Focus Hong Kong Launches Easter Edition
Following a highly successful Chinese New Year launch event, Focus Hong Kong presents a second programme of films running online in the UK from late...
Interview with yes, yes, yes Director Akihiko Yano [OAFF 2021]
I wish I were better at writing about acting because every now and then I watch a film where the performances are so astonishing that...
yes, yes, yes (Japan, 2021) [OAFF 2021]
Sometimes, the meaning of something can be found in the destruction of something else. So it goes in writer-director Akihiko Yano’s ensemble drama yes, yes,...
Online Lecture by Matthew Hunt on Thai Cinema and Censorship, March 19
After a campaign by the film community protesting against the arbitrary censorship of Apichatpong Weerasethakul’s Syndromes and a Century, a rating system was introduced to...
Three Sisters (South Korea, 2020) [OAFF 2021]
Three Sisters is the latest feature from Lee Seung-won, a writer and director with a background in theatre. Much like his two previous films, Communication...
Lost Course (Hong Kong, 2019)
The time for action has passed. I’m older now. The time for reflection has started. — Bruno in Le petit soldat (1960/1963) Early in Jill...
Call for Papers – Special issue of the British Journal of Chinese Studies on Games and Gaming in China and the Sinophone World
The British Journal of Chinese Studies invites submissions of abstracts for research articles and short essays on topics related to gaming in China and the...
The Slug (South Korea, 2020) [OAFF 2021]
The Slug is the English-language title of South Korean filmmaker Choi Jin-young’s debut feature. While it may be a reference to the main character who suffers...
Keep Rolling (Hong Kong, 2020) [OAFF 2021]
Compared to fellow Hong Kong auteurs like John Woo, Tsui Hark, and Wong Kar-wai, Ann Hui’s name isn’t as well known but this veteran filmmaker...