Tag: South Korea

Review: Aloners

When writing about a film like ALONERS (혼자 사는 사람들) in the middle of a global pandemic, the film inevitably takes on a different meaning. Hong Sung-Eun’s feature debut examines the feelings of self-isolation while pondering what it really means to be ‘alone’ in a modern context.

When we meet Jin-A (Gong Seung-Yeon), she’s a cool-headed employee at a credit card call centre. Yet her star worker status doesn’t translate into personal relationships with her colleagues. She lives alone, and one day discovers that the single neighbour who did attempt to chat with her has been found dead. Shocked by his demise, she begins obsessively watching the hidden camera footage from her recently widowed father’s house.

The phenomena described in Hong’s film is so common there’s a name for it: honjok. The term, which refers to people who engage in typical social activities — eating, drinking, leisure trips — alone. Caused by everything from social ennui to an increase in single person households, companies have now developed strategies to market specifically to this group.

Hong taps into this trend in the form of an intimate character study, rather than as any commentary on honjoks across the board. Jin-A’s facade is aloof and stand-offish to everyone around her, a deliberate choice that keeps her an island unto herself. New employee Sujin (Jung Da-Eun) is the polar opposite, vainly attempting to be friends with Jin-A despite the latter’s rejection of social mores.

The audience could easily be just as isolated as Jin-A were it not for the excellent performance from Gong Seung-Yeon, seamlessly transitioning from TV dramas to feature lead. The death of her neighbour might force her to reconsider her life, but Gong’s performance is so subtle that she undergoes more of a slow evolution throughout the film rather than a revolution.

Which seems to be exactly where Gong wants to position ALONERS. It’s a collection of moments that add up to a major shift but could just as easily have gone in the other direction. Jin-A ultimately works to break a cycle that was taught to her, and eventually concludes with some irony that “I just need some time to myself.”

ALONERS is reviewed as part of our coverage of the Toronto International Film Festival (TIFF) 2021.

2021 | South Korea | DIRECTOR: Hong Sung-Eun | WRITER: Hong Sung-Eun | CAST: Gong Seung-Yeon, Jung Da-Eun, Seo Hyun-Woo, Park Jung-Hak | DISTRIBUTOR: Deokub, TIFF 2021 | RUNNING TIME: 91 minutes | RELEASE DATE: 9 September – 18 September 2021 (TIFF 2021)

September 14, 2021
NYAFF 2021: Wrap-Up and Reflections

The New York Asian Film Festival (NYAFF) has come and gone for another year. As usual, we were not left disappointed by any stretch of the imagination.

NYAFF is a one-of-a-kind celebration of films from across Asia and the Asian American experience. Each year it showcases films from Japan, China, Malaysia, Myanmar, Philippines, Singapore, South Korea, Thailand, Taiwan, the USA and even Kazakhstan (Sweetie, You Wouldn’t Believe It).

Given the high profile of South Korean cinema right now, it’s no surprise that the festival opened and closed with two blockbuster Korean films: ESCAPE FROM MOGADISHU and SINKHOLE. From Hong Kong, the late great Benny Chan’s final film, RAGING FIRE, was given a glorious final bow in a year where LIMBO, TIME and HAND ROLLED CIGARETTE all reminded us of the glory days of HK cinema. Japan’s two major sequels — THE FABLE: THE KILLER WHO DOESN’T KILL and LAST OF THE WOLVES were amazing highlights as well.

So, here’s a deeper look at some of the terrific films we managed to catch at historic 20th edition of NYAFF this year. You can also see the rest of our coverage at our NYAFF 2021 festival hub.

We’d like to thank the NYAFF festival organisers for their generous access to films and materials — and we’re already making plans for a drink to celebrate your 21st birthday next year.

Escape from Mogadishu

The biggest South Korean release of the year is a top-notch action thriller set against not-too-distant history. In January 1991, amidst rising rebellion and the ultimate collapse of Somali President Barre’s government, the South and North Korean embassies find themselves working together to flee the country before the violence escalates further. The aftermath of this event, and broader Somali Civil War, has famously been depicted by Ridley Scott in Black Hawk Down (2001). Although playing out on a small scale, and with a drastically smaller budget, Ryoo skilfully manoeuvres the audience to a bittersweet ending via a breathless series of spectacularly staged action sequences. Read our full review.

Raging Fire

The film world lost Benny Chan last year after a short bout with cancer. His final film — starring Donnie Yen and Nicholas Tse — gets a posthumous release, and it’s as fitting a tribute as any to one of the true heroes of Hong Kong action filmmaking. As the film closes out with footage of Chan at work, coupled with a dedication to the late director, even the most hardened of HK action fans will probably feel a little emotional. This is a film that knows its audience. Read our full review.

The Fable: The Killer Who Doesn’t Kill

One of those rare instances where the sequel outdoes the original. A standalone sequel that doesn’t require knowledge of the first one, it scarcely mattered that it’s been a couple of years since I’d watched the predecessor and completely forgotten the ending. This time, all the pieces come together quite nicely, and there are at least two large scale set-pieces that are world class. Strong hints at a third outing, so hop aboard the Fable train now. Read our longer review.

Last of the Wolves

The follow-up to The Blood of Wolves, a film that never really got past its stylistic excess. Which is where this sequel tops it in every way. Yes, there’s still a fair bit of blood, but there’s also a wicked driving narrative in this clash of wills. Ryôhei Suzuki adds a dangerous element that genuinely keeps us guessing, and it all comes to a satisfying conclusion in the vein of Infernal Affairs or the Outrage series. Or leaves the door open for even more explorations of this old-school battle without honour or humanity. Read our even more exciting full review.

The Book of Fish

A remarkable and beautifully shot monochrome gem that is equal parts meditative and poetic. Two central performances carry this, but the supporting cast is charming and effective. While there are some specific cultural touchstones here, they are not really a barrier to entry. Read our full review.

The Silent Forest

A Taiwanese film about sexual abuse in a school for hearing impaired kids is exactly as emotionally harrowing as you’d imagine. The cast of excellent young actors, and a refusal to provide us with all the solutions, really makes this piece on the cyclical nature of abuse engaging and memorable. Read our complete review.

A Balance

An intriguingly multi-layered narrative, and arguably too multi-layered. Lots of strands that touch on some real and still unresolved issues in Japanese society (and beyond) – trial by media, sexual assault, abortion laws – but even in the slightly long running time they don’t get fully addressed. Part of me wants to recut that ending with the Curb Your Enthusiasm theme music. Read our full review.

Limbo

Cheang Soi’s Limbo is a throwback Category III Hong Kong thriller that may not always feel cohesive, but with the stark black and white photography, it’s never anything less than stylish. The action climax, in which our hero fights the killer in the rain, is a relentless showdown that should rightfully be praised as one of the greats. In fact, this goes for all of the action and set-pieces peppered throughout. Read our full review.

Time

This might be Ricky Ko’s debut feature, but in every other way it’s got the look and feel of a throwback to Hong Kong’s past cinema greats — not least of which is the 84-year-old former matinee idol Patrick Tse. He plays a killer for hire who now takes on euthanasia cases. Sometimes an odd blend of tones, but ultimately the core performances and the slick action carries this ‘grandpa assassin with a heart of gold’ through to the end. Read the full review.

Fighter

A solid character study about a North Korean refugee who finds an outlet through boxing. Yun Jéro’s film avoids some of this minefield of issues by focusing less on ideological differences and more on a general feeling of societal disconnection. Read our full review.

Sinkhole

This blockbuster film may begin with a light-hearted tone, but seamlessly transitions into a disaster movie that manages to keep the comedy coming as regularly as the dramatic twists. It’s already the fastest film to pass one million viewers in South Korea this year, marking it as late contender for one of the highest grossing Korean films of the year — so make sure you jump in and see this before the inevitable Hollywood remake. Read our full review.

Hand Rolled Cigarette

A slick debut continues the the revival of Hong Kong cinema in this beautifully shot thriller. Although ultimately losing the top prize to Taiwan’s My Missing Valentine, the seven nominations at the 57th Golden Horse Awards mark director Chan as a voice to watch. Read our full review.

Under the Open Sky

As a character study, this works incredibly well. Koji Yakusho once again finds himself on the wrong side of the law in this exploration of institutionalisation resulting from long-term imprisonment. He’s excellent in the role, bringing a world weariness and hair-trigger anger that never feels anything less than genuine. Some of the more plot-driven elements let it down in the back third – including a conclusion (that I won’t spoil here) that felt like one step too much – but it’s generally an admirable outing.

Blue

There’s something about NYAFF and boxing films (see also: One Second Champion) that keeps drawing me back in. This is a solid character piece thanks to the three charismatic leads, each damaged in their own way and looking to boxing for answers. What I particularly like is that despite some of the boxing movie tropes it falls back on, it refuses to offer any easy solutions by the end.

Tiong Bahru Social Club

First things first: the film is gorgeous visually. A fun skewering of the algorithmically dominated social media landscape played out IRL. The illusion of choice and the myth of happiness are explored in a lighthearted way, but like actual social media what really brings this all together is an adorable kitty.

Junk Head

Like the earlier editions that this builds upon, one has to salute Takahide Hori for the amazing effort that has gone into the stop-motion/CG blend here. With an aesthetic that sits at the exact intersection of Despicable Me and a Tool music video, the painstaking level of detail found in every frame of this film is nothing short of phenomenal. While the character designs and creature revelations are often ingeniously crafted, long stretches of the film are simply figures chasing each other around corridors. Read our full review.

One Second Champion

Follows the low-key adventures of a downtrodden dad gifted with the ability to see one second into the future. An interesting light wibbly time premise that, like the titular champion, never really finds a good use for the concept. When it does just become a straight boxing film, it works quite well – complete with its own handful of Rocky moments.

Midnight

In the grand tradition of Hush or Wait Until Dark, a woman with a hearing impairment becomes the target of a serial killer. That’s the premise of Kwon Oh-Seung’s debut film, one that draws inspiration from Korea’s own I Saw the Devil and through to overt references to The Shining. A sensory thriller with a solid cast will keep you on edge with a few clever tricks up its sleeve. Read our full review.

Ninja Girl

An odd little premise that never quite gets up off the ground, but like the titular character, quietly sneaks up behind you and works its way into your conscience. The chaotic ending is a barrel of fun as well, with the film living up to the title and giving our diminutive hero a minor victory. Read our full review.

As We Like It

A near-future spin on Shakespeare continues to play with gender roles, but gets a little lost in their exits and their entrances. Given Taiwan’s broader attitudes to LGBTQI+ issues have only recently progressed, AS WE LIKE IT may seem like a quantum leap. (Especially when compared with last year’s The Gangs, the Oscars and the Walking Dead). Yet as this chaotic, cheeky and often undergraduate collage of influences rolls into its statement denouement, one can’t help thinking what a bitter a thing it is to look into happiness through another man’s eyes. Read our full review.

August 23, 2021
Review: Sinkhole

Sinkholes are terrifying. They occur when the ground beneath the surface shifts and collapses, potentially sucking everything above it into the earth. Hard to predict and popping up all over the world, you could be sitting above one right now. Go on, let that sink in for a bit.

Director Kim Ji-hoon is no stranger to disaster movies, with The Tower (2012) remaining a favourite amongst many fans of South Korea action. In SINKHOLE (싱크홀), a somewhat unique comedy-disaster hybrid, we follow Park Dong-won (Kim Sung-kyun) and his family as they move into a new apartment block after over a decade of scrimping and saving.

After inviting some colleagues over for a housewarming, including co-worker Kim Seung-Hyun (Lee Kwang-Soo), torrential rains result in the titular sinkhole opening up below them and sucking the entire building beneath the surface. With the hole filling up with water, Park must work with neighbour Jeong Man-soo (Cha Seung-won) to find their loved ones — and a way out of the hole — before the elements take over.

Kim’s film has an odd tone. The first 30 minutes of the narrative is frontloaded with squabbles and comic misunderstandings between Park and Jeong, including really strange asides where characters get stuck in automatic doors. It’s all mixed in with a little bit of foreboding about coming events — including the tilting of interiors and the lack of running water — but it establishes a tone one doesn’t typically see in a genre picture.

When the main event occurs, the ₩15 billion budget (about US$13 million) is on full display. The entire building rockets straight down with the use of CG imagery, setting the scene for the survivalist plotting that follows. To the credit of screenwriters Jeon Cheol-hong and Kim Jeong-han, they manage to keep the comedy in line with the drama for the duration. That’s a rare feat indeed.

While the characters are built into a fairly standard mould, Kim Sung-kyun and Cha Seung-won are engaging leads. Cha in particular gets to combine his comedy and act chops, having balanced between the two for the last decade or so of his career.

SINKHOLE is already the fastest film to pass 1 million viewers in South Korea this year, marking it as late contender for one of the highest grossing Korean films of the year. Its unique mix of humour and action will translate easily to international audiences, so make sure you jump in and see this before the inevitable Hollywood remake.

SINKHOLE is the closing film of the New York Asian Film Festival 2021.

2021 | South Korea | DIRECTOR: Kim Ji-hoon | WRITERS: Jeon Cheol-hong, Kim Jeong-han | CAST: Cha Seung-won, Kim Sung-kyun, Lee Kwang-soo, Kim Hye-jun | DISTRIBUTOR: Showbox, NYAFF 2021 | RUNNING TIME: 114 minutes | RELEASE DATE: 22 August 2021 (NYAFF 2021)

August 19, 2021
Review: Midnight

In the grand tradition of Hush or Wait Until Dark, a woman with a hearing impairment becomes the target of a serial killer. That’s the premise of Kwon Oh-Seung’s debut film, one that draws inspiration from Korea’s own I Saw the Devil and through to overt references to The Shining.

In MIDNIGHT (미드나이트), actor Jin Ki-Joo (Little Forest) stars as Kyung-Mi, a deaf young woman working as a sign interpreter in a call centre. After walking out of a client party that’s filled with toxic masculinity, she picks up her mother (Gil Hae-Yeon). Yet their paths intersect with serial killer Do-Sik (Wi Ha-Joon), who is interrupted from completing his latest kill.

Accompanying Kyung-Mi and her mother to the police station, they are unaware that Do-Sik is the killer and is determined to get them both out of the way. So begins a series of gaslighting moments, cat and mouse chases, and so many jump scares.

Stylishly lit and solidly cast, Kwon’s film works best when the audience is one step ahead of the would-be victims. There’s a lengthy sequence set in the police station that’s paced like a stage production. People come and go, suspicions are cast in the wrong direction, and Do-Sik manages to pull the wool over everybody’s eyes but Kyung-Mi’s mother. (Always listen to your mother). Her hearing impairment plays into some of the drama, in that people are unwilling to listen to her frantic attempts at communication. It’s here that the film plays expertly with anticipation and keeps us on the edge for as long as possible.

Still, it never really develops much beyond this. While Kwon is careful not to exploit Kyong-Mi’s impairment, there are very few instances where it serves the plot. Yes, the addition of non-verbal communication gives Kyung-Mi and her mother a one-up on the killer, but everything else is a bit repetitive. Kwon uses sound and its absence for occasional shocks, for example, but squanders it as Kyung-Mi almost runs into traffic at least three times.

While it would have been ideal to cast a non-hearing actor in the lead role, Jin Ki-Joo gives a solid performance. She reportedly did some intensive study of sign language to take the part, and brings an earnestness to the part that makes her something more than a continual victim at the hands of Do-sik. The latter is creepily played by Wi Ha-Joon, who is no stranger to scares in films such as Gonjiam: Haunted Asylum.

The final 20 minutes or so are some of the most tense in any thriller you’re likely to see, even if some of it staggers belief. It’s a chase at its most basic level, but as tables are turned Kwon lets us know he’s got a few tricks up his sleeve. It’s a promising start for a first film and we’ll be keen to see what he has in store for us next.

MIDNIGHT is reviewed as part of our coverage for both the New York Asian Film Festival 2021 and Fantasia Festival 2021.

2021 | South Korea | DIRECTOR: Kwon Oh-seung | WRITER: Kwon Oh-seung | CAST: Jin Ki-joo, Kim Hye-yoon, Park Hoon, Wi Ha-jun | DISTRIBUTOR: FINECUT, Fantasia Festival 2021, NYAFF 2021 | RUNNING TIME: 120 minutes | RELEASE DATE: 5-25 August 2021 (Fantasia 2021), 6-22 August 2021 (NYAFF 2021)

August 18, 2021
Review: Fighter

Films about the relationship between North and South Korea have become increasingly prevalent over the last few years. From historical dramas like The Spy Gone North and this year’s Escape from Mogadishu to blockbusters like Ashfall, occasional ire is earned on both sides of the DMZ for perceived misrepresentations. TV’s Crash Landing on You has been praised for its research while also being criticised for its depiction for its softly positive depiction of the North.

Yun Jéro’s FIGHTER (파이터) avoids some of this minefield of issues by focusing less on ideological differences and more on a general feeling of societal disconnection. Unlike Yun’s documentary work, such as Mrs. B, a North Korean Woman (2016) — which depicts a woman who smuggles people between North Korea, China and South Korea — this film introduces us to Jina (Lim Sung-mi) as she emerges from a few months of social rehabilitation training in the South.

Labelled a ‘North Korean refugee,’ Jina is assigned a social worker and given an apartment in Seoul. Although she has some subsidies given to her, Jina wants to to bring her father from China to South Korea, so she needs money. She starts working at a boxing gym and soon becomes fascinated with the tight-knit group of female boxers there. Initially met with some aggression, Jina begins to find a de facto family unit that’s in stark contrast to life outside the ring.

Yun’s script doesn’t dwell on the culture shock of moving from the North, with the tone generally being one of a slow and relentless malaise. There’s two major knocks that Jina takes: her social work begins making inappropriate advances towards her, and there’s still a pall hanging over the relationship with her hitherto estranged mother who left her for South Korea years before. Yet Yun peppers Jina’s world with masses of micro-aggressions, from casual comments about North Koreans to slurs about her social status.

Lim delivers an understated excellence in a the lead role, one where she keeps her cards pretty close to her chest for the majority of the film. There’s a quasi romantic sub-plot, and the relationship with her mother of course, but it isn’t until late in the piece that she finally breaks. “Don’t hold your tears,” her sympathetic boxing coach tells her. “In life, there are times when one needs to cry.”

Not a lot happens in FIGHTER, but that’s kind of the point. There are no major revelations about the nature of Korea’s geopolitical future. This is a personal journey of a single woman and finding the strength to move forward in a new environment. Ending at the same point the film started, on a beach in the near light, both Jina and the audience feel hope for the first time.

FIGHTER played at both the New York Asian Film Festival 2021 and Fantasia Festival 2021.

2020 | South Korea | DIRECTOR: Yun Jéro | WRITERS: Yun Jéro | CAST: Lim Seong-mi, Baek Seo-bin, Oh Kwang-rok | DISTRIBUTOR: NYAFF 2021 | RUNNING TIME: 103 minutes | RELEASE DATE: 6-22 August 2021 (NYAFF 2021)

August 14, 2021
Review: The Book of Fish

Jeong Yak-jeon, who lived between 1758 and 1816, is acknowledged in Korea as a scholar of some renown. While not reaching the culture significance of his UNESCO recognised brother Jeong Yak-yong, his work and story fascinated director Lee Joon-ik. Blending fact and fiction, he conveys something here that is part biography and also an exploration of two opposing philosophical points of view.

THE BOOK OF FISH (자산어보) takes place during Jeong’s exile to Heuksando Island during the Catholic Persecution of 1801 under King Sunjo of Joseon’s reign. Despite Jeong (played by Sol Kyung-Gu) being branded a traitor by the local magistrate, he soon finds a home with the kindly Gageo-daek (Lee Jung-Eun).

Standing in contrast to the highly educated Jeong is Chang-dae (Byun Yo-han), an incredibly intelligent fisherman who is only held back by his inability to afford the required texts. Jeong’s initial offers to mentor him are rejected due to his ‘evil western teachings.’ Yet with Chang-dae’s keen interest in Neo-Confucianism, and Jeong’s growing fascination with the island’s marine life, the stage is set for a meeting of minds.

Although the character of Chang-dae is mentioned in the scholar’s writings, his personality is entirely a creation of director Lee and writer Kim Se-Kyum (Sunset In My Hometown). It’s a fascinating way to demonstrate Jeong’s connection with the land. Jeong wrote volumes during his period of exile, and the titular Jasaneobo — a treatise on marine life that identified over 200 varieties of creatures around the island — is argued to be the most fascinating. While the book itself is real, his semi-fictionalised relationship with Chang-dae serves the important story purpose of connecting Jeong with both the islanders and modern film audiences.

The two central performances carry this, with long stretches of the film effectively acting as a two-hander between the versatile star Sol Kyung-Gu and the much younger Byun Yo-Han. The latter’s journey to the mainland, and his discovery that nobility isn’t all that noble, is both heartbreaking and poignant. Yet the supporting cast is also charming and effective, especially Lee Jung-Eun’s homespun and frank portrayal of a very modern woman transplanted into 19th century Korea.

Equal amounts of praise are to be heaped on cinematographer Lee Ui-tae who casts the island in gorgeous monochromatic hues. From the endless skylines to the high contrast faces, Lee captures this story as if it’s somehow shot half a century ago. They allow themselves one splash of colour during a pivotal scene during the final act, and the comparison only highlights how consistently great the photography has been at sucking us into this world.

With THE BOOK OF FISH, South Korean cinema continues its celebration of their culture history, and this film will no doubt have even more impact on home soil. Yet while there are some specific culture touchstones here, they are not really a barrier to entry. Lee’s film is a beautiful and engaging portrait of a human, and a reminder of the connection that we all share through the common language of nature.

2021 | South Korea | DIRECTOR: Lee Joon-ik | WRITER: Kim Se-Kyum | CAST: Sol Kyung-gu, Byun Yo-han, Lee Jung-eun, Min Do-hee | DISTRIBUTOR: NYAFF 2021 | RUNNING TIME: 126 minutes | RELEASE DATE: 6-22 August 2021 (NYAFF 2021)

August 14, 2021
KOFFIA 2021: Korean Film Festival in Australia announces full program

Our friends at the Korean Film Festival in Australia (KOFFIA) have announced their full program for 2021! Just in time to celebrate 60 years of diplomatic relations between Australia and South Korea, the 12th edition of KOFFIA returns to cinemas in Canberra (2-6 September), Brisbane (16-19 September), Melbourne (16-23 September) and Sydney (14-23 October).

Coming off the back of a historic high point for Korean cinema internationally, with Parasite and Minari dominating the awards categories for the last few years, the Festival program features 22 of the finest films from Korea’s world-class film industry.

Tickets to KOFFIA are on sale now at www.koffia.com.au

Drama

Lee Isaac Chung’s MINARI leads the pack. The award-winning story of one family’s experience after moving from Los Angeles to Arkansas to start a farm in the early 1980’s. We named it one of the Best Films of 2020 in our round-up in December.

Koh Hoon’s feature film PAPER FLOWER follows the life of an old mortician, his unwell son and the events that take place when a new family moves next door.

Coming straight from the Korean box office in early 2021, WAITING FOR THE RAIN is a romantic drama directed by Cho Jin-mo. It an epistolary film, based on a series of letters sent between lovers who have struggled to meet for years.

In WAY BACK HOME a woman (Woo-yun Han) receives a call from the police alerting her that they have arrested the man who raped her 10 years prior. Reluctant to tell her husband, her past is slowly revealed little by little, throwing married life off balance.

Lee Tae-Gyeom’s directorial debut I DON’T FIRE MYSELF is a sobering social drama that sees a woman take a subcontractor role rather than resigning from her job. The film follows her struggles to adjust to the new life.

KIDS ARE FINE is a fun-filled yet sentimental film following the adventure of three 9-year-old kids who set out on a daring journey to find one of their ailing mothers after she is transferred to a faraway hospital.

Other dramas in the Festival program include director KIM Hyun-tak’s compelling and emotional I, SOMEWHERE IN BETWEEN which follows a young man who returns home without a hope for his future and finds hope and comfort; musical film SPRING SONG; and the romantic dramas DOUBLE PATTY, JOSÉE and SHADES OF THE HEART.

Family

As you can probably guess from the title, RED SHOES AND THE SEVEN DWARFS is a parody of Snow White and follows seven dwarfs, once seven princes, who can only break their curse by kissing the most beautiful woman in the kingdom. Way to perpetuate the beauty myth, ancient curses!

Action

If there’s one thing that South Korea has been awesome at over the last few years, then it’s large-scale action blockbusters. KOFFIA this year is no exception.

THE SWORDSMAN is an action film from Cho Jae-hoon. Set in the 17th-century during a time when ruling dynasties in Korea and China were in significant transition, it stars Jang Hyuk as the titular character.

We love a heist film, and PIPELINE seems set to fill that void for us. The film features six thieves who hope to change their lives planning an oil heist by drilling into Korea’s biggest pipeline. Oils well that ends well, we guess.

Comedy

A surprisingly funny, smart and deep story, MORE THAN A FAMILY follows university student To-il who gets pregnant while dating her 19-year-old tutoring student and embarks on a journey to find her biological father.

SAMJIN COMPANY ENGLISH CLASS is a classic David and Goliath story where three talented women who are trapped in roles as mere office assistants, eventually become key drivers against an unethical corporate scheme.

THE GOLDEN HOLIDAY follows a detective on (you guessed it) holiday with his family in the Philippines before becoming entangled in an investigation of a local murder case.

Thriller + Adventure

Suspenseful mystery thriller RECALLED is about a woman who wakes up one day and learns that she’s lost her memory and begins to experience hallucinations that she feels portend future murderous events. Her doting husband cares for her at home but things are not what they seem. It stars Seo Yea-ji, Kim Kang-woo and Yeom Hye-ran.

DELIVER US FROM EVIL is a frenzied hit-man thriller following an assassin who goes to Thailand to solve a kidnapping case, only to find himself being chased by a man whose sibling he killed.

COLLECTORS is another heist film that documents the journey where a team of grave robbers set out to claim an ancient king’s treasure buried in the royal tomb located in the heart of Seoul. With an elevator pitch of ‘Ocean’s Eleven meets Raiders of the Lost Ark,’ you know we’re going to sit up and pay attention. Park Jung-bae directs a cast led by Lee Je-hoon in this South Korean historical adventure/crime thriller. We’re in!

Documentary

Because you have to have at least one food documentary at an Australian festival! Park Hye-Ryoung’s THE WANDERING CHEF goes on a journey with Korean celebrity chef Im Jiho as he travels the Korean peninsula in search of the most authentic and unique ingredients with medicinal properties.

August 12, 2021
Review: Escape from Mogadishu

In January 1991, amidst rising rebellion and the ultimate collapse of Somali President Barre’s government, foreign embassies were evacuated. Arguably the most famous of these was Operation Eastern Exit, the name given to the military evacuation of the US embassy in Mogadishu, the capital of Somalia.

Ryoo Seung-wan, who we last saw behind the camera for the large-scale war film The Battleship Island, takes the evacuation of the Korean embassies as the basis for his action film. Kicking off with the arrival of Counsellor Kang Dae-jin (Jo In-sung) of South Korean intelligence, Ryoo and co-writer Lee Ki-cheol (Assassination) sets the scene with a ragtag group of ambassadorial staff attempting to gain an audience with the Somali authorities.

Led by Han Sin-seong, the South Korean ambassador to Somalia, their efforts are thwarted by the more influential North Korean embassy and their ambassador Rim Yong-su (Heo Joon-ho). Shot at by rebels, and intimidated by police, the South Koreans feel completely cut off when violence escalates in the capital. Unable to get word from home, they unexpectedly find themselves working with the North Koreans in an attempt to flee the country.

As you might guess from the exciting title, ESCAPE FROM MOGADISHU (모가디슈) isn’t so much a nuanced exploration of a major geopolitical event as it is a ripper of an blockbuster film. Blending fictionalised accounts with a non-fiction backdrop (as he did with The Battleship Island), every inch of its ₩24 billion (or US $20 million) budget can be seen on screen.

From the moment the group decides to leave their compounds, Ryoo’s film is filled with tense stand-offs and big-scale sprints across the city. As the clique attempts to make their way across the city at night, surrounded by burning objects and random gunfire, we the audience are right in there with them. Ryoo really ramps up the thrills in a spectacular sequence in which several cars, covered in books as bullet shields, try and muscle their way through the blockades. This is contemporary South Korean action at the top of its game.

Some characterisations are going to be questionable. The local Somali cops, for example, are depicted as literally toothless thugs. The only other real sense we get of the country is either through armed rebels or the aftermath of violence in the streets. At least all of this fleetingly acknowledges the devastating impact it had on the people of Somalia, even if the main thrust of the film is getting out of there. On the flip side, the cooperation between North and South Korea — even on this micro scale — seems positively optimistic, even if the 1990s setting condemns its longevity.

Ryoo’s casting is also top-notch. Jo In-sung, seen recently heading up The Great Battle (2018), is suitably enigmatic as the intelligence Counsellor. Meanwhile, Heo Joon-ho is perfectly cast as the North Korean ambassador, bringing just the right levels of menace and pathos when called for. Yet the emotional core is invested in Another Child‘s Kim Yoon-seok, a man adept at playing recent historical personas in 1987: When the Day Comes (2017) and Dark Figure of Crime (2018).

The aftermath of this event, and broader Somali Civil War, has famously been depicted by Ridley Scott in Black Hawk Down (2001). Although playing out on a small scale, and with a drastically smaller budget, Ryoo skilfully manoeuvres the audience to a bittersweet ending via a breathless series of spectacularly staged action sequences. Already the highest grossing South Korean action film of the year, it will no doubt join the ranks of A Taxi Driver (2017) in being one of the favourites of the year too.

ESCAPE FROM MOGADISHU is the opening night film of the New York Asian Film Festival 2021. A theatrical season will follow.

2021 | South Korea | DIRECTOR: Ryoo Seung-wan | WRITER: Ryoo Seung-wan, Lee Ki-cheol | CAST: Kim Yoon-seok, Jo In-sung, Heo Joon-ho, Kim So-jin | DISTRIBUTOR: Well Go USA, NYAFF 2021 | RUNNING TIME: 121 minutes | RELEASE DATE: 6 August 2021 (NYAFF 2021)

August 5, 2021
KOFFIA 2021: the Korean Film Festival in Australia returns September/October
Our friends at the Korean Film Festival in Australia have announced that they will be back in the house for 2021! Bringing the very best of Korean cinema to Australian audiences, the 12th edition of KOFFIA returns to Canberra (2-6 September), Brisbane (16-19 September), Melbourne (16-23 September ) and Sydney (14-23 October) this year.

This is excellent news for a country that’s half in lockdown at the moment. A shining light at the end of a wintry tunnel as it were. Indeed, last year’s KOFFIA was offered free an online as a result of the pandemic, while this year aims to be a physical festival.

No films have been announced as yet, although KOFFIA plans to release the full program on 5 August.

“2021 marks the incredible 60^th anniversary of diplomatic relations between South Korea and Australia” said Jihee Kim, Director of the Korean Cultural Centre. “The Korean Film Festival aims to introduce Korea and its culture through films while also encouraging talent exchange between the film industries of the two countries. To celebrate this milestone, our Festival program will feature some incredible films that highlight the wonder of Korean culture through cinema.”

2021 KOFFIA screening dates and locations:
- Canberra: September 2 – 6 | Palace Electric Cinema
- Brisbane: September 16 – 19 | Elizabeth Picture Theatre
- Melbourne: September 16 – 23 | ACMI
- Sydney: October 14 – 23 | Event Cinema George St
The Reel Bits has long been a supporter of KOFFIA, having previously served as a media partner. We will continue to cover the festival as part of our Asia in Focus stream this year.
July 21, 2021
Fantasia Fest 2021: Asia in Focus at the genre festival

The Fantasia Festival have been very good to us over the last few years. Not only have they weathered the storm of the pandemic and provided us with some amazing content online, they’ve continued to secure amazing debuts and midnight madness from around the world.

This year is no exception. For the 25th edition of the genre festival there’s an impressive array of titles, from the World Premiere of Julien Knafo’s Brain Freeze through to a special presentation of James Gunn’s The Suicide Squad. It’s safe to say that if it plays at Fantasia, it’s going to be a cult hit in the future.

As we’ve been covering Fantasia for the last few years for Asia in Focus, we’re always impressed with the dozens of films from Japan, Hong Kong, South Korea, China and beyond. From the sequel to the film version of Kakegurui, there’s the truly weird Wonderful Paradise, the screenlife saga of The 12 Day Tale Of The Monster That Died In 8 and the Taiwanese fantasy film Hello Tapir. Here we’ve put together a collection of all the Asian cinema announced (so far*) at the festival.

The 25th Fantasia Festival will take place as a virtual event from 5 August to 25 August. Programs and tickets can be found at the festival website.

*UPDATED: 22 July 2021 with the release of the complete program.

JAPAN

Kakegurui 2: Ultimate Russian Roulette

A few years ago, the first live action feature adaptation of Kakegurui — based on the manga by Homura Kawamoto and Tōru Naomura and subsequent TV series — came to our screens. In this sequel, director Tsutomu Hanabusa (Project Dreams) continues the life and death stajkes of a group of high school students who take their card games very seriously. The first film will also be playing on demand at the festival.

Remain In Twilight

From the terrific Daigo Matsui (Our Huff and Puff Journey, Japanese Girls Never Die) comes another film about the endurance of high school friendships, this time from a male perspective. Six friends — played by Ryo Narita, Ryuya Wakaba, Kenta Hamano, Kisetsu Fujiwara, Rikki Metsugi, and Kengo Kora — who hung out together during high school get again after 5 years for a friend’s wedding.

Wonderful Paradise

Wonderful and weird go hand-in-hand in this truly bizarre film that just keeps getting stranger – and that’s just one of the things to love about it. It begins with a series of random arrivals at mansion in the process of being packed up for sale and a quirky series of family members. The part becomes a festival, complete with food stalls and activities. Yet nothing can really prepare you for the back half of this film. From a child transforming into a stick through to a mutant coffee bean growing out of control, the script is equal parts midsummer sex comedy and pure train of thought. Read our full review.

Caution, Hazardous Wife

Certainly a winner if there was an award for a film with the dubiously best title. Set after the drama series of the same name, it stars Haruka Ayase (Color Me True) as the titular hazardous wife, a special agent who has hid her job from her husband (Voices in the Wind‘s Hidetoshi Nishijima). Clearly required viewing for fans of the NTV series, especially if you’ve been hanging out since 2017 for a resolution.

Not Quite Dead Yet

Shochiku’s chaotic horror comedy makes its way to Fantasia. Starring Suzu Hirose (who you’ve seen in Kore-eda’s Our Little Sister and The Third Murder, along with the popular Chihayafuru series) as the estranged daughter of a drug company CEO (The Fable‘s Shinichi Tsutsumi) who has a crazy plot to find out who is messing with his company. Taking an experimental drug that is meant to kill him and bring him back to life days later, he instead returns as a ghost. Hilarity ensues.

Art Kabuki

As difficult as it has been as a cinema goer over the last 18 months, live theatre has taken a real hit. Kabuki-actor Kazutaro Nakamura — who choreographed the shrine maiden’s ceremonial dance in the animated film Your Name (2016) — brings us this filmed performance of ‘Play, Beauty and Life.’ If you’ve never experienced a live kabuki performance, or you miss the intimacy of live theatre, then this will be a must-see.

Beyond The Infinite Two Minutes

Does two minutes count as time travel? Junta Yamaguchi’s film say that is does. As a Covid-era screenlife film, it starts as an experimental iPhone-shot film in which a group of friends try to make sense of a two-minute time loop that allows them to predict a very small slice of the near future via a TV screen. Written by Makoto Ueda, the founder of performance troupe Europe Kikaku, it marks Yamaguchi’s feature debut. Familiar faces like Aki Asakura (Whistleblower, Summer Blooms) pepper the cast.

The 12 Day Tale Of The Monster That Died In 8

If ever there was a film that lived up to its title, then it’s this. Expanding on the screenlife antics of Iwai Shunji and Takumi Saito’s 2020 web series – part of the Kaiju Defeat COVID online challenge started by Shinji Higuchi – it’s wedded to its format. As such it’s a short and sweet nod to both kaiju history and the solidarity of lockdown. Kaiju fans will love the many references to past creatures, from Windom to Balloonga. The final evolution of the capsule kaiju is a sweet nod to the real-world monster killers, and a welcome message of hope after the last year. Read our full review.

Love, Life and Goldfish

Described as a “colourful J-pop musical manga adaption,” Yukinori Makabe’s latest film is inspired by the Noriko Otani manga of the same name. It follows elite bank clerk Makoto Kashiba (Matsuya Onoe) who is accidentally demoted to a rural branch due to a clerical error. Yet his fate changes when he falls in love at first site with Yoshino Ikoma (Kanako Momota), who runs a goldfish scooping store. Sure, we’re in.

Poupelle of Chimney Town

It’s very easy to describe something as ‘Ghibli-esque’ when dealing with Japanese animation – so that’s exactly what I’m going to do. Based on the 2016 children’s picture book by Akihiro Nishino, this is a high concept piece that starts with an intriguing premise. In a city full of chimneys that has never seen the sky, the stars are something of legend. Young Lubicchi (voiced by Mana Ashida) is, like his father before him, the last of the true believers. After an encounter with Poupelle (Masataka Kubota), a person made of trash who comes to life on Halloween night, he sets out to prove the existence of the true sky. Read the full review.

Fortune Favours Lady Nikuko

Ayumu Watanabe, who delivered festival favourite Children of the Sea back in 2019, returns with a new water-based anime. Based on a book by Kanako Nishi (Yellow Elephant, Sakura), it’s an observational comedy/drama that follows the titular Nikuko and her son Kikuko as they live out their days on a boat.

Yakuza Princess

Directed by Vicente Amorim and adapted from Danilo Beyruth’s graphic novel Shiro, Yakuza Princess is Asia in Focus adjacent. The Brazilian production stars MASUMI as a women who discovers that she’s the heir to a yakuza empire. She also finds out that Shiro (Jonathan Rhys Meyers) who has been protecting her may have actually been sent to kill her. Also joining the cast are Tsuyoshi Ihara and Kenny Leu.

It’s A Summer Film

Is it? It is! Soshi Matsumoto’s feature debut, following a career in commercial and short work, it’s a sci-fi film of sorts that sees a group of school friends attempting to make a samurai film, but discover one of their number is a time traveller from the future. We’ve all been there, right? It would be the most Daigo Matsui film if Matsui didn’t already have a film on the festival program.

Jigoku-No-Hanazono ~Office Royale~

Even if you’re working from home right now, you’ll know that office politics can be murder. (Just as a sidebar, I don’t like the way that kettle has been looking at me). Seki Kazuaki’s film takes the concept to its logical extreme, with cliques of female officer workers occasionally breaking into all out war. The director has previously worked on OK Go’s ‘I Won’t Let You Down‘ music video, so you know they have a distinctive visual approach.

Sakura

You can always bank on a Japanese film involving a dog. Like Fortune Favours Lady Nikuku, this one is also based on a book by Kanako Nishi. Directed by Hitoshi Yazaki (Still Life of Memories), the film takes its title from the name of the family dog. The nuanced family drama follows the unit as they deal with the death of their son.

Pompo: The Cinéphile

Originally due out last year, but delayed due to the pandemic, this feature-length adaptation of the manga Shogo Sugitani comes to us from animation studio CLAP (LIP×LIP FILM×LIVE). It’s a film for film lovers, on how films get made and what makes them so enduring.

Satoshi Kon: The Illusionist

Animator Satoshi Kon died in 2010 following a brief battle with pancreatic cancer. He was 46. In this brief time, he left us with some of the most revered animated films of the last few decades: Perfect Blue (1997), Millennium Actress (2001), Tokyo Godfathers (2003), and Paprika (2006). French documentarian Pascal-Alex Vincent explores his life and career in this documentary

Junk Head

Takahide Hori’s one-man stop-motion film debuted at international festivals in 2017, and then took another four years to make it into Japanese cinemas. In that elongated window, it took on something of a cult glow. It arrives at Fantasia in a leaner cut that is sure to win over a whole new audience.

Georama Boy Panorama Girl

The title alone should hook you in. That and the fact that it’s based on the manga by Kyoko Okazaki, the mind behind Helter Skelter (made into a stylish film by Mika Ninagawa in 2012) and River’s Edge (adapted in 2018 by Isao Yukisada). It’s a coming-of-age drama about a studious boy and an alleged femme fatale, brought to life with the expert touch of Natsuki Seta (A Liar and a Broken Girl).

Hold Me Back

Director Akiko Ohku (Tremble All You Want) has been a festival staple for a few years now. In this latest film from the filmmaker, Mitsuko Kuroda (the singularly named Non) has always followed the salesperson inside of her head, at least until she meets someone that she thinks she’s falling in love with.

Ora, Ora, Be Goin’ Alone

Look, if Yu Aoi is in a film, just go and see it. Here she plays the younger version of Momoko (the legendary Yuko Tanaka), a 75-year-old widow who is reflecting back to her life in 1964. It’s helmed by director Shuichi Okita, whose films The Mohican Comes Home and Mori, The Artist’s Habitat have been turning up at festivals regularly over the last few years.

Prisoners of the Ghostland

The incomparable Sino Sono meets the immovable Nicolas Cage and the results are exactly as expected. Although ‘expected’ is not a word you’d readily apply in this situation. As Sono slows down to a respectable two or three films a year, partly thanks to the emergency heart surgery he underwent during production, the now 59-year-old filmmaker shows no signs of letting up on his creativity. It’s a great example of how his voice can successfully transition with something resembling western aesthetics. Read the full review.

The Deer King

Co-directed by Masashi Ando (who worked on Studio Gibli films like Spirited Away and Princess Mononoke) and Masayuki Miyaji (Attack on Titan), this adaptation of Nahoko Uehashi’s novel series Shika no Ō is from the legendary Production I.G. A must-see for animation fans everywhere.

Dreams on Fire

This Canadian/Japanese co-production follows Yume (Bambi Nake) as she tries to break into the world of Japanese dance. Director Philippe McKie has lived in Japan for the last decade, and this beautifully shot film — combining McKie’s background in fashion and DJing — marks their first feature following a string of Fantasia shorts.

Follow the Light

In the tradition of Shunji Iwai — who has several films playing in the retro section of the festival — comes this youth drama. The debut from director and co-writer Yoichi Narita, the small town genre gets infused with subtle hints of sci-fi.

Grand Blue Dreaming

Directed and co-written by the prolific Tsutomu Hanabusa, and screening alongside his two Kakegurai films, this live action adaptation follows the manga and anime of the same name. It’s set a pair of hapless fools who find themselves at a diving club with a seemingly endless part.

The Great Yokai War – Guardians

It wouldn’t be a genre festival without Miike Takeshi on the bill. A sequel to the 2005 The Great Yokai War, this is one hell of a closing night film for the festival this year. It’s also said to include the title character from the 1966 Daiei film series Daimajin!

Sexual Drive

Bringing together Japan’s twin histories in cinematic erotic and the glorification of food, Kōta Yoshida’s anthology may make you reassess your relationship with at least three food groups. Read our full review from IFFR.

Tokyo Revengers

If they can’t save Tokyo, they can sure as hell revenge it. Or something. Another manga adaptation, this one is sourced from Ken Wakui\s serialised series from Kodansha’s Weekly Shōnen Magazine. It’s also directed by Tsutomu Hanabusa, making it one of four films he’s got on the Fantasia bill this year.

Under the Open Sky

Miwa Nishikawa’s drama stars the excellent Kôji Yakusho (The Blood of Wolves) as an ex yakuza who is released from prison after doing a stint for muder and struggles to adjust to life on the outside. This one has been doing the festival rounds but its well worth a look if you haven’t seen it.

Japan has an impressive range of short films on offer as well. Animated shorts include Aya Yamasaki and Jason Brown’s HAKKORI, Anna Yamamoto’s MEDAMA – EYE BALL, veteran Naoki Matsuura’s handsomely rendered FIRE CRAFT, and Shinobu Soejima’s stop-motion BLINK IN THE DESERT. Six directors, from South Korea, France, and Japan, pass along their perspectives on eco-friendly actions in UPCLYCLING.

Yoko Yamanaka’s BORN PISCES leads Japan’s live action shorts. The Amiko director crafts a warming coming-of-age tale in lush 35mm. There’s also Chisaka Takuya’s cheekily titled SCHOOL RADIO TO MAJOR TOM, Daigo Hariya and Yôsuke Kobayashi’s sci-fi VIEWERS:1, director/screenwriter Eiji Tanigawa’s VULNERABILITY and Emi Yasumura’s cosmic teenage daydream, WAO

SOUTH KOREA

Voice of Silence

The premise of Hong Eui-jeong’s debut feature is simplicity itself: a pair of crime scene cleaners must look after a kidnapped child. Indeed, the screenplay was selected as one of the top 12 projects at Venice Biennale College-Cinema 2016/2017 in 2016. Of course, if Korean thrillers has taught us anything, it’s to expect the unexpected. Not least of which is star Yoo Ah-in (Burning, #Alive), who apparently gives a completely silent performance for the bulk of the picture.

The Slug

Playing as part of the Camera Lucida section — dedicated to “boundary-pushing, auteur-driven works at the intersection of genre and arthouse cinema” — South Korea’s The Slug stars Microhabitat‘s Kang Jin-ah as a reclusive woman who starts manifesting a younger version of herself after being struck by lightning.

Collectors

With an elevator pitch of ‘Ocean’s Eleven meets Raiders of the Lost Ark,’ you know we’re going to sit up and pay attention. Park Jung-bae directs a cast led by Lee Je-hoon in this South Korean historical adventure/crime thriller. We’re in!

The Devil’s Deal

From Lee Won-Tae, the director of the slick The Gangster, the Cop and the Devil, comes another historical throwback. Set in 1992, it follows congressional candidate Jeon Hae-woong (Cho Jin-woong) on the eve of an election. It’s a world premiere, so get in early so you can say you did.

Fighter

Documentarian and narrative feature filmmaker Jéro Yun follows films like Beautiful Days and Mrs. B, a North Korean Woman with another story of a North Korean defector trying to restart her life. Jin-ah (played by Full Moon‘s Lim Sung-mi) begins work as a cleaner in a boxing dojo before finding herself at a crossroads.

Josée

If you caught the anime of Josée, The Tiger and The Fish during its brief theatrical run this year, you may know that it’s based on Seiko Tanabe. Already brought to the screen several times in its native Japan, this version comes from South Korean filmmaker Kim Jong-kwan.

Midnight

It’s murder in the city! Compared with The Chaser, this shows us why South Korean cinema tends to export grisly thrillers. Director Kwon Oh-seung delivers a debut piece with a sound design described as “hallucinatory.”

Seobok

Director and screenwriter Lee Yong-ju (Possessed) brings us a film led by Gong Yoo (Train to Busan). A thriller with sci-fi leanings, it sees the former secret agent coming out of retirement to protect the first human clone, the titular Seobok (Park Bo-gum).

Digital Video Editing with Adobe Premiere Pro: The Real-World Guide to Set Up and Workflow

Ostensibly listed as a short, this 40 minute film with a deceptive title is Hong Seong-yoon’s film about a mysterious ghost that keeps appearing in the shots of a film as it’s being cut, causing its editor and director to bicker to death. Yes, it’s a screenlife horror comedy.

There’s a whopping 16 Korean shorts on display at Fantasia this year! Experimental and animated approaches can be found in Jeon Da-young, Kim Min-gyung, and Han Seo-a’s BE BIG, Choi Jinuk’s CG animated BEYOND THE LINE, Seo Sae-rom’s nightmarish visit to a theme park in CARNIVOROUS BEAN SPROUT and Kim Ilhyun’s GOOD FOR YOU. Ha Seung-eun conjures classic animation in THE GREEN BETWEEN, Kim Tae-woo brings Korean folklore to life in HUH, Kim Eun-seo crafts meticulous backgrounds in MEGALOMANIA and has a sweet tooth in MÉNAGE À TROIS: FLOUR, EGGS AND SUGAR. Lee Sasha reminds us MISERY LOVES COMPANY, Cho Hyun-a takes A SIP OF WATER and there’s also the aforementioned UPCYCLING.

On the live action front, Kim Boram tries to catch NOSES ON THE RUN in this unique sci-fi. Actor Cho Jin-woong gets behind the camera for RYUK-SA, a possible teaser for a feature film. Jeon Joonhyun explores the toxic work relationships women must endure in STOCK. Finally, people with a fear of the dentist are advised to stay away from Hong Won-ki URBAN MYTHS: TOOTH WORMS.

TAIWAN

Hello Tapir

The titular Tapir has the body of a pig, the trunk of an elephant, the ears of a horse, and the feet of a rhinoceros — and it eats nightmares. Referred to as “Taiwan’s first live-action/animation fantasy film,” Kethsvin Chee’s feature follows the eight-year-old Ah Keat asks the beast for help.

The Sadness

“Fantasia rarely gives trigger warnings,” says the official blurb, “but this film warrants all of them. Proceed with caution.” It’s set in an alternate Taiwan where an unchecked pandemic has left people with an uncontrollable rage. It sounds like 28 Days Later meets, well, the real world right now.

Then on the short film front, you’ll find Shi-Rou Huang’s animated GIRL IN THE WATER, Chun-Chien Lien and Pohan Lee’s INSIDE, Joe Hsieh’s monkey-fuelled NIGHT BUS and KEFF’s TAIPEI SUICIDE STORY.

CHINA

Back to the Wharf

Chinese director Li Xiaofeng (Ash, Nezha) follows an escaped convict who was imprisoned for negligent homicide returning to his hometown after 15 years, only to get mixed up in a scheme involving the daughter of his victim. Fantasia says it’s a “sharp reflection on how China’s modernization can transform a family.”

From the Chinese short film selection, you’ll also find Zhang Nan’s AQUATIC BIRD, Hoanan Wang’s BUBBLE, Qiu Sheng’s DOUBLE HELIX, Lei Lei Xia’s animated short THE HORSE GUESSING GAME, Shengwei Zhou’s stop-motion LET’S FALL IN LOVE and Shicong Zhu’s dramatic SNAKE TRAIL.

MALAYASIA

The Story of the Southern Islet

The winner of Best New Director and the FIPRESCI Prize at Golden Horse Film Festival, Chong Keat Aun’s feature is the lone Malaysian entry at Fantasia 2021 — so far. Set in 1987, this beautifully shot film is inspired by the filmmaker’s childhood.

HONG KONG

Time

This might be Ricky Ko’s debut feature, but in every other way it’s got the look and feel of a throwback to Hong Kong’s past cinema greats — not least of which is the 84-year-old former matinee idol Patrick Tse. He plays a killer for hire who now takes on euthanasia cases. Sometimes an odd blend of tones, but ultimately the core performances and the slick action carries this ‘grandpa assassin with a heart of gold’ through to the end. Read the full review.

Septet:The Story of Hong Kong

Ann Hui, Johnnie To, Tsui Hark, Sammo Hung, Yuen Woo-Ping, Ringo Lam and Patrick Tam Look at that list of filmmakers! Almost six years ago, Jonnie To initiated this project as Eight and a Half with John Woo attached. Now he’s about the only person from the who’s who of Hong Kong cinema not attached to this series of vignettes that contemplates the city-state and its future. Each director tells a tale spanning from the 1950s to today, where the eyes of the world are on Hong Kong.

Hand Rolled Cigarette

Debut direct Can Kin-long delivers a throwback Hong Kong thriller of Triad intrigue involving smuggled turtles, a stolen million and a cup of instant noodles is afoot in Hong Kong. Starring Johnnie To regular Gordon Lam, it’s a neon-lit genre pic filmed entirely during the pandemic.

One Second Champion

That doesn’t sound like something you want to be called on a dating app. “Imagine a high-concept Rocky and Creed with a more developed funny-bone and dangerously high-pressure fun,” says Fantasia of this film from director Chiu Sin-Hang and action direction of Leung Pok Yan (Enter the Fat Dragon). For those of us who are suckers for a boxing film even if we never watch the actual sport.

You’ll also find Ivan Li’s animated FRUIT in the shorts programming.

SINGAPORE

Tiong Bahru Social Club

The lone Singaporean feature film comes from Tan Bee Thiam. It follows an office worker who leaves his job to become a happiness ambassador for a gated community that algorithmically creates the ‘world’s happiest suburb.’ Of course, all isn’t as it seems.

There are two Singaporean shorts playing in addition to this feature: HENCHMEN, Alistair Quak’s tale of two unmotivated bodyguards, and Russell Morton’s experimental documentary SAUDADE.

CLASSICS

In addition to the new releases, the 25th anniversary of Fantasia means that some classics will be shown on demand as well. As mentioned above, the first KAKEGURAI will play alongside its newly released sequel.

Shunji Iwai has a retro triple feature of APRIL STORY (1998), starring actor and singer Takako Matsu, and the fan favourite ALL ABOUT LILY CHOU CHOU (2001), a coming of age story that shows the impact of the titular singers. Of course, his most famous film — the made for TV FIREWORKS, SHOULD WE SEE IT FROM THE SIDE OR THE BOTTOM? (1993) — will play as part of the shorts program.

If you like Wonderful Paradise, then Fantasia have dug deep into their well for some proper surrealism: Shunichiro Miki’s infamous cult films FUNKY FOREST: THE FIRST CONTACT (2005) and THE WARPED FOREST (2011), a film I was not kind to on release but suspect I would enjoy the hell out of it now.

Going further back, UZUMAKI (SPIRAL) is Higuchinsky’s lesser seen adaptation of Junji Ito’s cult classic. Coming from a time when J-horror was the most influential style around the world, it’s worth revisiting now that the film can legally drink in the US.

Then there’s a proper deep dive in a Hong Kong classic. Tony Lou Chun-Ku’s RETURN OF THE BASTARD SWORDSMAN (1984) will be available for your streaming pleasure. The Shaw Brothers classic is there for the wuxia lovers and it should be high on all martial arts fans lists this year.

July 16, 2021