News

Japan’s Agency for Cultural Affairs unveiled four filmmakers selected for the first cohort of its Film Frontier Global Networking Program.

Announced on the sidelines of the Tokyo International Film Festival (TIFF), the program will help filmmakers sharpen their presentation skills, provide opportunities for overseas networking and increase their international exposure.

The Film Frontier Global Networking Program will be run by UniJapan, the organisation that is also behind the Tokyo fest.

While the first cohort recruited filmmakers focused on live action films, future rounds will select film professionals working on animated features.

The first iteration of the program will last 18 months from December 1 to May 31, 2026. It will be followed by a second edition that begins next year.

The four filmmakers in the first cohort are Shingo Ota (The End Of The Special Time We Were Allowed), Emma Kawawada (My Small Land), Kohki Hasei (Blanka) and Mai Nakanishi (Swallow).

Applicants for the program can be directors,...

Four filmmakers have been selected for the initial round of Japan’s Film Frontier Global Networking Program, aimed at supporting young filmmakers aiming for overseas festivals.

The initiative, which is sponsored by Japan’s Agency for Cultural Affairs, will help creators refine their pitches, learn how to give presentations at overseas film markets and provide opportunities for networking.

The filmmakers and their projects were selected for their viability as well as their potential appeal to co-producers from outside Japan.

The four selected filmmakers are Shingo Ota, whose documentary feature The End Of The Special Time We Were Allowed was selected...

The Taiwan Creative Content Agency (Taicca) has announced a line-up of 62 projects to participate in this year’s Taiwan Creative Content Fest Pitching Conference (Tccf Pitching), which will compete for a record prize pool of $226,000 (Nt$7.2m).

The prize figure represents the largest in Tccf Pitching history, comprising around 30 awards presented by private entities and international film festivals. This year’s Tccf will take place from November 5-8 at Taipei Nangang Exhibition Center.

After introducing international productions for the first time last year, the line-up includes a large number of co-productions that reveal an growing expansion of international production and distribution opportunities from Taiwan.

Last year, when writing the prologue for the particular list, we mentioned that despite a number of great films, the industry seemed to have taken a step back as a whole. In 2022, it seems that the opposite is happening, as there are no definite masterpieces, but a lot of really good films, which could signify a step forward for the cinema of China, Taiwan and Hong Kong, even if a number of titles were pulled from international festivals, making their viewing quite difficult to happen. It is also quite interesting where Hong Kong cinema moves after the shattering changes of the last few years, with the first samples, however, seeming hopeful, at least as the beginning of something new.

Without further ado, here are the best Chinese Language films of 2022, in reverse order. Some films may have premiered in 2021, but since they mostly circulated in 2022, we decided to include them.

Following the excellent “Hana”, Mai Nakanishi presents another stylized horror short, that has already won an award from Tampere.

“Swallow“ is screening at Across Asia Film Festival

The film begins with Mimi, a young woman, taking the elevator in a luxurious apartment complex, where another woman, Xue Lan has invited her to have lunch. It is soon revealed that both are actresses, and about to star in the same movie. Xue Lan, however, despite her seemingly polite demeanor, is actually condescending and uppity, flaunting her relationship with the producer and director to her co-star, as much as the difference in their status within the industry. Mimi smiles through it, but eventually a sharp comeback leaves her lips, hitting the other woman right where it hurts: the fact that she seems much older than her guest. The discussion leads to the second part of the movie, where Mimi has invited Xue...

The ninth edition of Across Asia Film Festival, the international film festival focused on the independent languages ​​of contemporary Asian cinema, will be staged from 7 to 11 December 2022 in Cagliari. With a careful selection of over 20 unpublished films from all over the Asian continent, including various Italian and European premieres, the event offers five days of screenings and meetings in various locations in the Sardinian capital city, Cagliari.

Across Asia Film Festival renews its format this year by proposing a wide-ranging program that abandons the previous focus dedicated to a single country or geographical area to embrace the entire Asian continent. Particular attention is directed towards independent and emerging productions, female cinema, young people, the destruction of genres, pop, the queer and politically incorrect universe that rotates on different proprietary axes in each country.

About the Programme

Among the women’s productions presented at this edition of Across Asia Film Festival is Yuni,...

Following the excellent “Hana”, Mai Nakanishi presents another stylized horror short, that has already won an award from Tampere.

“Swallow” review is part of the Submit Your Film Initiative

The film begins with Mimi, a young woman, taking the elevator in a luxurious apartment complex, where another woman, Xue Lan has invited her to have lunch. It is soon revealed that both are actresses, and about to star in the same movie. Xue Lan, however, despite her seemingly polite demeanor, is actually condescending and uppity, flaunting her relationship with the producer and director to her co-star, as much as the difference in their status within the industry. Mimi smiles through it, but eventually a sharp comeback leaves her lips, hitting the other woman right where it hurts: the fact that she seems much older than her guest. The discussion leads to the second part of the movie, where Mimi has...

From unseen forces to dangerous desires, from the remorseful living to the remorseless dead, from under the earth to creepy closed doors, Arrow Video FrightFest 2019 continues the festival’s fine tradition of showcasing the best in global genre short filmmaking. This year’s five continent selection unleashes the newest creations from both upcoming and established filmmakers and embraces a record fifteen UK films, seven spotlighted selections from Canada and a breakthrough entry from The United Arab Emirates.

Homegrown talent continues to energise the UK film industry, as reflected in this year’s entries. There’s Folk Horror and Body Horror, whilst lethal women lurk around every corner in Sleep Tight, Under The Parasol and Dog Skin. Katie Bonham returns with ticking terror thriller Midnight and Josefa Celestin is back with the darkly apocalyptic Tomorrow Might Be The Day. Another fearsome futuristic tale is Old Beginnings, while unseen danger lurks in...

Revered Singaporean production outfit Zhao Wei Films is presenting a raft of diverse projects at Locarno Film Festival’s Match Me! forum.

Boo Junfeng, whose “Sandcastle” and “Apprentice” were Cannes selections in 2010 and 2016 respectively, returns with the suspense drama “Trinity.” Formerly known as “Dominion,” the multi-territory co-production will follow an anti-gay pastor who becomes infatuated with a male disciple. The project, currently in development, won the Cnc cash award at the Taipei Golden Horse Film Festival in 2018 and participated at the Berlin coproduction market earlier this year.

Adding to the ever-popular J and K horror genre is Mai Nakanishi’s Singapore/Japan/Korea coproduction “Hana.” Based on her acclaimed 2018 short of the same name, the film will see a high school student taking up a well-paid babysitting job only to discover that it can be terrifying.

In addition, Zhao Wei is planning six 45-minute episodes of €3.5 million ($3.9 million) budgeted drama...

Best director went to Adam Egypt Mortimer for Daniel Isn’t Real, while Cuban psychological thriller Is That You? won the Jury’s Choice award.

Christian Volckman’s English-language thriller The Room won the Best Of Bucheon award at this year’s Bucheon International Fantastic Film Festival .

Starring Olga Kurylenko and Kevin Janssens, the film is about a couple who discover a secret chamber in their house, which has the power to materialise anything they want, except the baby they’ve always dreamed of having.

Best director went to Us filmmaker Adam Egypt Mortimer for Daniel Isn’t Real, about...

Indie Forum of the 14th Osaka Asian Film Festival presents seven features and three shorts. “Hana” by Mai Nakanishi tells a piercing story of four-year-old Hana (Kim Do-eun), the only daughter of a Korean single working mother (Lee Jeong-bi). The mother is in dire search for a nanny for her little girl. She doesn’t ask much, only that Hana is taken care of and kept safe. Those who are familiar with Constantine immediately started to look for the catch. And you are not wrong, as Hana is not your usual child.

Sujin (Jeone Hee-jin), rushing to her first ever nanny interview, is welcomed by Hana`s mom, who is already in her coat, one leg in the door. Not only is Sujin hired, she is asked to immediately start on her new job. Take a good care of Hana, keep her safe. It is weekend, but mom is expected...