Month: November 2016

An early scene in Eiji Uchida’s determinedly scuzzy indie filmmaking satire Lowlife Love illustrates the rivalries, naked opportunism, and painfully transparent ploys to maintain status...

Before Joko Anwar became a filmmaker, he was a journalist and film critic for The Jakarta Post. After a fortuitous interview with Indonesian producer Nia...

The humane and the procedural In Johnny Ma’s debut feature, long-time taxi driver Lao Ma (Chen Gang) – known commonly as ‘Lao Shi’ (‘old stone’)...

Two decades ago, I took my final school exams. Whilst at the time it seemed the most important thing in my life, now I cannot...

The opening of Seoul Station gives a very clear indication of the film’s political leanings. As an old man staggers towards the central station with...

Although some people still vehemently insist that street art is a form of vandalism, it has become a widely accepted means of expression in urban...

Documentaries supposedly present actualities: the so-called “reality” that is non-fiction. First hand and un-paraphrased, so to speak. In Tsukiji Wonderland, however, director Naotaro Endo tries...

Mina Shum’s debut film Double Happiness was released in 1994 and screened at the Toronto International Film Festival that same year. Sue Anne Yeo has called it...

Director Keishi Otomo is perhaps best known in the West as the director of the acclaimed Rurouni Kenshin trilogy (2012-2014), but while I enjoyed the...

“That’s me with the camera…Those guys are watching me because of the camera…What follows is the story I captured before they took the camera from...