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• W146587556 abstract "FOCUS ON ASIA--FUKUOKA INTERNATIONAL FILM FESTIVAL FUKUOKA, JAPAN SEPTEMBER 16-25, 2005 PUSAN INTERNATIONAL FILM FESTIVAL PUSAN, SOUTH KOREA OCTOBER 6-14, 2005 DUBAI INTERNATIONAL FILM FESTIVAL DUBAI, UNITED ARAB EMIRATES DECEMBER 11-7, 2005 INTERNATIONAL FILM FESTIVAL ROTTERDAM ROTTERDAM, THE NETHERLANDS JANUARY 25-FEBRUARY 5, 2006 Film curators and festival organizers these days are feeling the urgency to shape programs that foster cultural understanding and exchange, and support the development of new cinematic voices. Focus on Asia--Fukuoka International Film Festival's (FIFF) small, but sensitively crafted, noncompetitive Asian showcase featured twenty-five films from Bangladesh, mainland China, India, Iran, Iraq, Japan, Malaysia, Mongolia, South Korea, Sri Lanka, Syria, Taiwan, Turkey, Uzbekistan, and Vietnam. This year, the festival frequently referenced the Middle East--especially Iraq--from a variety of cultural and historical vantage points. Feature Presentation films from the region included Fukuoka's first-ever feature films from Iraq (Life, 2002, by Iraqi-born Kurdish-American filmmaker Jano Rosebiani) and Syria (Waha al-Raheb's strong debut Dreamy Visions, 2003). Even in the folkloric Tales of Intransigence (2004, by Reis Celik) set in remotest Anatolia, the American bombing of Iraq is deftly woven into the deceptively simple story of a race between a passenger minibus and a horse-drawn sleigh. While there were a few weak spots in catalog presentation of the selections, Fukuoka's program was consistently smart and engaging. There were several standouts shot on video--including a Tamil/Malaysian family melodrama The Gravel Road (2005, by Deepek Kumaran Menon) and the Mongolian epic Tumur of Mountain (2004, by O. Bat-Ulzil). A short flight from Fukuoka, Pusan International Film Festival (PIFF) is decidedly different in tone, mission, and sheer scale. From red-carpet photoflashes and rousing outdoor screenings in seaside Haeundae, to frenzied fan gatherings in downtown Nampo-dong, this year's PIFF was indeed largely focused on celebrating Asian cinema in a context. Even before the festival opened, screens were mostly occupied by domestic productions--including the whimsical and poignant War blockbuster Welcome to Dongmakgol (2005, by Park Kwang-hyun). Such recent movies were prominently on display in PIFF's Korean Panorama. The late Lee Man-hee was the subject of a revelatory retrospective as Korea's Poet of the Night, and another source of pride was the vintage pop-nationalist animation Robot Taekwon V (1976, by Kim Chung-gi), recently restored for one billion won and presented to eager multi-generational audiences. With the Asian-Pacific Economic Cooperation (APEC) summit in town, the tenth PIFF also created a special series that focused on the theme Communication in films of APEC-member countries. Cementing its role as a leading film festival in Asia, PIFF inaugurated the new Asian Film Academy--an intensive workshop to foster Asian talent led by Hou Hsiao-Hsien, a recent participant in PIFF's successful film market, Pusan Promotional Plan. His romance Three Times (2005) opened the festival; fellow Taiwanese auteur Tsai Ming-liang was represented by his film The Wayward Cloud (2005). However, lesser known emerging Taiwanese and mainland Chinese talents also made their marks at Pusan: Lin Yu-hsien with the crowd-pleasing documentary Jump! Boys (2005), Robin Lee with the fantasy The Shoe Fairy (2005), and Cheng Wen-tang with the drama Blue Cha Cha (2004). Gender and sexual identity exploration in the mainland DV docu-fiction Tang Tang (2004, by Zhang Hanzi) was provocative in the best way. A veritable rainbow of invention, the Thai film Citizen Dog (2004) by Wisit Sasanatieng also ranked as a festival favorite. While Thai cinema has established a stellar reputation on the world stage, Indonesian cinema is on the rise (with eight films at PIFF). …" @default.
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• W146587556 date "2006-03-01" @default.
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• W146587556 title "Festival Focus on Asia" @default.
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