Posts tagged ‘3rd i south asian film festival’

What Goes On: Taiwan Film Days and Third I South Asian Film Festival

Contemplating Asian film, Celluloid Man, 2013

Contemplating Asian film, Celluloid Man, 2013

Besides Krrish 3, Hrithik Roshan’s latest superhero blockbuster opening today, there’s more joy for Asian film fans in the Bay upcoming over the next couple weeks. Taiwan Film Days at the San Francisco Film Society opens this weekend (Nov. 1-4) and the Third I South Asian Film Festival starts up next Wednesday, Nov. 6. Both are great chances to catch Asian movies on the big screen that may not pass this way again.

Taiwan Film Days is the fifth installation of the SFFS’s weekend-long focus on movies from the island nation that’s got one of the hottest national cinemas around these days. In the past five years or so the ROC has been exporting blockbusters such as Cape No. 7, Seediq Bale, and You Are The Apple of My Eye, and this year’s SFFS series reflects Taiwan’s growing commercial film industry.

Romcom, Taiwan style, Apolitical Romance, 2013

Romcom, Taiwan style, Apolitical Romance, 2013

Apolitical Romance (dir. Hsieh Chun-Yi, 2013) is a cute romcom with a twist. With its  adherence to genre conventions, including opposites-attract lead characters and a wacky supporting cast including deaf old men, tattooed gangsters, and charming seniors, the film could be Billy Crystal and Meg Ryan all over again except for the film’s ongoing banter about Chiang Kai-Shek and the PRC liberating Taiwan. The movie focuses on a geeky Taiwanese man (Bryan Chang Shu-hao, here toning down his idolness) paired with a street-smart mainland chick (Huang Lu with a definitive Beijinger accent) who meet cute at a dumpling stand and pair up to help each other with their respective life dilemmas—he needs to rewrite a manual about PRC culture for his job, she’s searching for her grandmother’s old flame who has been out of contact since before the 1949 Chinese revolution. In true sassy-girl fashion she’s bossy and brusque and he’s mousy and passive and the story centers around their personality clashes as they trek around town, which gives the film an excuse to visit lots of nice Taipei scenery. Bright, shiny, and formulaic, the movie gets a lot of mileage from compare-and-contrast cultural references including the differences between putonghua and Taiwanese and the KMT and the CCP, but the ultimate focus of the film isn’t straight-up politics. In fact, the mild and fleeting references to fraught history between the PRC and Taiwan, as well as to Taiwan’s history of internecine political turmoil which resulted in thousands of people imprisoned, tortured, and dead, may rub some people the wrong way, but maybe making jokes about it is a coping mechanism to deal with the ongoing cross-straits conflict. Or maybe the whole plot is a clever metaphor for the disruptions of the lives of the millions of displaced Chinese and Taiwanese affected by war and exile.

Something terribly terribly wrong, Soul, 2013

Something terribly terribly wrong, Soul, 2013

Soul, (dir. Chung Mong-hong, 2013) is Taiwan’s foray into the creepy psychological thriller sweepstakes. A young man (good-looking Joseph Chang from GF:BF) collapses at his job and during his recovery at his father’s remote hillside farm he begins to exhibit disassociative personality traits including murdering people.. The movie follows a strange course of events that are linked to the son’s possible supernatural possession. The deadpan father (Jimmy Wang Yu, the one-armed boxer of yore) also acts in an equally inexplicable behavior, covering up and abetting his son’s crimes. The film attempts to shock and disturb the viewer but its placid and only intermittently violent narrative, intercut with artsy shots of suffering fish and insects and filled with long, obtuse, expository monologues and languid and deliberate pacing and editing, lacks any real visceral punch.  The movie has some lovely cinematography and the film is Taiwan’s official entry for the foreign-language Oscar, so it’s got a high-gloss sheen to it, but ultimately it’s filled with a lot of pretty images that don’t overly advance the plot. Joseph Chang is unreadable as the possessed son while Jimmy Wang Yu as the expressionless dad manages some level of menace in his opaque performance. Although the movie hints at an uncanny movitivation for the course of events, there’s no real explanation for why the father and son behave the way that they do unless, in the best tradition of hillbilly slasher movies, they’re just psychopaths.

Archival, Celluloid Man, 2013

Archival, Celluloid Man, 2013

The Third I South Asian Film Festival includes a whole slew of the latest independent films from India, Pakistan, Sri Lanka, and the diaspora. Celluloid Man, (dir. Shivendra Singh Dungarpur, India, 2012) is an exhaustive profile of PK Nair, Indian film preservationist par excellence and the person who saved much of that country’s film heritage by founding the National Film Archive of India. The film contains some great footage of rare and classic Indian films, while recounting Nair’s deep and personal involvement (apparently to the detriment of his family life) with film preservation on the subcontinent. Some of the most stunning footage isn’t from classic Indian movies, though, but of film emulsion being stripped from its celluloid backing in order to salvage the silver from the silver nitrate, a practice that lead to hundreds of prints of historically significant Indian films such as Alam Ara, India’s first talkie, being lost forever. The film in many ways is a lament for the lost legacy of Indian cinema, despite Nair’s best efforts to preserve it.

In following Nair’s life story the documentary also traces the significance of the film archive and how it brought world cinema to both film scholars and to the masses. In one great clip a pair of farmers in a South Indian village profess their admiration for Kurosawa and De Sica, a direct result of Nair’s efforts to introduce classic films to everyday Indians. The film looks gorgeous, as it was shot by an ensemble of eleven different cinematographers that includes some of India’s most reknowned DPs, all of whom wanted to participate in documenting Nair’s contributions to Indian film history.

Body issues, Ship of Theseus, 2013

Body conscious, Ship of Theseus, 2013

Closing out the festival is Ship of Theseus (dir. Negin Singh, India, 2013) an intriguing film that intertwines three stories of the results a transplant (cornea, liver, kidney) from the same deceased donor and the implications of each transplant. The film examines the moral, ethical, spiritual, and economic repercussions of modern medical advances, looking at animal testing, karma, creativity, and the question of who has the privilege of purchasing life over death. The title refers to Theseus’ Paradox, first posited in the 1st century by Plutarch, in which all of the planks comprising the deck of the ship of the Greek hero Theseus were eventually replaced by new timber. Is the ship then the same ship? Hobbes then expanded the question to ask, if those same timbers were used to build another ship, which ship then was the ship of Theseus? The film updates the paradox to contemporary times by looking at the effect of organ transplants and the effects of these and other modern medical advances.

In the first segment of the film, a reknowned blind photographer receives a new set of corneas and begins to lose her creative edge. The second segment follows a monk and animal-rights activist with cirrosis of the liver who must decide whether or not to have a liver transplant, which is contrary to his ethical beliefs. The final segment involves a young stockbroker who stumbles on an organ-theft ring and who then attempts to rectify the effects of this criminal activity.

Ship of Theseus includes gorgeous cinematography, excellent performances, and a thought-provoking story structure. It’s a fascinating and unique examination of the results of the breakneck pace of scientific advances intersecting with age-old dilemmas of human existence.

Taiwan Film Days
November 1–3, 2013
Vogue Theatre
3290 Sacramento Street
San Francisco CA

3rd i 11th San Francisco International
South Asian Film Festival

Nov 6-10, New People Cinema, San Francisco; Nov 16. Aquarius Theater, Palo Alto

November 1, 2013 at 6:19 pm Leave a comment

I Want Candy: Hong Kong Cinema & the 3rd I South Asian Film Festival

Lau Ching-Wan, badass, The Longest Nite, 1997

This weekend the Bay’s got another embarrassment of filmi riches from a pair of dueling Asian film festivals. This year’s editions of Hong Kong Cinema, and the 3rd I South Asian Film Festival both offer a ton of tasty movie treats.

The 3rd I festival, which starts Sept. 18, runs six days and features over 20 films from 9 different countries including India, Pakistan, Bangladesh, Sri Lanka, The Maldives, Canada, South Africa, UK and USA. Among the highlights is Jaagte Raho (Stay Awake), from 1956, starring my new favorite actor Raj Kapoor and co-directed by Amit Maitra and famous Bengali theater artist Sombhu Mitra. Jaagte Raho’s story follows Kapoor as a thirsty man from the country that arrives in the city longing for a drink of water. He ends up trapped in an apartment block where he’s mistaken for a thief, spending a long, sleepless night being relentlessly chased by the misguided tenants. As he hides out in various apartments he discovers the corruption and deceit amongst the residents, with adultery, gambling, drunkenness, counterfeiting, greed, and theft among their unsavory traits.

Raj Kapoor, sacrificial lamb, Jaagte Raho, 1956

Although his earlier films featured him as an angsty young romantic lead, in Jaagte Raho Raj Kapoor iterates his naïf-in-the-big-city persona that he repeated many times in his later years. Here he’s all wide eyes and pleading gestures as the country bumpkin, a stark contrast to the duplicitous, licentious lot pursuing him.

Raj and Motilal, tippling, Jaagte Raho, 1956

This is great stuff, sly and satirical, that cleverly exposes the hypocrisy of the corrupt tenants. It’s shot in shimmering black and white with a crack soundtrack with lyrics by Shailendra and music by Salil Choudhary, including the rollicking drunken ramble Zindagi Khwaab Hai. The legendary Motilal is outstanding as an inebriated bourgeois who takes in the destitute Kapoor, in an homage of sorts to City Lights—however, Jaagte Raho’s booze-driven hospitality has a much more twisted outcome than does the Chaplin film. The film concludes with a lovely cameo by Nargis, once again representing the moral center of the movie. This was the final film to star Kapoor and Nargis and coincided with the breakup of their long-time offscreen affair as well, so it’s especially bittersweet to see the famous lovers together for the last time. Jaagte Raho was a box office flop when it was first released, but it’s since been recognized as a classic. Interestingly enough, along with Meer Nam Joker, which also bombed when it first came out, Kapoor cites this as his personal favorite film.

Also of note at the 3rd I festival: Decoding Deepak, a revealing look at the modern-day guru that’s directed by Chopra’s son Gotham; Runaway (Udhao), Amit Ashraf’s slick and stylish indictment of the link between politics and the underworld; Sket, which looks at a vengeful girl gang in an East London slum; the experimental documentaries Okul Nodi (Endless River) and I am Micro; this year’s Bollywood-at-the-Castro rom-com Cocktail; and the short film program Sikh I Am: Voices on Identity.

This year’s edition of Hong Kong Cinema, the San Francisco Film Society’s annual showcase of movies from the former Crown Colony, has a bunch of outstanding product. The program includes a three-film retrospective commemorating the 1997 handover: Peter Chan Ho-sun’s Comrades: Almost A Love Story, which stars Leon Lai and Maggie Cheung as friends almost with benefits from two different sides of the HK/China border; Made In Hong Kong, Fruit Chan’s debut that’s a redux of the venerable Hong Kong gangster movie and which stars the young and skinny Sam Lee in his first role; and The Longest Nite, one of Johnny To’s nastiest crime dramas, with impeccable performances by Lau Ching-Wan and Tony Leung Chiu-Wai as (of course) an immoral cop and a vicious criminal.

These three classics are hard acts to follow but several of the other films on the docket manage to hold their own. Both Pang Ho-Cheung’s Love In The Buff, an excellent romantic dramedy with Miriam Yeung and Shawn Yue as the make-up-to-break-up lovers (full review here) and Ann Hui’s most recent feature, A Simple Life, starring Andy Lau and Deanie Ip as a man and his amah, (full review here) had extended runs in San Francisco earlier this year so this may be the last chance to see then on the big screen in the Bay Area.

Sammi & Louis, bantering, Romancing In This Air, 2012

Also good is Johnny To’s new romantic comedy Romancing In Thin Air, which To co-wrote with longtime creative partner Wai Ka-Fai and the Milkyway Image team. Set mostly at a vacation lodge in an idyllic high-altitude locale in China, the story concerns two romantically wounded individuals grappling with the peculiarities of their damaged relationships. Sammi Cheng is her usual charming self as the female lead, but although he’s likeable enough, Louis Koo as a Hong Kong movie star (!) is a bit lacking in charisma and doesn’t bring a bigger-than-life sensibility or the self-effacing humor that Andy Lau or a more engaging performer might have done.

Although the plot is seems at first to be fairly straightforward, the film gradually reveals Milkyway’s trademark weirdness. The story of Sammi’s missing husband, lost in the dense high-country woods for seven years, is a bit creepy, though I do like that when the husband courts Sammi he turns into a clumsy doofus. The film also includes a very meta movie-within-a-movie conceit and makes several sly jabs at the Hong Kong film business.

Utterly illogical, Nightfall, 2012

Less good are Derek Yee’s The Great Magician, a rambling and messy movie that’s a criminal waste of Lau Ching-Wan, Tony Leung Chiu-Wai, and Zhou Xun (full review here), and Roy Chow’s Nightfall, a turgid and ridiculous film that similarly wastes good performances by Simon Yam and Nick Cheung. I really wanted to like this movie, a wannabee intense and serious thriller, not least for its slick and attractive cinematography. But despite a gripping and violent opening scene the movie has some great gaping holes in logic and alternates between chatty exposition and absurd set pieces. Still, Nick Cheung is very good as a haunted convict with anger management issues, though Simon Yam is somewhat less good as the cop unraveling the mystery. Yam doesn’t have quite the emotional depth of Francis Ng or Lau Ching-Wan and so the payoff at the end of the film is weaker than it might have been. Michael Wong is quite bad as an abusive father, with a shrill, one-note performance and his annoying habit of speaking English at the most illogical moments. I kept imagining what Anthony Wong might have done with this part. The violence is a notch more gruesome than most mainstream Hong Kong films, especially in the opening fight sequence—looks like someone’s been watching Korean movies for tips on emulating their gory tendencies.

All in all, San Francisco Asian film fans are going to have to make some hard choices this weekend—not that that’s a bad thing by any means.

3rd i’s South Asian Film Festival

September 19-23, 2012, Roxie and Castro Theaters, San Francisco
September 30, 2012, Camera12, San Jose

Hong Kong Cinema

September 21–23, 2012
New People Cinema, San Francisco

September 19, 2012 at 6:14 am 2 comments


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