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Asian Cinema at the Melbourne International Film Festival 2014

It’s MIFF time, everyone! The venerable Melbourne Film Festival has released their program for this year’s event, and as always it’s crammed with cinema from Asia, from horror classics from Hong Kong (which have their own stream this year, A Perfect Midnight: Haunted Hong Kong) to gritty noir or modern arthouse.

Read on for our rundown of the features from Asia (don’t forget there are some great shorts and documentaries, too) screening this year, and you can find the … (read more)

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This week in cinemas: ‘Aberdeen’ (Hong Kong)

In Australian cinemas this week is a bit of a change of pace from Hong Kong director Edmond Pang Ho-cheung, after 2012’s adult-film industry comedy Vulgaria. His newest film Aberdeen is a quieter family “dramedy” — I still find it hard to type that particular term — focusing on the ups and downs of a typical Hong Kong family.

It’s got a killer cast of HK veterans, starting with Louis Koo, Eric Tsang, Miriam Yeung, Gigi Leung, Ng Man-tat … (read more)

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Will You Still Love Me Tomorrow? (2013)

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If you enjoyed the award-winning debut feature of writer/director Arvin Chen’s Au Revoir Taipei from a couple of years back, then chances are you will like his second feature length venture from last year, Will You Still Love Me Tomorrow? The same quirky, rom-com qualities are reused here somewhat, but his growth as a director is noticeable as he continues to experiment with new elements in this latest film. Accompanied by a beautiful musical score by Wen Hsu (the same … (read more)

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The Raid 2: Berandal (2014)

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Three years ago, director Gareth Evans’ second film, The Raid arrived in Aussie cinemas with a bang. It’s the first Indonesian film I can remember ever getting a wide release here (and in North America, where it was first retitled The Raid: Redemption and given a soundtrack workover), and it won a great deal of attention from critics and dyed-in-the-wool action cinema fans. Evans had managed to craft a taut, focused genre film fusing well-trodden Hollywood tropes with the harder … (read more)

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Ilo Ilo (2013)

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Based on the director’s own childhood memories and experiences, Ilo Ilo is a low-key and intimate look at family life in the age of modernization in Singapore, in the midst of the late 1990s’ Asian Financial Crisis. It tells the story of Terry, a domestic worker from the province Ilo Ilo in The Philippines and her adjustment to her host environs and new life as a maid in a middle class household, hired by fulltime working parents to mind their … (read more)

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Like Father, Like Son (2013)

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Kore-eda is in my very humble opinion the most sensitive and humane filmmaker working in Japan today. His body of work is relatively small, but each film has been the product of a quiet and unassuming story-telling genius that rather than exploits people’s ugliness imbues them with the possibility of hope and redemption. He plumbs emotional depths in a way that exposes the human soul as achingly beautiful; his insight is both gentle and unflinching, and his deft, minimalist handling … (read more)

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Trishna (2011)

Trishna opens nationwide on May 10, 2012 — check your local cinema for details.

Trishna is a contemporary adaptation of Thomas Hardy’s novel Tess of the d’Urbervilles from English director Michael Winterbottom, with quite a change of scenery. It transplants the story to India, swapping industrial England for rural Rajasthan and urban Mumbai as India modernises.

Freida Pinto (who made her film debut in Danny Boyle’s Slumdog Millionaire) plays Trishna, a young woman living in with her family in … (read more)

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Arrietty (2010)

Arrietty, the most recent release from Studio Ghibli, is released in cinemas nation-wide on the 12th of Jan, 2012.

Recently, Studio Ghibli seems to have turned to more non-Japanese inspiration for their particular and delightful brand of animated features – Howl’s Moving Castle was based on books by British author Diana Wynne Jones and Tales from Earthsea was of course drawn from the series by American author Ursula Le Guin. In both cases, Ghibli saw in these stories something that … (read more)

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