- Korean Film Festival in Australia 2014
- This week in cinemas: 'The White Haired Witch of Lunar Kingdom' (China, 3D)
- This week in cinemas: 'Snowpiercer' (South Korea)
- Asian Cinema at the Melbourne International Film Festival 2014
- This week in cinemas: 'Z Storm' (Hong Kong)
- This week in cinemas: 'The Lunchbox' (India)
- This week in cinemas: 'The Breakup Guru' (China)
- JFF Encore, July
Reviews by Country
Making the leap beyond regional borders for Asian filmmakers is not as easy as it sounds. The road to global domination, particularly with an assist from the Hollywood marketing machine is littered with the broken, bitter careers of many an auteur. For every Ang Lee there are countless Ringo Lams and John Woos. Added to that pile in the last little while are Kim Jee-woon (A Bittersweet Life, I Saw the Devil), whose underrated The Last Stand… (read more)
Jia Zhangke is almost bulletproof. He’s attained a status akin to Wong Kar-wai or Michael Haneke wherein critics fall all over themselves to fawn over the brilliance and daring of their Art and anyone who disagrees is a Hollywoodised philistine. What many people — writers, academics, occasionally filmgoers — forget is that movies are the Shakespeare of our time: mass entertainments that may have a deep message for those seeking it. The key there is “mass”, and if no one’s … (read more)
As if we needed confirmation that Jackie Chan has been drinking Beijing’s Kool-Aid, the one-two punch of his recent remarks in the Hong Kong media and the ghastly and cynical CZ12 should put any queries to rest. Right before the film was released, Chan started shooting his mouth off about how Hongkongers complain too much and about how they’re just too quick to exercise their right to free speech and protest. He suggested the government look at putting some kind … (read more)
A solitary man in a white fedora weaves his way among dozens of nameless fighters as a silver rain cascades down around them. The slick street is illuminated by a single lamp, which casts off an ethereal glow. A blur of fists erupts and the bodies start to fall — elegantly in slow motion. We hear a comment that summarises the martial arts in two words: horizontal and vertical. Whoever remains standing, wins. The solitary man walks into the rain … (read more)
Many moons ago, pro-exploitation producer-director Wong Jing and actor Chow Yun-fat hit box office and entertainment pay dirt when they teamed up for God of Gamblers. That film’s pulpy action comedy was a silly delight, and proved Wong, something of a Roger Corman for Hong Kong, had the ability to crank out popular hits that didn’t always involve jiggling boobies. It lightened up Chow’s image among niche viewers outside Hong Kong (he was best known to that point for … (read more)
A professor runs afoul of Korea’s intensely partisan and nepotistic judicial system when he’s accused of assaulting a judge. With the help of an alcoholic, partially washed-up labour lawyer, the professor unravels a conspiracy worthy of a John Grisham thriller.
A mysterious man tells a group of scholars at a remote historical site the story of two generals, once friends and allies, who wrestled for control of the throne in a long and bloody game of chess — literally and figuratively — during the last days of the Qin Dynasty.
Headshot screens at the Sydney Film Festival on June 13 & 14. Check the festival schedule for times.
Pen-ek Ratanaruang has always been a bit of a philosopher. When he burst onto the scene with the high octane comedy of errors crime caper 6ixtynin9 it looked like he was setting himself up to be the next Tarantino/Rodriguez/Park-type urban thriller auteur. That didn’t happen. Last Life in the Universe and Invisible Waves and Nymph happened, and it looked like he was … (read more)