First Love (Japan, 2019) [TIFF 2019]
Not just a regular selection at the Toronto International Film Festival, but also a fixture of the festival’s frequently ballistic Midnight Madness program, Takashi Miike...
Call for Papers – Asian Women Filmmakers on Global Screens: Networks, Circuits, and Community Connections International Conference, University of Hong Kong, March 27-28, 2020
Women filmmakers are severely underrepresented in general film distribution (theatrical and auxiliary), film festivals and awards: a phenomenon that adversely affects the visibility of female...
Sea of Mirrors (Macao/Japan, 2019)
Singaporean filmmaker Thomas Lim’s latest feature is a veritable transnational and translocal work: set between Macau and Los Angeles and involving a multilingual cast, it...
The Fall (China, 2018)
After working in a coal mine and on a ship for over ten years, Zhou Lidong became a businessman. At the age of fifty, he...
The Divine Fury (South Korea, 2019)
The Exorcist (1973) was so successful that spanned not only a plethora of sequels and spin-offs, but it essentially gave birth to an entire sub-genre...
Kabul, City in the Wind (Netherlands/Afghanistan/Japan/Germany, 2018) [Aperture 2019]
Aboozar Amini’s documentary Kabul, City in the Wind is a film with a metaphorically and literally apt title. Not only is Kabul a windy city,...
The Viper’s Hex (Australia, 2018)
The Viper’s Hex tells the story of Kiyo (Saya Minami), a prostitute who gets romantically involved with Anchin (Kenji Shimada), a young man from Australia...
Preview – Naomi Kawase: In Focus at the Open City Documentary Festival 2019
Naomi Kawase is one of two ‘In Focus’ directors at the Open City Documentary Festival 2019. She will be present at the London-based festival where...