Filmart 2014 №1

Home , Fiona Sit, Herman Yau, John Chong, Kenny Wong, Louis Koo, Love and Bruises

DAILY MARCH 24, FILMART 2014 №1

THR.COM/FILMART

China_3D_cover_Day1.indd 1 3/21/14 3:18 PM ASIAN PREMIERE INTERNATIONAL MARKET PREMIERE Mon, 24th Mar. Mon,/ 16:00 24th /Mar. AMC / 16:00 Pacific / AMC 4 Pacific/ By Invitation4 / Market (BY INVITATION ONLY) Tue, 25th Mar. / 10:00 / AMC Pacific 1 / By Invitation Tue, 25th Mar. / 10:00 / AMC Pacific 1 / Market (BY INVITATION ONLY)

Fortissimo Films HKIFF + HK Filmart Booth: 1E - B09 To set up a meeting with us, please e-mail to [email protected]

HK 2014_THR_another me.indd 1 2014/3/19 �� 8:32 Fortissimo FP_Day1.indd 1 3/19/14 11:18 AM MARCH 24, 2014 THR.COM/FILMART FILMART №1

HONG KONG TODAY TOMORROW WEATHER AND HIGH 73° F 71° F TEMPS 23° C 22° C IP MAN 3 Chinese Movie Boom Boosts Filmart KICKS INTO An increased presence from the Mainland sparks optimism among dealmakers hoping to HIGH GEAR grab a larger slice of the world’s fastest-growing film marketBy Clifford Coonan and Karen Chu By Karen Chu ong Kong Filmart is already Asia’s largest wait and see. It’s a curtain raiser for Cannes and egasus Motion Pictures film market in terms of exhibitor numbers, advance showcase for upcoming projects, and it is will begin filming Ip H but coming shortly before Cannes, it is increasingly well attended.” P Man 3 in early 2015. an annual challenge to convince buyers to open But the growing allure of Chinese-language With a budget of $30 mil- their wallets in Asia, rather than wait for the bigger movies makes Filmart ever more important to lion, the finale of the trilogy, European platform. Asian buyers, and this year, more than 770 exhibi- to be shot in 3D, will reunite “The market is significant for us because we tors from 32 countries and regions will take part, the same team that produced are Hong Kong-based and Hong Kong Filmart is from Brunei and Malta, and including Shandong, Ip Man 1 and 2 — director like a home event, and we’ve been very support- Sichuan and Guangdong provinces in the Chinese Wilson Yip, star Donnie Yen, ive,” Albert Lee, CEO of Emperor Films, tells THR. mainland as first-time exhibitors. screenwriter Edmond Wong “As far as business is concerned, we will have to CONTINUED ON PAGE 4 and producer Raymond Wong are on board. The long-gestating project has been in development for Joey Leong, right, comforts Maggie Siu years, amidst rumors of a rift after the appearance between producer Wong and of an evil spirit. star Yen. But Pegasus CEO John Chong put those rumors to rest. “We had difficulties in bringing the original directing and starring team together because of their different schedules, but once CONTINUED ON PAGE 4

Universe Backs Koo’s Holiday By Karen Chu niverse Films has unveiled its Filmart review U lineup, which will include the Louis Koo vehicle Paris Holiday and an untitled Benny Chan road movie. Holiday, written and direct- Second Coming 3D ed by James Yuen (My Sassy Hubby), will star Koo and Hong Kong cult director Herman Yau returns to the schlocky Fiona Sit (Break Up Club). The horror genre that built his rep in the 90s by clarence tsui $5 million romantic comedy, about a red wine marketing he English title of Herman Yau’s latest a blood-sucker one moment and a gory zombie executive and an artist going film might allude to its paranormal twist, the next, The Second Coming does hark back to through a breakup, will be T but the handle could also be perceived pics from Yau’s heyday, such as The Untold Story shot in Paris. as signaling the return of the cinematographer- or Ebola Syndrome. The company will also director to the visceral horror tropes which If only the film, Yau’s first 3-D attempt, had present Little Big Master, propelled him to cult status in Hong Kong those films’ ability to surprise and provoke. a based-on-a-true-story cinema in the 1990s. With nether regions treated Given the schlocky subject matter, there should drama about a principal who to unseemly fates and a character mutating into CONTINUED ON PAGE 18 CONTINUED ON PAGE 4

THE HOLLYWOOD REPORTER 1

day1_newsB.indd 1 3/23/14 7:15 PM theREPORT

HEAT INDEX THE 2014 FILMART POSTER AWARDS The Travel THR pays tribute to the most amusing and over-the-top promotional materials from this year’s market Edition

FAN BING BING Flanked by Oscar-winner Tilda Swinton, the Chinese actress and style icon helped charity organization Filmaid raise over $450,000 at its third annual “Power of Film” gala dinner Saturday night.

C.K. CHOW The chairman of the Hong Kong stock exchange is on a losing streak: earlier this month, Chinese Internet giant Alibaba took its $15 billion IPO to Best Pitch Meeting Mashup Best (Extremely) Personal Journey New York instead of listing locally, Air Disturbance Hanna’s Journey sending the HK exchange reeling. PITCH MEETING NOTES: Hanna was about to embark on a journey that, WRITER: “It’s like the girl from The Grudge thankfully, most people never have to go on. And on in Snakes on a Plane!” that journey, Hanna would not only find true love, STUDIO EXEC: “Hmmm. Gotta be honest here, but also the one thing she had been searching for I’m not feeling it. Tell you what? Make it her entire life: the left side of her face. the girl from The Ring and you’ve got a deal.” WRITER: “Done! High-five!”

NORIYUKI TADA The veteran Japanese exec is poised to take the reins at Tokyo-based studio Toei on April 1 as CEO and president. As always, the Japanese major is expected to be a big player on the Filmart sales floor.

know your dealmaker

Best Attempt At Looking Like A Celebrity Best Testimonial From A Real Person Wilferd Wong Jackie Roadside HKIFF Society Chairman Wong is the mastermind who performed Jackie was a simple woman with one simple need: Would Hitchcock be proud? Damn right he would! the Herculean task of bringing together to have a right leg that rivaled that of Angelina Of course, we’re talking about Lance Hitchcock, the Busan International Film Festival and the Tokyo International Film Festival to Jolie’s infamous Oscar leg. Jackie tells the story of seventh grade algebra teacher at Robinson Middle form the Asian Film Awards Academy, her thirty-two mostly successful attempts at School in Decatur, Illinois, so.... which for the first time will organize this year’s increasingly high-profile Asian Film breaking her own leg, and the painful surgeries and Awards, to be held on Friday in Macau. grueling physical therapy sessions that followed.

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day1_newsB.indd 2 3/23/14 7:15 PM 360° 180° IMMERSIVE* ENTERTAINMENT 全景娛樂影視方案 Presented by Salon Films (H.K.) Ltd. @ HKFILMART 2014 Hong Kong Convention and Exhibition Centre Hall 1 - Booth No. 1C-D16 24-27 / 3 / 2014

影頻點播 / 實況直播

跨平台播放

全景娛樂影視內容制作

Salon Films Filmart Day 1.indd 1 3/18/14 11:55 AM theREPORT

Golden Scene South Korea’s Backs Hong Finecut Closes Kong Fare Multiple Deals By Karen Chu By Karen Chu ong Kong-based eoul-based sales agent Golden Scene is Finecut has seen a H putting an emphasis S flurry of activity ahead on local color with its Filmart of Filmart. Leesong Hee-il’s slate. The Distributor will Hong Kong International Film present the Hong Kong-set ti- Festival official selection Night tles Dot 2 Dot and May We Chat Flight has been picked up by at the annual film market. Sun Entertainment in Hong Dot 2 Dot, a nostalgic Kong and Macau, and Joint drama about a man reminisc- Entertainment in Taiwan.

ing about the old Hong Kong, Pegasus will be Elsewhere, the Korean hit is directed by first time helmer pushing Z Storm, The Attorney, which had over starring Louis Amos Why and stars Moses Koo, at Filmart. 11.4 million admissions in Chan (I Love Hong Kong). South Korea, has sold to Edko “The main reason I backed success of The Grandmaster has Films in Hong Kong and Joint this film was because it is a Ip Man 3 been a constructive [form of] Entertainment in Taiwan. CONTINUED FROM PAGE 1 film about Hong Kong,” says competition. The collaboration The top-grossing thriller of all Winnie Tsang, managing direc- negotiations resumed, it was between director Wilson Yip and time in South Korea, Hide and tor and founder of Golden very friendly,” Chong tells THR. star Yen has set a [high] stan- Seek, sold to Edel Germany for Scene. “We can finally set a time for the dard. Fans of the first two Ip Man both Germany and Austria. May We Chat, the sequel to production to start in 2015.” have high expectations for this The new thriller Intruders Lonely Fifteen, the 1982 release Ip Man put lead Yen on the third outing.” by Noh Young-seok has been about underage girls, “reflects map in 2008. Since then, Ip, the Pegasus is also touting the sold to Hwa Yea Multimedia the rebellion of local girls now- martial artist and mentor of crime thriller Z Storm at Filmart. for Malaysia and Brunei, while adays [in Hong Kong]” adds Bruce Lee has been the subject The film, starring local A-lister spy actioner Iris: New Gen- Tsang. The drama, helmed of biopics in Wong Kar-Wai’s The Louis Koo, revolves around the eration has signed a deal with by film critic-turned director Grandmaster and Herman Yau’s Ip investigation of a Bernie Madoff- Nettai Museum in Japan. Philip Yung, will make its bow Man: The Final Fight. like ponzi scheme by the Inde- Lee Sunjin’s directorial debut in June 2014. Golden Scene “Yen has created a character pendent Commission Against Han Gong-Ju has been sold will also be repping the China all his own in the first two Ip Corruption (ICAC). It coincides to Dissidenz in France, Third rights of The Midnight After, Man,” adds Chong. “The por- with the 40th anniversary of the Window Films for theUnited opening film of the HKIFF. trayals of Ip Man by other actors ICAC but is not officially affili- Kingdom and Ireland, and The surreal horror flick from (Tony Leung Chiu Wai in The ated with the Commission. Mediatres in Spain. director Fruit Chan will face a Grandmaster and Anthony Wong Z Storm is directed by veteran Lee Ju-hyung’s directorial challenge to find a mainland in Ip Man: The Final Fight) have helmer David Lam, who was be- debut, Red Family, has gone distributor because of its sensi- avoided the characterization hind the last film about the ICAC to Astro for Southeast Asia. tive subject matter. THR created by Yen. The critical in 1993, First Shot. THR Written and produced by Korean auteur Kim Ki-duk, the film will be released in Japan Hong Kong-based Golden Scene thinks that Cannes in October. THR Chinese Boom is not as much of a competitor as is sometimes por- CONTINUED FROM PAGE 1 trayed, and is expecting to sell to more territories at And established markets like France, Japan, Ko- Filmart this year. rea and the United Kingdom have all expanded the “Filmart is the place where buyers come to find Universe CONTINUED FROM PAGE 1 size of their pavilions at Filmart, which opens today Hong Kong films, of which there are more in vol- and continues through Mar. 27 at the Hong Kong ume and more concentrated,” she tells THR. “For sacrifices financial gain to Convention and Exhibition Centre. other markets, such as Cannes, buyers would go for become the head of a school “In the last few years, we’ve begun to see Filmart the Cannes official selection, Directors’ Fortnight, with only five pupils. Directed as one of the major markets for Chinese-language and the Un Certain Regard selections — there are by Adrian Kwan (The Miracle films, sales-wise,” says Virginia Leung, head of simply too many films there and Hong Kong films Box) and produced by Benny sales at Distribution Workshop. “After all, the first might fall through the cracks.” Chan (The White Storm), the market for Chinese-language film is in Asia. And Despite widespread optimism about an active film is now casting its leads. Filmart is the largest film market in Asia. Asian market this year, Alvin Lam, COO of Universe Films Rounding out the new slate buyers come looking for Chinese-language films at says he hopes that the geographical spread of buy- is an untitled Benny Chan Filmart. We’ve signed quite a lot of deals at Filmart ers will improve over previous editions. road movie in the vein of in the past few years. Now even buyers from “We always hope Filmart would invite more buy- Midnight Run set in Hong America and Europe come to Filmart, and we’re ers,” he says. “In the past few years there have been Kong and China. Budgeted glad to have different clients to discuss our future new buyers coming from different regions such as at $12 million, the expected projects with.” France and India, but we find there were less really delivery date is the third quar- Winnie Tsang, managing director and founder of [eager] buyers.” THR ter of 2015. THR

THE HOLLYWOOD REPORTER 4

day1_newsB.indd 3 3/23/14 7:15 PM TaiPei FP_FilmartDay 1.indd 1 3/19/14 11:29 AM theREPORT

WELCOME TO THE HIGHEST BAR ON EARTH

Wooloomooloo, OZONE IS NOT, TECHNICALLY, A ROOFTOP bar — left, offers a because to stand unobstructed in the ele- stunning view of Victoria Harbour; ments at this altitude would be downright Honi Honi boasts flaming cocktails dangerous. But any nightlife tour of Hong Kong wouldn’t be complete without a stop at the top. Perched on the 118th floor of the International Commerce Center in the Ritz-Carlton Hong Kong, Ozone is the highest bar on earth. Consistently pulling in a full house, the bar draws a mixed crowd of well-healed expats, cashed-up Chinese and visiting luminaries — Lady Gaga dropped in during the Hong Kong stop of her latest tour, and Leonardo DiCaprio The High Life: Four Essential and David Beckham each made an appearance on their recent swings through Hong Kong Rooftop Bars the city. By Patrick Brzeski and Chow Yun Fat have been thetic. Be sure and try the The drinks menu is lean but effective: ore people live and known to frequent Sevva, “Red Sky Colour” ($11) — signature martinis, champagne cocktails work above the and when Larry Gagosian vodka, crème du cassis, rosé and a Ritz-class collection of wines and M14th floor in Hong launched the Asian outpost wine, raspberry honey, lime Scotches, ranging in price from entry-level Kong than in any other urban of his namesake gallery in and ginger. to astronomical. On Sunday mornings, the center on the planet — and, the city, he hosted his late bar’s resident DJs take a break and the undoubtedly, more people running after-party here, with HONI HONI mood lighting softens for the popular five- drink at that altitude too. Damien Hirst and Kate Moss in 3/F, Somptueux Central, course champagne “Skyline Brunch” ($181). Here’s a sampling of some attendance. Show up before 52 Wellington St, Central, Some have griped that Ozone’s some- of Hong Kong’s best rooftop sundown to score one of the 2353 0885 what over-designed punky décor is a bit of bars — where you can enjoy a coveted wicker loungers fac- If the street level grit and a comedown from the expected elegance breeze while sipping a drink ing the harbor and the lights skyscraper sheen of Hong of the Ritz brand; but then again, no one and taking in those Blade and towers of Kowloon. Kong start to grind you really comes here for the window dress- Runner-esque panoramas. down, escape to Honi Honi – ings. From the moment you exit the high- SUGAR a Hong Kong take on the tiki speed, black-walled elevator, it’s all about SEVVA 32/F, EAST Hotel, 29 Tai Koo bar that boasts both flaming the view. On any clear day at the top of the 25/F, Prince’s Bldg, Central, Shing Rd, Tai Koo Shing, cocktails and an intimate ICC tower — the world’s seventh tallest 2537 1388. 3968 3738 open-air patio. French mix- building — the entirety of the Hong Kong With its expansive, 360-de- For a no less stunning, but ologist and lounge co-owner megalopolis stretches out before you, gree wraparound terrace and less frequently Instragram’d Max Traverse puts the bar’s sprawling all the way across the Pearl River prime location at the top of vantage on Hong Kong’s impressive rum collection Delta into mainland China. — P. B. the Prince’s Building in the glittering heights, head to good use in cocktails with heart of the city’s financial further afield to Sugar in names like “Three Wise district, Sevva has been a the city’s Eastern District. Monkeys” ($17), many of favorite sunset cocktail spot Occupying the entire top which are served in coconuts of the moneyed set who popu- floor of boutique business or hollowed out pineapples. late the nearby banking tow- hotel EAST, this sprawling ers since it’s inception in May, space constitutes a lounge, WOOLOOMALOO 2008. Designed by Calvin Tsao sky deck and bar bound 31/F and rooftop, The Hennessy, and owned by local socialite together by a consistently 256 Hennessy Road, Wan Chai, Bonnie Gokson, Daniel Wu sleek, slightly futuristic aes- 2893 6960 Wooloomaloo, an Australian steak house atop the Hen- nessy building in Wan Chai, offers a giant rooftop terrace with knock-out vistas over Victoria Harbour and the Happy Valley race track — and it’s just a 15 minute walk from the Hong Kong Film Festival venue in Wanchai. They also offer nicely service- able new world wine and Ozone sits atop the Sugar at dusk Ritz Cartlon Hong Kong scotch collections.

THE HOLLYWOOD REPORTER 6

day1_news4G.indd 1 3/23/14 4:24 PM Busan International Film Festival

Asian Film Market

Asian Project Market

Application & Information on apm.asianfilmmarket.org Contact [email protected] Q&A DIRECTOR

Vivian Qu The Beijing-based producer talks about becoming a director, her triumph at the Berlinale and changing Chinese filmmaking one movie at a time By Clifford Coonan

IVIAN QU HAS HAD A BUSY YEAR. She has two films at the Hong Kong Internaitonal Film Festival – the V Berlinale Golden Bear-winning Black Coal, Thin Ice, which she produced, and Trap Street, which marks her directorial debut. Defiantly independent, Qu was born in “I’m a multitasker,” Shanghai and grew up in Beijing, and now says Qu, who was lives in the eastern side of the Chinese capital. photographed on March 6 outside her She doesn’t drive, so working near the heart of office in Beijing. the city is important. She is currently consid- ering moving her work space into a courtyard, whereas with this one we wanted to combine the time, for ten months I didn’t have time to which will be an exhibition/work space for a a genre film with the arthouse. We did it in a talk with him. When we finally met again I few friends. It’s not a surprising move given trial and error way, so that’s why the film went thought he must have made the film already, the one-time art history major’s interest in through many different stages. but he told me no. Then I realized the diffi- fine arts and music. culty indie directors were all facing in funding Qu sat down with The Hollywood Reporter You were basically working on two films at the and decided to help. to talk about how she became interested in same time, on Black Coal, Thin Ice as a producer filmmaking, the difficulty of financing an and on Trap Street as a director. How difficult How much did you know about producing before indie in China and why she prefers directing was it to balance the two roles? you started working with Diao? to producing. It wasn’t very difficult. Black Coal was spread I didn’t study anything about producing over a period of eight years in total, even the before that. But I had been through a couple You studied design and art history in New York. time between our signing with the investor of bigger productions so I’ve seen the whole What made you switch to film? and actual production was over a year. There process. Then I just did it. Indie produc- I watched a lot of films at MoMa, the Lincoln was a lot of waiting time. Also this was the tion is more difficult because of the money Center and Film Forum and that got me second time I worked with [director] Diao constraints. Also because Diao was much less interested in film, so I took more courses in Yinan and I was very familiar with the way he experienced and there were a lot of problems film. I fell in love with film also because I real- thinks and the way he works, and I knew the between him and the team, everything going ized that all the things I’ve been doing or love script inside out. Basically, if I’m not on the wrong every day. I was solving problems all — writing, photography, music — can come set, I have a production schedule and I know the time, but the result was okay. I then real- together in filmmaking. It ended my anxiety what they are shooting, and I have the script, ized producing was not that hard; you need to about having to choose one thing for a career. and I phoned him each day to get an idea of know your film, then you need common sense. how things are going. Are you interested in changing the landscape of I shot my film during the spring/summer How did you go about securing investors for Chinese film? when Diao was waiting for the winter time. Black Coal, Thin Ice? We all hope that Black Coal, Thin Ice would My pre-production was not even a month, We went through almost all the major film change the landscape of the Chinese film and my shooting was 30 days. My editing took companies in China and some private inves- industry. This is something I’ve been doing some time, but I work very efficiently because tors. Most big companies only wanted to all along. Even 10 years ago, Night Train was I do one version and I ask my editor to do do strictly commercial, films, others didn’t a big budget indie film. Aside from a couple another version. We only sat down together understand the script. Basically we went of films by Jia Zhangke and Lou Ye funded for a total of seven days. through almost everybody. Our current by European sales or production companies, investor, when they finally decided to invest, most Chinese indie films were microbudget Are you more interested in directing they probably thought they had found a new films. So when I started working on Night or producing? treasure, but then they discovered everybody Train, I felt that with the Directing, of course. As a had already read it, and they went ‘Oops.’ script and everything, it director you only need to needed to be a reasonably VITAL STATS make requests and the rest Has winning the Berlinale Golden Bear made a Nationality Chinese scaled film. At the same Film in Hong Kong is all fun. As a producer you big difference? time as we were looking for Trap Street need to solve all the prob- Well, since we came back there have been a lot Selected Filmography Black Coal, money for Night Train we Thin Ice (2014), Looking for the Rain lems. I started producing of interviews, and covering a lot of headlines. (2013), Night Train (2007) started on this project Black Notable Awards Trap Street, 2013 because Diao came looking If we didn’t win the top prize, they probably Coal, Thin Ice. So it’s a step Venice Film Festival competition title for me with the script of wouldn’t have been as interested, so sometimes (as director). Black Coal, Thin Ice Berli- forward from Night Train, nale Golden Bear 2014, (as producer) Night Train. But since I was it’s important to hit the jackpot to make people which was strictly arthouse, writing for another film at focus and see that the film is important. THR SEAN GALLAGHER

THE HOLLYWOOD REPORTER 8

day1_execsuiteF.indd 1 3/23/14 4:42 PM The Ultimate Support for Asian Independent Filmmakers!

Asian Cinema Fund

Fund Submission Deadline

Script Development Fund For the completion of script May 10, 2014

Post-production Fund Covers DI, sound mixing, D-Cinema package April 20, 2014

AND (Asian Network of Documentary) Fund Supports production and distribution May 10, 2014

Application & Information on acf.biff.kr Contact [email protected] (Fiction Feature) [email protected] (Documentary) MALAYSIA MAKES ITS BIG MOVE Generous incentives, exotic locales, booming box office — the Southeast Asian nation has Hollywood’s attention, but can it maintain the momentum? BY PATRICK BRZESKI

ERHAPS MORE SO THAN ANYWHERE ELSE for all in-country production spending. Under the rules, in the upwardly mobile markets of Southeast local film productions must spend at least $765,000 Asia, Malaysia is a film territory on the move. (RM2.5 million) to qualify for the rebate, while interna- Once a small dot on the global distribution tional movies must spend $1.53 million. For TV series, map, over the past five years Malaysia’s gross the minimum expenditures are about $60,000 per hour Pbox office has more than doubled, from $88.2 million in for local and $117,500 per hour for international. 2008 to $211 million last year. On the ground, local film- With rebates and tax incentives seemingly trump- makers paint a more mixed picture of their industry’s ing all else in today’s bottom line-driven corporate prospects. But the consensus is clear: Hollywood is com- Hollywood, Malaysia’s moves have surely caught the ing and fresh challenges and opportunities will follow. attention of Los Angeles-based location managers. The “I would say the mood is measured optimism,” says first major takers: the Weinstein Company and Netflix. Dain Said, director of Bunohan, Malaysia’s official entry Preproduction and local casting is now underway at for the foreign language film Oscar in 2012. “There will Pinewood Iskandar for Season 1 of period action series be more growing pains, but we feel like the momentum Marco Polo, a Netflix original series produced by TWC SPECIAL is finally moving in the right direction.” about the young 13th century explorer’s adventures FEATURE Malaysia first began making aggressive efforts to posi- and intrigues in the Far East (tragically, a member of tion itself as one of Asia’s top hubs for screen content the show’s stunt team, Jun Kun, was aboard Malaysia creation back in 2008, when the government-funded Airlines Flight 370, which went missing on March 8). investment company, Khazanah Nasional, announced And in mid-February, veteran Japanese post-production a partnership with Pinewood Shepperton (the British company Imagica entered into a joint venture with studio known as the home of the James Bond franchise) Khazanah Nasional to launch a cutting-edge digital to co-finance a cutting-edge, $150 million production post-production facility at Pinewood Iskandar, with the facility, Pinewood Iskandar Malaysia Studios. goal of targeting major Hollywood feature films and TV To incentivize the global screen industry to come to shows as post-production clients, along with companies the country to make use of the new studio — along with from across the Southeast Asian region. Illustration by Malaysia’s many exotic shooting locations — in 2013 the Pinewood’s spokespeople declined to be interviewed KYLE HILTON government debuted a 30 percent cash-rebate incentive at time of print, but local insiders say additional

THE HOLLYWOOD REPORTER 10

day1_malaysiaE.indd 1 3/23/14 2:30 PM CCAM_Day1.indd 1 3/19/14 11:16 AM HKIFF + HK FILMART BOOTH: 1E - B09

by Isabel Coixet DEVILS ON THE DOORSTEP by Jiang Wen HKIFF OPENING FILM Mon, 24th Mar. / 16:00 / AMC Pacific 4 / Market FULLY RESTORED ORIGINAL VERSION Mon 24th March 21:30 HKCEC Theatre 1 Festival (BY INVITATION ONLY) Sat, 29th Mar. / 15:15 / HK Cultural Centre Grand Theatre / Festival Wed 26th March 12:15 HKCEC Theatre 1 Market Fri 28th March 19:00 HK Cultural Centre Festival Grand Theatre

by Fruit Chan THE MIDNIGHT AFTER Hong Kong / 2014 / 124’ / Cantonese / Thriller

by Alex van Warmerdam SIDDHARTH by Richie Mehta Sun, 30th Mar. / 18:00 / HK Space Museum Lecture Hall / Festival Tue, 1st Apr. / 14:30 / HK Science Museum Lecture Hall / Festival

WINNER OF 2014 BERLIN GOLDEN BEAR (BEST FILM) AND SILVER BEAR (BEST ACTOR)

Wed 26th March 14:45 HKCEC Theatre 1 Market Thu 27th March 12:00 HKCEC Theatre 1 Market Thu 27th March 21:30 UA Cityplaza Festival Sun 30th March 18:15 HK Cultural Centre Festival Grand Theatre

by Diao Yinan BLACK COAL, THIN ICE China, Hong Kong / 2014 / 106’ / Mandarin / Crime Thriller, Drama by Amit Kumar RIGOR MORTIS by Juno Mak

Sat, 29th Mar. / 21:30 / Metroplex Kowloon Bay / Festival Wed, 26th Mar. / 17:15 / UA iSquare / Festival Sat, 5th Apr. / 23:30 / UA Langham Place / Festival TO SET UP A MEETING WITH US,PLEASE E-MAIL TO [email protected]

HEAD OFFICE ASIA OFFICE ATTENDING EXECUTIVES Van Diemenstraat 100 Unit A. 26 Floor Michael J. Werner upcoming films CAMERA, DRIVING BACK FROM DUBBO, FOODIES, GHADI, HOW TO TALK TO GIRLS AT PARTIES, 1013 CN Amsterdam CKK Commercial Centre Nelleke Driessen : The Netherlands 289-295 Hennessy Road Winnie Lau LUCIA DE B., NED RIFLE, SUNSET SONG, SCHNEIDER VS. BAX Phone: +31 20 627 3215 Wanchai, Hong Kong S.A.R. Will Lin E-mail: [email protected] Phone: +852 2311 8081 Van Choi current films: FINAL RECIPE, KISS THE WATER, LINSANITY, LOVE IS STRANGE, SHIP OF THESEUS, UNFRIEND, E-mail: [email protected] iNUMBER NUMBER

HK 2014_THR_double page.indd 1 2014/3/19 �� 8:43 FortissimoSpread_Day1.indd 1 3/19/14 11:22 AM HKIFF + HK FILMART BOOTH: 1E - B09

INTERNATIONAL MARKET PREMIERE ANOTHER ME by Isabel Coixet DEVILS ON THE DOORSTEP by Jiang Wen HKIFF OPENING FILM Mon, 24th Mar. / 16:00 / AMC Pacific 4 / Market Tue, 25th Mar. / 10:00 / AMC Pacific 1 / Market FULLY RESTORED ORIGINAL VERSION Mon 24th March 21:30 HKCEC Theatre 1 Festival (BY INVITATION ONLY) Sat, 29th Mar. / 15:15 / HK Cultural Centre Grand Theatre / Festival Wed 26th March 12:15 HKCEC Theatre 1 Market Fri 28th March 19:00 HK Cultural Centre Festival Grand Theatre by Fruit Chan THE MIDNIGHT AFTER Hong Kong / 2014 / 124’ / Cantonese / Thriller

BORGMAN by Alex van Warmerdam SIDDHARTH by Richie Mehta Thu, 27th Mar. / 14:30 / UA Cityplaza / Festival Sun, 30th Mar. / 18:00 / HK Space Museum Lecture Hall / Festival Sun, 30th Mar. / 19:40 / UA Cityplaza / Festival Tue, 1st Apr. / 14:30 / HK Science Museum Lecture Hall / Festival

WINNER OF 2014 BERLIN GOLDEN BEAR (BEST FILM) AND SILVER BEAR (BEST ACTOR)

Wed 26th March 14:45 HKCEC Theatre 1 Market Thu 27th March 12:00 HKCEC Theatre 1 Market Thu 27th March 21:30 UA Cityplaza Festival Sun 30th March 18:15 HK Cultural Centre Festival Grand Theatre by Diao Yinan BLACK COAL, THIN ICE China, Hong Kong / 2014 / 106’ / Mandarin / Crime Thriller, Drama MONSOON SHOOTOUT by Amit Kumar RIGOR MORTIS by Juno Mak

HK 2014_THR_double page.indd 1 FortissimoSpread_Day1.indd 2 3/19/14 11:22 AM MALAYSIA SPECIAL FEATURE

joint ventures and international feature film projects theaters are fully digitial and most existing cinemas are under discussion at the studio. Meanwhile, the have undergone conversion. Malaysian industry is collectively holding its breath, “These are positive trends,” says Mahyidin Mustakim, hoping the Marco Polo project goes off without a hitch, CEO of Creative Content Association Malaysia. “But given the weight of expectations. relatively inexpensive digital production technology has But Malaysia’s aggressive, state-planned approach to also made it much cheaper and easier for filmmakers to cultural development hasn’t been without its occasional make movies, and in the last few years we have seen the embarrassments. In 2012, the country’s National Film market become over-saturated.” Development Corporation (FINAS) made a splashy In 2010, there were 39 local Malaysian movies announcement at Cannes, saying it would be launching released. By 2013, there were 76 local films in the mar- a major international film festival and content market ket. Over the same period, domestic Malaysian films’ the following year — neither has yet to materialize. Ribbit total box office take actually fell, from $26.1 million to Development has indeed proven to be a mixed bless- $26 million. To protect against total Hollywood domi- ing for Malaysia so far. On first glace, the rapid growth nance, Malaysia has an equal opportunity law that of the overall box office would appear an instant boon requires cinemas to give every domestic film a minimum to local filmmakers — Hollywood continues to take the two-week run. Theater operators are permitted to pull lion’s share of the local market, but all slices grow in an a film if admissions drop below 30 percent in the first expanding pie. five days, but some say the policy has become counter Cinema construction has taken place at a rapid rate productive in recent years. in Malaysian urban centers. In 2006 the country had “There are way too many cheap commercial horrors, 287 screens; as of last year it had 774. Nearly all new slashers and bad comedies,” says Malaysian independent director James Lee. “Most of them are so bad that our movies [have gotten] a bad reputation with our own audience.” A RECORD BREAKING JOURNEY There also has been some grumbling in the local BATTERED AND BETTERED BY HOLLYWOOD industry that Pinewood Iskandar’s high-profile The Journey superhero franchises, while simultaneously Hollywood projects will only compound the domestic drowned out by a glut of low-cost local industry’s woes by sucking up the limited local talent rivals, Malaysian filmmakers have faced a pool of experienced crews and raising standard rates brutally challenging market in recent years. beyond what local studios can afford. All of which makes the breakout success of Yet others see knock-on benefits over the horizon. director Chiu Keng Guan’s The Journey even “Pinewood’s facilities are too expensive for many more remarkable. local filmmakers and the [$765,000 minimum spend Since its release on January 30, the required] to qualify for the cash rebate is more than romantic family drama has grossed $5.3 many producers can afford,” says Nandita Solomon, million, smashing the prior record for a producer of Bunohan (the average budget of a Malaysian domestic Malaysian film held by action flick movie was just under $600,000 in 2013). “But I see these KL Gangster ($3.5 million, 2011). as good things, actually, because they will incentivize The Journey tells the story of a cross-cultural romance between a Chinese Malaysian producers to spend more time on development. It should girl and her British fiancé and the resistance the young couple faces when they reveal their lift the professionalism of our industry as a whole.” intentions to wed to her conservative father. The involvement of local crews and talent in high- Made with a production budget of just $915,000, the film’s cast is almost entirely com- profile international projects such as Marco Polo is prised of first-time actors — a departure for a local industry driven by pop idol star power. also likely to elevate the Malaysian industry over Malaysia’s multicultural population of roughly 30 million breaks down along three major time. To accommodate the surge in staffing demands ethnic groups: Malay, Chinese and Indian, respectively. And yet, The Journey, which is told the studio is expected to generate, Malaysia’s in Chinese and features the traditional marriage customs of a Chinese family, has struck a Multimedia University in Kuala Lumpur has con- chord with Malaysian cinemagoers of all creeds. tracted the University of Southern California’s (USC) “For content in Malaysia, it’s usually quite localized — the Malays watch a certain kind School of Cinematic Arts to serve as consultants on its of cinema, with a certain sensibility, and the Chinese watch another, to some extent,” says burgeoning film program. Since last year, Pinewood Najwa Abu Bakwar, Vice President of Business Development at Malaysian media company Iskandar also has been running courses of its own, Astro Shaw, which produced The Journey. “But The Journey tells a quite simple story along with a regional government authority, to actively with a premise that resonates across Malaysia’s cultures — and in fact, it’s quite universal cultivate skilled new staff and talent to meet the across Asia.” studio’s needs. Local Malaysian industry watchers and advocates are hoping the film’s financial success The country’s nascent animation industry is also will inspire more producers to experiment with a broader range of genres. finding its footing in the international business. “We’d like to see this set a trend for more local producers and directors in Malaysia to Malaysia’s KRU International and India’s Crest think outside of the box,” says Rahmat Adam, a representative from Creative Content Asso- Animation Studios are readying Malaysia’s first major ciation Malaysia, a government-backed advocacy group that promotes Malaysian cinema animation co-production, Ribbit — voiced in English by at markets and festivals around the world. “For a Malaysia industry that typically produces comedian Russell Peters and actor Sean Astin (Lord Of all action, horror and comedy pictures, this was a totally different film that didn’t fit any of The Rings) — for a 2014 global release. the templates — but it made a lot of money. “We are a multi-cultural country that also happens Bakwar says Astro Shaw is wagering The Journey’s ability to cut across Malaysia’s to speak English because of the British colonial legacy,” endemic cultural barriers will also translate into box office viability abroad. Singapore- says Solomon. “There is so much talent in Malaysia — based MM2 Entertainment picked the film up for a Singapore release on March 20 and a we are ready to become a contributor to the global movie Taiwan run in early April. The film is also getting its market debut at Filmart. — P.B. business and a trusted partner to our fellow film com- munities in Southeast Asia.” THR

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day1_malaysiaE.indd 2 3/23/14 2:30 PM 24.3 24.3 12pm 12pm Theater 2 Room 102 Theater 2 Theater 2 10/11am 12:30pm 24.3 26.3

HIGHEST GROSSING LOCAL ANIMATED FILM WITH US$ 41 MILLIONS BOX OFFICE

World Sales: All Rights Entertainment - Filmart Sales Office: 1E - C19 Mail: [email protected] ww.allrightsentertainment.com

hk_q&a.indd 1 3/23/14 8:46 PM Artist View_FilmartDay1.indd 1 3/18/14 11:58 AM Artist View_FilmartDay1.indd 2 3/18/14 11:58 AM REVIEWS

Matteo Simoni stars as singer Marina Rocco Granata in his younger days. A conventional but involving musical rags-to-riches story from Flanders by way of southern Italy by boyd van hoeij

The musically inclined son of Toto Granata (Italian star Luigi an Italian miner in Flanders lo Cascio, from The Best of Youth) tries to live up to his potential in informs his wife, Ida (Angela post-war Belgium in Marina, a Finocchiaro), that he’s going to fairly traditional but nonetheless Belgium to work in the mines involving fictionalization of the for three years in the hope of formative years of Italo-Belgian providing the dirt-poor Granata singer Rocco Granata. clan with a better future. But like Named after Granata’s biggest countless guest workers in north- hit, Marina keeps Belgian direc- ern Europe, instead of returning tor Stijn Coninx in the period after a few years, Toto settles and musical biopic business after his asks his family — which includes last effort, 2009’s Sister Smile, the couple’s young children — to which chronicled the life of Jean- join him. seems to be out of his league. a pleasingly affable quality to nine Deckers, the singing nun Early scenes in Belgium rather Coninx opts throughout for a Granata and is credible as both from the 1960s. Marina is set a conventionally play up little tight focus on Rocco’s personal a performer and a young pup decade earlier, though it similarly Rocco’s fish-out-of-the-water sta- growth and struggles as a young hopelessly in love, which helps charts the rise of a small-town tus — since he doesn’t speak the immigrant man and budding paper over the film’s occasionally singer from an unconventional local language — as well as the musician who sings and plays maudlin moments. background who made it big. casual racism he encounters. the accordion in louche bars, Unlike probably any other There’s also the matter of the much to the chagrin of his hard- Sales Media Luna Films Flemish film in history, Marina local grocer’s pretty daughter working father — at least until a Cast Luigi Lo Cascio, Donatella opens in 1948 Calabria, in south- (Marte Bosmans as a child, Eve- talent contest suddenly catapults Finocchiaro, Matteo Simoni ern Italy, though the film doesn’t lien Bosmans as a teen), whom him to fame. Director Stijn Coninx linger there, as poor local worker Rocco clearly likes but who The charismatic Simoni brings 118 minutes

and inadvertently unfurls an evil spirit. Second Coming 3D From here onwards, horror-flick clichés abound. Lucy sees ghosts, CONTINUED FROM PAGE 1 begins to lust for blood and lapses into possessed trances. Meanwhile, have been plentiful of opportunities to turn this bloodbath into a Jen rushes around in anguish and desperation, roping in a shaman stunning exercise in stereoscopy. Instead, the film (which opens in (Susan Shaw) to combat her daughter’s satanic possession and the Hong Kong on Mar. 27) boggles the mind with a convoluted plot that second coming of the baby she aborted all those years ago because of never really adds up, its incoherent structure basically leaving the its origins (she was raped by a customer in the bar where she worked). spine-tingling potential of the whole premise stillborn. It’s Ming’s murderous retaliation against the culprit that brings about Unfolding in monochrome in a seemingly crumbling cottage, Jen a graphic genitalia-chopping scene. (Maggie Siu) despairs when her husband Ming (Kenny Wong) has a With a legacy of kickstarting Hong Kong’s longest-running horror- less-than-enthusiastic response to news of her pregnancy, and takes it film franchise (the seven-installment Troublesome Night released from upon herself to get rid of the baby. Nearing death from over-bleeding, 1997 to 1999), Yau has salvaged The Second Coming by employing Jen is taken to the hospital but the ambulance carrying her crashes, some of his expertise in crafting effective horror-genre fare. But even leaving her, Ming and their son Sunny lying lifeless in the debris. his most notorious sex-addled pieces are motored by fully-formed, At this point Sunny (Don Li), now in his early 20s, wakes up with layered characters. Here, he and his editor Azrael Chung can only a jolt: it was all a dream, and as he calls his parents to inform them struggle with an incoherent and sprawling narrative with a glut of of his imminent return from the U.S. (where he is studying medi- dangling loose ends. cine) the family is revealed to have somehow left their struggling What’s perhaps more worrying, however, is how the story lacks suffi- past behind. The couple is seen living a picture-perfect life in a neat, cient moments that really warrant the use of 3-D. Never really playing two-story villa with all and their cheery veneer is propped up by their with depths of field, the scary creatures menace the characters by just younger daughter Lucy (Joey Leong). being there, or whizzing their way horizontally across the screen. This The relationships are soon revealed to be strained, however. Ming’s presents a good sum-up of The Second Coming: rather than making a attitude towards Lucy ranges from indifferent to hostile, and he eyes leap forward, the film shuffles sideways, undecided about whether to the intimacy between the reunited siblings with suspicion and even shock or to sentimentalize. contempt. This hint of incestuous emotion might have led to the viewer’s contemplation about the parents’ bonds, but it’s not exactly Sales All Rights Entertainment LTD. followed up — rather, the real thrills are more banal, as Lucy digs up Cast Joey Leong, Maggie Siu, Kenny Wong, Don Li a blood-filled flask in the back garden, brings it to her room, opens it Director Herman Yau // 88 minutes

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day1_reviews1F.indd 1 3/23/14 5:03 PM

REVIEWS

Lam Wah-tsuen effectively cap- as panic mounts among the pas- ture the human cacophony sengers, the fortune-teller (Kara of one of the world’s most dense- Hui) starts spouting theories ly populated areas in a fast- about having entered the Photon motion opening that provides a Belt, where their destinies are quick glimpse of the key charac- now intertwined. ters in frenetically cut establish- The loss of spirituality, the ing scenes. A loudmouth gam- escalation of economic instabil- bler (Lam Suet) gets a call to fill ity, the squandering of cultural in for a minibus driver friend on wealth, the emergence of a drug- a route to Tai Po, a former mar- addled “zombie” race, disillusion- ket town turned new community. ment with the political system, His passengers are played by a distrust of technology and mix of Chan regulars, veteran depersonalization of society are Hong Kong actors and new-gen- among the countless half-baked

A group of eration stars. The group includes themes touched upon as people strangers face the a cokehead, a bickering married start combusting or crumbling apocalypse. couple, a blowhard failed gang- like rocks. ster, a fortune-telling insurance With a more controlled direc- broker, a tech expert, a vintage tor at the helm, that strand The Midnight After vinyl dealer, an incognito thief, might have acquired some The chaotic transition of Hong Kong is fodder for suspense in a pretty boy stood up by his poignancy. Even with a fuller this tiresome comic strip of urban cataclysm by david rooney girlfriend, a matching female understanding of all the local ref- counterpart and some college erences, this doubtless would still Fruit Chan made his name as a Asia to wild tonal inconsistency students. be an overblown, noisy, curiously director with a series of provoca- and clumsy genre mishmash. The first bad omen is an acci- inept movie from a filmmaker tive independent films in the late Adapted from a popular novel dent they pass in which a couple who shows only fleeting com- 1990s that commented on the about the last 17 people in a sud- that almost boarded the bus has mand of the material. handover of Hong Kong sover- denly vacated city inhabited by been killed. But the major mind- eignty to China. But he stumbles millions, this toxic mess works bender occurs when they travel Opening Film with The Midnight After, an indi- neither as broad satirical comedy through a tunnel and all the Sales Fortissimo Films gestible postapocalyptic stir-fry nor as sci-fi horror, which are other traffic vanishes, emerging Cast Wong You-nam, Janice Man, that sacrifices any sociopolitical the two stylistic camps where it on the other side to find a ghost Simon Yam, Kara Hui allegory about reunified Hong loiters longest. town. Phone signals are dead, Director Fruit Chan Kong and its place in 21st century Chan and cinematographer Internet activity has frozen, and 123 minutes

It is the golden age of “blind massage,” the narrator informs us, and Xiao Ma ends up in Blind Massage a cheerful institute where the personnel lives Involving human dramas unfold in a Chinese massage institute run and works, run by its blind director Sha Fum- by the blind, in one of Lou Ye’s most engaging films by deborah young ing (Qin Hao who worked on Ye’s Mystery and his gay drama Spring Fever). Fuming soon Love among the sightless is the engrossing, cerity and feeling that connects to audiences. is joined by his old friend Dr. Wang (Guo at times moving, dramatic thread that links An offscreen narrator first introduces Xiaodong from A Summer Palace and Reign multiple relationships in Blind Massage, one Xiao Ma (Huang Xuan), who lost his sight of Assassins), who brings with him his also of the most convincing films made by Chinese as a baby in a traffic accident that killed his nearly sightless fiancee Kong (Zhang Lei.) director Lou Ye in recent years. Putting aside mother. As a teenager he goes berserk one The girl becomes a sexual obsession for rest- the torrid sexual and emotional dramas of day and tries to cut his own throat, before less Xiao Ma, until he’s taken to a different works like 2011’s Love and Bruises and his infi- being sent to a school for the blind where he sort of massage parlor down the street. In delity drama Mystery, he describes these love learns Braille and the art of massage. this establishment he is smitten by the young stories as plain human affairs full of hope and prostitute Mann (Huang Lu). frustration, poetry and banality, straddling These and other relationships are woven an interesting middle ground between real- tightly together; their final outcomes are ism and imagination. Ye’s auteur reputation unforeseen. With the novel and Ma Yingli’s should help this Wild Bunch title find its way screenplay providing the framework, Ye is to sensitive audiences. free to use his camera to describe the world Based on Bi Feiyu’s novel, the film portrays of the blind to sighted viewers. The open- overlapping relationships with none of the ing credits are read out loud by the narra- glamorous fatality of glossy Hong Kong cos- tor, which alerts viewers that they will be tumers, nor the prurient interest of steamy immersed in a foreign world. erotica. Though there are passionate scenes Guo (left) of coupling, they are integral to the lives of and Zhang SalesWild Bunch characters we come to know and care about. are blind Cast Guo Xiaodong, Qin Hao, Zhang Lei lovers. This isn’t the flashiest of films, but it has sin- Director Lou Ye // 117 minutes

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day1_reviews1E.indd 2 3/23/14 3:27 PM Out of Inferno 3D Hong Kong’s Oxide and Danny Pang unleash a stereoscopic action-thriller about two brothers fighting their way out of a burning skyscraper by clarence tsui

Still best-known for their supernatural thrillers — their 2002 outing The Eye remains a touchstone in the genre, and they can boast of having directed a pre-Twilight Kristen Stewart in the haunted- farmhouse gig The Messengers — Hong Kong’s sibling director duo Oxide and Danny Pang Lau Ching-wan finds himself in a tough spot. Theo (Max Baissette made their name with effects- de Malglaive) runs from laden spectacles exploring the a group of gangsters. inexplicable. More worryingly, dismays his pregnant wife, however, their recent out- Si-lok (Lee Sinje) — and Keung ings have veered toward being now a flashy, high-flying entre- Mea Culpa merely inexplicable spectacles preneur preparing to open his This B-level French thriller has grade-A quality — a term which is more than new offices atop a skyscraper by jordan mintzer apt in describing Out of Inferno, that serves as an exemplar for a piece mixing scorching imag- his company’s high-end fire- French action maestro Fred Cavaye delivers another combo punch ery, shallow characterization prevention systems. of kinetic thrills and schlocky storytelling in Mea Culpa, the third in and sizeable plot holes that Keung’s world falls apart as a series of race-against-the-clock suspensers following Point Blank easily could swallow up the coincidences — and there’s a and For Her (remade stateside as The Next Three Days). Pretty much army of firefighters trying to lot of them — lead to the whole one credibility-stretching chase from start to finish, but with sev- quench the staggering furnace building going up in flames on eral impressive set-pieces and plenty of directorial ingenuity, this being rendered onscreen. the same day he is to entertain Gaumont-backed shooter should score a sizeable audience for its local Viewers interested in the pro- potential investors at his new release, while Fox already has picked up U.S. rights. cedures of firefighting certainly headquarters. Starring Vincent Lindon and Gilles Lellouche as a former cop and will find a lot to savor here, As he runs for his life, he a punch-drunk detective teaming up against a clan of mobsters, the as the Pangs have delivered accumulates a group of survi- film is your classic good guys vs. bad guys ’80s-style actioner but with sequences that offer meticulous vors: There’s Si-lok, of course, shootouts turned up several notches while the pace never lets up for depictions of the work of fire- and her cowardly gynecolo- all of 90 minutes. fighters — or, to be exact, those gist; a couple who have lost A somewhat impressionistic opening presents several characters serving the southern Chinese their child in the chaos; a and time periods, first introducing us to Simon (Lindon), an armored city of Guangzhou, where the father-and-son pair of security car driver estranged from his wife and son, for reasons we’ll learn story is set. Municipal officials guards; and two rough dia- about later. Meanwhile, a gang of drug dealers has been on a shooting would be very proud of the mond cutters fleeing for their spree throughout the streets of Toulon, and although Simon’s ex- professionalism on show, as lives with the booty they stole partner, Franck (Lellouche), is on their tail, they’ve been taking out the first third of Out of Inferno from their dank workshop. victims left and right. trots out a fleet of spanking However much the Pangs All of this is setup for a first-act closer during which Simon’s son, new fire engines and an army insert distinct iconography Theo — in a coincidence that strains plausibility to the max — wit- of dedicated blaze-stoppers — that marks their film as a piece nesses the gangsters executing someone in the bathroom of a bull- among which we find the film’s of Hong Kong cinema the rigid fighting ring. While that scene seems downright dubious, the next two protagonists, brothers Tai- advocacy for organizational one, during which Theo outruns a scooter before his dad steps in, is as kwan (Sean Lau Ching-wan) protocol (as embodied by flawlessly executed as it is both unrealistic and over-the-top. and his younger brother Keung Tai-kwan) over rash but oh-so- But Cavaye (who co-wrote the script with Guillaume Lemans) (Louis Koo Tin-lok). human impulses (manifested always has been less concerned with making things believable than Sibling rivalry comes to the in the volatile and free-think- with rendering them fast, gritty and violent, and to that extent, Mea fore early, as the former’s stoic, ing Keung) is more in tune with Culpa is probably his best film yet. Working with cinematographer by-the-book ethos is frowned the politically correct template Danny Elsen and regular editor Benjamin Weill, the director creates upon by the latter, whose of officially sanctioned main- a series of action scenes that are both artful and understandable, frustration leads him to quit land Chinese cinema. never indulging in overcutting and CGI while introducing sly bits of his job and start anew at their visual humor. uncle’s fire protection systems Sales Universe Films business. When the narra- Cast Sean Lau, Louis Koo, Sales Gaumont tive proper begins, four years Lee Sinje, Chen Sicheng Cast Vincent Lindon, Gilles Lellouche have passed, with Tai-kwan Directors Oxide Pang Director Fred Cavaye still earning his living as a and Danny Pang 90 minutes firefighter — something which 107 minutes

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day1_reviews1E.indd 3 3/23/14 3:27 PM REVIEWS

Once Upon a Forest Oscar winner Luc Jacquet offers up a visually exquisite exploration of the world above and below the forest canopy by jordan mintzer

After soaring across the gla- Marteau and Jerome Bouvier ciers of Antarctica in his pull out all the technical stops, Oscar-winning hit, March of the using ultra-powerful telephoto Penguins, director Luc Jacquet lenses and camera-wielding pummels the depths of the drones to capture the natural world’s rain forests in his breath- settings in pristine, widescreen Director Jacquet and his DPs use telephoto lenses takingly shot nature documen- glory. On top of that, visual and drones to capture tary, Once Upon a Forest. effects directors Eric Serre and nature in all its glory. But this eye-popping expose of Anne-Lise Koehler inlay many of plant life, as told by French bota- the images with drawings reveal- similar to that of animals and Eric Neveux doesn’t help.) nist Francis Halle, has much less ing the inner workings of the humans — including an ability Yet despite being overwrought narrative and sentimental pull flora and fauna depicted. to communicate with other in certain places and under than Penguins, which grossed Forest offers up a brief out- species and defend themselves developed in others, Forest nearly $80 million when Warner line of the findings of Halle, a against predators. displays enough cinematic Independent released it in 2005. widely respected scientist who’s Although the film is chock-full wizardry to sustain things for More akin to a classic National authored a dozen books about of facts, it never quite develops its short running time. Say what Geographic program, Forest plants. Halle offers up a vision into a succinct narrative, with you want about drones, but they should find fans among tree hug- of a vegetal world in a constant Halle sometimes jumping from can provide some pretty cool gers and nature doc aficionados. state of growth and renewal, one idea to another in that aerial shots. Filming primarily in the and while this is nothing revo- way French thinkers often do. Amazon jungle in Peru and the lutionary, he goes further to Likewise, the voiceover by Mi- Sales Wild Bunch Congo rain forest in Gabon, demonstrate how trees display chel Papineschi can seem a tad Writer-director Luc Jacquet Jacquet and DPs Antoine behavior that’s surprisingly preachy. (The cloying music by 78 minutes

Oh Doo-ri (like her idol, Audrey Hepburn, pictured in the window) and played by Shim, Miss Granny Mal-soon proceeds with all manner of mis- A predictable feel-good family comedy that entertains despite a hoary message adventure, from realizing her dream of pop by elizabeth kerr stardom with her beloved grandson (boy band B1A4’s Jin Young) and his band, to reliv- For all of Korea’s bloody revenge thrillers the should find a life with broad-spectrum festi- ing romance with a sophisticated television industry spits out just as many high-concept vals and on DVD. producer (you can tell he’s classy because he comedies (like the prison-set Miracle in Cell Oh Mal-soon (veteran Na Moon-hee) is a drinks red wine), all the while learning some No. 7), some of which work and some of typical Korean ajumma: Entitled, overbear- hard truths about herself. which don’t. Following his decidedly un- ing, bullying and entirely unrepentant about Ultimately Miss Granny is shamelessly funny Silenced, director Hwang Dong-hyuk all of it. When she stresses her suffering sentimental hokum about the virtues of gets a stellar lead performance from Shim daughter-in-law to the point of hospitaliza- maternal sacrifice (we’re supposed to forgive Eun-kyeong, the breakout star of Sunny, for tion, Mal-soon overhears the family consider- Mal-soon’s behavior when her single mother a genuinely funny comedy that indeed works. ing putting her in a retirement home. In a fit backstory is revealed) and the sanctity of Mixing a splash of 17 Again, some 200 Pounds of self-pity and stops at a photo studio to have the family. There are more than a few holes Beauty and a touch of man out of time-type her (inevitable) funeral shot taken, it turns in the story’s logic, it’s contrived in spots to fantasy, Miss Granny is a fluffy confection out the camera is magical (a point never bela- prevent the narrative from coming to a dead about lost youth, regret, aging and the righ- bored by the script) and it turns Mal-soon halt if people acted like normal people, and teousness of motherhood. into her 20-year-old self. Renaming herself its increasingly elaborate production num- Miss Granny’s greatest strengths are bers leading up to the big show panders to also its weaknesses from an international younger viewers. But films like this live or die distribution standpoint. The film’s intense on the appeal of the performers, and Shim Koreanness — regional in-jokes and local- almost singlehandedly saves the day with her ized social quirks give it a distinct voice that pitch perfect and often hilarious spin on the have made it a massive Lunar New Year hit young Mal-soon, which you don’t have to be at home — but could also hamper how well Korean to get. viewers outside Korea and parts of Asia, it’s biggest market, will connect with the mate- Sales CJ Entertainment rial. It is funnier for those who understand Cast Shim Eun-kyeong, Na Moon-hee, Park In-

Confucian or Korean culture. The film’s slick, K-Pop star Jin hwan Sung Dong-il commercial tone could keep it out of aggres- shows off his Director Hwang Dong-hyuk acting chops. sively highbrow events, but Miss Granny 125 minutes

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day1_rev_forestC.indd 1 3/23/14 3:58 PM — Documentary, Germany 2013, , 47 min —

WORLD PREMIERE SCREENING Monday March 24th – 18:00 Meeting Room N101B, HKCEC

»I really did not expect to become the Champion. I just wanted to represent my country, Thailand, with honour.«

More than 50 Nature & Wildlife documentaries available! Visit us at stand 1B-F23 KSM GmbH Otto-von-Guericke-Ring 15 Attending: Martin Brunnett (Sales Manager), E-Mail: brunnett@ksmﬁ lm.de D-65205 Wiesbaden March 24 to March 27, 2014 Germany

KSM_FilmartDay 1.indd 1 3/20/14 12:15 PM

HK Filmart_FP.indd 1 3/21/14 4:28 PM 8 Decades of The Hollywood Reporter The most glamorous and memorable moments from a storied history

Huppert (left) played an apprentice hairdresser in 1977’s The Lacemaker.

The HKIFF Salutes the Career of Art House Icon Isabelle Huppert

IVE YEARS AGO, 100 around the world. The multifac- I Heart Huckabees in 2004) as The festival also will screen portraits of celebrated eted Huppert again will grace dramatic ones (1995’s chilling Story of Women, Haneke’s French actress Isabelle Asia, this time as the subject of La Ceremonie). She has starred The Piano Teacher (for which Huppert adorned a four-film retrospective at the in 16 films that have screened Huppert received international Fthe walls of Beijing’s Ullens 38th Hong Kong International at the Cannes Film Festival — acclaim for her portrayal of the Center for Contemporary Art. Film Festival. The actress made including Michael Haneke’s sexually repressed title charac- The exhibit, entitled “Isabelle her film debut as “Student #2” Amour in 2012 — by far the most ter) and her most recent film, Huppert: Woman of Many in Faustine et Le Bel Ete at age appearances by any actress. The Abuse of Weakness, by controver- Faces” and showcasing the work 18. Nearly half a century and Hong Kong festival retrospec- sial French director Catherine of international photographers, a wide breadth of work later, tive begins with The Lacemaker Breillat. Huppert, now 61, is a number of them Chinese, she has become one of the most (1977), a film that was nomi- scheduled to present the film had traveled from New York’s versatile foreign actresses, one nated for a Palme d’Or and won at the festival and will hold a Museum of Modern Art and who slips as easily into come- her recognition from BAFTA as master class March 26. other prestigious institutions dic roles (David O. Russell’s the most promising newcomer. — ALEXA GIRKOUT

THE HOLLYWOOD REPORTER 24 GRANT/EVERETT (10373662) COLLCTION EVANS/ACTION/FR3/CITEL/JANUS/RONALD MARY

day1_endpageA.indd 1 3/23/14 1:52 PM MDA_FilmarDay1.indd 1 3/18/14 11:52 AM