Review: Ming Ming (明明) (World Premiere)

Nana and Ming Ming

Ming Ming is a very stylized movie, but that's not to say it has more style than substance. Unattainable love and infatuation play central themes in Ming Ming's world, one which contains fantasy martial arts elements, set in today's contemporary era. The titular character played by Zhou Xun cuts a willowy figure, dressed in black with her long dark tresses. One night she casts her eye on D (Daniel Wu), a street fighter whom she falls in love and spends a night with.

D, on the other hand, is an elusive lover. With secrets of the past which he seeks to unlock, he's never committed, giving out a promise to whoever can fetch him 5 million dollars, and with whom he'll travel to Harbin with. This sets in motion an entire chain of events, starting with Ming Ming stealing the money and a secret box from Brother Cat (the singer Jeff Chang, who has long been away from the public eye).

On the other hand, Ming Ming's friend Ah Tu (Tony Yang) is also infatuated with her, and chances upon Nana (Zhou Xun in her second role), with whom he brings along in their escape from Brother Cat's thugs, and whom too is also in love with D. Confused? Don't be, as Nana is distinctively different from Ming Ming, from hair and outfit (loud and garish) to mannerisms, not forgetting the languages used.

In fact, the movie can be renamed Nana, as this character had more screen time than Ming Ming, as we explore the unrequited love by so many characters in the movie. Love and its different incantations are put up on display, even parental ones, as the plot slowly unravels to its surprise ending. There are some zen like dialogue and moments in the movie, such as being able to be with a person even for a moment, is better than not being able to at all. And this is especially true for Ah Tu, even though he's with someone who resembles, and not with the actual person. I thought Nana and Ah Tu had the strongest storyline and the best character development, naturally so because of the screentime devoted to them.

Accompanying the superb story are both the music and action. The soundtrack is an eclectic mix and fusion of various influences, from electronica to jazz, and the theme used for chases is particularly catchy. Given that it adopted a fantasy martial arts style, most of the fights, especially Ming Ming's, were given distinct looks. Ming Ming's especially, is one adopted from flicking explosive projectiles at her enemies, while D's style is quick, brutal, and very short ranged. Plot elements from such fantasy movies, like mini quests, and the seeking of treasure, are staples too in the movie.

The filming style used is also a mixed bag, with repetitions, quick cuts and flashbacks the norm. It might require a little time to get used to, typically those used in fights. By the time you get through one or two action sequences, you'll be clamouring for more. Savour those moments, as they actually come few and far between. There are many "poser" moments as well, which gives the movie a certain "sexy" look as characters preen and pose when they deliver their dialogues.

I guess I'm fortunate to have caught this movie here, in its original language track, as compared to having to watch the dubbed Mandarin version back in Singapore if it gets played. Key languages used - Mandarin, Cantonese and Shanghainese, provide a certain flavour and utilized to distinguish characters. inevitably the effect will be lost in any dubbed version. Zhou Xun, and Tony Yang too, at times sounded a bit off in their Cantonese diction, but that doesn't mar their performances, in particular Zhou Xun's excellent delivery of dual roles.

For giving a contemporary fantasy martial arts movie a different and refreshing look, Ming Ming will get my vote.

***


Director Susie Au and the cast and crew, including Zhou Xun, Daniel Wu, Anthony Wong(music) and Veronica Lee (music) were in attendance at today's World Premiere, to introduce the film. Daniel Wu dedicated the evening of the premiere to the director, while Zhou Xun revealed that the movie was 3 years in the making, and joked she was glad that it comes to a finale today as many times director Sharon Au will forget about the passage of time while shooting the film, and the cast and crew had often missed their meal breaks and sleep!


There was also a post screening Question and Answer session, and Sharon Au explained that she was a film buff herself, and so was subconsciously influenced by other films, if any references could be drawn from Ming Ming. She's particularly immersed into the French New Wave, and their narrative approach, and wanted to make a film set outside reality, hence Ming Ming. As a martial arts movie, she needed Ming Ming to have a weapon, and why "beads" and "tan2 zhi3 shen2 gong1" was by chance - they were designing the costumes, and someone brought in a scarf with beads dangling from its ends. Hence it became the weapon of choice for Ming Ming.

Themes of Time and Fate make up the movie, and this was brought out through some of the techniques used, like a particular 1 second shot repeated over many times, to extend the feeling of that duration, as well as to accentuate the notion of Fate, that 1 split second decision can change a lot of things.

Susie Au also explained that the 3 years taken to make this movie was nothing to do with the creative process, but from external circumstances, and laughed when someone asked if there will be a director's cut - there will be, but it's not done yet, she joked.


Zhou Xun was asked if it was difficult playing two roles and to speak in different languages, and she shared that since the two roles of Ming Ming and Nana were completely different and at different ends of the spectrum, it was not so difficult. However, they shared similarities like their pursuit of happiness, and the character development that Nana undergoes. Zhou Xun too had acted in a prior movie before this which was in Cantonese, so it wasn't too difficult this time round in using the language.

Finally, someone asked Daniel, who plays the object of affection for both lady characters, what sort of girls he would prefer - that of Ming Ming or Nana, to which he side-stepped and said that in an ideal world, he would want to have both!

Red Carpet: Cannes 60th Anniversary Photo Exhibition

(Do Check Back Again! More Photos To Come!)

This year, the prestigious Cannes Film Festival will be in its 60th edition, and as part of its celebrations, a photo exhibition commemorating the anniversary has been making its rounds around the world. HKIFF is the fourth to showcase the selected photographs by Cathy Berg and The Traverso Families, and the first in Asia to feature the exhibition.

In addition, the coverted Palme d'Or Award was unveiled in a small ceremony. Designed by Chopard, the Award is given to the Best Film of the Festival for the last 10 years, and also to the Best Actor and Actress for the last 4 years, and is now on display at the Hong Kong Cultural Centre.

The Palme d'Or Award

Review: Ebola Syndrome (Yi Bo La Beng Duk)

The Ebola Victim

Back in the early 90s, I recall widespread concern about incurable diseases such as the Ebola virus, and Hollywood taking the premise and churning out movies such as Outbreak and the such. In Hong Kong cinema, director Herman Yau cemented his cult status for films with excessive graphic depiction of sex and violence with this movie - Ebola Syndrome.

As compared to the other cult hit The Untold Story, you can spot various similarities in terms of presentation style, and certain plot elements and development. Again the lead role, Kai San, is played by Anthony Wong, this time with long frizzy hair, and begins the movie with both sex (with his boss' wife) and violence (yet another gruesome massacre played out in full on screen, coupled with sexual violence). Naturally he becomes a fugitive and escapes to outside Hong Kong - this time to South Africa, and becomes an employee at a local Chinese restaurant.

The similarities do not end there. You just cannot wait for the next dismemberment and the making of the new "char siew bao", now termed African Buns for local flavour. Expect more hard unflinching violence, and this time too with the camera unmoved from the decapitation of animals like chickens and frogs - heart still pumping, and the slicing out of innards, or the chopping off of legs. Sure puts you off your next bowl of frog leg porridge. And serving as another reminder, is not to offend your cook, as he has the power to include unwanted ingredients, including bodily fluids!

Rapid fire profane dialogue is a standard, and sometimes comical as the characters rattle off combinations of vulgarities with ease. But just in case you wonder if Ebola Syndrome is The Untold Story rehashed in a different setting, rest assure that only the good gory bits from Untold get squeezed into the first half of Ebola. Unfortunately the second half seemed to want to move away tangentially from its predecessor, and kept its focus on the contact with, and spreading of the disease.

Stemming from Kai San's inability to keep his pants on, he takes advantage of a comatose African tribe woman, who unknowing to him, is a victim of the Ebola virus. With an incredible stroke of luck, he survives the infection and becomes a virus carrier, spreading the disease in South Africa no thanks to his African Buns, and amongst prostitutes when he returns to Hong Kong. The rest of the movie becomes a comedy somewhat with the police attempts to contain the virus as well as to apprehend Kai San. Nothing too fancy in its second half treatment.

One more thing, look out carefully at the cameos and extras!

Review: Love Sick (Legaturi bolnavicioase)

Can i sleep over tonight?

Incest and lesbianism.

Did i make you stand up and take notice?

Yes?

Pervert.

Anyway, although much of these topic are avoided in social entity (probably not lesbianism as they seem to be more acceptable then gay in the public arena) , Love Sick tells of a story of two girls, Kiki and Alex, who develops a bond and quickly allowing themselves to take this feeling to where it'll eventually blossom. Of cos the course of love never did run smooth with Sandu, Kiki's jealous brother, interrupting. So i guess you'll know where the incest part kicks in?

Kudos to the explosive acting of Maria Popistasu and Ioana Barbu as Kiki and Alex as they truly show the vulnerability and tender love they portray to each other to almost its sweet innocence. Perfect flow, without the over-longing settlement just for the sake of hidden messages, director Tudor Giurgiu's debut feature truly did the novelization of the story true to its form by focusing on the emotions, allowing the two characters to bloom in its own setting.

Review: Eye in the Sky (監視) (Gun Chung)

Are You Stalking Me?

First time director Yau Nai-Hoi's Eye in the Sky gets the two thumbs up from me. It's an excellent movie with a strong storyline that gets zoned into the moment, with no room spent on unnecessarily bloating the movie beyond what it should be. Director Yau, a frequent collaborator and scriptwriter for Johnny To classics, brings to Eye in the Sky, a taut 90 minutes cop-robbers story on surveillance, of the men and women who do the thankless anonymous tasks behind the scenes on following suspects and trawling the streets for them.

Surveillance is never easy, and trust me I know, from work experience. While there are countless of CCTV cameras and various technologies, nothing beats having up to date field intelligence. The opening film of the HKIFF, I had hoped to have watched this on its first screening, but it turned out to be a blessing in disguise, as I had one week to trawl the streets of Hong Kong and Kowloon, and being able to identify the locales used, was an added thrill.

Although this is a cop thriller, it doesn't have the usual car chases, explosions or fancy gun battles. It's quite muted in these aspects, however it brings about a refreshing realism to the story, a great departure from the days when action has to be stylized (flying through the air shooting two guns anyone?) The way the surveillance team operate, with its arsenal of disguises, tricks and vehicles, and the skills that one must possess - keen observation, alertness and an elephant memory, makes it like a cross between The Recruit and Mission: Impossible.

Eye in the Sky tells the story of a new recruit, nicknamed Piggy (Kate Tsui) by her mentor Dog-Head (Simon Yam), as she undergoes an on-job training of sorts in their case to track down some armed heist robbers, led by "Hollow Man" (Tony Leung Kar Fai). It becomes a tight cat and mouse game as identities are attempted to be established, and the team comes up against a villain who's truly aware of his environment, turning the tables as the hunter might become the prey.

There are strong performances all round, led by the veterans Simon Yam, in a change of alignment given his outings last year as villains, and Tony Leung, as a chillingly observant, cool and methodical sudoku-playing mastermind. In her first movie role, I thought Kate Tsui did remarkably well in her role as Piggy, the newbie lacking field experience, yet being thrown in the deep end of the pool to sink or swim. Perhaps it is truly her being new to the scene, that eased her comfortably into a role which is similar to herself, but the story does allow her room to showcase some of her acting chops, and she holds her own well against the veterans. Maggie Siu too added some comedic moments as a foul mouthed police madam.

Eye in the Sky is a recommended Hong Kong cop thriller (time to let go of mole stories) which is tight, and keeps you on the edge of your seat as you follow the surveillance team through high angles (akin to CCTV camera angles), tight teamwork and features an incredible soundtrack as well to keep it fast paced. You must watch this when it makes it to our shores in Singapore, tentatively scheduled for mid April.

***
Director Yau Nai-Hoi and actress Kate Tsui were present to grace the second screening of the movie. Going by the positive vibes amongst the audience, the first question asked was whether there was going to be a sequel, to which Yau said there is no such plans yet.

He shared that the moving tram sequence was in particular quite bothersome to shoot, as it was moving, and to need a second shot with the same background, they had to wait for the next trip, so as not to have any continuity issues. The tram is narrow as well, thus it was difficult to squeeze all the equipment into it, and besides, renting the tram was expensive. (As you watch this scene, and have been in a HK tram, you know how tough it is).

There was a question that the jewel shop in the first heist scene doesn't sell real jewels, but Yau mentioned that it does sell pretty expensive items nonetheless. Also, no goldsmith shops in Hong Kong will allow you to film something like that in their premises. As to why the central district was chosen as the setting, he shared that it was very beautiful, and full of character. The locale also provided plenty of levels, staircases and slopes, with narrow paths and crowded streets.

The original protagonist in the movie was actually male, but he thought that an innocent girl up against a seasoned beast-like villain would be more intriguing and make better contrast. Hence having a female character, and a relative newcomer like Kate, suits the film well. Kate added that this was her first feature film, and she admired Yau's courage in casting and trusting her with the role. They took a year to make the film, and she liked this film very much.

Yau also explained about a key melodramatic scene, and said that coincidences, miracles and accidents do happen in real life, that you often hear in the news about mishaps, and wonder how the victims manage to survive almost impossible odds. That scene is done as such so as to jolt the audience into thinking about such incidents.

Yau, in response to questions about Johnny To, continued to say that the market for films has not been that good, and when people are willing to invest, and with Johnny To as producer, there is no need to think much about it, and just go ahead and make the movie. As a first time director, he too had continued with scriptwriting duties, and thus it gave him a larger sense of satisfaction to see the overwhelming positive response this movie has gotten so far. He had known Johnny To for a long time, and it's become a Milkyway (the film company) style of collaboration, and cross influencing each other.

Lastly, when asked about why he stuck to the conventional, almost cliche use of old Chinese buildings and warehouses as a scene of refuge, and whether it was because they ran out of budget, Yau replied that with older buildings, there was less CCTV cameras and a lower level of security, so it was quite logical to see these buildings used by fugitives. Besides, there was a news report some time ago that real villains were actually apprehended from these locations!

Review: Day Night Day Night

And I've Packed You a Happy Meal

Mention films about suicide bombers, and movies like Syrianna and Paradise Now comes to mind. Films that try to explain the rationale behind the driving force of these persons dedicated to destruction and murder, and while those stories had the usual male bombers, Day Night Day Night took on a more interesting angle, and looked at the role of female suicide bombers - those that don't really fit the usual security profile, and are usually deemed as lower risk of being detected before they execute their plan.

In her first fictional feature, director Julia Loktev takes a long hard look at the journey of a 19 year old girl played by Luisa Williams. Attractive, petite,you won't understand why she has to do what she wants to, and the story doesn't explain. This is almost in parallel to real life, where you read reports of the aftermath, and are presented with little clues to their background.

Loktev weaved a tale from seeking out the terrorists, meeting them, going through their rites and procedures, before being accepted for the mission, complete with the making of the video, and the fit up of the device. Most times you don't get to see much, as the camera angles are extremely tight and full of close ups, to accentuate the waiting, and to allow you to focus on the girl, and her thoughts, and her apprehension, despair, and a host of other emotions.

I thought Loktev too took quite a neutral stand in not stereotyping the bad hats, that indeed it can be anyone, people from abroad with different cultures, or the home grown and bred haters of society. And that is true because terror can come from anywhere.

This is not an easy movie to sit through as it's deliberately slow and nothing much really happened. But as a movie that attempts to narrate the process from civilian to combatant, this fictionalized account will probably be as close as you can get.

Review: Refrain

Maggi Mee good to eat!

I'm sure Cui Zi'en, has its metaphysical ingenuity towards his trilogy which transcends inner emotions rather than spoken words, but this takes the cake as the battle to struggle through 109 minutes of minimalist performance and setting takes place. As the main two (only) characters fought through ethics and social distrust, the longing views and antics of the situation they go through might just be too much for one to keep still and enjoy. In a nutshell younger brother, dying from AIDS, is worried for his retarded elder when he's time comes. Not trusting of the world outside, he tries to pull him along for a suicide pact.

If only he would develop on character build-up and developed a more social clashing setting would this be a powerful feature that teaches us a thing or two about death and society in a homosexual context which has ben all done too long.

Review: Arthur and the Minimoys

I'm Arthur. Who Are You?

Director Luc Besson is probably synonymous with movies laden with violence, like Nikita, Leon the Professional, and the science fiction fantasy The Fifth Element. The Taxi franchise too is associated with the French director, as are the other diverse variety of movies written by him, ranging from Danny the Dog to 13th District.

And finally, an animation which doesn't feature talking animals. Talk about a deserved break from animation of those sorts. Besson has weaved a magical fantasy adventure, combining live action and delightful 3D animation which is absolutely stunning, and not forgetting a memorable, simple yet strong story to carry the movie through, rather than rehashed juvenile tales that put you to sleep.

No doubt that you might think there are bits which makes it look like a distant cousin of Honey I Shrunk the Kids, or Ants / A Bug's Life, Arthur and the Minimoys has its own saccharine sweet backstory developed, leading to an inevitable ending of which it isn't pessimistic about. In fact, it ends on hope, and love, and there's always something special with movies that dare to end wit that.

The hybrid technique used in itself is special too, as there are too few movies which do so, one of which that comes to mind is Who Framed Roger Rabbit. Here, Arthur is played by Freddie Highmore, last seen in A Good Year, and I thought he's slowly adding to his resume with credible performances all round in the various movies he's in. Lending star power to the movie are the voice talents of (in the English version), check this out - Madonna, Robert De Niro, Jimmy Falon, Harvey Keitel, Snoop Dogg, and David Bowie, who seems to be on a slowburner to making movies these days.

Arthur and the Minimoys is full of love - between Arthur and Selenia the Minimoy Princess (all animated movies must have lovebirds, you know?), and more importantly, between family members. The message on nature and loving nature becomes secondary somewhat, but nonetheless still rings through. Highly recommended animated feature, a refreshing change from the usual style offered.

Review: The Untold Story (Baat Sin Faan Dim Ji Yan Yuk Cha Siu Baau)

Good Stuff Cannot Bluff

This year's HKIFF has director Herman Yau's movies in retrospect, and features some of his adult cult classics like The Untold Story, and Ebola Syndrome. There would be no way that I would pass on the opportunity to watch these movies on the big screen, in 35mm format.

The Untold Story tells of a heinous crime that reportedly took place in 80s Macau, where the entire family of the Eight Immortals Restaurant were slaughtered, their bodies dismembered, the bones dumped into trash, and their flesh, as the title already states, gets put as fillings into roast meat buns. Anthony Wong plays the chief villain Wong Chi Hang, who refuses to acknowledge the dastardly murders he had committed, and gives an impressive performance as a dangerous, calculative criminal behind those nerdy looking spectacles.

This Category III movie is unflinching in its violence, and not just those involving weapons like butcher knives, but seemingly innocent utensils like ladles and chopsticks will never be looked upon in the same light again. Women and children are not spared the graphicness of it all, and although some acts were done off screen, it is chilling enough to send shivers, no thanks to the gleefully evil expression of Wong the actor. Rape, dismemberment, beheadings, immolation, they're all here to earn this adult movie its cult status.

Danny Lee, a regular in cop movies in the 80s and also a producer of the film, plays a cop with shady morals here, with preference for hookers and breaking protocol by bringing them regularly to crime scenes and the police station. It's quite a departure from the straight heroic roles he plays ever so often. Besides watching him in action (haven't seen him in a while), another "oldie" Seng Fui On is in the movie as a jailbird who bears a grudge against Wong Chi Hang. Watching a host of other familiar faces brings back that sense of nostalgia.

But perhaps what made this movie stand out, is its portrayal of the police force as a bunch of bumbling officers (in a way) with its blend of comedy, and its stark portrayal of questionable interrogation tactics which probably wouldn't get passed today, and would definitely be frowned upon.

It's a wicked delight to indulge in the enjoyment of this movie, and I'd recommend anyone who wants to watch this, to watch it on the big screen in 35mm format at whatever opportunity that comes by.

Review: The Basement (World Premiere)

Lights Camera Action!

The Basement screened today at the HK Space Museum was a world's first, and simply put, it can be broken down in three acts. It's not easy to follow, and the ending left quite open ended. The techniques used, especially the extensive use of long shots, and the dim lighting made the look of the film a little fuzzy, and very dark, probably to accentuate director Liu Hao's message of uncertainty, and helplessness.

The first act would have made an excellent horror movie, with its darkness, shadow play, and sound effects. The pacing, cinematography would all suggest this. However, this act served as a rather long introduction of our lead characters, a girl named Sheng Hao, and her boyfriend Jia Hao, who has the habit of standing her up. It's a journey along the games people play, in being coy, in being wanting, in being indifferent.

Things still don't pick up in the second act, where they finally meet, and continue their lovers games. Until an intruder is caught, and things start to pick up slightly with a catalyst introduced, but still, it doesn't move along much. The intruder, a voyeur, because of his new found power to blackmail, start to make demands, and while this was an interesting plot development, it suffered again from the lack of pace, and repetition.

In its wrap, it left things convoluted, and leaving you quite unsatisfied. If there's an issue with The Basement, it'll be the pacing which is excruciatingly slow. The revelation was not a surprise, as you would have more or less guessed it given the lack of characters, and locale. Not for the impatient, nor those who prefer crisp stories.

***
There will be some mild spoilers in the paragraphs below.

Director Liu Hao graced the World Premiere screening with an introduction as well as a Question and Answer session after the screening. Many were curious as to why the intruder didn't free himself completely, and this was clarified that it wasn't the intention of the intruder, as he realized the power he wielded over the couple, and is seeking to fulfil his own desires. Also, there were questions why the couple was obedient, and I thought this was already explained in the movie itself - that the woman worked at the venue, and she would be in trouble if word leaked out what she/the couple had done/were doing.

The slow pacing of the movie was deliberate, and Liu Hao shared that he's been working at the venue where the set was based (actually his own film studio in Beijing), and had a 7 month gap to make a movie in the interim, while developing another feature film. At that location, he noticed the lot of people who were living there, and because of constraints, cannot make a fast paced movie. Similarly, it's a reflection of life and its uncertainties, and it was deliberately planned to be slow moving.

Liu Hao revealed that the movie cost only 7000RMB, of which 2800RMB went to the music, and even then, it was for the rental of the sound studio. Sound effects in the movie were courtesy of the existing ambience. They were real sewage sounds, and therefore no need for additional special effects since they already work. The way the movie was framed was also a mirror of his own late night wandering in his film studio, where there are 12 rooms. When asked if he was emulating any other filmmaker, in particular Ozu, he clarified that it is not his aim to imitate, but rather it's a personal matter. If we were to notice, his past 2 films and this one are all different, different in stories and different in interpretation.

He also went at lengths to explain about self, and how what others see about you may not necessarily be the true you, but rather what you want others to see. The message that he wanted to bring out was the feeling of helplessness, the uncertainty of life and the what-ifs.

Review: This Film Is Not Yet Rated

Look Yonder
The Motion Pictures Association of America's ratings system comes under scrutiny in this documentary. The judgement that movies are given G, PG-13, R or NC17 are taken a look into, as its deemed quite biased and with great mystery that films are rated based on some arbitrary criteria, from a group of chosen anonymous few in highly non-transparent means.

It's quite fun as director Kirby Dick digs into the system to try and look for answer, with hilarious results, especially when dealing with the bureaucracy. In particular, the main gripe here is how films are given the NC17 rating. Films are compared with each other, and it seemed that the board is more tolerant towards violence than sex, or in particular, female pleasure. Filmmakers like Darren Aronofsky, Kimberly Peirce, Atom Egoyan are interviewed for their views on the system, and reveal their puzzlement at the situation too.

I thought This Film Is Not Yet Rated brought out the hypocrisy of the entire system, that "absolute power corrupts absolutely", that if Kirby Dick is to believed, then there are rules and regulations set which have been breached, especially on transparency, and the primary concern that the raters should be independent and not influenced by filmmakers, studios and the likes.

I also enjoyed the entire investigations and social engineering techniques, including things like dumpster diving and impersonation, and exploiting the innate nature of man to want to help out strangers in distress, even though they are anonymous over the phone, and are "nice". You've got to salute their perseverance, all to get to the results of unravelling the mystery being those secret raters of movies, and those on the Appeals board that filmmakers can go to for redress.

The bits of animation in the movie, combined with the sharp no-holds barred revelation and hypothesis and snippets of movies which suffered the NC17 rating, made this a very enjoyable, smart and fun documentary to sit through, especially when it delivers sucker punch after sucker punch at establishment, and makes a mockery of the powers that be.

Red Carpet: Bubble Fiction: Boom or Bust!

The press conference with director Yasuo Baba, and stars Hiroshi Abe and Ryoko Hirosue in the afternoon two days ago was cancelled at the last minute, and there was supposed to be a make up of sorts in the late evening during the Red Carpet.

Alas, it turned out to be such a rush, that it turned out to be just a Red Carpet photograph opportunity for the press members present, with hardly a single word uttered by the stars.

In any case, we were there to bring to you a short video clip from the Red Carpet. Enjoy!

Do Check Back for More Pictures!


Text / Photos: Stefan
Video: CK Yip

Review: Village People Radio Show (Apa Khabar Orang Kampung)

Will You Still Love Me Tomorrow

The latest news about Amir Muhammad's Village People Radio Show, is that Malaysia has banned it outright. That makes it two in a row for Amir. Like his previous documentary The Last Communist, this is a sequel of sorts continuing on a similar topic where The Last Communist left off, with the filmmaker and his team revisiting the village at the Malaysian Thai border, interviewing the Malay-Muslim members of the old communist party.

However, after watching it, one cannot fathom the ban. There wasn't any violence, sex nor the word "Communist" in the title. Neither did it glorify, and perhaps it did not condemn. What it did, again like its predecessor, is to allow the interviewees to share history based on their perspective. Perhaps it is this opportunity for an avenue to air thoughts, that it's deemed as a "dangerous" movie that shouldn't be seen by the masses?

There are nice touches in the documentary, and usually they're the scenes of serene, calm, and innocence exuded by the children - two girls having the time of their lives playing on a see saw. Those who expect something of sorts like The Last Communist will be disappointed. There is the clear absence of the madcap song and dance routines that made The Last Communist enjoyable. Here it has taken a rather serious, at times mundane, tone to its delivery, as if to demonstrate that there is no need for visual and aural gimmicks to spice up the film.

But it decided to incorporate some Thai melodrama into the presentation, and there will be some who will enjoy reading in between the lines. And in relation to its title "Radio Show", the narrative adopted a style of turning the dials, having transitions that must take getting used to before it irritates, especially when they start off rather long in duration (as a transitional scene).

Respectable documentary this is, but don't expect anything fancy. Really too bad about the ban, which does seem to drum up more support and curiosity for the movie, rather than to achieve its supposed desired effect.

Review: Retribution (Sakebi)

There's a kiddy pool at the corner if you want...

For those who is familiar with Kurosawa Kiyoshi's work, you'll not expect a typical horror film. For the uninitiated, the style thats always in favor have a deeper meaning then it seems as in the case of retribution, where Yoshioka, a cop investigating a murdered woman where he realizes a connection to himself that he has no recollection of. What made it worse is the ghostly appearance of the murdered woman hence starting a horror-mystery journey. Intriguing and vastly fascinating, one would would tend to forgive the somehow comedic physicality of the presence that defies all knowledge of what we have come in terms of a ghost in J-Horror. The directors visual sense so far has never failed to amaze me with a backdrop of urban de-construction-construction nicely framing his storytelling that reflects the social breakdown and surrealism in a different representation rendered in a melancholy unstable haunting.

Review: The Yabobian Building (Omaret yakobean)

I know you're in there!

One can never expect such a varied array of an overwrought ensemble drama that opens a fascinating window of life in contemporary Egypt. Immediately after a vivid prologue tracing the building's transformation from 1930s-era luxury residence to its current status as home to rich and poor alike, The Yacoubian Building introduces us to its cast of characters, who represent a cross-section of Egyptian society. From playboy Zaki El Dessouki, the doorman's son who dreams of being a cop, Taha El Shazly, and Fanous and Malaak, who live on the roof in a makeshift hut, their life stories woven together to make an explosive outcome simmering under 172 mins. Thats quite a feat to uphold without the wondrous imagination much like LOTR. But the brewing of every imaginable dispute found clustering throughout this depressing satire, from adultery to homosexuality, certainly makes up for it. It may make out to be a mess from a far, but the flow somehow rooted back to the building itself, making it a life of its own. Well rounded acting to all the actors present, the ever presence of a political message seem to be leaking if dug deep enough. With that said with all the misery surrounding, at least it ended with a rose among the thorns in the bushes.

Review: Tuya's Wedding

What's that burning?

Winning several awards, Wang Quanan's Tuya's Wedding is a refreshing yet simplistic view of a mongolian family turned for the worse when she discovers that she has slipped a disc in her back while helping a friend in need. Aggravating it will only cause her to be paralyzed waist down, just like her husband. So having her being the house bearer ever since then, she has no choice but to listen to his husband's advice to divorce him and get another suitor but under a condition for which her new husband will take him into the household. And so begins the journey of self perseverance and change, fighting among the fire of angst and confusion.

Set in the vast plain grassland/desert of the mongolian/china province, the feeling of loneliness and disconnection was very much a character in itself.

Yu Nan's phenomenal performance as the super-wife was a standing ovation effort, taking note of a scene in the hospital room with her husband and family after he attempted suicide was certainly a tear jerking moment which practically sums up her inner feelings.

Although the ending is much to be a good after taste, one has to acknowledge that this film is only part of the journey and this is one journey you would' t want to miss.

Review: The Bothersome Man (Den Brysomme mannen)

Dinner alone sucks...

Imagine steeping into a new town to start your new career and realizing there's no children, everything is clean and tidy, the food you eat taste bland and that you can't die. Heaven for some but for Andreas, the thought of that missing zest for life and unpredictability bothered him so much that he went on a quest to figure what was going on. With everyone being happy all the time, it sure will creep the hell out of me! Quirky and enigmatic, this Ikea-reflection of life is a comedic comment on social satire on what if life was on a monotone rhythm. One might decipher the whole situation as a dream which would totally be a cop-out or that he had died and gone to the neither-region between heaven and hell (which i though was the case during the opening scene) director Jens Lien had good intuition to leave it to the audience to figure it out, making the film a more flexible embargo of suspended imagination but light enough to flow though without thinking twice of its realism.

The only gripe that i though needed to address was how it was wrapped up. Rooting for the protagonist to solve the mystery, it ended abruptly, leaving us for another adventure to come. Or not...

Review: Sons (Sønner)

Give me back my snicker!

Who is to blame if pleasure overcomes guilt even when you know its wrong? At what limit would it apply to? You would think this would apply to the predator but would the prey be in the same turmoil too or is it just to create predatorial confusion? That was what happened to Lars, a mild mannered man, working for the swimming complex, who decides to take matters in his own hand when he notices a rumored pedophile in the pool. He sets off to prove his find and decides to stake-out, armed with a video camera, to expose the vile. Little did he know (and suspected to us...), his actions triggers a series of deep forgotten realization of everyones common past forcing themselves to face the truth and confronting them. A well rounded drama thriller, this satire is engaging and well paced. With a touchy subject at hand, although nothing absurdly profane, was handled well, even giving the protagonist a say in the matter as well, much like Kevin Bacon's film, The Woodsmen, with the view point of the abused ones and its effect.

Review: Dasepo Naughty Girls (Dasepo Sonyo)

I Want To Take Picture!

The myriad of colours, song and dance all bring about a very madcap feel to Dasepo Naughty Girls, based on an internet comic strip. In essense a series of short stories or skits woven together, it tells the story of the students of No Use High, a multi-religious schools where monks, nuns, priests, and atheists all study common general subjects under one roof.

The opening credits sequence had brought a smile to my face, and throughout the movie, the injection of song and dance made Dasepo Naughty Girls resemble Grease, albeit weaker in the flow of storylines and subplots, and of course not as polished, at times disjointed even with weak transitions.

Other than that, the movie does live up to its being "naughty", and is thoroughly cheeky with its bizzare multitude of characters - like the girl with a "poverty" doll sticking behind her back, an exchange student from Switzerland, the mysterious principal, a one eyed cyclops, a cross dresser, a girl born with a male member, and the list goes on.

Most of the skits had the usual expected punchlines to its scenes, no doubt similar in style and delivery like the 80s Hong Kong "mo-lei-tau" comedies with sexual innuendos. However, it's breezy and light, and without a doubt, it fulfils the goal of being pure entertainment.

***

Director Lee Je-yong was around to open the screening, and joked that his fourth film has been voted online as the worst movie last year, that the second was I'm a Cyborg but That's OK, and the last was Woman on the Beach. Since all three are featured in this year's HKIFF, unfortunately it brought a little dishonour to the selection. However, there were other better movies which are part of the selection, so it isn't all that bad.

Backstage: Asian Film Awards

While Lokman brought you highlights of the inaugural Asian Film Awards a few nights ago from the press stage, CK Yip and I were staking out the backstage with the other half of the media crew to await the presenters and winners of the various categories, for some off the cuff interviews.

Why not watch a video clip instead?



Text: Stefan
Photos: Stefan / CK Yip
Videos: CK Yip