Stephen Lopez was born in Quezon City in 1991, he graduated from the University of Santo Tomas in 2012 with a BA in nursing before deciding to take up a career in filmmaking. Since then, he has lived and worked in Manila as a freelance production sound recordist (his credits include Khavn's “Balangiga: Howling Wilderness”), sound designer and screenwriter for films and commercials. “Hito” was the only Filipino entry at this year's Berlinale, where it had its world premiere, and now finds its way to Vienna Shorts.

“Hito” is screening at Vienna Shorts

The film begins with two schoolgirls fighting in the dirt, in the foreground of a setting that is dominated by the presence of nuclear factories in the background. It turns out the fight is over a Walkman, with the winner being Jani, although she finds herself beaten and with a broken apparition in her hands. Another fight, this time with her mother, finds her with some money in her hands, and an order to buy dinner for the family, preferably something her father likes. Her “road trip” continues with more meetings, including a fish monger, a dog on a floating chair, a group of motely dressed people that seem to exist in another dimension and introduce her to a catfish that seems to have a lot of human attributes and in the end is revealed to even talk and introduces itself as Kiefer. Afraid that her mother will barbecue the fish, Jani takes extreme measures, but soon finds herself as a target of the government.

Stephen Lopez can easily be described as one of Khavn's “students”, since his chaotic style of filmmaking with the many, absurd vignettes, the constant mocking of a number of concepts including the title and his filmmaking itself, the music video aesthetics and the sociopolitical commentary are all elements found in Khavn's cinema. At the same time though, Lopez is somewhat more grounded in terms of his script, which does result in a compact if rather surrealistic and abstract story.

Regarding the comments, the critique of the extreme measures the Filipino government took during Covid is evident in the various messages heard from speakers throughout the movie, while some brief footage of Marcos's times lead to the ludicrous interrogation scene, which makes another comment about the particular era in the country. The way the whole sequence resembles something out of “Clockwork Orange” definitely adds to the entertainment the film offers, with the same applying to the fact that the movie eventually turns into a low-budget splatter of sorts, as blood fills the screen in buckets.

The deadpan, surrealistic humor is another element of appeal here, with Lopez leaving his imagination completely free in all aspects of the movie, including, apart from the script, his own editing, the acting, with the laughter of the family definitely staying on mind, Myles Hilado rock music, the exceptional sound of Santiago Miano Jr and Iks Icay's costumes, with the super-fish one standing out in its absurdness. Akie Yano's cinematography captures all the aforementioned in the most fitting fashion, while the intense colors and lighting add to the sense that the whole thing has jumped out of the pages of an underground comic. Lastly, Kyrie Allison Samodio as Jani is exceptional, communicating her surprise and bedazzlement for what is happening as much as the way she accepts it as reality in a way that adds much to the deadpan humor that permeates the movie.

“Hito” is a great short, another testament to the heights of entertainment filmmaking can reach when artists allow their imagination free, in an aspect that seems to become a trademark of Filipino cinema.

A film adaptation of Yūichi ISHII's book “Ningen Rentaru-ya” about a Japanese rental family agency. Directed and written by Takehito SAKAMOTO (Eternal Maria), this movie focuses on three rent-a-family stories – a single mother who rents a father for her daughter; a parent and child dependent on a rental family; and a girl who discovers the truth about her father after her mother's death.

The cast includes Shun SHIOYA, Nanami KAWAKAMI and Yua SHIRAISHI. Theatrical release in Japan is scheduled for June 10, 2023.

It is interesting to note Ishii's real-life business, Family Romance, has been the subject of several English news articles examining the rent-a-family industry in Japan. However, in 2020, The New Yorker appended an editor's note to their 2018 article reporting false claims made by those interviewed and revealing Ishii's business to be generally a scam.

Commercial feature film debut for cutting-edge director, Shun NAKAGAWA, based on stories by coming-of-age novel maestro, Ryo ASAI. An emotive depiction of the two days before graduation for four high school girls in love.

The story takes place in a provincial high school slated for demolition. Four girls saying farewell to their loves include basketball captain Yuki GOTO (Rina ONO), who will leave her boyfriend to pursue her dreams. Manami YAMASHIRO (Yuumi KAWAI) will deliver the farewell speech for their graduating class, but she is dealing with complex feelings of her own. (Source: Japanese Film Database)

This movie premiered at the Tokyo International Film Festival 2022 on October 26. Distributor, The Klockworx, has announced a Blu-ray and DVD combo release on August 2, 2023.

The story of Wong Fei Hung can best be summed up by the adage taken from John Ford's “The Man Who Shot Liberty Valance”. g”. For modern audiences this would apply to the seemingly endless variations on the life of Ip Man. Yet before him we had generations of audiences growing up to the feats of the master of the “No Shadow Kick” and member of the Ten Tigers of Canton, Wong Fei Hung. Over the years there have been numerous incarnations representing him at various aspects of his life. In addition, we have gained a supporting cast of familiar sidekicks, mentors, and comic relief. All alongside the familiar sound of the “General Marching Under Orders” theme that has become so associated with the character. It's not often we get to see a character grow up on screen and so here we present the life of Wong Fei Hung in several cinematic chapters.

1.Iron Monkey (1993) by Yuen Woo Ping

The early years of Wong Fei Hung are captured in this superb entry. Whilst nominally directed by Yuen Woo Ping, it's clearly got the fingerprints of Tsui Hark all over it as has a thematic and visual style closest to the first three “Once Upon a Time in China” series. Focusing on the youthful Fei Hung, played extraordinarily by Angie Tsang as he travels with his father Wong Kei Ying (Donnie Yen). An encounter with Dr Yang (Yu Rong Guang) and Miss Orchard (Jean Wang) leads to a battle against corruption and the mysterious Iron Monkey that fights it. Exquisite action choreography and a gallery of rogues and villains are joined to a classic story of good and evil. All the participants get moments to shine. Fei Hung's battle with several evil monks and the undercranked use of the no-shadow kick by Wong Kei Ying are highlights. Add some emotional beats in the father and son relationship and you get a classic entry into the martial arts genre.

2. Drunken Master (1978) by Yuen Woo Ping

One of the defining martial arts movies and one of the highlights of the Kung Fu Comedy boom is also a variation on the Wong Fei Hung theme. Here played by Jackie Chan, he is less the serious martial artist of renown than a mischievous youth looking to avoid responsibility. Ignore some of the historical inaccuracies (Jackie Chan's hairstyle for one!) and it is here that some of the signature tropes of the legend start to form. Taking a character from “Snake in the Eagles Shadow” we are introduced to Yuen Siu Tien (Yuen Woo Ping's father) this time as Sam Seed. A character who would be more familiar known as Beggar So. He acts as the young master's mentor in a series of brutal training sequences, and it is where we first see Drunken Kung Fu as a style. This is a device to add the comedy element that fits Jackie Chan's persona as opposed to the actual Hung Gar style the real one practiced yet is now a side element to the fictional one as would get chucked into the occasional movie as the years progressed. No great action movie is complete without a good villain and in Hwang Jang Lee's Thunderfoot we get a super kicking bad guy for the ages. He event gets the immortal line “Hands open doors, legs smash them down”.

3. Martial Club (1981) by Lau Kar-leung

Not to be outdone, Shaw Brothers icon Lau Kar-leung was to direct two features focusing on the younger years of the martial legend with Gordon Liu in the lead role. Here though, history was to meet fiction, for in reality Lau Kar-leung's father had been a student of Lam Sai Wing, better known as Butcher Wing, a disciple of Wong Fei Hung himself. Here Gordon Liu has a similar knack to Jackie Chan's for getting into scrapes. The difference this time is a gradual evolution into the more traditional figurehead he was to become. The choreography as to be expected is more classical and this plays into the central narrative of Northern vs Southern styles. What elevates this into the realms of the top tier of Wong Fei Hung stories is the performance of Wong Lung Wei. Normally the villain in every film you see him in, here he gets a more nuanced role. An honorable man tricked into doing the actual bad guys bidding. His final duel with Wong Fei Hung is superb. Adapting their styles to a gradually shrinking alleyway. It's a pitch perfect example of the brilliance of Lau Kar-leung's choreography, but also philosophy. The Confucian virtues are in full display here and only adds depth to a terrific feature.

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4. Once Upon a Time in China 2 (1992) by Tsui Hark

It would be very easy to include the first in the series that really cemented the iconography of Wong Fei Hung but the second is regarded by many as one of the finest works to come out the modern era. It's in this series that we have the fully formed Wong Fei Hung in Jet li and a more serious character, confused by the way of the new world that is crashing in on the old, represented by Aunt Yee (Rosamund Kwan). He's also surrounded by the now familiar supporting acts. Ah Foon (Max Mok replacing Yuen Biao) is the one to stand out here with others returning in the 3^rd of the series. What makes this series stand out is the fundamental humanity. Fei Hung's skills as a doctor are appreciated as much as his martial arts skills. The sequence where western and traditional Chinese medicine combine shows this at it's best. It's also balanced in its criticism, targeting both western expansion but also the fanaticism of the White Lotus movement and their use of false idols. It's a balance that is sadly lost as Hong Kong Cinema has declined and Tsui Hark moved into Melody films that would never permit that level of critique. The action choreography as a consequence becomes part of the story rather than overwhelms it. Add two duels between Jet Li and Donnie Yen bookending a narrative that brings in the real-life Sun Yat-sen and you probably have the defining Wong Fei Hung movie by which all others are judged.

5. Drunken Master 2 (1994) by Lau Kar-leung and Jackie Chan

Behind the scenes friction ultimately delivered an exceptional Kung Fu Comedy that was able to marry together two very distinctive styles. Jackie Chan by this point in his career had earned a degree of autonomy which meant it could be hard to direct him, given he was used to creating his own vision. Lau Kar-leung's style of pure martial arts would ultimately lead to a parting of the ways but not before he got to put on camera some excellent sequences. The finale though belongs to Jackie Chan. Having established the side effect of Drunken Kung Fu, his Fei Hung is a cross between the normal Jackie Chan character mixed with elements of the serious Jet Li version. The finale is the final word in Kung Fu comedy and is unsurprisingly his last real 1 on 1 battle with an opponent (aside from “Gorgeous” but that doesn't really count!). Filled with visual humor and dangerous stunts, it is one that stands the test of time. As a whole, it adds little to the mythos of Fei Hung but as entertainment it succeeds wildly. Throw in a brilliantly comic performance from Anita Mui as his mother it is the ultimate mash up from two men that did so much to define the legend.

Check also this video review

6. The Magnificent Butcher (1979) by Yuen Woo Ping

The latter years of Wong Fei Hung are best encapsulated by the trilogy of films that were to star Kwan Tak-hing. Famous for his portrayal in around 100 movies in the 1950's and 1960's, he was as closely defined by the character as it was possible to be. “The Skyhawk” would be his last lead and “Dreadnaught” his final appearance. “The Magnificent Butcher” would be the highlight, an extended cameo that sees him as the venerable master overseeing a collective of bumbling disciples led by Butcher Wing (Sammo Hung in a role he was born to play). This is a classic narrative with the supporting acts getting more screen time as confusion leads to inevitable tragedy. Beggar So returns in the form of Fan Mei Sheng due to the death of Yuen Siu Tien whilst filming. It's a classic Kung Fu comedy with all the trimming. Kwan Takhing gets a standout sequence of courtesy Kung Fu in a calligraphy duel that turns confrontational. Making the most of his limitations at the time it is a beautiful moment of martial virtue that exemplifies the character he plays. A fitting conclusion to his career and the life of the master.

Sports have been a big part of human life. Most people worldwide watch sports events and wager on different aspects of the games. Technological innovations have also made the fan experience more immersive. For instance, digital media has brought players closer to the fans as they can interact on social media platforms like Instagram. Additionally, fans can play sports simulation games like FIFA, Fantasy Football, and Football Manager.

However, nothing beats the thrill of watching a sports movie. Sports movies offer everything a sports fan would dream of; for example, they showcase teamwork, offer inspirational examples, or other aspects of sports such as betting. Therefore, there is a sports movie for everyone, including those eager to place a Sportsbet on top platforms like Betway. Here are the top sports movies we bet you’ll love!

Bend It Like Beckham (2002)

This sports movie inspired an entire generation. The movie tells the tale of two women who are desperate to play soccer, however their families and environment are preventing them at every turn. 

It gets its name from Manchester United’s iconic forward, David Beckham, who played in England before moving to the United States.

The two ladies featured in the film are Kiera Knightley and Parminder Nagra. If you love an inspirational story, this film is a must-watch.

Two for the Money (2005)

Mathew McConaughey, Rene Russo, and Al Pacino are the stars featured in this epic film. It is a dramatic story about football betting where Al Pacino plays a former head coach who runs a thriving sports consulting company that offers advice on games and wagers.

McConaughey features as a former college football star who joins Al Pacino’s venture after quitting his job as a stockbroker. They team up to profit from sports betting as they navigate the tumultuous relationship. You’ll enjoy this movie if you love betting on sports events on platforms like Betway.

The Wayback (2020)

This film features the well-known Ben Afflick. He portrays an ex-high school basketball player who is offered the opportunity to coach his alma mater’s basketball team. The film also delves into something torturous about his addiction.

Furthermore, the movie skillfully plans and assembles the basketball sequences. You could be tempted to infer that the film’s director knows the sport. However, the sports content is usually a misleading herring.

This film is a narrative of a man at battle with himself, and athletics are not just his motivating factor but also his only means of salvation. It is a brilliant example of a film maintaining the sport’s proper context.

Lay the Favorite (2012)

This film is a highlighted comedy featuring Rebecca Hall playing Beth Raymer. The story is about illegal sports betting rings and is based on real-life events from Beth Raymer’s memoirs about her experiences when she was working for such outfits during her twenties.

Rebecca teams up with Bruce Willis featuring Dink Heimowitz, and they come up with complex techniques to profit from bookmaking operations run by mobsters and criminals. This is another interesting film for sports-wagering fans.

Mohammad Valizadegan was born in Tehran in 1986. He graduated from the School of Art and Architecture with a master's degree in theatre directing and works as an actor, dancer and filmmaker. He played the role of Javad in “There Is No Evil”, which won the Golden Bear in Berlin 2020. “And Me, I'm Dancing Too” is his debut as a director. which won the Crystal Bear for the Best Short Film 14plus in Berlinale.

“And Me, I'm Dancing Too” is screening at Vienna Shorts

The movie begins with a camera turned on the protagonist, Saba, who passionately explains her disgruntlement for people not dancing every chance they get. With the camera placed in the bottom and shooting upwards, we watch a number of people dancing to ambient-like music, wearing white shirts, in a sequence that is soon revealed to be a rehearsal. The same girl then is the showed shooting a documentary, along with a young man she danced with, Peyman, asking asking people about public dancing, and men about allowing their wives to dance. The fact that it is the authorities that does not allow dancing in public, even if people do want to dance, even to K-pop in one case, is eventually revealed through the testimonies of people, while Saba even manages to convince a girl to dance with her in the street in the end. The 20 minutes short continues in the same fashion, until during one shooting, the authorities get ahold of the two youths, just before Saba is about to leave for abroad to study dancing.

Through an approach that lingers between fiction and documentary, Mohammad Valizadegan uses dancing in order to highlight the lack of freedom women in particular face in the current Iranian regime, with even a deed as dancing in the street deemed a crime that can lead to arrest and to the court. The old man (neither his age nor his sex is by chance) who talks to Saba's camera seems to encapsulate the public opinion, particularly of the previous generations, regarding the aforementioned issues, with him clearly stating (and believing) that dancing in public is a disgrace to the Prophet and thus a crime. The systemic hypostasis of the concept is shown during the “interrogation” of Saba and Peyman, with the difference in the attitude of the police officer, and the punishment, highlighting the inequality of a truly unfair system, as eloquently as possible.

Valizadegan chooses not to show the face of the officer at all, thus essentially elevating him to a personification of a whole system that pins down people and particularly women, based on laws that are not even properly established. Behrouz Badrouj's cinematography in general is on a very high level, with him implementing different approaches depending on the style of each scene. More experimental shots during the rehearsal, close ups during the documentary scenes, mid length during the actual story and an impressive, slightly voyeuristic framing during the interrogation scene. The combination of all the above, both in terms of narrative and production values, works excellently for the film, retaining interest and entertainment from beginning to end, with the act of defiance that concludes the short being the central message here, even if it is somewhat predictable.

Hadis Nazari as Saba is another point of excellence here, with both her dancing and her acting being impressive to watch, and the way despair, disillusionment, and resolve she exhibits all being outstandingly portrayed. Mohammad Kamal Alavi as the police officer is also excellent in his strict unfairness, with the scene actually being the most memorable in the whole film.

Through an ambitious but well presented and captivating blend of fiction and documentary, “And Me, I'm Dancing Too” sheds light on the lack of freedom faced by women in a society where even the act of dancing in public is deemed a crime. Mohammad Valizadegan proves that his talent does not lie only in acting, coming up with a short that communicates a powerful message of defiance, leaving a lasting impact to its audience.

The Bucheon International Fantastic Film Festival revealed this year's NAFF Project Market line-up: a total of twenty-nine feature film projects from 18 countries have been selected, including 17 NAFF It Projects, 5 Spotlight Japan projects, 4 Nordic Genre Invasion projects, and one project each for the Blood Window, the Sitges FanPitch and Cannes' Fantastic 7.

NAFF received 279 submissions from forty countries worldwide, showing an increase in both the number of countries and projects compared to last year. Particularly, the number of international projects reached an all-time high with 222 submissions (58 more than last year, from 4 more countries), demonstrating the influence of NAFF as a global genre film industry platform.

The project selection also reflects the advancement of emerging Asian filmmakers. In addition to traditional horror and thriller genre stories, projects addressing social and political issues in Asia through the action and science fiction genres drew attention. The high number of series among the Submitted projects reveals the ongoing changes in the film and media industry.

This year's projects were selected by the preliminary Jury consisting of Paul D. KIM, CEO of Hive Filmworks; Danny Daehee PARK, CEO of IRON PACK; CHOI Jeonghwa, president of the Producers Guild of Korea; and HAN Sunhee, CEO of Plain Pictures along with BIFAN's Jongsuk Thomas NAM, MO Eunyoung and Samantha MOON. The jury commented: “… Above all, we tried to select projects that overcome stereotypes and break new ground. In particular, the tendency of Korean projects to go beyond the framework of the genre makes us look forward to the future of the ever-evolving Korean cinema.”

This year, NAFF will expand its support for international projects through active cooperation with overseas film festivals and institutions such as the Sitges Film Festival (Spain), Blood Window (Argentina), and Japan's Visual Industry Promotion Organization (VIPO), Taiwan Creative Content Agency (TAICCA) and the Taipei Film Commission. For the first time in four years, NAFF is spotlighting international projects with Japan as its Project Spotlight country. In addition, Nordic Genre Invasion, Sitges FanPitch, and Blood Window will showcase outstanding overseas genre film projects.

The Network of Asian Fantastic Films (NAFF) is the world's first genre-exclusive film industry program launched in 2008. Over the past 16 years, 430 projects have been selected for the NAFF Project Market, and 90 projects have been completed as feature films. Finished films continue to attract attention at various Korean and international film festivals such as Cannes, Sundance, or Sitges, and were released theatrically in many countries or distributed online on various OTT platforms.

For example, this year, Tiger Stripes (NAFF It Project 2019: Sitges PitchBox Award) won the Grand Jury Prize at Cannes Film Festival's Critics' Week. In My Mother's Skin (NAFF It Project 2020: Asian Discovery Award at NAFF) was also invited to the Midnight Section of the Sundance Film Festival this year. Marry My Dead Body (It Project 2020: NAFF Bucheon Award) was the closing film of the 2022 Golden Horse Film Festival in Taiwan and was released theatrically in Korea last May, and Annapurna (NAFF Work in Progress 2022) received a special mention at the Dadasaheb Phalke International Film Festival in New Delhi, India.

The 16th B.I.G. NAFF Project Market will take place from June 30 to July 3, over the first weekend of the 27th edition of the Bucheon International Fantastic Film Festival, and will run from June 29 to July 9. While the NAFF Project Market will open at the Koryo Hotel, the festival will center around Bucheon City Hall, with two main theaters inside and many of the festival's facilities outside the building. Screenings will also take place at the CGV Sopung, the Korean Manhwa Museum, and the Megabox Bucheon Starfield City. Online screenings will be available on Wavve. The audience can get immersed in BIFAN's XR section, Beyond Reality, at Bucheon Art Bunker B39. The Carnival in July, a three-day public event for citizens of Bucheon from June 30 to July 2, will take place at and around the Lawn Square behind Bucheon City Hall and on Sohyang-ro Street.

Comments of the Preliminary Jury

The 16th edition of the NAFF Project Market received a record-breaking total of 279 submissions from 40 countries. Despite the significant changes in the film and media industry following the pandemic, it was still possible to encounter a diverse range of feature films and series projects within the boundaries of traditional genre cinema. The participation of 222 international projects was particularly noteworthy, solidifying NAFF's position as Asia's leading genre project market.

This year, many projects reflecting the various interests of emerging Asian filmmakers in genre films were submitted. In addition to the traditional horror and thriller genre, there were also intriguing projects that satirized social and political issues in Asian countries employing the action and Sci-Fi genres. It was also remarkable that a considerable number of projects were submitted from Japan and Taiwan. The submitted projects also showed the excellent project development skills of directors and producers trained in various film workshops and educational institutions worldwide, including BIFAN's NAFF Fantastic Film School.

While NAFF It Project entries often had provocative and witty stories in the past, this year's international submissions tended to have darker and more introspective tones. However, there was a bit of disappointment with projects adhering to familiar horror and thriller genre conventions. On the other hand, the Korean projects showed how Korean cinema continually evolves, showing incessant efforts to transcend convention beyond the frame.

The jury particularly paid attention to projects that overcome stereotypes and invent new modes of expression. By introducing new faces and innovative stories in Asian genre cinema, the jury hopes that all selected projects will evolve into great films. Finally, they wish to thank all applicants for their constant efforts amidst a challenging industry environment that has not yet fully recovered from the pandemic.

Members of the preliminary jury

Paul D. KIM, Hive Filmworks, CEO
Danny Daehee PARK, IRON PACK, CEO
CHOI Jeonghwa, Producers Guild of Korea, President
HAN Sunhee, Plain Pictures, CEO
Jongsuk Thomas NAM, BIFAN, Programmer / B.I.G Organizer
MO Eunyoung, BIFAN, Programmer Korean cinema Samantha MOON, BIFAN, Industry Program Manager

NAFF Project Spotlight Japan Selections                          * in alphabetical order

Nordic Genre Invasion Selections                                    * in alphabetical order

Blood Window Selection

Sitges FanPitch Selection

Cannes Fantastic 7 Selection

Bali International Film Festival (Balinale) kicks off its 16th edition from Thursday, 1 June until Sunday, 4 June 2023 bringing together a diverse group of acclaimed filmmakers and prominent professionals from the film, entertainment, and creative industries to celebrate cinema.

Balinale showcases the finest Indonesian and International movies.

Over our 4-day event will present forty-five films from thirteen countries at Park23 Creative Hub Cinema XXI, Tuban Kuta, Bali. Several of these films are world, Asian, and international premieres. Opening Balinale is A Guilty Conscience directed by Jack Ng. actor, Dee Ho, will be at the festival to present the film.

Notable films include Sisu from Finland, directed by Jalmari Helander; Klondike from Ukraine, directed by Maryna Er Gorbach; Where the Wind Blows from Hong Kong, directed by Philip Yung; and Women Talking from the United States, directed by Sarah Polley.

In competition 2023

In 2023, the festival's juried competition will present awards in several artistic and technical categories: Narrative Features, Documentaries, and Short Films.

Short Narrative

1. Witness: Iran, Islamic Republic, Directed by Aida Tebianian
2. Kama (An Eternity): Indonesia, Directed by Esra Desvita Siagian 3. Playground: United States, Directed by Yaxing Lin
4. Shut: Netherlands, Directed by Niels Bourgonje
5. Please Hold the Line: Malaysia, Directed by Tan Ce Ding
6. Las Visitantes: Spain, Directed by Enrique Buleo

Short Documentary

1. Lolitha: Indonesia, Directed by Azalia Muchransyah
2. Behind the Seen: Indonesia, Directed by Robin Gurney & Lawrence Blair
3. 50 Years Around the Sun: United States, Directed by Wyatt Daily
4. Forgotten: Indonesia, Directed by Roberto Natali
5. Under Your Feet: Indonesia, Directed by A.J. Kelly
6. The Spider Whisperer: Indonesia, Directed by Amélie Jaya
7. Achewiq, the Song of the Brave Women: France, Algeria, Directed by Elina Kastler

Feature Documentary

1. Crows are White: Ireland, Directed by Ahsen Nadeem
2. The Tone Wheels: Indonesia, Directed by Yuda Kurniawan 3. Turn Every Page: United States, Directed by Lizzie Gottlieb 4. Big Wave Guardians: United States, Directed by Luke Stirtz

Feature Narrative

1. Sisu: Finland, Directed by Jalmari Helander
2. Klondike: Ukraine, Directed by Maryna Er Gorbach
3. Where the Wind Blows: Hong Kong, Directed by Philip Yung
4. Women Talking: United States, Directed by Sarah Polley

Full film listing can be found on festival website: https://www.balinale.com/festival-2023/ Nuclear Now Premiere Announcement

We are thrilled to announce that Balinale has been given the Asian Premier of director Oliver Stone's Nuclear Now. This powerful documentary investigates climate change and explores the possibility for the global community to move away from fossil fuels and overcome the challenges of energy poverty through the power of nuclear energy.

“I'm most happy to see our film, Nuclear Now, showing at the Bali International Film Festival. It's our hope that the film is eventually seen by a wide audience throughout Indonesia– one of the most crucial countries for nuclear energy and humanity's upcoming race against time.” — Oliver Stone said on his selecting Balinale to premiere the film.

Special Programs

Balinale's creative partnership Art of the Score brings together The Juilliard School's Center for Innovation in the Arts creative collaborations between Juilliard student musicians and composers and student filmmakers from Indonesia. Gadis dan Penatu, director Alam Alghifari, A Batik Shawl, director Nada Leo Prakasa Art of the Score 2022 Selection: Asa, director Prisca Devani, Now (Here), director Noah Tehusijarana, and Sunday, director Ezra Cecio. The third annual AICEF Prize for Cross Cultural Filmmaking with USA's American–Indonesian Cultural & Educational Foundation 2023 Winner Orpa director Theo Rumansara along with the 2022 USA selection Pasang: In the Shadow of Everest director Nancy Svendsen.

Making Waves – Navigators of Hong Kong Cinema 2023 supported by CreateHK, Hong Kong International Film Festival Society, and Hong Kong Economic Trade Office (HKETO), Jakarta showcases The Sparring Partner director Ho Cheuk-Tin, Sunny Side of the Street director Lau Kok-rui, Cyber Heist director Wong Hing Fan, and A Guilty Conscience director Jack Ng, all presented by the filmmaker. Other films featured: Vital Sign director Vincci Cheuk, Mad Fate director Soi Cheang, and Where the Wind Blows director Philip Yung, also in competition.

Festival Pass

Tickets are available through our Townscript page. Our festival website — www.balinale.com — has up- to-date detailed information about movie titles and showtimes.

Balinale 2023 Jury Members

Michela Scolari, an award-winning Italian filmmaker; Richard Todd, an Australian documentary filmmaker; Jason Allan Neal, general manager, Original Content and Innovation at Fremantle Indonesia; Djenar Maesa Ayu, award-winning Indonesian filmmaker, writer, and director; Jomon (Joe) Thomas, producer with a commercially successful cache of critically acclaimed films.

Michela Scolari, Italian filmmaker, producer, activist, Ph.D. Film and Theatre Scholar collaborating on Oscar-winning movies and shows with Giuseppe Tornatore, Terry George, Roland Joffé, David Lynch, Adam Leipzig, Umberto Eco, Robbie Little, and many others. Awarded at the Cannes Film Festival with “Lady of the Year 2021” by The World Peace and Tolerance Institute.

Richard Todd, Australian documentary filmmaker producing provocative factual films that have a positive impact on people, society, and the environment. Dying to Live, and Frackman awarded in Australia and at Doc NYC, BOFA, Human Rights Film Fest Toronto, New York and London, and Balinale. God Made Them Blind and Whaleshark-Gypsy of the Deep, winner of the IFF Rolex Grand Prix French Maritime Film Festival. Recipient of Australasian Underwater Cameraman of the Year; ScreenWest New Producer Fellowship.

Jason Allan Neal, General Manager of Original Content and Innovation — Fremantle Indonesia. With a career spanning nearly three decades and a background in producing, writing, editing, and development, Jason has worked in Indonesia, the United States, Singapore, Hong Kong, Thailand, Malaysia, and Cambodia. Jason has an extensive and impressive list of credits that include projects with Fox, AXN, HBO, STAR World, MSNBC, PBS, USA Networks, Netflix, Lifetime, BET, Fine Living, Spotify, MTV, and Amazon Prime.

Djenar Maesa Ayu, published award-winning author and has produced, written, and directed five feature films. They Say, I'm a Monkey! won a Citra Award and a Special Jury Mention for Best New Director, Indonesian Film Festival, TEMPO Awards for Best Film and Best Director. NAY, won NETPAC Award for Best Asian Feature Film, Jogja NETPAC Asian Film Festival, and her first short, TRIS won Best Picture & Favorite Short Film at Melbourne IFF Short Film Competition. Her recent work Look at Me Touch Me Kiss Me with Ho Yuhang (Malaysia) and Kim Tai-Sik (South Korea), was screened at Busan International Film Festival and Jogja NETPAC Asian Film Festival.

Jomon (Joe) Thomas, producer (P.G.A) and executive producer on Poker Face, stars Russell Crowe in his second directorial feature. Producer of the shorts Roborovski, which won Best Animation, Flickerfest International Short Film Festival, and Home Shopper nominated for Short Film Grand Jury Prize at Sundance. Hotel Mumbai premiered at TIFF and won at AACTA for Best Editing. Damascus Cover won at the Boston Film Festival and Manchester International Film Festival and The Man Who Knew Infinity. Joe is currently in post-production on Monkey Man starring Dev Patel in his directorial debut.

Special notes to Editors

1. 1  All non-English language films will have English subtitles.
2. 2  All Hong Kong films will have Indonesian subtitles.
3. 3  All festival activities can be found on festival website: www.balinale.com and at Townscript
4. 4  Social media sites: Instagram and Facebook
5. 5  For photos and images, go to our Flickr

More Info: Balinale T: + 62 (0) 361 270 908 / W: www.balinale.com / E: press@balinale.com

Background

Bali International Film Festival (Balinale)

Bali International Film Festival (Balinale) established in 2007, is recognized internationally for its programming of global independent and Indonesian cinema. Balinale is known for its significant promotion of Indonesian film and continuing development of the country's creative industries through global industry events, film associations, and established professional affiliations. Balinale invites foreign filmmakers to explore Indonesia for potential co-production opportunities. Balinale is endorsed by the national and provincial governments for its proven efforts in delivering cultural, civic, and economic benefits to the country.

Bali Film Center

Bali Film Center (BFC) is a private organization committed to promoting Indonesia as a film location and production center for international projects. Being at the forefront of generating filming throughout the country since 2002, the company facilitates an impressive array of film, television, print, and serial productions. BFC has an extensive network and in-depth knowledge of the industry. BFC is recognized by the national and provincial governments for effectively promoting Indonesia's creative individuals,industries, and diverse destinations.

Filmed on a Super 8 at Lim Chu Kang, 4-minute “One Day in Lim Chu Kang” focuses on the concept of exhumation and its socioeconomical implications. According to the award winning director, In land scarce Singapore, graves have been exhumed to make way for apartment blocks, roads and an airbase. My grandfather's remains have since been cremated and now resides in a columbarium.

“One Day in Lim Chu Kang” is screening at Vienna Shorts

In that fashion and in evidently low-fi, the movie begins showing a long shot of a family moving away from a field, where a number of excavators and trucks have occupied the premises of a Singapore cemetery. The next frame shows an elderly couple standing at the grave of a deceased relative, while a worker begins the procedure of exhumation. He starts taking out the bones, which he places first in a red plastic bucket and then in a bag with a number and a name. In the meantime, and as indicated by the close-ups, the couple are looking in the proceedings in sadness and silence, probably realizing that what is happening is inevitable.

Probably the most intense aspect of the short is the difference in attitude between the couple and the worker. The couple are obviously devastated by the whole procedure, which is quite grotesque no matter how you see it. The worker on the other hand, is completely desensitized, probably because this is a job he has already done numerous times, and for him, it is just that, a job.

Michael Kam's camera captures all the aforementioned with realism, even if the low quality of the image does become somewhat tiring. The editing results in a relatively fast tempo through the many cuts, which actually points towards the silent movies of the past.

The comments about the whole thing are also palpable, as progress in the name of capitalism (the construction that is about to happen in the area) is displacing tradition (the whole funeral concept), essentially saying that the past has no place in this time anymore. Furthermore, the issue with space Singapore faces also comes to the fore. On the other hand, one could easily think that perhaps it is time for everyone to start burning their dead, since concepts like the one presented in the movie are not exactly uncommon throughout the world, as the number of graves steadily keep rising, with the pandemic making the whole issue even worse.

“One Day in Lim Chu Kang” serves as a poignant exploration of the collision between progress, tradition, and the inevitable changes brought about by socioeconomic factors. The film invites contemplation on the delicate balance between preserving the past and embracing the demands of the present, leaving audiences to ponder the significance of the choices we make as a society in the face of a changing world.

Implementing a rather unusual approach to animation, “Epicenter” is a 10-minute film that has already done its festival circuit, including a Jury mention in Tallinn.

“Epicenter” is screening at Vienna Shorts

Implementing a series of vignettes, essentially a series of stills taken from Bukhansan Mountain National Park the movie begins with an image of the mountains, without any movement. The sound of an earthquake, however, starts the movement, as some birds are shown flying, probably scared from the noise and the movement. The top of a crystal bowl is lying on a table where there is also a fruit basket with two tomatoes in it, which are first visited by a fly, and then one of them is picked by the hand of an individual who is only visible from the back. The next vignette shows a painter working on a sketch, while the next brings us to a field with a greenhouse, where a man is calling his wife, asking is she is ok, only to receive an answer that she barely felt the earthquake. This segment is also the first where we see an individual in full, as the man calling gets out of the greenhouse, with his figure mirrored in the water just in front of the structure. Images from binoculars towards the mountain follow next, while someone keeping notes of the height of the mountain top through the years, which actually gets higher, causing the earthquakes with each measurement. This picture, accompanied by music, concludes the short.

The pictures presented throughout the film are rather impressive in their realism, and it seems that Hahm Hee-yoon followed a technique where photographs were made through filters in order to look like sketches, (or maybe photographs that were then sketched) then adding some minimal movement through animation. The result is definitely outstanding, with the quality of each vignette being top notch, and the minimal movement actually working well aesthetically, allowing the viewer to focus on the quality of the images.

The presence of various animals, as the sources of movement, also works well, as birds, a fly, and a mouse are among the ones appearing here, adding a slightly humorous note to the movie. The concern of the husband for his wife makes a comment on the reaction of people after an earthquake, while the measurement in the end seems to be connected to the seismic activity, although I have to admit I am not sure about the context here. Lastly, the music concludes the short in the most delightful fashion.

“Epicenter” is a visually impressive short that tests the boundaries between painting, film and animation, through a rather intriguing approach that will definitely capture the eye of any viewer.

NEW YORK, NY (5/30/23) – At MCM London Comic Con, Ize Press announced the acquisition of the popular Korean webcomic, The Villainess Turns the Hourglass.

The Villainess Turns the Hourglass
Art by Antstudio
Original Story by SANSOBEE

Aria Roscent mercilessly bullied her stepsister, Mielle, and paid the ultimate price for her misdeeds—but not before Mielle revealed that she'd manipulated Aria into harassing her in the first place! Instead of dying, Aria is sent back in time and gifted a strange hourglass with mysterious powers. Now Aria has just one goal: to embrace her role of villainess and utterly destroy Mielle's life!

Adapted from the webnovel of the same name, The Villainess Turns the Hourglass is a popular fantasy manhwa full of drama, romance, and a bit of magic. With a female protagonist as cunning as she is beautiful, readers will enjoy the compelling politics, ruthless manipulation, and delicious revenge that this comic brings. Complete in 125 chapters, this historical fantasy series has received 1 million views and over 120,000 likes on Tapas, and over 3.4 million views on Tappytoon.

The English print edition will be released in November 2023.

About Ize Press

Founded in 2022, Ize Press is the Korean-content imprint from Yen Press. A collaboration between Yen Press, REDICE STUDIO, and RIVERSE, Ize Press will establish itself as a market leader for print editions of content that has captured the imagination and dedication of readers around the world. At a time in which comics and webnovels from Korea are rising in popularity at the speed of K-pop, Ize Press aims to deliver high-quality physical editions of many beloved stories to fans eager to add them to their collections. For more information, visit izepress.com.

In order to pay off their debt, three daring youths jump into the money-lending business while confronting the rich and powerful who prey on the weak.

A Netflix Series
Bloodhounds | 9 June, only on Netflix

In the fast-paced world of financial trading, every second counts. Traders constantly seek ways to maximize their efficiency and gain a competitive edge. The triple portable monitor setup is one powerful tool that has revolutionized the trading landscape. By harnessing the power of multiple screens, traders can expand their field of vision, increase productivity, and make more informed decisions. This article will explore the benefits of triple portable monitors for financial traders and how they can significantly enhance trading efficiency.

Portable Monitors

Portable monitors have come a long way since their inception. They are lightweight, slim, and easily transportable, making them ideal for traders constantly moving. These monitors offer high-resolution displays, vibrant colors, and wide viewing angles, providing a superior visual experience. With technological advancements, portable monitors offer compatibility with various devices and connectivity options, making them a versatile choice for traders.

An Innovative Solution Triple portable monitors take the benefits of multiple monitors to the next level. By combining three portable monitors into a cohesive setup, traders can create a panoramic view of the market, gaining a comprehensive understanding of various financial instruments and their interrelationships. The triple monitor setup allows traders to have their trading platform, charting software, and news feeds open simultaneously, eliminating the need to switch between applications constantly. So, check out FQQ official website.

Setting Up Triple Portable Monitors

Setting up a triple portable monitor configuration may seem daunting initially, but with the proper guidance, it can be a straightforward process. This section will provide a step-by-step guide on configuring and connecting triple portable monitors. We will also discuss the recommended hardware and software requirements to ensure a seamless setup.

Optimizing Monitor Placement

Once the triple portable monitors are set up, the next step is to optimize their placement for maximum efficiency and comfort. This section will explore various strategies for arranging the monitors effectively, considering factors such as ergonomics, viewing angles, and minimizing eye strain. A well-organized monitor setup can significantly enhance a trader’s ability to monitor and analyze information.

Customizing Display Settings

To fully harness the power of triple portable monitors, it is crucial to customize the display settings to suit individual preferences and trading requirements. This section will cover adjusting resolution, brightness, color calibration, and other display settings to ensure optimal viewing conditions. Additionally, we will discuss software tools that can aid in managing multiple monitor setups efficiently.

Streamlining Trading Workflows

Efficient workflow management is vital for traders to stay on top of the fast-paced financial markets. This section will delve into organizing trading platforms, tools, and resources across multiple monitors to streamline workflows. Traders will learn techniques to create a cohesive workspace that facilitates easy navigation, information retrieval, and trade execution.

Maximizing Data Visibility

In the world of trading, access to real-time market data is paramount. Triple portable monitors offer traders the opportunity to maximize data visibility. This section will explore how traders can leverage the expansive screen real estate to monitor multiple data sources simultaneously. With real-time market data, news feeds, and analytical tools displayed at a glance, traders can make more informed decisions and react quickly to changing market conditions.

Utilizing Charting and Technical Analysis

Charting and technical analysis are essential for traders to identify trends, patterns, and potential entry or exit points. With a triple portable monitor setup, traders can dedicate one monitor entirely to charting software, simultaneously allowing for a comprehensive analysis of multiple financial instruments. This section will delve into advanced technical analysis techniques and strategies that can be implemented effectively with the help of triple monitors.

Enhancing News and Research Access

Staying informed about market news, economic events, and research reports is crucial for traders. With triple portable monitors, traders can allocate a dedicated monitor to news feeds and research resources. This section will explore the various ways traders can effectively manage news and research information, ensuring they are up to date with the latest market developments that impact their trading decisions.

Improving Risk Management

Risk management is a fundamental aspect of successful trading. Triple portable monitors provide traders with enhanced capabilities for real-time risk monitoring. This section will discuss how traders can allocate a monitor specifically for risk assessment tools, trade monitoring, and position tracking. With a dedicated risk management monitor, traders can closely monitor their exposure and take proactive measures to mitigate potential risks.

Boosting Trading Psychology

Trading psychology plays a crucial role in a trader’s success. The immersive and focused environment created by a triple portable monitor setup can significantly impact a trader’s mindset. This section will explore the psychological benefits of having a dedicated trading space with multiple monitors. Traders will learn techniques to improve concentration, reduce distractions, and maintain discipline during trading sessions.

Remote Trading with Triple Monitors

In today’s digital age, many traders engage in remote trading. Triple portable monitors offer the flexibility to trade from anywhere without compromising efficiency. This section will discuss the advantages of portable monitors for remote trading and provide tips on ensuring security and connectivity while trading away from a traditional office environment.

Case Studies

Real-life examples are often the best testament to the effectiveness of a trading tool or technique. This section will examine case studies of successful traders who have embraced triple portable monitors. Since adopting a triple monitor setup, these traders will share their experiences, insights, and performance improvements. Readers will gain valuable insights into triple portable monitors’ practical applications and benefits.

Limitations and Considerations

While triple portable monitors offer numerous advantages, addressing potential limitations and considerations is essential. This section will discuss cost, portability, and power requirements that traders should consider before investing in a triple monitor setup. Additionally, alternative options and strategies will be explored for traders who may need more resources or need for a triple monitor configuration.

Choosing the Right Triple Portable Monitor

Selecting the right triple portable monitor ensures a seamless trading experience. This section will delve into the factors traders should consider when choosing a triple portable monitor. We will explore screen size, resolution, connectivity options, and portability. Furthermore, we will provide reviews and recommendations for popular triple portable monitors available in the market.

Conclusion

To recap, triple portable monitors offer financial traders myriad benefits in terms of trading efficiency and productivity. This article has explored the power of multiple monitors, the versatility of portable monitors, and the transformative impact of a triple monitor setup. By expanding the field of vision, traders can monitor real-time data, analyze market trends, and execute trades with precision. Triple portable monitors also enhance risk management and trading psychology and provide a competitive edge in the fast-paced world of financial trading.

Throughout this article, we have discussed the step-by-step process of setting up triple portable monitors, optimizing monitor placement, customizing display settings, and streamlining trading workflows. We have explored the advantages of maximizing data visibility, utilizing charting and technical analysis tools and enhancing news and research access with a triple monitor setup.

NEW YORK, NY (5/30/23) – At MCM London Comic Con, Yen Press, LLC announced the acquisition of three new titles under their Yen Press imprint, including two manga (Lord Hades's Ruthless Marriage; Kiss the Scars of the Girls) and an artbook (Fruits Basket: Complete Anime Natsuki Takaya Illustrations). Over Memorial Day weekend, Yen Press also revealed the acquisition of two manga titles (Higurashi When They Cry: GOU Anthology Comic; Fifteen Minutes Before We Really Date) and a novel (Agent of the Four Seasons).

Fruits Basket: Complete Anime Natsuki Takaya Illustrations
By Natsuki Takaya

In commemoration of the all-new anime adaptation of Natsuki Tayaka's beloved manga, Fruit Basket, illustrations inspired by each episode along with commentary from the author have been collected into a single volume to celebrate the gripping tale of Tohru and the Sohmas. 

Perfect for fans of the series, Fruits Basket: Complete Anime Natsuki Takaya Illustrations is a collection of three artbooks that were published separately in Japan combined into a single omnibus edition.

Lord Hades's Ruthless Marriage
By Ueji Yuho

Hades—the powerful and terrifying King of the Underworld…and a bachelor! Despite his retainers' wishes, Hades refuses to give up his life as a single god, unconvinced that love and marriage are worth the hassle. But when Eros suddenly shoots him with an arrow of love, will he be able to successfully avoid falling head over heels with the next person he sees?

Lord Hades's Ruthless Marriage is a Greek mythical romantic comedy with stunning art to complement the entertaining interactions between familiar historical characters.

Kiss the Scars of the Girls
By Aya Haruhana

Deep within a dense forest stands an academy for girls, and its students share a secret—they're all vampires. To learn to hunt without attracting human attention, the maidens forge bloody bonds of sisterhood, but what fate will their ties bring…?

Kiss the Scars of the Girls is a supernatural girls' love manga between two vampires: one charismatic and cheerful, and the other guarded and reserved.

Higurashi When They Cry: GOU Anthology Comic
By Ryukishi07

June 1983. While it normally signifies an inescapable doom for Rika and her closest companions, a crew of guest artists bring its cheerful vitality to life! In the official comic anthology, join the gang in their early summer adventures!

This short anthology comic is perfect for Higurashi fans looking for a bit more comedy featuring these iconic horror characters.

Fifteen Minutes Before We Really Date
By Perico

Yuki and Natsuna live in the same apartment complex and have been childhood friends for ten years. One day on the way home, with their high school graduation fast approaching, they make a decision on a whim—to start dating! In the fifteen minutes before things get a little more serious, will their friendship finally blossom into love…?

Fifteen Minutes Before We Really Date is an adorable slice-of-life romance between two childhood friends, complete in six volumes.

Agent of the Four Seasons
By Kana Akatsuki

From the creator of Violet Evergarden comes a story about the four seasons.

In a world where the only season is winter, the creation of spring chips away at the solitary lifestyle of those enduring the cold. Before long, in accordance with the earth's wishes, summer and fall are born, and the four seasons are complete. The one who carries the burden of the cycle is called the “Agent of the Four Seasons.” Now, one young goddess—granted spring by the god of the four seasons and called “Daisy” by her mother—holds that sense of purpose to her chest with pride. However, spring disappeared from this land ten years ago, and she must overcome hardship, fight back against disgrace, and return to the current god. Like a legend, the deepest part of her heart sends love to winter.

Featuring Violet Evergarden's author Kana Akatsuki's brilliant writing, worldbuilding, and character drama, Agent of the Four Seasons is a romance novel that topped the New Title category in Takarajimasha's 2022 This Light Novel Is Amazing! (Kono Light Novel ga Sugoi!) guidebook.

The on-sale date for Fruits Basket: Complete Anime Natsuki Takaya Illustrations will be announced at a later date. The other five titles are scheduled for a November 2023 release.

About Yen Press, LLC

Yen Press, LLC is a joint venture between Kadokawa Corporation and Hachette Book Group. Founded in 2006, Yen Press has quickly risen to become one of the largest and most prolific publishers of manga and original graphic novels in the North American marketplace and a driving force in the introduction of light novels and Japanese literature to new readers through its Yen On and Yen Audio imprints. For more information, visit www.yenpress.com.

by Federica Giampaolo

Mother-daughter relationships are complex and diverse, depending on society and culture, but cinema plays a major role in embodying the key aspects and feelings globally shared. Especially where family is deeply ingrained, like in Chinese culture, their bond is portrayed as a vital aspect of their life. The biggest clash concerns the lack of balance between traditional values and modern beliefs, but their mutual, unconditional love and shared trauma hold them together. Despite the challenges, some may continue to rely on and support each other through thick and thin. For them, their roles as mothers and daughters are essential parts of their identity, even when they don't want them to be.

But the Chinese culture has strict norms and expectations for women, and these expectations can often lead to conflict and tension not only between two different generations but within same generations also. The dynamics between these women are, in fact, even more intricate, particularly through a female point of view, which may result in a more intimate piece. Here, we will suggest four female-directed movies that convey the challenges and feelings that characterize these relationships.

Girls Always Happy (2018) by Yang Mingming

Yang Mingming's debut film depicts the reality and daily life of female family bonding in a wacky but touching way. “Girls Always Happy” uses wit and sincerity to tell a story about creative work, single women in Chinese society, and finding one's place in it. The actresses give convincing performances as complex, multi-faceted and neurotic individuals that bicker all the time but can't live apart.

Wu (Director Yang), a young woman in her late twenties, lives with her mother (Nai An) in this cluttered hutong, but she's overbearing and often critical of Wu, who deliberately provokes her in return. As they only seem to calm down during meals, the movie is split into chapters named after food, which perfectly recall a comforting family environment. The movie is funny and uplifting, with unconventional angles adding to its realistic flavor.

As the title implies, the main characters are happy-go-lucky women who enjoy food and life. They find intimacy in sharing meals and secrets, whose similar nature lets the viewer understand how one's persona may not really be so incompatible with their mother's. As the story goes on, thanks to each other they find more about themselves and find reassurance in those dreams they had to put aside due to societal expectations. “Girls Always Happy” is the perfect watch to comprehend the deep understanding and bonding that daughters and mothers experience together during rocky situations.

Spring Tide (2019) by Yang Lina

A house that trembles with every quarrel, while their universe becomes a never-ending rage. Guo Jianbo (Hao Lei) is a journalist living with her mother, Ji Minglan (Jin Elaine), and her daughter Wanting (Qu Junxi). Three generations combined in a tiny space do not ensure a tranquil environment but uncover a contemplating atmosphere of anxiety trapped by tortuous and complicated feelings. Director Yang Lina shows how trauma is a hell of a beast, and how different experiences can damage family relationships.

Minglan pretends blind misery, and such misery acts like a shadow to create feelings of empathy while hiding selfishness that causes violent reactions. Jianbo's feelings struggle with the ones of the mother, and she inevitably suppresses them to not cause drama at home, while the young child must face problems that are way too big and complex for her to deal with in the first place.

Here, the conventional maternal role is shattered as significant family traumas come to light through the film and, by doing so, “Spring Tide” manages to convey various themes of hardships lived differently through different eyes. Not receiving comfort from those who should give it to them, the characters find themselves facing their moments of stress and need alone.

The Old Town Girls (2020) by Shen Yu

“Old Town Girls” is a neo-noir film set in a dilapidated industrial town in Sichuan, China, following a shy teenager, Shui Qing (Li Gengxi), and her estranged mother Qu Ting (Wen Qiang). In her debut film, director Shen Yu captures the youthful hopes and illusions of young women while contrasting society's decay and expectations. The movie depicts violence as a headless creature that's indiscriminate, with the ability to make monsters of us all.

Longing for the parent who abandoned her, Shui Qing sees her through an idealized image of a strong-willed woman, someone free and unreachable whom she strives to become or get close to. Like the teenager she is, she'd like someone to rely on, or that could guide her, and who, if not her own mother? But she soon finds out such parent is flawed, and especially, not who she thinks she is. Moments like this let us viewers question everything about our own family, our mother figures and inevitably ourselves, too.

“The Old Town Girls” is a typically flawed debut movie, but nonetheless eloquently depicts the clash between ideas and reality. A broken teenage dream that fails to pick up its pieces and shamelessly fails to find solace in a seemingly mother figure. Its guts and sensibility certainly embody the suggested theme in an understandable manner, despite the brutal misadventures at its core.

Hi, Mom (2021) by Jia Ling

Compared to the other cited films, “Hi, Mom” puts the mother-daughter relationship in a different light based on mutual understanding, sacrifice and, why not, filial piety. Despite being a minor player in the film scene, this is a heart-warming Chinese story that has quickly become a box office hit, whose popularity and likability are ensured due to its commercial content and style.

The film follows Xiaoling (Jia Ling), an ordinary girl who never managed to make her mother Ying proud (Liu Jia). Xiaoling always felt like a disappointment to her, as she doesn't reflect the conventionally perfect Chinese daughter, and perceives the time she spends with Ying as a source of stress and fights. One day, they're both involved in a terrible accident, and Ying is fatally injured. On her deathbed, Xiaoling is propelled through the sky to the year 1981, where she'll meet the young version of her mother. During this adventure, she'll realize what dreams and hardships Ying endured during her youth. And, finally, she'll be able to see her from a different perspective: a girl with big dreams who worked hard to pursue her and her family's happiness.

Jia Ling drew inspiration from her own mother's death to create this film, making it a very personal project. The nostalgia factor is one of the reasons that “Hi, Mom” was such a success, and its characters and feelings are extremely relatable, especially for cultures that put family values at the forefront.

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Growing up, we must face harsh truths about our lives and the environment surrounding us. The relationships and the people we know end up not reflecting all the expectations and idealized images we had of them. Sometimes, these images clash, unveiling conflicting and saddening realities, or they could, instead, change our perceptions for the better.

At one moment in their lives, young girls and women must face that their mothers, or their idea of one, who play significant roles in their world, do not coincide with their past and persona. Consequently, that'll act as a big reality check, thanks to which they may find out they have more in common with their mother figures than they think, and if not, they'll realize what big influence they had in their life. Especially, they could come to terms with how they transformed their idea on how mothers, daughters and women should act and be in society. And, undoubtedly, Chinese cinema manages to convey such experiences, especially through the female gaze.

Jinichi Hirooka is a former boxer. He lost a boxing match by an unfair decision and he then moved to the United States. After 40 years, he returns to Japan and happens to meet Shougo Kuroki in a bar. Shougo is a boxer, who is going through a hard time, because he also lost a mach due to an unfair decision. Soon, Shougo gets knocked down by Jinichi for the first time in his life. He then practically begs Jinichi to coach him in boxing. Jinichi accepts his offer and they eventually work together to win a world championship belt.

By Siria Falleroni

“Timeless Bottomless Bad Movie” also known as “Bad Movie” is a 1997 South Korean film directed by Jang Sun-woo, a renowned filmmaker recognized for his provocative and controversial works. The film won two awards from two important Asian film festivals, the Asian Film Award from the Tokyo International Film Festival and Busan International Film Festival's NETPAC Award.

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The premises that will shape the entirety of the film are evident right from the vibrant and colorful opening credits, set to the syncopated rhythm of punk-rock music: “Plot: not fixed. Starring: not fixed. Photography: not fixed. 1000 good movies, 1 bad”. With such a striking and thought-provoking overture, the director signals a certain rupture with traditional storytelling conventions, embracing a more rebellious and unpredictable narrative structure. The movie's manifesto immediately implies a rejection of rigid cinematic dogmas, while inviting the viewers to embark on a journey where the boundaries of storytelling, character development, and visual aesthetics are pushed to their limits.

“Bad Movie” does not betray its underlying values; it is what one imagines when thinking of a “bad” movie. The film was shot on 35mm and 16mm film, employing a semi-documentary style that is incredibly intricate to follow. Jang Sun-Woo's camera becomes a frenetic force, ceaselessly moving through the city of Seoul, much like its youthful inhabitants. The abrupt changes in locations, characters, and style immerse the viewer in the suburban chaos of the metropolis, akin to finding oneself at a hectic street intersection, on the verge of being almost struck by a car.

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The most challenging aspect that significantly contributes to the complexity of understanding “Bad Movie” lies in its deliberately fragmented and chaotic structure. The film is divided into sub-chapters, such as “Sorrow of a Beggar”, “Why Did You Lie?” and “Robbing Middle-Aged Men”, featuring young rebels with whimsical nicknames like “Birdbrain”, “Mr. Potato”, and “Douchebag”. Given the absence of a defined plot, the viewer is transported into spontaneous glimpses of violence and ordinary madness within the Korean capital. We witness motorcycles speeding through the main streets of Seoul, conversations among the homeless, young girls engaging in prostitution, drug addiction, and promiscuous sexuality played out in cramped KTV establishments, urban vandalism, and theft. Those “bloody punks” that populate the two-and-a-half hours of this experimental work are precisely the antithesis of characters with whom one can empathize throughout the viewing experience. Their authentic subversive spirit ends up rendering them almost unbearable to see.

However, it is precisely in this process of emotional confrontation with the protagonists that we find ourselves victims of the trap devised by Jang Sun-woo. Isn't the director's purpose perhaps to bring to the forefront those individuals who are considered the discarded remnants of the metropolis, the forgotten ones, the defeated, and the outcasts? Perhaps the morally questionable characters in “Bad Movie” are so repugnant precisely because they are the failed product of the previous generation's shortcomings. The idiosyncratic nature of this group of youngsters is indeed connected to the existential boredom, rebellious spirit, and adrenaline-fueled thrill typical of any adolescence, but it is closely intertwined with the zeitgeist of 1990s South Korea.

Despite their flaws, these characters embody the consequences of a flawed society and raise pertinent questions about the underlying issues that perpetuate their liminal existence. The youth culture of the 1990s in South Korea was characterized by a blend of global and local influences. The music and entertainment industries were rapidly evolving, with new genres and the explosion of pop media culture. At the same time, Korean society was still grappling with certain social issues, such as economic inequality, the democratization of its political system, intergenerational tensions, and the debate surrounding modernization and the preservation of traditional culture. These themes and challenges were also reflected in the films and artworks of the time, which often explored the complexities of a society in transformation and the experiences of the youth. That being said, the movie's Achilles' heel remains the challenging comprehension of this socio-cultural backdrop to an eye hypothetically detached from the contemporary history of South Korea.

On the contrary, there are two main strengths in this experimental work. The first is the director's ability to play with the blurred boundaries of reality and fiction, even experimenting with brief inserts of animated cinema. While the film is founded on the premises of lack of technical preparation and the spontaneity of events, in one of the most disturbing final sequences, it is revealed that the protagonists are acting and staging themselves. The presence of a cameo by one of the most famous Korean actors, Song Kang-ho, portraying one of the homeless characters, also challenges the veracity of the initial statement. The second intriguing aspect is the choice of diegetic and extradiegetic music. The soundtrack selection, primarily consisting of independent songs, fully captures a glimpse of the underground and alternative life of the late 1990s. For example, two songs by the “Pippi Band”, a Korean alternative rock group, are included. The band gained notoriety when they were banned from television and radio for a year after a live broadcast incident where they spat on a television camera and made an offensive gesture towards it. Also, some tracks by the popular band “Turbo”, such as “Love is… (3+3=0)” and “Twist King”, are included.

In conclusion, “Timeless Bottomless Bad Movie” represents a milestone in the history of South Korean cinema for its iconoclastic style, its alternative aesthetic, and the significance of the generational themes it addresses. However, it struggles to transcend into a more “universal” cinematic instance.

Academy Award® Qualifying Short Shorts Film Festival (SSFF) & Asia 2023 announced the jury members of Live Action Competition (International, Asia International and Japan), Non-Fiction Competition and Smartphone Film Competition supported by Sony's Xperia. Best short award winners of each Live Action and Non-Fiction competition will be eligible for the nomination of the following year's Academy Award®.

Since last year, in order to take a wider view of international perspectives, the judges in the Asia International category will judge the Non-Fiction Competition, and the judges of the Japan Competition will judge the Smartphone Film Competition supported by Sony's Xperia.

Live Action Competition/International Competition Judges：

34 nominated films among 2282 submissions form 97 countries and regions

Maki Sakai (Actor) / Masato Hagiwara (Actor) / Satoko Yokohama (Film director / Screenwriter)

Live Action Competition/Asia International Competition Judges：

23 nominated films among 593 submissions from 22 countries and regions

Live Action Competition/ Non-Fiction Competition Judges：

13 nominated films among 290 submissions from 59 countries and regions

Adam Torel (Producer/Distributor) / Daishi Matsunaga (Film director）/ MEGUMI (Actor/Producer）

Live Action Competition/Japan Competition Judges：

22 nominated films among 234 submissions

Smartphone Film Competition supported by Sony's Xperia:

16 nominated films among 363 submissions from 53 countries and regions

Yayako Uchida (Essayist) / Douglass Montgomery (Global Media Executive) / Yūki Yamato (Film director）

The award ceremony will be held on June 26th (Mon) and the SSFF & ASIA 2023 Grand Prix = George Lucas Award will be selected from among Live Action Competition, Non-Fiction Competition, Animation Competition winners.

[Short Shorts Film Festival & Asia 2023 Outline]

• Festival President：Tetsuya Bessho
• Period ：June 6 (TUE) ~ June 26th (MON）
  Online Venue: April 27 (THU) ~ July 10 (MON）
• Screening Venues：TORQUE SPICE & HERB, TABLE & COURT (Shibuya), Futakotamagawa Rise Studio & Hall, Euro Live, Omotesando Hills Space O, Akasaka Intercity Conference
  Online Venue: Schedules are varied depending on each venue
• Admission： Free *some events may be charged
  Seats reservation from April 27
• Inquiry: info@shortshorts.org
• Official Site：https://shortshorts.org/2023/en/
• Organiser: Committee for Short Shorts / Committee for Short Shorts Asia

In the 1990s, the Heisei Godzilla films were the most successful and popular special effects projects in Japan at the time. Yet, a whole plethora of tokusatsu content was released during this decade. The King of the Monsters wouldn't be the only iconic character to be reimagined. Gamera would make a divine return after a long period in hibernation with Shusuke Kaneko's excellent “Heisei Gamera Trilogy.” Kamen Rider would see some unique renditions of him, such as Keita Amemiya's terrific movie “Kamen Rider ZO,” which celebrates the franchise while giving a more modernized spin on the material. Television would thrive with series like Chojin Sentai Jetman” and “Kyoryu Sentai Zyuranger.” Regarding Amemiya, he was prominently proactive during this period, both as a character designer and now as a filmmaker, even working on the two previously mentioned Super Sentai shows. His first picture, “Mirai Ninja,” would show what he could do regarding directing. Yet, his next directorial project would further cement his skills as a director, that being his entertaining science-fiction feature, “Zeiram.”

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In contrast to “Mirai Ninja,” a direct-to-video release, this would be Keita Amemiya's first feature to be theatrically shown. The movie would be made on a fairly low budget, especially compared to many of its competitors at the time. A perfect example is “Godzilla vs. King Ghidorah,” which came out the same year and was made for more money. “Zeiram” would be met with success in Japan, and a few years later, in 1994, the film would be followed up with a sequel, “Zeiram 2.” That same year would also see the release of a prequel OVA anime series titled “Iria: Zeiram the Animation.”

A monstrous alien known as Zeiram escapes from its dimension and ends up on Earth in Japan, where the behemoth intends to cause destruction. However, with the aid of her AI comrade Bob, an intergalactic bounty hunter named Iria manages to track down and trap the abomination in a virtual reality known as a Zone, where she intends to face it head-on. Yet, the murderous creature is a force to be reckoned with, showcasing noticeable intelligence and overwhelming strength. The behemoth can even create other lifeforms to follow its orders. To further complicate things, Teppei and Kamiya, two everyman electricians, accidentally get roped into this other-worldly conflict.

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Keita Amemiya makes it abundantly clear that this isn't meant to be a philosophical game-changer with allegory tying into humanity's imperfections. Instead, he has a different motivation: to entertain the audience, and the movie succeeds in droves. For starters, the film has a lot of humor, and most of it lands. While slapstick is occasionally utilized, the comedy primarily shines in the humorous dialogue between Teppei and Kamiya, along with their communications with Iria, who, in contrast, is played straight against the strange and surreal scenarios she finds herself in, nicely contrasting the electricians horrified reactions to the presence of monsters. Occasionally, even the beast Zeiram gets in a laugh when it expresses frustration when plans do not go as initially intended.

Yet, even with a lot of funny comedy, the movie is also surprisingly creepy and dark sometimes, even at points throwing in some body horror. Zeiram is a terrifying monster, and the opening black-and-white sequence clarifies that beyond its threatening appearance; this abomination is powerful and intelligent. Furthermore, the idea that it travels intending to conquer other worlds and devour lifeforms is a scary concept. Then there is the environment of the Zone, which is very eerie and foreboding, largely thanks to how the shots are composed and the emphasis on lighting. It truly feels like an isolated, abandoned area without escape. The humor and horror aspects thankfully never inappropriately clash and instead work off one another thanks to a sharp script. In addition to those elements, plenty of fun action sequences are thrown into the mix.

An appealing aspect of the film is its approach to gender, with subtle undertones of female empowerment. Amemiya has made his views on gender norms in Japanese culture no secret, expressing disdain for Japan's continuous sexism and hierarchy mentality that men come before women. For “Zeiram,” the lead protagonist Iria, who, in many scenarios, would likely be played by a man, is instead portrayed by a woman who is charismatic, strong, and free-thinking while also knowing when to shift gears if something goes wrong. She also has a ton of humanity that adds to her likability, with her softer side blossoming from her tough demeanor as the narrative progresses as she warms up to and bonds with Teppei and Kamiya. The movie goes the extra mile, turning stereotypes on its head by having the male players in constant need of aid against the antagonist. The switch in gender roles also applies to Zeiram. Initially, the creature is referred to by male pronouns, yet numerous touches hint at the monster being female. A perfect example is the feminine face atop the alien's head and some of the transformations it goes through later.

A lovable cast that plays off each other makes “Zeiram” all the more enjoyable. All the characters have a lot of personality that helps make them memorable. Yuko Moriyama is great as Iria, the heroic bounty hunter determined to defeat Zeiram. She is strong and quick-thinking but also likable and charming. It is easy to root for her in taking down the main antagonist. Thanks to Masakazu Handa's voice acting, Bob is more than just a standard AI character, giving the sidekick personality to latch on to. With a lesser script, Teppei and Kamiya could have been insufferable, yet on top of good writing, the dynamics of Kunihiro Ida and Yukijiro Hotaru make these two dorks enjoyable. Finally, of course, it would be a disservice not to mention Mizuho Yoshida, who plays Zeiram. On top of his tall stature, he gives the monster a ton of personality and a terrifying presence.

The special effects in Zeiram, directed by Hajime Matsumoto, are spectacular. There is a great display of suitmation, stop-motion animation, puppetry, animatronics, gore effects, miniature work, and even occasionally tidbits of CGI. Keita Amemiya's design for Zeiram is outstanding, and the costume is super detailed but not too bulky to the point where it is immobile. Beyond great effects, there are impressive action sequences along with exceptional set pieces. In conjunction with all of this is terrific cinematography by Hiroshi Kidokoro. The music score by Hirokazu Ohta is also very memorable; a nice highlight is the foreboding chanting that accompanies Zeiram.

“Zeiram” is fun from beginning to end. It is a film that knows what it wants to be and succeeds in droves at what it sets out to do. The feature also creates a strange and effective ambient atmosphere, topped with exceptional production values, with the highlight being an imposing antagonist. Further adding to the charm is a likable cast. Following this movie's success, Keita Amemiya would continue to create more impressive projects that further cemented him as a pioneer in tokusatsu filmmaking.

SAN FRANCISCO, CA — May, 28th, 2023 — Today, VIZ Media, a world-leading producer of manga and anime, announce the anime series, Zom 100: Bucket List of the Dead, based on the manga by creators Haro Aso and Kotaro Takata will stream on Hulu and Netflix in the U.S.

In the U.S, the series will simulcast on Hulu premiering 2:00AM PDT, July 9th, 2023, with sunrise details for Netflix and other streaming platforms to come. Zom 100: Bucket List of the Dead is a VIZ Media co-production alongside Shogakukan and Shogakukan-Shueisha Productions Japan, with VIZ Media representing the anime in the North America, Latin America, Australia, and New Zealand territories. 

The zombie hordes are coming, so it's time to live your best life! There's nothing quite like the end of the world to inspire your bucket list. In Zom 100: Bucket List of the Dead, Akira Tendo's life has lost its luster. After spending three hard years at a soul-crushing corporation in Japan, his spirit is broken. He can't even muster the courage to confess his feelings to his beautiful co-worker Saori. Then one morning, he stumbles upon his landlord eating lunch—which happens to be another tenant! The whole city's swarming with zombies, and even though he's running for his life, Akira has never felt more alive! Now Akira's on a mission to complete all 100 items on his bucket list before he…well, kicks the bucket.

Official Synopsis:
With three years under his belt at the company from hell, Akira Tendo is mentally and physically spent. All at the ripe old age of twenty-four. Even his crush from Accounting, Saori, wants nothing to do with him. Then, just when life is beginning to look like one big disappointment, it happens. The zombie apocalypse descends on Japan! Surrounded by hordes of hungry zombies, Akira comes to a realization that will forever change his life…

        “Wait, does this mean I never have to go to work again?”

Confess to… party like it's… travel Japan coast to…

Now, with his nightmare job no longer, Akira's got his mojo back. Let the bucket listing begin!!

Production:
Creators: Haro Aso, Kotaro Takata
(Published by Shogakukan: Monthly Sunday Gene-X, ongoing)
Director: Kazuki Kawagoe
Assistant Director: Hanako Ueda
Series Composition: Hiroshi Seko
Character Design: Kii Tanaka
Zombie Design: Junpei Fukuchi
Music: Makoto Miyazaki
Music Selection: Maiko Gouda
Sound Production: dugout
Animation Production: BUG FILMS
Production: Shogakukan-Shueisha Productions Co., Ltd

Cast:
Akira Tendo: Shuichiro Umeda
Shizuka : Tomori Kusunoki

The series theme song artists are KANA-BOON for the opening theme and Shiyui for the ending theme respectively.

Opening theme artist: KANA-BOON
Below comment by Maguro Taniguchi (Guitarist and vocalist of KANA-BOON)
                    “I'd always hoped to one day work on something with zombies, and now my dream has come true. (I've always had a thing for zombies…) There's something about Zom 100's story that really spoke to me. It was that important question: how to best have fun in life? We all have responsibilities, things we have to do, but the most important thing is that you're doing something you actually like, that you're having fun with it. And I definitely had my share of fun making the “Song of the Dead”. I hope the song adds to the anime, and that it gives you a burst of energy, the power to live life to the fullest, and to have fun while doing it!”

Ending theme artist: Shiyui
Below comment by ending theme artist: Shiyui
                  “Hi everyone, I'm Shiyui, singer/songwriter of the ending theme for Zom 100. I think “Happiness of the Dead” fits the ups and downs of this big adventure. Like those moments when you don't know whether you should laugh or cry. Like discovering happiness can come in small packages. Tragedy and comedy, all rolled into one. Enjoy.”

About Haro Aso:
In 2004, Haro Aso received Shonen Sunday's Manga College Award for his short story “YUNGE!” After the success of his 2007 short story “Onigami Amon,” Aso got the chance to start a series of his own—2008's Hyde & Closer. In 2010, his series Alice in Borderland began serialization in Shonen Sunday S and is now a Netflix live-action drama. Zom 100: Bucket List of the Dead is his follow-up series.

About Kotaro Takata:
Kotaro Takata first hit the manga scene in 2009 with Hallelujah Overdrive!, which ran in Monthly Shonen Sunday magazine. In 2017, he served as the artist on another Monthly Shonen Sunday title called I Am Sherlock, written by Naomichi Io. Zom 100: Bucket List of the Dead is his follow-up series.

About VIZ Media: 
Wherever manga and anime fans are, we are! VIZ Media is No. 1 in Japanese pop culture, introducing fans to what's now, new, and next. Home to the world's most influential and groundbreaking storytellers and artists, who today drive multiple industries from publishing and animation to film and gaming. If it's big in Japan, you can find it at VIZ.

VIZ Media is proudly certified as a Most Loved Workplace® in America, and honored in Inc Magazine's 2023 Best Workplaces in America. For more information on VIZ Media visit: https://www.viz.com/

About Hulu: 
Hulu is the leading and most comprehensive all-in-one premium streaming service that offers an expansive slate of live and on-demand entertainment, both in and outside the home, through a wide array of subscription options that give consumers ultimate control over their viewing experience. As part of the Disney Entertainment segment, Hulu is the only on-demand offering that provides access to shows from every major U.S. broadcast network, libraries of hit TV series and films – including licensed content available exclusively on Hulu – and award-winning Hulu Originals, both with and without commercials. With Hulu + Live TV, subscribers receive a unique combination of access to 90+ live news, entertainment and sports TV channels from 20th Television, The Walt Disney Company, ABC, NBCUniversal, CBS Corporation, The CW, Turner Networks, A+E Networks and Discovery Networks, as well as Hulu's on-demand library, Disney+, and ESPN+ included as part of the base plan. Visit hulu.com to subscribe or learn more about the service.

About Netflix: 
Netflix is one of the world's leading streaming entertainment services with 223 million paid memberships in over 190 countries enjoying TV series, films and games across a wide variety of genres and languages. Members can play, pause and resume watching as much as they want, anytime, anywhere, and can change their plans at any time.