WORDS AND PICTURES JOHN BRUNTON

Hong Kong singer and actress Josie

Ho Chiu-yi with her husband, Conroy Chan Chi-chung, at San Daniele’s Casa del Prosciutto Alberti, during a guided tour that starts with the salting of 15kg pork legs.

The ebullient owner of Hostaria alla Tavernetta, Roberto Romano, proposes pairing native-grape wines from local vineyards – such as a crisp, fruity ribolla gialla – with raw asparagus topped with a poached egg or a full-bodied schioppettino with succulent beef goulash.

Although you can plan a whole holiday around discovering Friuli’s beaches, lagoon wetlands, mountains and vineyards, it is possible to get a first impression by organising a half-day excursion into Udine’s surroundings.

“At one point during lockdown, I was meant to fly out to the Midwest, in America, to film with Bruce Willis in what would have been his final film before retiring, but I had a bad feeling so just before take-off, I decided to get off the plane and turn down the role – what a panic that caused at the airport!”

And Hong Kong actress, director and singing star Josie Ho Chiu-yi is doing just that, explaining that, “Usually when you are attending a film festival it is all work, work, work, and you rarely get to know anything about where you are staying. This is my first trip outside Hong Kong since Covid began, and I’m determined to have some fun!

Organising Ho’s excursion puts the locals into something of a panic, too, as two minivans are needed to transport not just her and her husband, the actor and rapper Conroy Chan Chi-chung, but an entourage consisting of two makeup artists, a hair stylist, an assistant tasked with videoing the escapade for Instagram and a serious-looking French bodyguard. Just outside Udine’s historic centre and we’re already in the midst of green fields, thick forests and carefully tended vineyards. The first stop is a 20-minute

drive away, in the ancient village of San Daniele, which gave its name to one of the world’s most famous dry-cured hams. Chan is excited at the prospect of visiting an artisan prosciutteria: “It is definitely fate that has brought me on this trip, because, even though Josie may not know, the ham I buy for us in Hong Kong is only from San Daniele, never the more well-known Parma or Spanish Serrano. But what a difference between buying it in the supermarket and coming here to find out how it is actually made! I will definitely be dining out on stories of this trip.”

At the Casa del Prosciutto Alberti, fifth-generation prosciutto master Marco Alberti conducts a tour that starts with the salting of the giant 15kg pork legs and continues through ageing cellars in which the meat is kept for up to 18 months before reaching the

Spain & Morocco Private Tour Madrid - Tangier - Chefchaouen - Fez - Casablanca TRAVEL

food is so wonderful, and we get to discover all these surprising local dishes – frico, irresistible deep-fried cheese and potatoes; gnocchi stuffed with plums; melt-in-the-mouth San Daniele prosciutto – not what I was expecting!

“After […] the festival is over, I have decided to give Venice a miss. I really don’t want to find myself in the midst of huge crowds of tourists, so have decided to go off the beaten track and explore another part Friuli, just an hour’s train ride away, the port of Trieste.”

One of the supporting actors in Leonor Bong Cabrera, has just arrived from working on a project in Berlin, “and Udine is a totally different experience from the big cities, so quiet and relaxed”.

“Whenever I arrive somewhere new I master the public transport system rather than take tour guides and taxis,” he says. “Here they have a great bike rental system where the first half-hour is free, so I just hop on and off between attending movie screenings.”

Young Chinese writer and director Hou Zuxin, whose The Italian Recipe is one of the hits of the festival, has her

own methods of exploration: “My perfect recipe to discover Udine is running every morning at 7.30, when hardly anyone is out and about. I run faster than when at home in Beijing as there is so much to see here; the ancient palaces and huge churches, narrow cobbled backstreets, and I love jogging along the maze of beautiful tiny canals that crisscross the city. “I’ve been spending a lot of time in Rome filming The Italian Recipe but had never come to Udine before. It is such a

final chamber, where the ham is cured, mountain and sea breezes entering through open windows to give San Daniele its unique sweet flavour. While Chan swoons to the aromas of the prosciutto hanging in the ageing rooms, Ho literally “hams it up” by pretending to take giant bites of a pork leg. At the end of the tour, the group sits down for the best part, tasting the different kinds of aged ham. On the way back to Udine, the road passes a towering castle atop a hillside. Locals forage for mushrooms in the surrounding woods. A sign bearing the words “Azienda del Poggio” signals the entrance to a vineyard on which stands a romantic stone farmhouse and wine cellar. The first buds of the grapes are just appearing and, after a bracing walk through the vines, everyone repairs inside for a tasting. Ho orders cases of Poggio bubbly to be sent home and admits that, “I can’t wait now to tell my friends in Hong Kong what it is like to visit an Italian winery. Everything changes when you have seen the vines growing in the fields surrounded by wild flowers, then explore the chilly cellar filled with steel vats and wood barrels, and finally taste the wine itself next to a roaring fire with plates of salami and local cheeses to feast from.”

As the minibuses are readied for departure, Poggio’s owner, Cristina Cigolotti, mentions that there are guest rooms in the winery.

“Book me in for a nice long stay,” says Chan, “and I will write my next movie script surrounded by peace and quiet.” With a mischievous glint in her eye, Ho says, “I can just imagine filming a horror movie here – it is the perfect location!”

difference from the big touristy cities, no crowds and so romantic.”

Even more enthusiastic is Adrian

Teh, from Kuala Lumpur and director of Malaysian thriller The Assistant: “This is such a lovely town! I immediately fell in love with it and honestly I can imagine myself buying a place and living here when I retire. The people are so welcoming, and the surrounding countryside looks beautiful. The architecture and relaxed pace of life is so different to what I have seen in Rome or Milan.” Apparent to all is that, in Udine, you can visit all the sights and museums without having to stand in long lines or push though crowds to get a good view of a painting.

The contemporary-art centre, Casa Cavazzini, is housed in a 16th century palazzo but showcases innovative local artists as well as blockbuster temporary exhibitions featuring the likes of Monet, Cézanne and Kandinsky, while in what was once the bishop of Udine’s opulent mansion, the Diocesan Museum boasts a gallery decorated with Tiepolo frescoes

that transport the visitor to a fantasy 18th century world. Through the arcades lining Via Mercatovecchio, in between fashion and jewellery boutiques, there is a hidden treasure, a discrete glass door that allows visitors a glimpse into the minuscule chapel of Santa Maria del Monte di Pietà, a riot of 500-year-old frescoes and rococo sculptures. Sightseeing comes to a close at the end of the afternoon, when the important business of an early aperitivo has Udine in its grip. The organisers of the Far East Film Festival, Sabrina Baracetti and Thomas Bertacche, speak as locals when they say, “Everyone starts partying in Piazza Matteotti, what we call Udine’s ‘drawing room’, filled with cafe terraces. And don’t bother looking for happy-hour signs as a glass of wine, a tajut, only costs €1 [HK$8.30].”

When it comes to dinner, traditional trattoria serve hearty, affordable plates of regional specialities such as cjarsons, ravioli filled with spinach and ricotta; tagliatelle topped with a rich wild boar sauce; crispy pork knuckle and creamy mashed potato.

19/05/22, 10:22

19/05/22, 10:22

RAI 4

19/05/22, 10:22

RAI 4

Speciale Far East Film Festival a "Wonderland" - RAI Ufficio Stampa

Speciale Far East Film Festival a "Wonderland" - RAI Ufficio Stampa

Speciale Far East Film Festival a "Wonderland" - RAI Ufficio Stampa

19 maggio 2022 ore 10:22 u

S iale Far East Film Festival a "Wonderland"

ale Far East Film Festival a "Wonderland"

Speciale Far East Film Festival a "Wonderland"

R dicata al cinema dell'Asia Orientale

Rassegna dedicata al cinema dell'Asia Orientale

Rassegna dedicata al cinema dell'Asia Orientale

ULTIMI COMUNICATI:

ULTIMI COMUNICATI:

ULTIMI COMUNICATI:

RAI Comunicazione di servizio per proclamazione sciopero

RAI Comunicazione di servizio per proclamazione sciopero

RAI Comunicazione di servizio per proclamazione sciopero

RAI ESC 2022, al Museo Radio Tv Rai di Torino le "chiavi" delle città

RAI ESC 2022, al Museo Radio Tv Rai di Tori le "chiavi" delle città

RAI ESC 2022, al Museo Radio Tv Rai di Torino le "chiavi" delle città

RAI Rai: Amministratore Delegato da Cannes, "Scelta giusta investire su serie tv di Bellocchio"

RAI Ascolti tv di martedì 17 maggio

RAI Rai: Amministratore Delegato da Canne "Scelta giusta investire su serie tv di Bellocchio"

RAI Rai: Amministratore Delegato da Cannes, "Scelta giusta investire su serie tv di Bellocchio"

RAI Ascolti tv di lunedì 16 maggio

RAI Ascolti tv di martedì 17 maggio

RAI Ascolti tv di martedì 17 maggio

RAI Ascolti tv di lunedì 16 maggio

RAI Ascolti tv di lunedì 16 maggio

Condividi

interamente dedicato al FEFF 2022, con i film, i protagonisti e tutti i vincitori di questa ventiquattresima edizione L ospite d onore del Festival è stato il regista sceneggiatore e attore Takeshi Kitano a cui è stato dedicato il Gelso d Oro alla carriera, ma una “serie di sfortunati eventi” ha impedito al regista di Sonatine e Zatōichi di raggiungere Udine costringendolo a un collegamento in diretta per la cerimonia di premiazione Wonderland ha incontrato Yves Montmayeur, autore del documentario Citizen K dedicato proprio all eclettica figura di Kitano e presentato in anteprima italiana Un genere sempre verde per gli spettatori del cinema asiatico è il gangster movie Oltre alla proiezione, in edizione restaurata, del classico giapponese del 1964 Pale Flower, di Shinoda Masahiro, il Festival quest anno ha esibito un buon numero di crime di diverse nazionalità, tra i quali si è contraddistinto il sudcoreano Tomb of the River del quale ha parlato ai microfoni di Wonderland il regista Yoon Young-bin Sempre dalla Corea del Sud arriva il thriller-action Hostage: Missing Celebrity e anche su questo adrenalinico film il magazine di Rai4 ha potuto intervistare il regista, l esordiente Pil Gam-sung Tra Confession di Yoon Jong-seok, remake coreano del thriller spagnolo Contratiempo, il dolente e realistico Thunderbird di Lee Jae-won e il giallo intriso di black humour Noise di Hiroki Ryuichi, Wonderland ha ripercorso lo sguardo sul cinema thriller della selezione di quest anno Un altro genere immancabile nella filmografia dell estremo Oriente è l action movie rappresentato da una buona varietà di titoli come il sudcoreano ad alta velocità Special Delivery di Park Dae-min, con il quale il magazine ha avuto modo di parlare Così come con Choi Jae-hoon regista di The Killer e icace commistione tra hard boiled poliziesco e action moderno Per chiudere lo sguardo sull azione più spettacolare, sono intervenuti i tre attori protagonisti dell action malaysiano The Assistant Non possono mancare, infine, due generi simbolo del cinema dell Asia Orientale: il wuxia pian, ovvero il cinema di arti marziali in costume, omaggiato con la proiezione della copia restaurata del taiwanese The Swordsman of All Swordsmen, diretto nel 1968 da Joseph Kuo, e l horror, genere protagonista di numerose proposte Tra queste c è stata la copia restaurata di Audition, disturbante classico contemporaneo diretto nel 1999 da Takashi Miike, e l inquietante ghost story malaysiana The Devil s Deception di Kabir Bhatia, per il quale Wonderland ha incontrato la produttrice e gli attori protagonisti Per finire, il magazine di Rai 4 ha intercettato anche i Manetti Bros , freschi del successo del loro adattamento di Diabolik e presenti al FEFF 2022 in veste di giurati Hanno raccontato ai microfoni di Wonderland il loro rapporto con il cinema dell estremo Oriente

Potrebbero interessarti anche.

RAI

Il programma “Wonderland” anche quest anno è stato presente al Far East Film Festival, annuale kermesse udinese dedicata al cinema dell Asia Orientale, con cui è legato da una consolidata partnership La puntata in onda martedì 17 maggio a mezzanotte su Rai 4 (canale 21 del digitale terrestre), sarà quindi uno speciale interamente dedicato al FEFF 2022, con i film, i protagonisti e tutti i vincitori di questa ventiquattresima edizione L ospite d onore del Festival è stato il regista, sceneggiatore e attore Takeshi Kitano, a cui è stato dedicato il Gelso d Oro alla carriera, ma una “serie di sfortunati eventi” ha impedito al regista di Sonatine e Zatōichi di raggiungere Udine costringendolo a un collegamento in diretta per la cerimonia di premiazione Wonderland ha incontrato Yves Montmayeur, autore del documentario Citizen K dedicato proprio all eclettica figura di Kitano e presentato in anteprima italiana Un genere sempre verde per gli spettatori del cinema asiatico è il gangster movie Oltre alla proiezione, in edizione restaurata, del classico giapponese del 1964 Pale Flower, di Shinoda Masahiro, il Festival quest anno ha esibito un buon numero di crime di diverse nazionalità, tra i quali si è contraddistinto il sudcoreano Tomb of the River del quale ha parlato ai microfoni di Wonderland il regista Yoon Young-bin Sempre dalla Corea del Sud arriva il thriller-action Hostage: Missing Celebrity e anche su questo adrenalinico film il magazine di Rai4 ha potuto intervistare il regista, l esordiente Pil Gam-sung Tra Confession di Yoon Jong-seok, remake coreano del thriller spagnolo Contratiempo, il dolente e realistico Thunderbird di Lee Jae-won e il giallo intriso di black humour Noise di Hiroki Ryuichi, Wonderland ha ripercorso lo sguardo sul cinema thriller della selezione di quest anno Un altro genere immancabile nella filmografia dell estremo Oriente è l action movie, rappresentato da una buona varietà di titoli come il sudcoreano ad alta velocità Special Delivery di Park Dae-min, con il quale il magazine ha avuto modo di parlare Così come con Choi Jae-hoon, regista di The Killer, e icace commistione tra hard boiled poliziesco e action moderno Per chiudere lo sguardo sull azione più spettacolare, sono intervenuti i tre attori protagonisti dell action malaysiano The Assistant Non possono mancare, infine, due generi simbolo del cinema dell Asia Orientale: il wuxia pian, ovvero il cinema di arti marziali in costume, omaggiato con la proiezione della copia restaurata del taiwanese The Swordsman of All Swordsmen, diretto nel 1968 da Joseph Kuo, e l horror, genere protagonista di numerose proposte Tra queste c è stata la copia restaurata di Audition, disturbante classico contemporaneo diretto nel 1999 da Takashi Miike, e l inquietante ghost story malaysiana The Devil s Deception di Kabir Bhatia, per il quale Wonderland ha incontrato la produttrice e gli attori protagonisti Per finire, il magazine di Rai 4 ha intercettato anche i Manetti Bros , freschi del successo del loro adattamento di Diabolik e presenti al FEFF 2022 in veste di giurati Hanno raccontato ai microfoni di Wonderland il loro rapporto con il cinema dell estremo Oriente

ttIl programma “Wonderland” anche quest anno è stato presente al Far East Film Festival, annuale kermesse udinese dedicata al cinema dell Asia Orientale, con cui è legato da una consolidata partnership La puntata in onda martedì 17 maggio a mezzanotte su Rai 4 (canale 21 del digitale terrestre), sarà quindi uno speciale interamente dedicato al FEFF 2022, con i film, i protagonisti e tutti i vincitori di questa ventiquattresima edizione L ospite d onore del Festival è stato il regista, sceneggiatore e attore Takeshi Kitano, a cui è stato dedicato il Gelso d Oro alla carriera, ma una “serie di sfortunati eventi” ha impedito al regista di Sonatine e Zatōichi di raggiungere Udine costringendolo a un collegamento in diretta per la cerimonia di premiazione Wonderland ha incontrato Yves Montmayeur, autore del documentario Citizen K dedicato proprio all eclettica figura di Kitano e presentato in anteprima italiana Un genere sempre verde per gli spettatori del cinema asiatico è il gangster movie Oltre alla proiezione, in edizione restaurata, del classico giapponese del 1964 Pale Flower, di Shinoda Masahiro, il Festival quest anno ha esibito un buon numero di crime di diverse nazionalità, tra i quali si è contraddistinto il sudcoreano Tomb of the River del quale ha parlato ai microfoni di Wonderland il regista Yoon Young-bin Sempre dalla Corea del Sud arriva il thriller-action Hostage: Missing Celebrity e anche su questo adrenalinico film il magazine di Rai4 ha potuto intervistare il regista, l esordiente Pil Gam-sung Tra Confession di Yoon Jong-seok, remake coreano del thriller spagnolo Contratiempo, il dolente e realistico Thunderbird di Lee Jae-won e il giallo intriso di black humour Noise di Hiroki Ryuichi, Wonderland ha ripercorso lo sguardo sul cinema thriller della selezione di quest anno Un altro genere immancabile nella filmografia dell estremo Oriente è l action movie, rappresentato da una buona varietà di titoli come il sudcoreano ad alta velocità Special Delivery di Park Dae-min, con il quale il magazine ha avuto modo di parlare Così come con Choi Jae-hoon, regista di The Killer, e icace commistione tra hard boiled poliziesco e action moderno Per chiudere lo sguardo sull azione più spettacolare, sono intervenuti i tre attori protagonisti dell action malaysiano The Assistant Non possono mancare, infine, due generi simbolo del cinema dell Asia Orientale: il wuxia pian, ovvero il cinema di arti marziali in costume, omaggiato con la proiezione della copia restaurata del taiwanese The Swordsman of All Swordsmen, diretto nel 1968 da Joseph Kuo, e l horror, genere protagonista di numerose proposte Tra queste c è stata la copia restaurata di Audition, disturbante classico contemporaneo diretto nel 1999 da Takashi Miike, e l inquietante ghost story malaysiana The Devil s Deception di Kabir Bhatia, per il quale Wonderland ha incontrato la produttrice e gli attori protagonisti Per finire, il magazine di Rai 4 ha intercettato anche i Manetti Bros , freschi del successo del loro adattamento di Diabolik e presenti al FEFF 2022 in veste di giurati Hanno raccontato ai microfoni di Wonderland il loro rapporto con il cinema dell estremo Oriente

di un artista coraggioso

https://www.rai.it/ufficiostampa/assets/template/us-articolo.html?ssiPath=/articoli/2022/05/Speciale-Far-East-Film-Festival-a-Wonderland-8a869a4 1/2

Potrebbero interessarti anche...

https://www.rai.it/ufficiostampa/assets/template/us-articolo.html?ssiPath=/articoli/2022/05/Speciale-Far-East-Film-Festival-a-Wonderland-8a869a4

https://www.rai.it/ufficiostampa/assets/template/us-articolo.html?ssiPath=/articoli/2022/05/Speciale-Far-East-Film-Festival-a-Wonderland-8a869a4

23/05/22, 08:49

ウクライナ

販売、伊ウディネ映画祭｜シネマトゥデイ

援のためオフィシャルバッグを販売、伊ウディネ映画祭⽀ウクライナ

ADVERTISEMENT

ウクライナ⽀援のためオフィシャルバッグを販売、伊ウディネ映画祭

 2022年5⽉17⽇  20時31分

ウクライナ⽀援のためオフィシャルバッグを販売、伊ウディネ映画祭

 2022年5⽉17⽇  20時31分

ウディネ・ファ イ スト映画祭 FEFF24 @fareastfilm

ウディネ・ファ イ スト映画祭 FEFF2

23/05/22, 08:49 ウクライナ支援のためオフィシャルバッグを販売、伊ウディネ映画祭｜シネマトゥデイ

ウクライナ⽀援のためオフィシャルバッグを販売、伊ウディネ映画祭

 2022年5⽉17⽇  20時31分

ウディネ・ファ イ スト映画祭 FEFF24 @fareastfilm

おすすめ特集

が選んだ⽇本⼈キ ャストとは？ 提供：WOWOW 

祝福の連鎖を表現 『シン・ウルトラ マン』⽶津⽞師 【インタビュー】 

ハリウッドの巨匠 が選んだ⽇本⼈キ ャストとは？ 提供：WOWOW 

最⾼なサム・ライ ミエンタメ！マル チバースでさらに 深くなったMCUに 期待！ 

祝福の連鎖を表現 『シン・ウルトラ マン』⽶津⽞師 【インタビュー】 

⻘い⽊に動物と⼦供たちが共存している愛らしいイラストのバッグ - 写真提供：ウディネ・ファ イ スト映

画祭

エン台⾵時にも同様の⽀援活動を⾏っており、今回が3回⽬。代表のサブリナ・バラセッ ティは「ウクライナとの連帯を⽰した」と語った。

の第24回ウディネ・ファーイースト映画祭が、ウクライナ ルバッグを販売した。同映画祭では2011年の東⽇本⼤震災、2013年のフィリピン・ハイ エン台⾵時にも同様の⽀援活動を⾏っており、今回が3回⽬。代表のサブリナ・バラセッ ティは「ウクライナとの連帯を⽰した」と語った。

ロシアのウクライナへの軍事侵攻が続く中、現地時間4⽉30⽇まで開催されたイタリア の第24回ウディネ・ファーイースト映画祭が、ウクライナ⽀援を⽬的としたオフィシャ ルバッグを販売した。同映画祭では2011年の東⽇本⼤震災、2013年のフィリピン・ハイ エン台⾵時にも同様の⽀援活動を⾏っており、今回が3回⽬。代表のサブリナ・バラセッ ティは「ウクライナとの連帯を⽰した」と語った。

⻘い⽊に動物と⼦供たちが共存している愛らしいイラストに「UKRAINE IS MY HOME」と書かれたバッグのイラストを⼿掛けたのは、ウクライナのイラストレーター、 グラシャ・オリィコ（Grasya Oliyko）。⼦供向けの本も多数⼿がけている気鋭のアーテ ィストだ。今も戦⽕のウクライナの状況を、Instagramを使って発信しており、彼⼥の イラストの使⽤は、活動がままならないウクライナ在住のアーティスト⽀援も兼ねてい る。

⻘い⽊に動物と⼦供たちが共存している愛らしいイラストに「UKRAINE IS MY HOME」と書かれたバッグのイラストを⼿掛けたのは、ウクライナのイラストレーター、 グラシャ・オリィコ（Grasya Oliyko）。⼦供向けの本も多数⼿がけている気鋭のアーテ ィストだ。今も戦⽕のウクライナの状況を、Instagramを使って発信しており、彼⼥の イラストの使⽤は、活動がままならないウクライナ在住のアーティスト⽀援も兼ねてい

る。

⻘い⽊に動物と⼦供たちが共存している愛らしいイラストに「UKRAINE IS MY HOME」と書かれたバッグのイラストを⼿掛けたのは、ウクライナのイラストレーター、 グラシャ・オリィコ（Grasya Oliyko）。⼦供向けの本も多数⼿がけている気鋭のアーテ ィストだ。今も戦⽕のウクライナの状況を、Instagramを使って発信しており、彼⼥の イラストの使⽤は、活動がままならないウクライナ在住のアーティスト⽀援も兼ねてい る。

売上⾦の 部である2,000ユーロ（約27万円・1ユーロ135円計算）をウクライナで⼈ 道⽀援活動を⾏うNGO団体「Vostok SOS」に寄付するという。多額の寄付ではないかも しれないが、極東からのゲストにも切迫した欧州情勢に関⼼を持ってもらい、さらには彼 らがお⼟産として⺟国に持ち帰ることで連携の輪が世界に広がることも考慮されている。 ⼩規模な映画祭の“⾃分たちができること”だ。

https://www.cinematoday.jp/news/N0130166

売上⾦の 部である2,000ユーロ（約27万円・1ユーロ135円計算）をウクライナで⼈ 道⽀援活動を⾏うNGO団体「Vostok SOS」に寄付するという。多額の寄付ではないかも しれないが、極東からのゲストにも切迫した欧州情勢に関⼼を持ってもらい、さらには彼 らがお⼟産として⺟国に持ち帰ることで連携の輪が世界に広がることも考慮されている。 ⼩規模な映画祭の“⾃分たちができること”だ。

https://www.cinematoday.jp/news/N0130166

売上⾦の 部である2,000ユーロ（約27万円・1ユーロ135円計算）をウクライナで⼈ 道⽀援活動を⾏うNGO団体「Vostok SOS」に寄付するという。多額の寄付ではないかも しれないが、極東からのゲストにも切迫した欧州情勢に関⼼を持ってもらい、さらには彼 らがお⼟産として⺟国に持ち帰ることで連携の輪が世界に広がることも考慮されている。

⼩規模な映画祭の“⾃分たちができること”だ。

https://www.cinematoday.jp/news/N0130166

astweb Mobile 150 GB al mese 5G Incluso

Fastweb Mobile 150 GB al mese 5G Incluso 広告

FASTWEB

提供：WOWOW 祝福の連鎖を表現 『シン・ウルトラ マン』⽶津⽞師 【インタビュー】  最⾼なサム・ライ ミエンタメ！マル チバースでさらに 深くなったMCUに 期待！  公開から20年！ 『ロード・オブ・ ザ・リング』キャ ストの現在  「⾦曜ロードショ ー」今後の放送予 定【 覧】  『ジュラシック・ ワールド／新たな る⽀配者』はシリ ーズ30年の完璧な る完結編 クリ ス・プラット単独 インタビュー

公開から20年！ 『ロード・オブ・ ザ・リング』キャ ストの現在 



最⾼なサム・ライ ミエンタメ！マル チバースでさらに 深くなったMCUに 期待！  公開から20年！ 『ロード・オブ・ ザ・リング』キャ ストの現在  「⾦曜ロードショ ー」今後の放送予 定【 覧】  『ジュラシック・ ワールド／新たな る⽀配者』はシリ ーズ30年の完璧な る完結編 クリ ス・プラット単独 インタビュー



「⾦曜ロードショ ー」今後の放送予 定【 覧】  『ジュラシック・ ワールド／新たな る⽀配者』はシリ ーズ30年の完璧な る完結編 クリ ス・プラット単独 インタビュー

FASTWEB Attiva Ora

astweb Mobile 150 GB al mese 5G Incluso 広告

支援のためオフィシャルバッグを

ADVERTISEMENT

PayPal Commerce Platform.

広告

ァフ イ 祭画映トス 4FEFF2 staeraf@film

NewSundayTimes • may 29, 2022

sunday vibes | people 22

Taking Malaysian talent to the world

From page 21

CULTURAL EXCHANGE

The pair came together to launch the East to West initiative at this year’s edition of FEFF, which ran from April 22 to 30. Goh has seen the role FEFF plays in connecting the Asian film industry with the world — and she wants to do the same at MIFFest.

“I wish during MIFFest that every country from Southeast Asia could travel to Malaysia to network between them, and that even Europeans and Americans can join us,” confides Goh, before adding: “Festivals provide a way of networking. If I hadn’t known Sabrina and hadn’t worked for her, we wouldn’t be collaborating. And it’s all about art and cultural exchange.”

Goh is in Udine to promote an industry she considers “her baby”. As sweet as that sounds, the metaphor is still quite accurate. In 2017, MIFFest started as a small celebration of worldwide festival hits (from Ken Loach’s I, Daniel Blake to Na Hong-Jin’s The Wailing) and has grown

in popularity, reaching an average of 70 per cent occupancy for its screenings in 2019.

Then, of course, the Covid-19 pandemic struck and the event had to be cancelled.

It was postponed until 2021, when a collaboration with global streaming platform Mubi revived a version of the festival that was held virtually and with no competition.

This year, a sense of normality has returned to the Malaysian film exhibition world, with theatres now seeing an increase of 50 per cent in occupancy, according to recent local reports citing Malaysian Association of Film Exhibitors secretary Sisubalan Ehambaram.

The local market is stable and feeds, as many others do, on big international blockbusters such as Spider-Man: No Way Home the film that got audiences back to its physical screens as the pandemic waned.

MALAYSIAN TALENT

Malaysia brought two films for its world premieres in this year’s edition of FEFF.

One was The Devil’s Deception, a folk-horror

‘The Devil’s Deception’ was one of two films showcased at this year's edition of the Far East Film Festival.

by veteran filmmaker Kabir Bhatia of Cinta fame, who won best director at MIFFest 2021, and had Goh on board as the executive producer.

There was also Adrian Teh (Wira) presenting The Assistant, a psychological thriller with stars Hairul Azreen and Iedil Dzuhrie Alaudin as the leads. Says Goh, smiling broadly: “It was their first time travelling to Europe and they were quite proud of it!”

It is Goh’s fervent hope that the films can reach as wide an audience as her two most successful previous projects — Nam Ron’s Crossroads: One Two Jaga and Midi Z’s Nina Wu — at recent European festivals.

Nina Wu had its opening at the “Un Certain Regard” section in Cannes, and One Two Jaga, a portrait of the lives of corrupt cops in the Malaysian police, was picked up by Netflix after a successful international festival tour.

She truly believes that one of the strengths of Malaysian cinema is its diversity, of subject matter and of language, and that this factor can help Malaysian movies connect with the world. This is something that Baracetti agrees with.

The FEFF first encountered Malaysian films through the works of Mamat Khalid, who in 2008 presented to Italian audiences both a parody of the Malay classic Kala Malam Bulan Mengambang and the successful midnight comedy Zombi Kampung Pisang.

Says Baracetti: “Through Mamat Khalid, we had our first insight ever to Malaysian cinema, which was very difficult to access (in Europe) at the time. He’s very talented. He’s able to make commercial films and also cult films, and is very genre-oriented and personal.”

The Italian is very much looking forward to furthering her work with Goh by visiting Kuala Lumpur for the first time for this year’s MIFFest from July 10 to 15.

“I want a chance to understand the culture, the country, its history and the films that come from there,” she confides enthusiastically.

Suffice it to say, Goh will be there to offer a huge welcome to her business partner — and friend.

“I want to make Malaysian cinema travel. I feel like our collaboration with the FEFF is the start of a wonderful journey,” she concludes, eyes shining with excitement. The writer attended the Far East Film Festival as part of its 2022 Campus Programme for aspiring writers and critics.

The poster celebrating the collaboration between MIFFest and FEFF.

Kabir Bhatia s new horror film, The Devil s Deception , at its world premiere in Italy.

Hairul Azreen and Iedil Dzuhrie Alaudin star in ‘The Assistant’.

Iedil (holding the microphone) during one of the many press events with his co-stars in Udine, Italy.

ADECADE ago, you might never have guessed the future of Malaysian cinema could be planned in a small Italian town, perhaps over a gelato and between two friends from opposite ends of the world.

But fast forward to 2022 and everything now seems possible — even hope and growth. The Malaysian film market has today become one of the hotspots in Southeast Asia and currently has its eyes set on partnerships in Europe.

This is where Joanne Goh and Sabrina Baracetti come into the story. The former is the driving force behind the Malaysia International Film Festival (MIFFest) as it prepares for its fifth edition, and aims to further its impact in Malaysia and beyond.

Meanwhile, Baracetti has been behind the influential Far East Film Festival in Udine, northern Italy, since its inception in 1999 and helped the event become the most influential of its kind as it introduced the latest hits and trends in Asian popular cinema to the world.

“We’ve got chemistry, we can work together” is how Goh describes the friendship that has developed between the pair since they met five years ago on the sidelines of the annual Busan International Film Festival in South Korea.

Together, they’ve launched “East to West”, a new partnership between MIFFest and FEFF born to bridge two business companions that could not be more remote and akin at the same time.

The Italian festival has already achieved the status of a place where producers, filmmakers and other heads of the industry gather and meet face to face. It’s recognition the young Malaysian festival is tirelessly pursuing as it plans its fifth edition.

“I feel like we’ve known each other since forever,” confides Baracetti, a bright festival chairman who, in regard to cinema, is always looking one step ahead. Goh only came to the film industry after leading a pioneering enterprise in the organisation of K-Pop and Canto-pop concerts in the United States and the United Kingdom.

“I’ve always liked her, her position and her way of doing business. I’ve always admired her,” continues Baracetti with a smile. Turn To page 22

Start of a

beautiful journey

It’s East meets West as festival heads chart a course for malaysian cinema, writes Mariona

Borrull

Goh and Baracetti joined by the cast and crew of ‘The Assistant’ at this year's FEFF.

Goh and Baracetti came together in Italy to chart the course of Malaysian cinema.

Trending

after his Uber Cup success? BADMINTON Foul play in national training? NATION Engineer tastes fruity succe

#Showbiz: 'Talbis Iblis' to premiere at 24th Far East Film Festival

By Dennis Chua - April 20, 2022 @ 7:39am

KUALA LUMPUR: Malaysia's latest horror �lm Talbis Iblis is set to have its world premiere at the 24th Far East Film Festival which takes place in Udine, Italy from Friday to April 30.

Suppor ted by the Malaysia International Film Festival (MIFFest), Talbis Iblis is the second Malaysian �lm to premiere at the annual festival after The Assistant.

MIFFest chairman Joanne Goh said that it was a "major milestone" to have Talbis Iblis premiere in Udine, as it marked major international recognition for original masterpieces made in Malaysia.

"Talbis Iblis' premiere in Udine means that we have all succeeded in opening the eyes of the international market to our world-class and highquality �lms," said Goh in a statement today MORE NEWS

Subdued festive season

#Showbiz: Students' creative content festival to be held in August

#Showbiz: RM500k for Best Film at FFM31

ECRL can help solve tra�c woes during festive season, says Wee

The �lm's producer Gayatri Su-Lin Pillai said: "We are thrilled to be having the world premiere of Talbis Iblis at the Far East Film Festival this year The �lm centres around the devil's deception, a topic which is universal and yet very Malaysian."

Talbis Iblis is directed by Kabir Bhatia and is his second venture with renowned actress Nasha Aziz.

Nasha por trays Mak Ju, a mysterious midwife with ulterior motives.

MOST POPULAR

14m #TECH: Por tugal became Europe's accidental bitcoin heaven'

21m Dr Noor Hisham prescribes measures to avoid heat stroke

22m Ex-NST illustrator Samsudin dies

28m Rachel clinches second gold in Hanoi

30m GIIB's Nilai factory star ts producing glov

32m Terengganu Bersatu to contest in 10 Um state seats in GE15

38m Shanghai aims for June 1 return to norm as Covid lockdown batters economy

VACCINE

NATION 8 hours ago

Almost 30pc of children in Mala fully vaccinated against Covid-1

NATION May 15, 2022 @ 2:19pm

Asean moves towards mutual recognition of vaccination cer ti�

NATION May 13, 2022 @ 11:46am

Booster dose necessary for sen citizens to cross into Thailand

GROOVE May 13, 2022 @ 6:43am

#Showbiz: Drama producer fears backlash for having Rita Rudaini drama

NATION May 10, 2022 @ 9:44am

Hurry up and vaccinate your kids Penang tells parents

NATION May 10, 2022 @ 5:12am

Almost 950,000 Malaysian child fully vaccinated against Covid-1

ACROSS NEW STRAITS TIMES

NATION 3 hours ago

Rescue team �nds par t of huma believed to be from missing hike

NATION 6 hours ago

Security guards have no busines interpreting dress codes, says L Thye

NATION 7 hours ago

S&R teams recover limb, believe from one of two missing hikers

Nasha Aziz plays midwife Mak Ju in Talbis Iblis which will have its world premiere at the coming 24th Far East Film Festival in Udine, Italy