Asian Film Festivals and Awards

[Lucas]

Nah.

I'm not Japanese, but "Jap" offends even me.


whitey is just funny imo. i suppose a white person could get all puffed up and pretend they would be offended, but the truth is, its just funny.

[GeneChing]

Check out the sequel to the inspiration to this thread - 2008 San Diego Asian Film Festival: Break Out the Hersheys in Southern California by Dr. Craig Reid

[Jimbo]

I'm really looking forward to seeing Black Belt. I think it's coming out before too long on DVD, perhaps released by Tokyo Shock(?).

[Hebrew Hammer]

Got my tickets for Red Cliff tonight!

[GeneChing]

If Hollywood really wants to pander to China it will...I mean, come on. Skiptrace?

China's Oscar Selection 'Xuanzang' Wins Big at Inaugural Golden Screen Awards
6:43 PM PDT 11/4/2016 by Valerie Zhou


John Li
Rob Schneider

The ceremony, presented by the U.S.-China Film & TV Industry Expo, honored the period epic in five categories, including best co-production.
The inaugural Golden Screen Awards, which specifically focuses on co-productions between the U.S. and China, took place Thursday at L.A. Live. Held by the U.S.-China Film & TV Industry Expo in partnership with the Motion Picture Association (MPA), China Film Co-Production Corporation and The Hollywood Reporter, Xuanzang was the biggest winner, receiving best co-production film, director, cinematography, actor and production design honors.

The film, which depicts the perilous journey of the legendary Chinese monk who brought Buddhism from India to China, is the latter country's official Academy Award foreign-language submission this year. “This is a great opportunity for us," said director Huo Jianqi, "but I don’t think too much about the result, as long as this film can spread the spirit of Xuanzang.”

Paula Patton, who starred in the U.S.-China co-production film Warcraft, attended the ceremony, which was hosted by Rob Schneider.

“It’s great to be in Hollywood, the entertainment capital of the world. Hollywood is proud to be an equal-opportunity spender of other people’s money,” joked Schneider in his edgy remarks. “First we took money from Germany, then from France. Then we raped Japan pretty good. Now we are delighted to take China. Bend them over, for as much money as we could steal from them.”

Other films receiving awards included Three, Mountain Cry, Skiptrace and Kung Fu Panda 3.

A complete list of winners follows:

Best Co-Production Film

Da Tang Xuan Zang

Best Director

Huo Jianqi (Da Tang Xuan Zang)

Best Screenplay

Yau Nai Hoi / Lau HoLeung / Mark Tinshu (Three)

Best Cinematography

Su Ming (Da Tang Xuan Zang)

Best Actor

Huang Xiaoming (Da Tang Xuan Zang)

Best Actress

Lang Yueting (Mountain Cry)

Best Supporting Actor

Eric Tsang (Skiptrace)

Best Supporting Actress

Fan Bingbing (Skiptrace)

Best Production Design

Wu Ming (Da Tang Xuan Zang)

Best Animation

Kung Fu Panda 3

[GeneChing]

Asian Film Awards: South Korea's 'The Handmaiden' Leads With 6 Nominations
1:35 AM PST 1/11/2017 by Karen Chu


Courtesy of CJ Entertainment

The awards ceremony will return to Hong Kong this year, after being held in Macau for the past three years, to mark the 20th anniversary of the handover of Hong Kong.
South Korea's The Handmaiden leads the Asian Film Awards nominations, unveiled Wednesday, with six nods, followed by China's I Am Not Madame Bovary and South Korea's Train to Busan, each with five.

The Handmaiden, directed by Park Chan-wook, was nominated for best supporting actress, best newcomer, best screenplay, best editing, best costume design and best production design. But it missed out on nominations in the best film and best director categories.

Chinese director Feng Xiaogang, who won the Golden Horse Award for best director last November, saw his social satire I Am Not Madame Bovary garner best film and best director nominations, as well as nods for best actress for Fan Bingbing, best supporting actor for Dong Chengpeng/Da Peng and best cinematography.

South Korean blockbuster zombie hit Train to Busan also received five nominations, including nods for Gong Yoo for best actor, Ma Dong-seok for best supporting actor, best editing, best costume design and best visual effects.

Overall, 34 films from 12 countries were nominated in 15 categories this year. Among those, 21 films that are from China or are Chinese co-productions were nominated, followed by 20 from South Korea.

The best film category is a race between The Wailing and The Age of Shadows, both from South Korea, Harmonium from Japan, Godspeed from Taiwan and I Am Not Madame Bovary from China.

In addition to Gong Yoo, star of South Korea's Train to Busan, also nominated in the best actor category are Hong Kong veteran actor Michael Hui of Taiwan's Godspeed, Asano Tadanobu of Japan's Harmonium, Fan Wei of China's Mr. No Problem and Taiwanese actor Richie Jen of Hong Kong's Trivisa.

Sharing with Fan Bingbing's nomination in the best actress category is Son Ye-jin of South Korea's The Last Princess, Haru Kuroki of Japan's A Bride for Rip Van Winkle, Kara Wai of Hong Kong's Happiness and Charo Santos-Concio of the Philippines' The Woman Who Left.

The jury will be presided over by Chinese director Jia Zhangke as jury president, while Hong Kong actress Karena Lam has been named the celebrity juror. Taiwanese actor Cheng Jen-shuo is the first student ambassador of the Asian Film Awards Academy.

Marking the 20th anniversary of the handover of Hong Kong to China, the Asian Film Awards will return to Hong Kong after being held in Macau for the past three years. The awards ceremony will be held at the Hong Kong Cultural Centre on March 21.

Asian Film Awards Nominations:

Best Film
The Wailing (South Korea)
The Age of Shadows (South Korea)
Harmonium (Japan)
Godspeed (Taiwan)
I Am Not Madame Bovary (China)

Best Director
Na Hong-jin, The Wailing
Koji Fukada, Harmonium
Derek Tsang, Soul Mate
Feng Xiaogang, I Am Not Madame Bovary
Lav Diaz, The Woman Who Left

Best Actor
Michael Hui, Godspeed
Gong Yoo, Train to Busan
Asano Tadanobu, Harmonium
Fan Wei, Mr. No Problem
Richie Jen, Trivisa

Best Actress
Son Ye-jin, The Last Princess
Fan Bingbing, I Am Not Madame Bovary
Haru Kuroki, A Bride for Rip Van Winkle
Kara Wai, Happiness
Charo Santos-Concio, The Woman Who Left

Best Supporting Actor
Jun Kunimura, The Wailing
Ma Dong-seok, Train to Busan
Ayano Go, Rage
Dong Chengpeng/Da Peng, I Am Not Madame Bovary
Lam Suet, Trivisa

Best Supporting Actress
Elaine Jin, Mad World
Moon So-ri, The Handmaiden
Maeda Atsuko, The Mohican Comes Home
Shabana Azmi, Neerja
Lynn Xiong, See You Tomorrow

I'm way behind on my Asian films. The only nom I've seen here is Neerja, which I watched because the director is doing a Bodhidharma web series next. I will review that there later, perhaps.

Will Xuanzang make the Oscar cut?

It did not.

[GeneChing]

Indies, Newcomers Dominate Hong Kong Film Award Nominations

Patrick Frater
Asia Bureau Chief


COURTESY OF MEDIA ASIA
FEBRUARY 7, 2017 | 10:23PM PT
Movies with the strongest local themes dominated the nominations for the Hong Kong Film Awards, with first feature “Soul Mate” by actor director Derek Tsang (aka Tsang Kwok-cheung) emerging on top.

Nominations were announced Tuesday ahead of a ceremony set for April 9, shortly before the beginning of the 41st Hong Kong International Film Festival. Last year the best film was “Ten Years,” a futuristic imagining of Hong Kong under increasing Chinese influence was the controversial winner.

“Soul Mate” garnered 12 nominations (including best film, best director and best new director for Tsang). Hong Kong crime thriller “Cold War 2” claimed ten nominations.

Behind it, “The Mermaid,” Stephen Chow’s eco fantasy which a year ago broke box office records in mainland China and Hong Kong, earned eight nominations. That put it on a par with Hong Kong indie films “Weeds on Fire” and “Mad World” also with eight nominations. “Trivisa,” which boasts three aspiring directors, collected seven. “Trivisa” was recently named as best film by the Hong Kong Film Critics Society.

2017 Hong Kong Film Awards Nominations

Best film
“Soul Mate,” “Trivisa,” “The Mermaid,” “Weeds on Fire,” “Cold War 2”

Best director
“Trivisa,” “The Mermaid,” “Soul Mate,” “Three,” “Mad World”

Best screenplay
“The Mermaid,” “Mad World,” “Cold War 2,” “Trivisa,” “Soul Mate”

Best actor
Tony Leung Ka-fai (“Cold War 2”,) Gordon Lam (“Trivisa”,) Francis Ng (“Shed Skin Papa”,) Richie Jen (“Trivisa”,) Shawn Yue (“Mad World”)

Best actress
Tang Wei (“Book of Love 2”,) Zhou Dongyu (“Soul Mate”,) Ma Sichun (“Soul Mate”,) Kara Wai (“Happiness”,) Nina Paw (“Show Me Your Love”)

Best supporting actor
Eric Tsang (“Mad World”,) Ng Man-tat (“The Menu”,) Liu Kai-chi (“Weeds on Fire”,) Philip Keung (“Trivisa”,) Paul Chun (“Book of Love”)

Best supporting actress
Fish Liew (“Sisterhood”,) Janice Man (“Cold War 2”,) Kitty Zhang (“The Mermaid”,) Charmaine Fong (“Mad World”,) Elaine Jin (“Mad World”)

Best new performer
Jelly Lin (“The Mermaid”,) Tony Wu (“Weeds on Fire”,) Jennifer Yu (“Sisterhood”,) Hedwig Tam (“Weeds on Fire”,) James Ng (“Happiness”,)

Best cinematography
“Cold War 2,” “Soul Mate,” “Three,” “See You Tomorrow,” “Weeds on Fire”

Best film editing
“See You Tomorrow,” “Trivisa,” “Operation Mekong,” “Cold War 2,” “Soul Mate”

Best art direction
“Sword Master,” “The Mermaid,” “Soul Mate,” “See You Tomorrow,” “The Monkey King 2”

Best costume and make-up design
“See You Tomorrow,” “League of Gods,” “Soul Mate,” “Sword Master,” “The Monkey King 2”

Best action choreography
“Operation Mekong,” “Cold War 2,” “Sword Master,” “Call of Heroes,” “The Monkey King 2”

Best original film score
“Weeds on Fire,” “See You Tomorrow,” “Soul Mate,” “Mad World,” “Cold War 2”

Best original song
“Soul Mate,” “The Mermaid,” “Weeds on Fire,” “Happiness,” “See You Tomorrow”

Best sound design
“Sword Master,” “See You Tomorrow,” “The Monkey King 2,” “Cold War 2,” “Operation Mekong”

Best visual effects
“The Mermaid,” “Operation Mekong,” “Sword Master,” “Cold War 2,” “The Monkey King 2”

Best new director
“Mad World,” “Soul Mate,” “Line Walker,” “Happiness,” “Weeds on Fire”

Best film from mainland China and Taiwan
“Godspeed,” “Chongqing Hot Pot,” “The Road to Mandalay,” “Mr Six,” “I Am Not Madame Bovary.”

The Mermaid
Sword Master
Call of Heroes
The Monkey King 2

[GeneChing]

San Diego Asian Film Festival 2017: A Villainess, Hustler with Stress and a Cop Under Duress by Dr. Craig Reid



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[GeneChing]

Shadow by Zhang Yimou is picking up buzz. It impressed at the Venice (technically not among the Asian Film Festivals and Awards but I'm copying this there anyway). Eager to see how it does at TIFF.

SEPTEMBER 6, 2018 / 2:28 PM / UPDATED 15 HOURS AGO
Zhang Yimou unleashes Shakespearean martial arts epic in Venice
Hanna Rantala
2 MIN READ

VENICE, Italy (Reuters) - Zhang Yimou, the Chinese director of “The Great Wall”, “The House of Flying Daggers” and “Raise the Red Lantern”, brought a Shakespearean martial arts epic to Venice on Thursday where he was awarded for his contributions to filmmaking.

Set in a royal court of ancient China, “Ying” (“Shadow”) is the story of a man who acts as a body double for the king’s military commander as he must choose whether to keep the peace or declare war on a rival city state.

“In Chinese culture there must have been numerous cases where body doubles were used but their stories have not been told, certainly not in Chinese cinema, so I have wanted to do that for many years,” said Zhang, who also directed the opening and closing ceremonies for the 2008 Beijing Olympics.


The 75th Venice International Film Festival - Photocall for the out of competition film "Ying" (Shadow) and for Jaeger-LeCoultre Glory to the Filmmaker Award - Venice, Italy, September 6, 2018 - Director Zhang Yimou receives Jaeger-LeCoultre Glory to the Filmmaker Award. REUTERS/Tony Gentile

Actor Zheng Kai, who plays the king in “Shadow” as a man at the center of court intrigue in the mould of Macbeth or King Lear, described the role as a step up from his appearance in “The Great Wall”, Zhang’s 2016 film that starred Matt Damon.

“The last time I was the man standing beside the king ... and this time I am the king. So it’s kind of a promotion for me,” Zheng said.

Director Zhang has worked female stars such as Gong Li and Zhang Ziyi, and in “Shadow”, he cast Guan Xiaotong as the king’s sister who refuses to be treated as his property.

“Guan’s character represents a type of a role of a younger woman, a young woman of today (a) character who calls the shots. Her fate is not decided by the games played by men, she follows her own interests to assert her dignity,” Zhang said in an interview.

Zhang, who has won two Golden Lions at the festival in the past, was given the Jaeger-LeCoultre Glory to the Filmmaker Award whose previous recipients include Al Pacino, Spike Lee and Sylvester Stallone.

“Every time I come back to Venice it’s like coming home,” he said in his acceptance speech.

“Shadow” screened out-of-competition at the Venice Film Festival which ends on Saturday.

Writing by Hanna Rantala and Robin Pomeroy; Editing by Richard Chang

[GeneChing]

Hong Kong Action Legend Sammo Hung on 50 Years of Blood, Sweat and Sacrifice: “Every Nerve Ending Has to Be in Play"
5:30 PM PDT 3/17/2019 by Karen Chu


Sammo Hung at Hong Kong's House 1881

The HKIFF's 2019 "Filmmaker in Focus" looks back on his glory days, diagnoses the industry's current problems and ponders the nature of his fame as an East Asian superstar.
Sammo Hung is a name any fan of Hong Kong action cinema knows and reveres. A pillar of the Hong Kong film industry's golden age in the 1980s, Hung used his creativity and childhood training in Peking opera to craft breathtaking choreography and unforgettable physical feats on screen, reshaping action cinema worldwide.

An award-winning actor, director, studio mogul and star-maker — in addition to his personal action resume — the 67-year-old legend has been named the Filmmaker in Focus of this year’s Hong Kong International Film Festival (HKIFF). In addition to publishing a commemorative book dedicated to his work, the event will showcase 10 of Hung's seminal films — such as Eastern Condors, The Valiant Ones, Winners and Sinners and Encounters of the Spooky Kind.

Still passionate about filmmaking after a career spanning more than half a century, Hung's enthusiasm that was on full display when he sat down with The Hollywood Reporter to chat about fame, a pesky new-generation of actors, Hong Kong's action cinema tradition and cursing.

You started working in films in the 1960s, and have one of the most distinguished careers in the Hong Kong film industry. How do you feel about being named the Filmmaker in Focus at the 2019 HKIFF?

It caught me by surprise, but I’m very happy for this opportunity to let the Hong Kong audience be reminded of this fat old man who risked his life many times on film. I don’t want to boast about any contribution, but I was part of the group of people who toiled for the film industry. It makes me happy to know that the audience has a chance to remember the old days.

In the 1980s and 1990s, you helped popularized the action comedy genre, gave rise to the Chinese hopping vampire (goeng-si) sub-genre, and set up film companies that produced many Hong Kong cinema classics. Looking back, what do you see as your proudest achievement?

Not any particular one film. I’m proud of all my films. I’ve enjoyed great success in many different genres. I have been very blessed to have so many ideas and to continuously produce successful films. I’m very thankful to the heavens for giving me the wisdom. Since the first film I directed, [The Iron-Fisted Monk (1977)], all of my films have done well. I can call it luck, but I’ve also worked very hard. So I always tell my children, “don’t blame your father for going to work making movies and not spending time with you when you were small. If I didn’t work as hard as I did, I couldn’t have given you what you have now.” You can’t have your cake and eat it. There was nothing we could do. At that time, everyone had to figure out a way to provide for their families, so that the children didn’t have to starve and suffer. Most of what we did was give physical labor — blood and sweat. We have been quite lucky.

Did you ever dream about stardom of this scale when you first started in the movies over 50 years ago?

Even now, I haven’t given much thought to superstardom. I’m still quite surprised by my fame — even now, when I go to, for example, to a rural area in Indonesia or India, some people know who I am. I never aspired to be a screen hero, all I ever wanted was for people to respect what I do.

One year, I went to Universal Studios in Hollywood. I got there early, and was waiting at the gate. A lot of tourists were arriving, and many of them asked to take pictures with me. An elderly American couple next to us watched flummoxed, and at one point they couldn’t contain themselves anymore. So they asked, “Excuse me, what do you for a living? How come so many people are asking to take pictures with you?” I told them, “I’m a star! I’m a big movie star! But in Hong Kong!” [laughs] What I really hope is for the younger stars that I helped discover to have that kind of recognition. That’d give me comfort.

Aside from acting, you have been a director, producer, action choreographer, actor, studio owner, and founder and leader of a stunt team. Which of these roles do you think is most representative of you?

I think what describes me best is director. As a director, I can control every aspect of a film, how the actors should behave, how the story should go. I used to try and find inspirations everywhere – I would go to the airport or train station and just study people, the way they moved and interacted and their expressions. But I can’t do that now, I’d be bombarded by people with their phones — selfie requests.

You made your directorial debut in 1977. But between Once Upon a Time in China and America (1997) to The Bodyguard (2016), there was a period of almost 20 years that you didn’t direct. Why?

I didn’t like the ways things had become. It was a time when actors were so in demand, that with a call time of 8am, they’d tell you they could only arrive at noon from another job. After two hours in makeup, they’d say they’d have to leave at 4pm. There was a film I made that two actors were tied together back to back, and they didn’t actually see each other’s faces for the whole shoot because it was so rushed. I just didn’t want to deal with those kinds of situations, so I stopped directing. I have a bit of a temper. That kind of thing really ****es me off.

Also, I think it takes a sense of childlike wonder to direct films and create a story. You have to believe in it yourself. Somewhere along the way I’ve lost that.

You’ve created numerous iconic action scenes and won best action choreography at the Hong Kong Film Awards four times. Which action scene do you remember the most?

Many action scenes I’ve done were rather good. Such as The Prodigal Son (1981), Eastern Condors (1987), even the first film I directed, The Iron-Fisted Monk. Looking back, I’d say many action scenes in my films have been quite good.

Apart from receiving awards for your action work, you have been a two-time best actor winner at the Hong Kong Film Awards. Which is more challenging, the physical or the emotive aspect in acting?

It was definitely the physical, action aspect that was more demanding. Every bone, muscle, tendon, nerve ending has to be in play in an action scene. Whereas to portray emotion, it depends very much on the person you’re acting with. There were times when I acted in a scene, and it didn’t feel right no matter how I did it. Then I realized I wasn’t getting anything from the person acting opposite me; there was no connection or interaction, so the scene didn’t come together.

A large part of your career was in comedy as well, including the recent film A Lifetime Treasure (2019). What do you enjoy most about the genre?

I can’t say I particularly enjoy acting in comedies. What I really enjoy is thinking up a good gag. But it was a different time, there was no WeChat, no social media. Now once the film is released, everyone will spoil the gag on social media, so it won’t work anymore. I made a cameo in A Lifetime Treasure because I’m good friends with the director Andrew Lam, who has been in the film business for a long time. I see how the Hong Kong film industry is doing now, and Andrew’s film is a very local, Hong Kong film, so I thought I’d help out when he asked me.

continued next post

[GeneChing]

In the late 1990s, you went to the U.S. to play the lead in the CBS series Martial Law, which had the distinction of being the first prime time hit show starring an East Asian actor. What was most memorable about your U.S. career?

It was a kind of miracle for Martial Law to have happened. I played a cop from China in the series. But at the end of the day, I realized that American writers weren’t able to write the experience and existence of an immigrant cop from China living and working in the U.S.

You founded the Sammo Hung Stuntmen Association in the 1970s, which was instrumental to the global success of Hong Kong action cinema. What are your thoughts on the future of Hong Kong action filmmaking?

Look at the younger generation in Hong Kong now: Where can you find kids who would learn and practice martial arts? There will be no new generation of action stars in Hong Kong now. When we were young, we looked up to the action stars on the big screen and aspired to be them someday. We trained and practiced. And now maybe a kid practices martial arts but then becomes a salesperson, which he can be anyway without any martial arts training. There is no one for him to look up to. Kids don’t dream of becoming action stars in movies anymore.

Martial arts is still practiced in China, but if you look at Chinese martial artists, it took time for them to have a breakthrough. For example, Jet Li, he was in Hong Kong for a long time before he became a star in Tsui Hark’s films. And Wu Jing [actor-director of Chinese mega-blockbusters Wolf Warrior 2 and The Wandering Earth] had been jobbing in the Hong Kong film industry for almost two decades before he finally made it to the top.

As a local industry champion, can you share more of your assessment of the present state of the Hong Kong film industry?

The state of the Hong Kong film industry now is lousy! The local studios, they don’t want to invest in big-budget films. We used to shoot one single scene in a month; now a whole film is shot in 11 days! And we used to spend HK$2-3 million shooting in one day; now no local film has that kind of budget. I’m not saying a big budget guarantees a good film, but we really don’t have that kind of scale anymore. What we need is a good, solid Hong Kong action film, the kind that made our mark in the world in the past. No one wants to invest in those films anymore. And Chinese co-productions, we only do those because we need the Chinese market, and if we don’t co-produce with Chinese companies, we can’t show our films in China. But Chinese co-productions can’t capture the genuine essence of the Hong Kong action film, and there are too many systematic limitations with Chinese co-productions.

Do you think Hong Kong film can maintain its unique position and idiosyncrasies? How can that legacy be preserved?

It is very difficult. I truly believe the Hong Kong government should do more to help the film industry. Look at South Korea. Twenty or thirty years ago, there was no film industry there. But the South Korean government gave it a big push, and now Korean films are on the world stage and everyone is watching Korean TV dramas. The policies the Hong Kong government has set for the local film industry, like when they give HK$2 million [for first-time directors to make a feature film, which recently was raised to HK$5.5 million] – what kind of film can be made with only HK$2 million? They are spending millions on events like the film festival, which is a very good thing, but if they don’t help preserve the Hong Kong film industry, they might as well give those millions to buy lunchboxes for the poor. Hong Kong cinema represents us.

The Hong Kong government announced an injection of HK$1 billion into the Film Development Fund, do you think that would help?

It depends on how they use that money. I’d say they should give me HK$300 million to make a film [chuckles].

With your experience in the film industry, have you taken up any advisory role for the Hong Kong government, such as for the Film Development Council?

No one has asked me, and I’m not sure if I’d want to. I’d only curse at people, and point out whatever is wrong today. I wouldn’t want to be like a nagging old lady, complaining all the time.

Do you blame the audience for their lack of interest in local films?

No, I don’t. If a film is bad, you can’t force people to go see it. What can you do, beat them with a stick?

You have cut down your film work in recent years, and have said that you enjoy spending time with your grandchildren. Do you plan to retire completely?

As long as I can still think, eat, sleep, walk, and be useful, I don’t think about retiring. I have the gifts of being able to think, eat, sleep, walk, and those are gifts from heaven, so I wouldn’t want to waste them and say I quit.

Have you thought about what you’ll share with the public at the Filmmaker in Focus seminar?

I’ll curse and swear at them [deadpans, then laughs].

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[GeneChing]

Hold the phone here...The Last Samurai is NOT Kurosawa.

...unless it's the Mifune documentary, in which case it's related.

MARCH 22, 2019 1:51AM PT
Beijing Festival Unveils ‘Max Max,’ ‘Bourne,’ Kurosawa Screening Series
By REBECCA DAVIS


CREDIT: VILLAGE ROADSHOW/KOBAL/REX/SHUTTERSTOCK

The upcoming Beijing International Film Festival will give space to high profile Hollywood franchise movies with screenings of all films in both the “Mad Max” and “Bourne Identity” series. Classic Hollywood fare will also feature prominently in a line-up that, as usual, features an eclectic grab bag of titles.

The local government-backed festival opens April 13 and runs through April 20.
The list of films nominated in the festival’s competition section and jury members has not yet been released. Winners of the Tiantan (“Temple of Heaven”) Award will be announced at the closing ceremony.

Since this year is the 70th anniversary of the People’s Republic of China, the theme of both the opening and closing ceremonies will be “home and country,” the festival said on its website, so as to make the event “a birthday blessing for the motherland.”

This gift is so far scheduled to include “Mad Max” (1979), “Mad Max 2” (1981), “Mad Max: Beyond Thunderdome” (1985), and “Mad Max: Fury Road” (2015), which never received a China release, as well as all five “Bourne” films starring Matt Damon. Damon is popular in China having starred in Zhang Yimou’s “The Great Wall,” the most ambitious China-U.S. co-production to-date, and “The Martian.”

The line-up also includes a number of old Hollywood films such as “Gone with the Wind” and John Ford’s 1939 “Stagecoach,” as well as a selection of French New Wave titles including Agnes Varda’s “Cleo from 5 to 7” (1962) and Eric Rohmer’s “Pauline at the Beach” (1983). There will also be tributes to Akira Kurosawa (“The Last Samurai,” “Ras****n”) and films of works by beloved wuxia novelist Louis Cha, known by his penname Jin Yong, who passed away in October, including Wong Kar-Wai’s “Ashes of Time.”

A “Belt and Road” themed section is so far said to feature six Indian titles, including Netflix’s 2018 “Love Per Square Foot,” three Indonesian titles, and a number of festival films. These include drug crime thriller “Birds of Passage,” which was Colombia’s Oscar entry this year, Paraguay’s “The Heiresses,” and Peruvian drama “Retablo,” which both screened at Berlin in 2018. Also in the line-up are Iranian drama “3 Faces,” which was selected to compete for the Palme d’Or at Cannes in 2018 and won for best screenplay, and Italy’s Oscar entry “Dogman,” which faced off with the former on the Croisette, winning best actor.

The Beijing festival has recruited 200 fans to attend the opening and closing ceremonies, staying within designated zones, at the venue an hour’s drive outside of central Beijing. The top criterion for selection is that participants “adore the motherland and obey the law.”

[GeneChing]

This year marks the 20th. READ San Diego Asian Film Festival 2019: Martial Arts Bits and Pieces All Over by Craig Reid



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[GeneChing]

JUNE 14, 2019 3:41AM PT
Shanghai Film Festival Abruptly Pulls Opening Film ‘The Eight Hundred’
By PATRICK FRATER
Asia Bureau Chief


CREDIT: BAI XIAOYAN/HUAYI BROS.

The Shanghai Film Festival has abruptly yanked its opening movie, the $80 million patriotic war drama “The Eight Hundred,” on the eve of the fest’s kickoff, Variety has confirmed.

The cancellation of the Saturday premiere was made for unspecified “technical reasons,” which is often a euphemism for censorship problems, although a source close to the project told Variety that that is not the issue in this case and that the film had successfully passed the content censorship stage. “Technical reasons” were also cited in the withdrawal of Zhang Yimou’s “One Second” from the Berlin Film Festival in February.

While Chinese authorities have withdrawn films from other film festivals – two were pulled from the Berlinale, including “One Second” – it’s unusual for a Chinese-made film to be yanked from a Chinese festival.

“The Shanghai International Film Festival opening film screening of ‘The Eight Hundred’ originally planned for June 15 has been canceled due to technical reasons,” the festival said. “For the inconvenience this brings to all the guests and media, we respectfully hope you can understand and hope everyone will continue to support us.”

“The Eight Hundred,” from well-established studio Huayi Bros., is directed by Guan Hu (“Mr. Six”) and centers on the sacrifice of a ragtag group of Chinese soldiers in 1937 Shanghai as imperial Japanese troops advanced. The theme would appear to be in keeping with the patriotic message that the Beijing regime wants to promulgate this year to mark the 70th anniversary of the founding of the People’s Republic.

But the source close to the film said that “The Eight Hundred” might have fallen victim to political concerns not directly related to censorship – namely, the Chinese government’s wish not to antagonize Japan at the moment. The two countries are currently on good terms even as China and the U.S., Japan’s main ally, escalate their trade war.

“The Eight Hundred” was expected to have been a showcase for China’s growing filmmaking prowess. Among several firsts, it is the first film to have been substantially shot with Imax digital cameras. The technical crew on the film features a mixed Chinese and international team, including Chinese cinematographer Cao Yu (“Kekexili,” “Legend of the Demon Cat”), American action director Glenn Boswell (“The Matrix,” “I, Robot”), original music by the U.K.’s Rupert Gregson-Williams (“The Crown,” “Aquaman,” “Wonder Woman”), and Oscar-nominated visual effects supervisor Tim Crosbie (“X-Men: Days of Future Past”) of Australia.

“The Eight Hundred” has been picked up for North America by CMC Pictures in a deal announced at Cannes. It has also sold to several other Asian countries, and to the U.K. and Germany. After its Shanghai festival screening, it was due to be released in Chinese theaters July 5.

THREADS
The Eight Hundred
Asian Film Festivals and Awards

[GeneChing]

With this post, I'm breaking the Shanghai International Film Festival into its own indie thread, separate from our Asian Film Festivals and Awards thread.

ASIA JUNE 15, 2019 6:59AM PT
Shanghai Festival Defies Gloom to Open on Upbeat Note
By PATRICK FRATER and REBECCA DAVIS


CREDIT: SIPA ASIA/SHUTTERSTOCK

The Chinese film industry may not yet have emerged from a “cold winter” production freeze, nor its box office kept pace with 2018. But but those inclement elements did not put a chill on the pageantry at the Shanghai International Film Festival.

The opening ceremony for the festival’s 22nd edition went ahead Saturday with the usual red carpet parade, and with the habitual speeches and formalities. But it did so without the scheduled world premiere screening of Guan Hu’s “The Eight Hundred.”

News that the historical war film had been cancelled “for technical reasons” was abruptly circulated just 24 hours earlier — too late for the festival to arrange another new film to take its place. The screening of the second opening film, Chinese drama “Beautiful Voyage,” went forward as planned.

The usual inclement seasonal weather, known locally as “plum rains” held off, permitting a red carpet parade that showcased mainland and Hong Kong stars, top local film makers, and the international jury, headed by Turkey’s much decorated auteur Nuri Bilge Ceylan.

Officials, jury members and stars were called on to praise the festival and its achievements.

The Shanghai Intl Film festival has become “a calling card for the city of Shanghai” and “one of the most influential film festivals in Asia” said Ying Yong, Mayor of Shanghai

“When I look at the previous presidents, it’s a rich history of film, and the great achievements they’ve made in film history and the artistic life they’ve given to the Golden Goblet trophy make me feel really honored,” said Ceylan.

Top Chinese actress Tang Wei as well as stars Shu Qi and Lu Han, who star together in the upcoming sci-fi blockbuster”Shanghai Fortress,” were on hand to present a medley of trailers for the competition films. “After shooting Shanghai Fortress, whenever we come to the city we feel quite emotional and like we should be on a mission,” joked Lu. Other presenters included Wu Jing (Wolf Warrior II”), while Zhang Ziyi (“House of Flying Daggers”) graced the stage in a white gown to present her new film “The Climbers.”

Earlier, the team from “Wild Goose Lake” including actor Liao Fan and Gui Lun Mei were red carpet rock stars. They performed the film’s dance routine on the runway to the tune of “Rasputin.”

Bona Film Group founder and chairman Yu Dong brought with him the biggest entourage of the evening, including producers and talent from two of Bona’s upcoming movies: “The Rescue” and “The Bravest.” “Rescue” director Dante Lam and producer Cindy Leung accompanied star Eddie Peng.

Others on the carpet included producer Terence Chang, “Skyfire” actress Hanna Quinlivinn, producer Ellen Eliasoph, Hong Kong actor Nick Cheung, and actress and Shanghai festival juror Zhao Tao.