Interview with Yoshinori Sato [OAFF 2019]
Yoshinori Sato was born in Aichi, Japan on February 1975. After graduating from high school, he travelled to the US to study filmmaking at the...
Shinjuku Tiger (Japan, 2019) [OAFF 2019]
Shinjuku Tiger is a return to the world of documentary filmmaking for director Yoshinori Sato. Although he has a background in television documentaries, he will...
One Child Nation (USA, 2019)
With her Sundance Film Festival Grand Jury Prize-winning documentary One Child Nation, Nanfu Wang continues to demonstrate an incredibly impressive gift for layering and connecting...
Osaka Asian Film Festival 2019 – Awards Ceremony Report
The Osaka Asian Film Festival 2019 (OAFF 2019) ended on March 17th with the award ceremony and the Japanese premiere of the Vietnamese comedy, Daddy...
The New King of Comedy (China, 2019): The Unexpected Shape-Shifting of Stephen Chow
In 2008, Stephen Chow Sing Chi retired from acting, announcing that he would focus entirely on directing and screenwriting. He then co-directed a re-interpretation of...
Mishing (The Apparition) (India, 2018)
In Arunachal Pradesh, the northeastern-most state of India, the rural community of the Sherdukpen people believe that the spirits of the dead – or the...
The Crossing (China, 2018)
Debut features rarely come more confident than The Crossing, which sees director Bai Xue telling the story of a rookie smuggler without breaking a sweat....
Afternoon Breezes (Japan, 1980) [OAFF 2019]
Those who attended the Osaka Asian Film Festival 2018 had the chance to see the latest work of Hitoshi Yazaki, Still Life of Memories. It...
Sayounara (Japan, 2018) [OAFF 2019]
Naturalistic acting, specifically using pastel colours and lovingly shot images of the sea are what dictate the ebb and flow of the drama in Yuho...
Vanishing Days (China, 2018)
In both its beginning and closing sections, Vanishing Days has a sideways tracking shot, with the camera passing an apartment window where a red flag...