Note: This blog expresses only the opinions of the blog owner, and does not represent the opinion of any organization or blog that is associated with The Golden Rock.
Before I move on to regular programming, perhaps some (or none) are asking, “hey, where did you go?”
I ask myself the same question everyday.
As for the serious answer, I made an extremely awkward transition from my student life to my working life, which involved the two blending together, and then diving into the latter pretty much immediately, meaning I haven’t really had the time to adjust. Of course, that could sound like an excuse, but considering the other time I spend doing my weekly review job, recording East Screen/West Screen, plus real life crap, 24 hours doesn’t seem enough in a day. Also, Google Chrome is real crappy with this wordpress thing, which means I get a little confused when switching browsers, leading to all kinds of headaches and taking longer than usual to write an entry.
So what motivated me to start writing again now? First of all, Kozo keeps footing the bill for this space, which means it would go to waste if I keep letting it accumulate in spam, and that ain’t very nice. Second, I will be sadly writing less reviews than before, though that’s only because much of my work has shifted to a certain section of a website that starts with Y and ends with Asia. However, my motivation to start writing again is mainly because I want to do internet journalism right. As I mentioned on the latest episode of East Screen/West Screen, some sites have gotten away too long with spinning information the wrong way. I can’t say I never did the same with this blog, but at least I spun responsibly, and I own up to my mistakes. If the blog writing schedule goes right again, I hope to return to the old format that people (barely) read, but I will certainly no longer use the site I mention in the podcast as a serious source, but only to point out and correct their errors.
Here’s a little news for today, to get things started:
- As always, we start at the box office. At the Japan box office, Tetsuya Nakashima’s CONFESSIONS reign again for a third week, while the MASKED RIDER movie opens at second place, and the youth tearjerker PIECING ME BACK TOGETHER opens at ninth. Check the admissions ranking, and more when the numbers are out.
- Looking at the Korean box office, A MOMENT TO REMEMBER director Lee Jae-Han’s latest 71-INTO THE FIRE scores a huge opening with 1 million-plus admissions, while the period film SERVANTS has already earned 2 million admissions. STREETDANCE 3D opened at 6th place, and PRINCE OF PERSIA is approaching 2 million admissions, but not likely to get there.
- After several theaters backed out in Japan (including one in Shibuya, Tokyo) from showing the documentary THE COVE, the distributors have found another theater in Tokyo in the same neighborhood to take over the film. The Image Forum (which also runs a film school) will be showing the film after Theater N pulled out due to threats by crazy right-wingers. I’m guessing this will be another YASUKUNI situation, where the threats will continue until the film opens, then ntohing will happen.
The report also lists 21 other Japanese theaters that’ll be showing the film, so look for one near you, er….if you know how to read Japanese.
- In film production news, I wrote a few weeks ago that the new Bruce Lee biopic that will be covering his teenage life in Hong Kong, and as now Film Business Asia has confirmed that production will indeed begin on the Manfred Wong-produced, Raymond Yip-directed film WITH MC JIN….not as Bruce Lee. As I mentioned on East Screen/West Screen, this is the version of the Bruce Lee story that I look more forward to than the Hollywood bullying one that Filmko/Mandarin Films are planning.
Here we go, another five Asian films viewed at the Hong Kong International Festival 2010.The Blue Mansion (Singapore - 2009), Directed by Glen Goei
This dark comedy from Singapore mixes the supernatural and an Agatha Christie mystery, and interestingly, it’s just about completely in English. That might be the problem, as the actors did not have the comic timing to deliver some of the nastier punchlines, and there’s no character that’s actually likeable enough to connect with - not even the dead guy. Interesting attempt, but not quite a success.
Yuya Ishii is back with this Pia Scholarship film after his win at with Bare-Assed Japan. It’s a hilarious, deadpan comedy that Ishii is no stranger to. Add that with a great performance by Mitsushima Hikari of Love Exposure, and you’ve got one of the funniest Japanese comedies of the year. Response wasn’t as enthusiastic as I had hoped. Maybe I just really dig the dry humor.
I’m in Trouble! (South Korea - 2009) - Directed by So Sang-Min
This dry Korean comedy, on the other hand, doesn’t work nearly as well as other comedies in this style. It starts off with a not-so-likeable lead and his not-so-important problems with the ladies (which he screwed up himself anyway), and director So Sang-Min expects us to automatically care for him. Just because he’s an artist doesn’t make him immediately worth caring about. Still, not a total loss, with some funny moments, and some of the performances are quite…well, likeable.
Tokyo Onlypics (2008 - Japan) - Directed by Mashima Riichiro, etc.
As one might expect from an anthology mixed with animation and live-action, this parody of international sports events (which opened in Japanese theaters the same day as the opening of the Beijing Olympics) is somewhat inconsistent in quality. But when it’s on its game, it is as seriously funny as it is irreverent. Some of the sketches go on too long after it delivers the laughs (the samurai calling one above included), but events like the sms texting and the mom throwing ones are the funniest comedy sketches I’ve seen this year. This version is apparently a shortened version from the 130-minute Japanese version, which is a wise choice, as its 117-minute length was just perfect.
The Actresses (2009 - South Korea) - Directed by E, J-Yong, starring Youn Yuh-Jung, Choi Ji-Woo, Ko Hyun-Jung, Kim Ok-Bin, Lee Min-Sook, Kim Min-Hee
For anyone who has no idea who these people are, the film will simply be an interesting experiment exploring the real persona of actresses. Those who have at least a vague idea of these people will have a far better time as this mockumentary (written/improvised by the 6 actresses) slyly plays on the stars’ respective persona and what it’s like to be a star. Still, it still feels insignificant, as there’s not really much of a story (the second half consists almost entirely of the six stars sitting around talking). Nevertheless, the fact that it still works is an achievement already.
Next time, an anti-war film, Bollywood, and more Yuya Ishii.
As you might have been following on my Twitter, I have been spending quite a bit of time at the glorious Hong Kong International Film Festival. This year, excluding the Lung Kong retrospective I have yet to attend, I watched a record number of 28 films between March 20th and April 6th.
This is what madness - and my dining table - look like
Out of the 28, 20 of those are Asian films (and I’m counting Israel in Asia because NHK World says so), and I will provide brief reviews for them here - 5 at a time.
1) A Better Tomorrow (Hong Kong, 1987) - Directed by John Woo, Produced by Lung Kong
This is the first time I’m watching the gangster classic film on the big screen (as part of the festival’s focus on Lung Kong), and it’s every bit as enjoyable as one can expect. I’ve seen this movie and the references to it throughout the years many times, and I’m surprise to hear the audience just as involved with it as if they were watching it the first time. A true Hong Kong cinema classic.
2) A Brand New Life (Korea, 2009) - Directed by Ounie Lecomte, Produced by Lee Chang-Dong
This aut0biographical debut film by Korean French director Ounie Lecomte has a stunning performance by the young Kim Sae-Ron, but it doesn’t quite escape the stablish cinema verite style of her producer. The life in the South Korean orphanage ultimately goes through the motions and is ultimately a little too much into its own detached style.
3) Ajami (Israel, 2009) - Directed by Scandar Copti and Yaron Shani
This film about the Palestinian-Israel relationship is what Quentin Tarantino might have made without the gimmicky obsession with old movies and self-indulgent dialogue. It’s a frequently powerful examination of different types of people in the region, though its non-linear storytelling can be disorienting at points. It’s an ambitious film and that makes it worth watching, even though it doesn’t really deliver in the end.
4) Monga (Taiwan, 2010) - Directed by Doze Niu
Doze Niu’s follow-up to What on Earth Have I Done Wrong is a million times more ambitious and even more engaging. However, it doesn’t follow through with the burst of adrenaline it delivers in the first 30 minutes and falls back on unintentional homo-eroticism, gangster clichés, a hooker with a heart of gold, and the idealist talk about brotherhood. At least it looks great with really impressive production values.
5) Last Train Home (Canada, 2009) - Directed by Fan Lixin
This compelling documentary by former Chinese journalist Fan Lixin looks at the lives of migrant workers who make the trek every year from their jobs in the big city back to their rural homes during Lunar New Year. It’s not only a look at the migration itself, but also a look at how rapid development and centralization of industry in China has broken up families. Starts off slow, but gets much, much better later on.
That’s part 1. Next is some Yuya Ishii, a Singaporean dark comedy, and of course, a little Japanese animation.
Even though I’m still in the Hong Kong Asian Film Festival mode, it’s time to write about another film festival that’s coming up in Hong Kong in a few weeks.
In 2008, a small film festival for solely Asian independent films popped up, thanks to Hong Kong indie film organization Ying E Chi. Now in their second year, the Hong Kong Asian Independent Film Festival is determined to grow by quite a bit, and I assume that was why YEC were nice enough to invite both Kozo and I to their press conference on October 15th in the soon-to-be torn down Lower Ngau Tau Kok Estate.
The two people on the right are staring because I interviewed them for a magazine feature. Most right is director/YEC board director Jessey Tsang (of indie film Lovers On the Road and the subject of my feature), and on her right is Hong Kong Art Center’s Teresa Kwong.
The press conference begins
Starting on November 14th, this year’s festival will feature 30+ films from Korea, Japan, Iran, India, China, Malaysia, Hong Kong (of course), and even the United States (representing the Asian-American community).
This year’s opening films are the Wim Wenders-produced Japanese film The Clone Returns Homeand Hong Kong’s Dead Slowly by Rita Hui (and produced by Jessey Tsang).
Director Rita Hui holding the mic standing with actors, including co-star Joman Chiang (left)
And here’s the trailer:
And before the festival, YEC will also show a set of films by a group of young local directors called the Quirky Rookies. Directors, crew members, and even actors were present at the press conference:
“We make films so Lovehkfilm can review them.”
On a personal note, Gabriel Fung, a friend and an upperclassmen at my school, will be screening his graduate thesis film Chants Within Doldrum at the festival. And he had his day in the spotlight too:
That’s Gabriel on the left, pretending that he doesn’t know me
And there were also special guests:
Director Soi Cheang (left) and YEC founder/director Vincent Chui (right)
And just like the end of every press conference, there was a big group photo.
I picked the one with the most looks my way
As for my own picks. I will most likely be watching:
Dead Slowly The Clone Returns Home
The President is Coming
In The Fog/Chain
How to Live On Earth
Roses Have Thorns
Let’s Fall In Love
Non-Ko
People I’ve Slept With
Of course, you can make your own picks and find out more information, including how to buy tickets and information about the master class by editor Mary Stephen, at the film festival’s website.
And I would like to represent lovehkfilm.com in thanking Ms. Wendy Wan for inviting us to the press conference, as well as everyone else at YEC (including Ms. Venus Wong and Ms. Jessey Tsang) for their hospitality at the press conference. It’s great to see the film festival world of Hong Kong expanding, and it’s even better to see independent films get their day in the sun.
This is the Broadway Cinematheque, one of the three venues for the Asian Film Festival. I saw a total of three films on Saturday and Sunday here.
One of them featured a Q&A with this man:
That would be director Sion Sono, whose Love Exposureis easily one of the great cinematic achievements of 2009, and the subject of this year’s HKAFF retrospective.
That brings us to the latest set of reviews:
The Housemaid (1960, South Korea, Dir: Kim Ki-Young): Certainly seeming dated almost 50 years, this deliciously trashy classic melodrama did earn some laughs at the screening, but that doesn’t discount the power of director Kim Ki-Young in creating this beautifully shot and often unpredictable femme fatale thriller about the worst housemaid in the world.
Ain’t No Tomorrows (2008, Japan, Dir: Yuki Tanada): Pure love this ain’t. Yuki Tanada’s adaptation of the manga about three high school boys’ first trip into sex is light an enjoyable exploration into the minds of reckless youth. Running a brisk 75 minutes, the stories are told in the most basic fashion, and it’s also the most effective. A great antithesis to those youth pure love stories on Japanese TV.
Be Sure to Share (2009, Japan, Dir: Sion Sono): Sono’s follow-up to Love Exposure takes almost a complete 180, dealing with the death of Sono’s father. A gentle mediation about family and death, Sono’s fans may find this a little dry, but one can’t help but admire his almost primitive expression of his love for his father in the film. An interesting addition to his filmography, but it won’t be his most memorable.
Note: I was asleep for a large part of the first half because of allergy medicine, not the quality of the film.
Talentime (2009, Malaysia, Dir: Yasmin Ahmad): The surprise of the festival for me, this delightful and touching film about contestants of a school talent contest and their families is an entertaining exploration of the myriad of religious and ethnic presence in the country, as well as young love. The sometimes heavy melodrama is balanced by Ahmad’s naturalistic handling. Too bad there was less than 20 people at the screening.
Flower of Kim Jong-Il (2008, South Korea/USA/France, Dir: NC Helkin): This documentary about human rights violationby North Korea as told by those who experienced them has some chilling testimonies that shed light on the horrors in the most isolated country in the world, but Helkin’s use of interpretative dance throughout distract from the focus. It almost undermined the testimonies themselves, making it not a very good documentary.
Bicycle Sighs (1990, Japan, Dir: Sion Sono): Sadly, this may be the only Pia Scholarship film that I don’t like. I’ve never fell asleep at a movie, only to wake up and find the audience as confused as I was. Sono fills the film with metaphors and strange behaviors, but I must’ve been too shallow to be able to decode them all. Besides, it should’ve ended 30 minutes before it really did. A truly strange feature debut for Sono.
Coming up: Taiwanese films Finding Her and How Are You Dad, as well as Summer Wars and Old Partner. It’s going to be a busy weekend.
It’s October, which means it’s time for the Asian Film Festival again. This year, I’m watching 22 films:
Thirst
Crows Zero II
The Housemaid
Ain’t No Tomorrows
Be Sure to Share
Talentime
Flower of Kim Jong-Il
Bicycle Sighs
Finding Her
Summer Wars
How Are You, Dad
Her Dear Old House
Old Partner
Asian Shorts 3 (including Edmund Yeo’s Kingyo. Sorry, I couldn’t make time for Woman on Fire Looks For Water) Mother
Air Doll
Dark Harbour
Beijing is Coming
Pastry
Rabun
At the End of Daybreak
Seven 2 One
I’ve already watched two, including opening film Thirst. But before the movies, there were some pre-screening activities.
First: A talk at the University of Hong Kong featuring Tian Zhuangzhuang and Park Chan-Wook, directors of the festival’s two opening films, The Warrior and the Wolf and Thirst.
From left to right: Tian’s translator (a grad student at HKU who seemed to be very nervous), Tian Zhuangzhuang, Moderator representing the HKU Comparative Literature Department, Park Chan-Wook, and his translator.
With everyone needing translation, there wasn’t as much enlightening information from neither of the directors. Also, the chaos of people surrounding the directors after the talk meant I almost got my Thirst ticket signed by Park.
Almost means no.
After dinner, it was off to IFC to check out the opening ceremony, which took place between the two opening film screenings:
Charlie Yeung, the “ambassador” of the film festival, showed up on time for some media interview. “On time” in this case meant early, because the ceremony started 20 minutes late.
Every shot I took of Jo Odagiri has a flash on his face. He also stood alone on the stage with that expression the entire time.
People I recognize: Ann Hui (left, and doesn’t recognize me, despite doing an entire profile on her), Jo Odagiri (left 2), Tian Zhuangzhuang (left 3), and Lawrence Lau (right)
With the ceremony running late, it also meant that the film started 20 minutes late as well. At least it was finally time for the movies!
For the inflated ticket price, at least I got to see Park Chan-Wook (again) and got a extra small size t-shirt. I’m definitely not an extra small.
And now, for the movies I’ve seen so far:
Thirst (2009, Korea, Dir: Park Chan-Wook): After a slight stumble with I’m a Cyborg, But That’s OK, Park makes a glorious return to extreme cinema with this surprisingly fun (and funny) fantasy about a priest that turns into a vampire. Park’s signature musical and camera style is here, and they’re impressive as always. The violence is a little much at times, but all in all, the most “fun” Park film since Oldboy. It’s not a perfect film, but nevertheless a great cinematic experience. Kim Ok-Vin is a new name to watch out for.
Crows Zero II (2009, Japan, Dir: Takashi Miike): A sequel that’s a little too conscious of its status, Miike and his writers amp up the drama here in an attempt for a grander follow-up to their wildly fun predecessor. The result is a little underwhelming, as they wait until the very end to give the fans what they want. The fun does finally arrive at the end, but the road there can be sluggish at times.
And that’s it for now. This weekend is the Korean classic The Housemaid, Sion Sono’s Be Sure to Share (with a talk with Sion Sono in attendence), and the Japanese indie film Ain’t No Tomorrows.
Until then, let me know if you plan to stalk me at the cinemas. I’ll buy you a cup of coffee. I’ll need some anyway.
- Super-duper Communist propaganda movie Founding of a Republic (with 170+ stars) is looking at a record opening day with a half-day gross of 14 million rmb. Possible reasons? It’s on a record number of screens, it has China’s best known stars, and free/discount coupons were passed out around the country, which the studio can easily report as a full-priced sdmission? Or everyone in China might just be that patriotic.
- In keeping with the festival news, the Hong Kong Asian Film Festival has announced its picks this year, which include two opening films being distributed by Edko (parent company of festival runner Broadway Cinematheque) and a Sion Sono retrospective. Time to get busy!
- Hitoshi Matsumoto’s Symbol opened in Japan this past weekend on 242 screens (roughly the same amount of screens Dai Nipponjin opened on) and made 133 million yen, which is only 45.6% of Dai Nipponjin’s opening weekend. With an even more mysterious promotional campign than his first film, Matsumoto’s film doesn’t seem to be aiming for a large commercial audience anyway.
- In Korea, the Hindi-language film Black has become quite a hit, despite it being a four-year old film. After three weekends, it already has 700,000 admissions, and may get to the million mark in two weeks. I’ll keep keeping track of it.
I read a report that implies these regulations were made in time for the PRC’s 60th anniversary, but with these regulations not coming into effect until January, it doesn’t seem likely that this is the case.
- It’s reviews time! Variety’s Derek Elley reviews the Venice closing film Chengdu, I Love You, which features a short film from Fruit Chan and one from Chinese rockster Cui Jian. Then Ronnie Schieb reviews the Montreal World Film Festival Best Director winner Villon’s Wife.
And lastly, Screen International’s Tim Grierson reviews the American cut of Ong Bak 2, and strangely doesn’t make mention of its open ending. Did they get a different version in the States?
Whoa, it’s a news post! You have Tropical Storm Koppu to thank for that.
First off, the latest episode of East Screen/West Screen is up. This time, Paul and I talk about Trick or Cheat, Sophie’s Revenge, realistic romance movies, and Hong Kong’s representative at the Academy Awards.
- And as I predicted about Prince of Tears, the controversy has already started. Just a day after we recorded the podcast, Taiwan’s Government Information Office has requested their NT$10 million subsidy back if it remains to be HK’s representative. Yonfan has also responded, saying that he would rather give back the money. He can probably afford it anyway.
- No HK box office figures yet, but South Korea’s film council already has the weekend stats up. The melodrama Ae-Ja takes the top spot in its opening weekend, as Take Off adds another 321,000 admissions (with 63,000 of those going to the new director’s cut.). Meanwhile, Haeundae has passed Silmido and is now aiming for Taegukgi with 11.18 million. The Case of Haewon Suicide opens in 3rd place with an OK 282,000 admissions.
-In Japan admission rankings, 20th Century Boys continues to hold the top spot, while Wolverine debuts at 2nd place. Hitoshi Matsumoto’s Symbol (which got its premiere in Toronto, not Venice. D’oh!) debuts at 5th place, and Tajomaru with Shun Oguri (somewhat based on the short story In a Grove, which inspired Rashomon) flops with a 7th place debut.
- Speaking of Symbol, Variety’s Russell Edwards has the first review of it after he saw it in Japan.
-Fans of Takeshi Kitano’s gangster films will be happy to know that his latest film, which is now in production, will be a return to the violent gangster genre that he departed from with three self-reflexive films.
- Though it’s yet to be officially reported, Haeundae now has a Canadian distribution deal. No word, however, on whether it’ll be the shorter cut that China and Hong Kong are getting.
- In a move that will confuse foreign viewers, Team Bastista no Eikou, whose characters have already been seen twice in feature films with a different cast, will be getting a one-off special episode (i.e. TV movie).
- Still on 105 screens, Harry Potter continues to rule the Hong Kong box office. However, it also suffered a huge drop in its second week, which means it may not end up going much further from the current HK$37.5 million take, especially with Disney/Pixar’s Up opening this weekend. Meanwhile, Public Enemies beat out the other opening films by a large margin, making HK$3.64 million over its first 4 days from 35 screens (note that it had a ticket price inflation for length), while Taken (which appeals the same group of audience, sans female Johnny Depp fans) made just HK$1.86 million from 34 screens over 4 days, despite the heavy publicity effort.
With those two films, Murderer suffered a loss of screens and audience, but it has also grossed HK$11.2 million and will likely do better than The Detective and After This, Our Exile combined. Sad, but true. Written By looks like it will stop with about HK$4 million, which is decent for a borderline arthouse flick like this. However, the Hong Kong Film blog has been reporting strange grosses at Newport Theater chain theaters, though I always take their box office reports with a grain of salt because of a lack of source reported.
KJ continues to sell out showing, and has now made it to the top 10, making a total of HK$134,776 with just 1-2 shows a day on 2 screens, with more shows just added. It’s quite amazing. Also impressive in its limited release, the French film Paris 36 has made HK$119,686 on just one screen after 11 days on just one screen.
- In China, Alan Mak/Felix Chong’s Overheard and the new McDull movie both opened this past weekend. While both lost to Harry Potter, Overheard managed an impressive 35.3 million RMB (in perspective, Forever Enthralled opened with 42.2 million RMB, and Painted Skin opened with 40 million RMB, though both opened just before holiday periods), and McDull opened with 33 million RMB, which breaks the record set by Chinese animated film Pleasant Goat and Big Big Wolf for the opening of an animated film. Supposedly.
Meanwhile, even though the Chinese comedy One Night in Supermarket made only about 8 million RMB in its first week, it’s been packing shows in certain areas, prompting theater owners to call it the next Crazy Stone. Areas like the Southern region of Guangdong, where comedies from the north like this one don’t do too well, is even starting to add shows.
- In Japan, no newcomer really challenged the existing films, so everything stays the same, except Ice Age 3 flops with a debut at 10th place on the admission ranking chart. At least it replaced Transformers 2. Now we know at least two things about the Japanese market: They don’t buy into the 3D thing, and they don’t buy into Americans messing with their franchises. Wait, does anyone know how the Hollywood take on Godzilla did in Japan?
And since I said I don’t do box office reports that don’t quote sources, I will refrain from looking at blogs that report numbers without sources. Not even Japanese ones.With eight of the top ten local hits, naturally Toho is the highest-grossing distributor of Japan, especially when their hits are more moderately-budgeted films like Rookies and April Bride, even though they also have the mega-budget 20th Century Boys to take care of.
-In Summer 2009 Japanese drama ratings, I already mentioned last week that Buzzer Beat didn’t fall as badly as Kankatsu! in its second week. Kareinaru Spy now has the biggest drop of the season anyway, dropping to an 8.3% rating after the 15.6% it got for its premiere. On the other hand, Tsuyoshi Kusanagi’s Ninkyo Helper managed to bounce back a bit with a 14% for its third episode. It’s now the highest-rated drama this season so far.
Believe or not, the second highest-rated series so far this season is the 9th season of the “Wednesday Mystery” drama Kasouken no Onna, with a current season average of 15%. However, its ratings have been slipping, but if it keeps up, it will be its highest-rated season, and if Ninkyo Helper slips again, it may even be the first season to top the season average.
- As I mentioned in the Twitter, Hong Kong arthouse theater the Cine-art House, which was known for being one of HK’s only arthouse and the patience for showing limited releases for hundreds of days at a time (it still holds the record for longest period of release with the Japanese film The Yen Family, which played for 524 days.), will be officially reopened this week in the residential neighborhood of Kowloon Bay, even though it’s been operating as Cine-Art for the last two months (I saw Largo Winch there a few weeks ago). The lease is six years long, and the owner is looking to recoup its cost within 3-4 years.
Playing a mix of foreign arthouse films and commercial films, it will also be doing morning shows of older films and a Chinese film retrospective in September. After all, the Cine-Art house is own by patriotic company Sil-Metropole, who recently closed down Kwun Tong’s Silver Theater, only two subway stations away from the current Cine-Art House location.
- After Twitch wrote about a rumor involving Hong Kong director Andrew Lau taking over directorial duties on the film Bodyguards and Assassins after Teddy Chen quit/fired over disagreements with producer Peter Chan, it’s now confirmed that Lau has indeed joined the production. No details, though, about the extent of Lau’s participation or whether Teddy Chen really did return to the set, as Twitch also reported.
- The Network of Asian Fantastic Films, the projects market of the Puchon International Fantastic Film Festival, just wrapped up its second edition, with plenty of praise from its guests. Four films, two of them Korean or partly Korean, won post-production support awards.
Food for thought: Does anyone else think that these producers pulled their films out of government pressure/need to appease government position to keep their careers? Just a question, not an opinion.
- Even though the second Umizaru film was advertised as the last one yet, Fuji understandably changed their minds after it became the highest-grossing local film of the year, and the third film, featuring essentially the same damn story as the second film, will be coming in 2010. For people who called their sequel Limit of Love, they certainly don’t know what “Limit of Franchise” means.
-Hong Kong director Lee Kung-Lok, perhaps best known for My Mother is a Belly Dancer and co-directing Fu Bo with Wong Ching-Po, will be directing the romantic comedy Let’s Fall in Love in Beijing, and Hong Kong’s Sundream has now joined the list of investors, which also include China’s Polybona and Korea’s IHQ.
- Two departures to report in this entry:Malaysian director Yasmin Ahmad passed away over the weekend after suffering a stroke. At least two blogs on my rss reader has written about her passing, and they can write more and more eloquently than I ever can:
Actor Tetsuo Yamada, who was in Departures as a tough-talking widower, has passed away from cancer. His last film appearance will be in the upcoming epic The Sun That Doesn’t Set. He was 53 years old.
