Vesoul Unveils Asian Lineup
The Vesoul International Film Festival of Asian Cinema has unveiled its 85-title lineup for the edition that starts later this month. Elements include a 10-film competition section, a 10-film documentary film section, a tribute to the Turkish director Semih Kaplanoglu; a thematic section “Asian Diaspora Cinema” offering a panorama of works by directors from Asian countries living in exile; and a Philippines cinema sidebar.
Fiction films in competition include: Azerbaijan’s “Cold as Marble,” by Asif Rustamov; China’s “In Our Prime,” by Liu Yulin; Korea’s “A Letter from Kyoto,” by Kim Min-ju; India’s: “Behind Veils,” by Praveen Morshhale; Iran’s “No End,” by Nader Saievar; Mongolia’s “The Sales Girl,” by Sengedorj Janchivdorj; The Philippines’s “Feast,” by Brillante Mendoza; Singapore’s “#LookAtMe,” by Ken Kwek; and Vietnam’s “Memento Mori: Earth,” by Marcus Vu Manh Cuong. The president of the jury is Lee Yong-kwan,...
The Vesoul International Film Festival of Asian Cinema has unveiled its 85-title lineup for the edition that starts later this month. Elements include a 10-film competition section, a 10-film documentary film section, a tribute to the Turkish director Semih Kaplanoglu; a thematic section “Asian Diaspora Cinema” offering a panorama of works by directors from Asian countries living in exile; and a Philippines cinema sidebar.
Fiction films in competition include: Azerbaijan’s “Cold as Marble,” by Asif Rustamov; China’s “In Our Prime,” by Liu Yulin; Korea’s “A Letter from Kyoto,” by Kim Min-ju; India’s: “Behind Veils,” by Praveen Morshhale; Iran’s “No End,” by Nader Saievar; Mongolia’s “The Sales Girl,” by Sengedorj Janchivdorj; The Philippines’s “Feast,” by Brillante Mendoza; Singapore’s “#LookAtMe,” by Ken Kwek; and Vietnam’s “Memento Mori: Earth,” by Marcus Vu Manh Cuong. The president of the jury is Lee Yong-kwan,...
- 2/20/2023
- by Patrick Frater
- Variety Film + TV
“Insiang” is a landmark for Filipino cinema. It was the first film to be shown at the Cannes Film Festival, the first to be shot in the slums of Tondo, in Manila, while in 2015, Martin Scorsese’s The Film Foundation picked it for restoration, with the new version playing again in Cannes among a number of other festivals. Furthermore, Lamberto Antonio (occasionally mentioned as the Philippine Salvatore Quasimodo), one of the scriptwriters is considered one of the best Filipino poets, while Mario O’Hara, the other one, was also a successful director who directed a theater version of the film some years later (info courtesy of Khavn).
Poverty, misery, drunkenness, and gambling rule the shanty town of Tondo, where people barely make a living through mostly odd jobs. Insiang is one of the few exceptions of true beauty in this setting, although her life is by no means easier due to the fact.
Poverty, misery, drunkenness, and gambling rule the shanty town of Tondo, where people barely make a living through mostly odd jobs. Insiang is one of the few exceptions of true beauty in this setting, although her life is by no means easier due to the fact.
- 11/4/2020
- by Panos Kotzathanasis
- AsianMoviePulse
Mubi is proud to present the first-ever online retrospective of renowned Filipino auteur Lav Diaz. To give audiences the proper time to spend immersed in Diaz’s cinema, Mubi will debut one film each month during the retrospective.Illustration by Leah BravoFilmmaker Lavrente Indico Diaz, named after Soviet statesman Lavrentiy Beria (1899-1953), was born on December 30th 1958 in the municipality of Datu Paglas, province of Maguindanao, Mindanao Island, Southern Philippines. The son of a fervently Catholic woman from the Visayas (Central Philippines) and a Socialist intellectual from Ilocos (Northern Philippines) who, firmly believing that education is the key to improve Man's condition, devoted their lives to schooling peasants in the poorest, remotest Maguindanao villages, Diaz has always had an utilitarian conception of culture and, by extension, of all forms of artistic expression. To Diaz, art should not be an end to itself, a purely formalist exercise, but—to paraphrase a...
- 10/8/2016
- MUBI
When a film is described as poetic, it is often taken as a compliment. However, when a film is described as theatrical, it is seen as a critique, scathing at that. What makes poetry the better spouse to cinema? Isn't cinema but a visual and aural interplay of poetry and theater to begin with? Theater provides the cornerstones: the narrative, the milieu, the setting and the characters. Poetry, on the other hand, more than the façade and the flourishes, provides the requisite subtlety in the execution --- the minute gestures that accentuate a character, that last five seconds of absolute silence before a cut, the symbols, the verses, the rhymes, and rhythms. This is purely hypothetical. But if films are judged based on a balance where theatricality is measured with poetry, and the former outweighs the latter by a large margin, does it mean that the film is better off staged than filmed?...
- 7/22/2010
- Screen Anarchy
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