DAILY MARCH 25, FILMART 2014 №2

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FILMART SCREENING Tuesday | Mar 25th | 6:00 p.m. HKCEC Theatre 1

A FILM BY MAXIMILIAN ERLENWEIN

HONG KONG CONTACT Tassilo Hallbauer | European Pavilion 1C-C25 | +49 176 1031 26 46 | [email protected]

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HONG KONG TODAY TOMORROW WEATHER AND HIGH 75° F 72° F TEMPS 24° C 22° C MEDIA ASIA Filmart Buzzes Over ‘New ’ PREPS NEW With Scarlett Johansson visiting Beijing, Johnny Depp’s Transcendence getting a Mainland release MONKEY and another state distributor likely — is a new era of openness on the horizon? By Clifford Coonan By Karen Chu ith the possibility of incresed liberaliza- Corporation (CNCAC), which is linked to the Min- edia Asia announced tion of mainland China’s distribution istry of Culture, believes it is set to be awarded a five new titles at W system, news of a simultaneous U.S. theatrical distribution licence, breaking China Film M Filmart on Monday, and China launch for Johnny Depp’s Transcendence and Huaxia’s monopoly on distributing revenue- including an English-language coupled with the sight of Scarlett Johansson and sharing movies in China. Senior government offi- animated release called Samuel L. Jackson selling Captain America: The cials from the Ministry of Propaganda are expected Monkey King Reloaded in 3D. Winter Soldier at a Beijing shopping mall, the buzz in Hong Kong to announce the deal on Thursday. superstar at Filmart is all about how the world’s second Sci-fi thriller Transcendence will open in China at (Forever Enthralled) will largest film market — or “the new China” as one the same time as the U.S. on Apr. 18, and it will be produce the feature, attendee called it — is becoming a more open and the only territory where the film will be screened which will be directed hospitable place. in 3D, the Beijing-based studio DMG, co-producers by Felix Ip and Paul The destiny of Hong Kong’s film business is of Transcendence with Alcon Entertainment and

Lai Wang. The film follows inextricably linked to that of Mainland China, Warner Bros., told The Hollywood Reporter. the monkey king of and developments north of the border are closely DMG has been extremely successful in selling Chinese legend as he ventures watched in the territory. its movies in China — Iron Man 3 took $125 million into New York. The film is The last few weeks have seen a lot of activity, last year. targeted for a release in the with Media Group, China’s second biggest The movie will unspool in 2D, 3D, Imax and New Year slot in 2015. media group, inking a multi-year deal with Walt Dmax on an as-yet unspecified number of screens. The Hong Kong-based Disney Studios, and Huayi Bros announcing its China raised the number of foreign films that can CONTINUED ON PAGE 4 plans to inject up to $150 million into former War- imported on a revenue-sharing basis to 34 in 2012, ner Bros’ chief Jeff Robinov’s Studio 8. and sources recently said that there plans afoot to The state-backed China National Culture & Art CONTINUED ON PAGE 4 GTH’s Diary Sparks Sales By Patrick Brzeski hailand’s top hit- making studio of the T moment, GTH, has released its follow-up to last year’s local box office record- smashing ghost comedy Pee Mak ($33 million domesti- cally, $10 million abroad). The new title, The Teacher’s Diary, from director Nithi- wat Tharatorn (Dear Galileo, 2009; Seasons Change, 2006), opened at number one in last Thursday and has grossed $1 million in its first four days — well ahead of Divergent’s $615,000 opening haul over the same period. The Teacher’s Diary also sold briskly across Asia on the first day of Filmart. From left, QiQi Yam, Simon Said to be inspired by a Yam and attend the Hong Kong International true story, the film stars Film Festival’s Opening Thai heartthrob Bie-Sukrit Night Gala for ’s . CONTINUED ON PAGE 4 XAUME OLLEROS / GETTY OLLEROS XAUME IMAGES

THE HOLLYWOOD REPORTER 1

day2_newsC.indd 1 3/24/14 9:38 PM theREPORT

HEAT INDEX Aussie Thriller Deep Water Put on Hold The project, a follow-up to surprise hit Bait 3D, and was targeted for a budget of was shelved thanks to $25 million. Arclight sources say it’s eerie similarities to they are fast-tracking develop- the disappearance of ment of a sci-fi adaptation of Malaysian flight MH370 the classic Joseph Conrad novel, Heart of Darkness while they put By Patrick Brzeski Deep Water on ice. rclight Films says it is Deep Water is the second putting preproduction of APAC-based film project to make SCARLET JOHANSSON its upcoming film Deep a pivot out of sympathy to those Despite being five months pregnant, A Scar-Jo jetted off to China where Water on hold, due to some un- impacted by Flight MH370. she was greeted by a sea of adoring fans at the Beijing premiere of comfortable similarities between Chinese director Vincent Zhou’s Captain America 2. the project and the mysterious 3D action thriller Last Flight, disappearance of Malaysian starring Ed Westwick and Zhu Zhu, flight MH370. has toned down its marketing “Out of sensitivity to the campaign in response to the flight situation, we’ve missing Malaysian plane. The film decided to put it on pause for film’s director, Alister Grierson, tells the story of an old Boeing now,” Gary Hamilton, managing has been involved in a movie 747 that takes off for its last red- director of Arclight told THR. marked by a bizarre quality of eye flight from a small Pacific Deep Water tells the story art imitating life. Sanctum (2011), island and is hit by “unusual of a flight that crashes in a the project for which he is best events.” While the passengers remote part of the ocean on known, is about an underwater panic, the captain and the chief AARON PAUL Paul’s Need for Speed stalled in its North its way to China. As the airbus cave diving exhibition that turns flight attendant investigate and American debut, but in car-crazy China, sinks into the titular deep wa- into a watery, heart-pounding try to regain control of the plane. the actor’s brand is on the rise: the 3-D release has won two consecutive ters, the survivors are attacked survival catastrophe. It was The film’s producers and weekends and made $44.9 million. by ravenous sharks. released in Australia two weeks distributors, Shanghai Media The film’s tagline in early pro- before Queensland and Northern Group, canceled the glitzy motional materials reads: “Survi- New South Wales were hit by premiere event it had planned vors of a plane crash face terror catrostrophic floods in 2011. for Beijing, where many of the beyond reckoning as the plane is Originally developed as a se- missing passengers were from. starting to sink into a bottomless quel to shark horror flick Bait 3D Instead, reps from the company abyss and soon discover they’re — which grossed $24.7 million in told THR that they decided to surrounded by the deadliest its first three weeks of release — roll out the film in Shanghai, natural born killers on earth.” the project received development Nanjing and Shenzhen with more It’s not the first time the funding from Screen Australia understated opening events. THR

LOUIS KOO Hong Kong International Film Festival Ambassador Koo is seemingly everywhere Academy Helps Ease Tensions at Filmart this year, with starring roles in festival opener Aberdeen, as well as hot Busan, Hong Kong and Tokyo Fest’s set aside political differences to toast rising star honoree market titles Z Storm, Don’t Go Breaking My Heart 2 and Paris Holiday. By Gavin J. Blair he cooperation between Busan Internation- choice of Kuriyama and Korea’s Kim Nam Gil (Lovers al Film Festival, Hong Kong International Vanished), artists with careers of more than a decade know your dealmaker T Film Festival Society, and Tokyo Interna- and nearly two decades respectively, as Rising Stars tional Film Festival on the newly-formed Asian calls into question the criteria for the awards. With Film Awards Academy (AFAA) is particularly wel- Hong Kong’s and named as come at a time of regional tensions. However, if the outstanding actor and actress, it is difficult to shake AFAA wants to become the ‘Oscars of Asia,’ it will the feeling they’ve been neatly divided between the have to avoid the impression three festivals. that inter-festival politics and Kuriyama Kuriyama, who served as diplomacy are driving factors official muse for the Tokyo behind winners. festival last year, says she Chiaki Kuriyama, best known would like to work on a Hong to global audiences as the Kong-Japan co-production Shuntaro Sumiya deadly schoolgirl bodyguard given the chance. Manager, in Quentin Tarantino’s Kill “Not because I got the Sapporo Screen Authority The huge Sapporo Screen Authority Bill: Volume 1 (2003), told The award, but it’s the place in pavilion at Filmart was brimming with Hollywood Reporter she was de- Asia that I’ve been to most meetings on opening day. Sapporo has linked with 12 Japanese regions to lighted with the weighty statu- times, including to the fes- promote them as filming locations, with ette she was presented with as tival, and which I feel most reimbursements of up to two-thirds of local expenses on offer, as well as an inaugural Rising Star on affinity with,” Kuriyama told

language support and other incentives. the eve of Filmart. Though the The Hollywood Reporter. THR / GETTY OLLEROS XAUME IMAGES

THE HOLLYWOOD REPORTER 2

day2_newsC.indd 2 3/24/14 9:38 PM ASIA IN BRIEF THE 2014 FILMART POSTER AWARDS The Creatures PRODUCERS ACCUSED OF THR pays tribute to the most amusing and over-the-top promotional PRE-BUYING TICKETS materials from this year’s market Edition Controversy has erupted in the Chinese film sector after Hong Kong-based Phoenix TV revealed in an investigative report that the action drama Fighting, directed by Yu Junhao, had pre-sold more than a million tickets and attacked the competition online to see off its box office rivals. The actions affected the Golden Bear-winning Black Coal, Thin Ice, and also impacted the 3D action thriller Last Flight, starring Ed Westwick and Zhu Zhu. “They [the film’s pro- ducers] pre-sold over one million tickets, and we can’t compete with that. They are also using hundreds of hackers to attack the competi- tion by putting negative reviews online. This had a very negative influence on our movie,” Last Flight director Vincent Zhou told The Hollywood Reporter. Best Chance Of Showing Up Best Rock Biopic On A Teenager’s Wall Mr. Jones LIONSGATE, ENDEMOL “But with every rapid rise to stardom there Dusk 11 INDIA TO CO-PRODUCE must be an equal and sadly sometimes brutal If Ed Gein designed posters for Hot Topic it would WARRIOR REMAKE fall from grace. In 1994, he learned look like this... and be their best seller of all-time. Lionsgate and Endemol India this the hard way when royalty checks from will co-produce a Hindi version the Counting Crows stopped coming.” of the 2011 sports drama War- -Excerpt from the biography Mr. Jones... and Me rior. Starring Tom Hardy and Joel (NOW A MAJOR MOTION PICTURE!) Edgerton. Lionsgate’s driven Warrior was directed by Gavin O’Connor and revolved around two estranged brothers and their struggling relationship with each other and their father. The Hindi remake of Warrior will be the first film to be jointly pro- duced by Lionsgate and Endemol India (via its banner Eyedentity Motion Pictures).

FROZEN EARNS $29.4 MILLION IN 10 DAYS AT JAPANESE BOX OFFICE Frozen has pulled in $29.4 million in its first 10 days in Japan, with an $8.5 million take on Saturday and Sunday, up 14 percent from its opening weekend. The Disney movie’s first weekend itself had marked the biggest bow Best Horror Overkill... Literally Best Use of a C- of the year so far in Japan. Disney Neron Parasyte Studios Japan is predicting its As if a family of zombies wasn’t screaming When a freshman starts school at a private art final tally will top $97.5 million, “HORROR MOVIE!” loud enough in your ear, they college the first homework assignment is usually a which may lead it to overtake Toy had to go ahead and add the obligatory creepy self-portrait. Being art nerd outcasts, the students Story 3 to become the studio’s baby carriage with a demon baby nestled inside to try and make these self-portraits as ridiculous and biggest-ever animated hit in the really drive the point home. What’s next, a creepy over-the-top as humanly possible. Occasionally, Japanese market. THR nurse with killer cleavage? Hey, wait a minute! these self-portraits go on to become movie posters.

THE HOLLYWOOD REPORTER 3

day2_newsC.indd 3 3/24/14 9:38 PM theREPORT

My Ray/Wu Xi New China Ilo Ilo’s Team Up on CONTINUED FROM PAGE 1 Hadi Joins raise the quota number again. Two Films Contacted by The Hollywood Fest By Karen Chu By Patrick Brzeski Reporter, a representative ong Kong-based confirmed that CNCAC had he newly re-launched My Ray Films and applied for the qualification to and expanded Sin- H China’s Wu Xi Tao import films, but said she was T gapore Film Festival Bao Film are teaming up not sure whether it would mean — which will link up this to produce two dramas: the an increase in 34-film quota, year with landmark regional thriller The Double and the ro- or if the number would be split industry events, the Asian mance 4G Lover, both directed between CFG and CNCAC. Television Forum (ATF) and Transcendence by Ray Leung (Back to Roots). CNCAC currently imports and Screen Singapore (SS) — has The Double revolves around distributes plays, music and unveiled the executive team a man with a face transplant. dance performances. deal remained “very murky.” “I that will attempt to guide It is scheduled for release in At a forum in February, Lu will only believe this is true when the event towards increased 2015. 4G Lover, a romance Changyu, head of the CNCAC, there is a formal announcement global relevance. about a diver and a woman in said the company’s applica- from a government authority.” Award-winning Singapor- a vegetative state, will start tion for a license to import and Another source, speaking on ean producer, curator and arts shooting in the summer of distribute foreign films “has the fringes of the Hong Kong mar- manager Yuni Hadi was ap- 2014 for a release in Feb. 2015. received full support by the ket, said that they didn’t see how pointed executive director of My Ray Film registers and Ministry of Culture of China, a branch of the government could the festival on Monday. Hadi publishes original ideas for CPCCC Publicity Department become a distributor as there is best known internationally novels and adapts them for and SAPPRFT, and the license were structural issues involved. as the co-producer of inter- the screen silmultaneously. will be effective at the beginning “And maybe if they get a national critical darling Ilo “It protects the rights of the of the second quarter of 2014.” license, then I want one too. Ilo, directed by Anthony Chen original author, and can make Despite these advances, many We will all try and get one. We and the winner of the Cannes sure the director has a say in industryites are still urging would all like to have a license to Camera d’Or award and the the the project,” said My Ray caution. One veteran Filmart import movies on a revenue shar- best film trophy at ’s Film founder Ray Leung. THR attendee said the details of the ing basis.” THR Golden Horse Awards. She also was director of the 21st edition of the Singapore fest in its smaller incarnation. The Teacher’s Diary Media Asia At the opening of the Screen CONTINUED FROM PAGE 1 Singapore industry confab last studio also revealed plans for a number of other December, Yaacob Ibrahim, titles, including Wine War, which will mark Lai’s Singapore’s minister for com- directorial debut. Starring Lai and former munications and information, Du Juan (American Dreams in China), the film announced that the festival will be produced by Huang Jianxin (The Founding would be rebooting along- of a Party). side SS, ATF and the Asian Media Asia will also adapt the Television Television Awards for its 25th Broadcast Limited TV series Triumph in the Sky, anniversary in 2014, bringing starring the original cast members of the series the various platforms under ( II) and Julian Cheung, Diary one umbrella, for a bigger, CONTINUED FROM PAGE 1 with the new addition of to the cast. higher-impact joint event to be Directed by Wilson Yip (Ip Man) and Wisetkaew as Song, a former professional wrestler branded the Singapore Media (Golden Chickensss), the series’ original producer who takes a job as a teacher at an underfunded Festival (SMF). Much to the Tommy Leung will be on board as producer of the primary school in a remote Thai mountain village. dismay of the local industry, film version. The film is coproduced with TVB. At the school, Song discovers the diaries of Ann the previously planned SGIFF Elsewhere, Lawrence Cheng will direct and (played by Ploy Chermarn), a former teacher who was canceled in 2012 amid produce Break Up 100, a story about a couple moved away but forgot her personal memoirs internal strife, which saw two who has broken up 99 times only to reconcile behind. Isolated in the village, Song falls in love directors resign. each time. Starring Ekin Cheng (Young and Dan- with Ann, simply by way of her words — and “Over the last 25 years, the gerous), Chrissie Chau (My Beautiful Kingdom), surprising circumstances soon intervene to make festival has helped develop and (Golden Chickensss), the film is the feelings mutual. not only a whole generation set for release in summer 2014. During day one at Filmart, GTH sold The of film directors, but has also Finally, Media Asia also announced Monday Teacher’s Diary to Indonesia’s PT Inter Solusindo nurtured a new generation that new director Adam Wong, who made his Film and Cambodia’s Westec Media Limited for of audience that has a more debut with last year’s surprise hit The Way We an April release, Singapore’ GV for mid-May, and sophisticated palette and Dance, will helm She Remembers, He Forgets, a to Suraya Filems for a later release in Malaysia appetite for films beyond the Hong Kong-style romance about a couple at- and the Philippines. The studio’s senior director of mainstream fare,” Hadi said. tempting to rekindle their romance. The film will International Business, Yongyoot Thongkongtoon, “Today, our local distributors be produced by Teddy Robin (Shanghai, Shanghai) says he expects to secure deals for Hong Kong and are offering a more adventur- and Saville Chan (The Way We Dance). THR Taiwan soon at Filmart. THR ous menu of films.” THR

THE HOLLYWOOD REPORTER 4

day2_newsC.indd 4 3/24/14 9:38 PM

CJ ENTERTAINMENT at HK FILMART 2014 STAND : HKCEC 1C-E19

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SALES: [email protected] (Americas & Europe), [email protected] (Asia) FESTIVALS: [email protected]│WEBSITE: lineup.cjenm.com

CJ Entertainment_Day2.indd 1 3/20/14 12:25 PM CJ ENTERTAINMENT at HK FILMART 2014 STAND : HKCEC 1C-E19

MARKET PREMIERE NEW FILMS

AVAILABLE ONLY IN ASIA

SCREENING SCREENING TODAY TOMORROW 25th 26th

DOMESTIC BOX OFFICE SURPASSES 8.5M ADMISSIONS BASED ON BEST SELLING NOVEL ELEGANT LIES FROM THE CREATORS OF OLDBOY &SNOWPIERCER BASED ON THE BEST SELLING NOVEL STARRING SHIM EUN-KYUNG FROM MASQUERADE &SUNNY STARRING KO ASUNG FROM SNOWPIERCER STARRING RYU SEUNG-RYONG FROM MASQUERADE HOVERING BLADE BY KEIGO HIGASHINO 13:30│HKCEC THEATRE 2 15:00│HK ARTS CENTRE - AGNES B. CINEMA PROMO AVAILABLE AT BOOTH PROMO AVAILABLE AT BOOTH

SALES: [email protected] (Americas & Europe), [email protected] (Asia) FESTIVALS: [email protected]│WEBSITE: lineup.cjenm.com

CJ Entertainment_Day2.indd 2 3/20/14 12:25 PM JAPAN SPECIAL FEATURE

Japan’s most prominent female director, Naomi Kawase is rumored to be returning to Cannes with her latest film Still the Water.

FEMALE HELMERS FACE UPHILL BATTLE Women working in Japan’s male-dominated film sector are making inroads, but insiders say true gender equality is still a ways away BY GAVIN J. BLAIR

HE 2013 GLOBAL GENDER GAP REPORT for short hair and dressing in suits. There were to be no ranked Japan 105th in the world in terms of more films made by women in Japan until after World equality for women, having actually slipped War II. The most prolific Japanese female director four places from 101st the year before. post-war is Sachi Hamano, who has made more than While Japan’s slide down the rankings is 400 films, though all but one in the erotic soft-core Tdue mostly to improvements elsewhere, it remains a ‘pink eiga’ genre. damning indictment of sexual discrimination in the “The situation has been improving in recent years, world’s third largest economy. As for the film industry though film production is still a macho environment in worldwide, it has not been what you might call an equal Japan, where most people in the crew do a lot of physi- opportunity employer, particularly for those behind the cal work,” says female producer Yukie Kito, whose cred- camera. Although women have been directing movies its include Tokyo Sonata and A Thousand Years of Good since the 19th century, it was only five years ago that Prayers. “It’s tough even for men, and it can be hard for Kathryn Bigelow became the first woman to win the a woman to get respect in that environment.” best director Oscar. According to the Directors Guild of Japan, there are In Japan’s case, factor in the rampant sexism still now “about 20 female members” out of 550: a marginal SPECIAL found in most areas of a socially conservative society, improvement on the 15 out of 500 it registered at the FEATURE and a dearth of female filmmakers in the country end of the 20th century. Though this means only about hardly comes as a shock. However, over the last decade 3.5 percent of members are women, the figures are female directors have been making their mark. Slow somewhat skewed by the fact that many young directors though it may be, change is happening. don’t join the guild. Tazuko Sakane is credited with being Japan’s first At the Japan Institute of the Moving Image, a leading female director, her chance to make New Clothing film school, female students now account for about (Hatsu Sugata) in 1936 coming after she was taken a third of those taking the directing and screenwriting under the wing of legendary helmer Kenji Mizoguchi. It course. was to be her only production; she was reportedly given “I think female directors are now quite visible in JAPAN a hard time over its failure, as well as her predilection Japan. There are many interesting documentaries and

THE HOLLYWOOD REPORTER 8

day2_japanE.indd 1 3/24/14 12:29 PM features being made by women, from Ayumi Sakamoto to Iguchi Nami, and of course, Naomi Kawase,” sug- Q&A DIRECTOR gests Yoshi Yatabe, programming director at the Tokyo International Film Festival. “I don’t think the doors are closed in Japan — they have equal opportunities.” While it looks to be a while yet before real gender equality is achieved in Japan, it’s not likely to be so Ayumi Sakamoto long before a female director emulates Ms. Bigelow and First-time director discusses her HKIFF entry FORMA, how she got her becomes the first woman to win Japan’s Academy Prize. start and why Japan’s female direcors must “speak loudly” By Gavin J. Blair FOUR FEMALE JAPANESE DIRECTORS TO KNOW elected for the NAOMI KAWASE Young Cinema By far the most well-known Japanese female auteur Competition at outside of her home country, Naomi Kawase is a two- this year’s Hong time winner at Cannes, and is rumored to return to the SKong International Croisette this year with her latest drama Still the Water. Film Festival, Ayumi However, while media coverage of her international Sakamoto’s debut feature triumphs means most people in Japan know her name, FORMA, an atmospheric few have seen her films, some of which haven’t even had psycho-drama, has domestic theatrical releases. already picked up awards “She has a very high reputation on the international in Tokyo and Berlin. The festival circuit, but her films don’t really work in native of Kumamoto in cinemas in Japan,” says Yoshi Yatabe, programming Kyushu, the southern- director for the Tokyo International Film Festival. most of Japan’s four “In that way, she represents the contradictions of the main islands, honed her film industry.” filmmaking skills in the capital, making music MIWA NISHIKAWA videos and documenta- Hiroshima-born Miwa Nishikawa got her big break ries, as well as working as when she worked as assistant director for Hirokazu an assistant director and time that if you wanted to working, and I also got ill Kore’eda (Like Father, Like Son), who went on to lighting technician on be a director, you have to for a while too. produce her first feature, Wild Berries in 2002. Her features by cult favor- go to Nihon University’s 2006 mystery Sway established her reputation as one ite Shinya Tsukamoto, College of Art [Japan’s The Directors Guild of of Japan’s most promising directors, irrespective of before tackling FORMA. top film school], but I Japan says that only about gender, while 2009’s Dear Doctor garnered a Japan Sakamoto talked to The failed the entrance exam. 20 of their 550 members are Academy Award nomination. Hollywood Reporter about It was in the days before female. Why do you think “She’s an interesting case because she doesn’t look having to imagine films the Internet was easily there are so few? like a director, she looks like a smartly-dressed office that she couldn’t see, accessible, and I didn’t Wow, I actually thought lady, but her sensibility is ‘oyaji’ [old Japanese guy],” failing to get into film have any information there were more says producer Yukie Kito. “With films like Sway and school and the six-year about other schools or Japanese female direc- Dear Doctor, the sensibility is very male.” journey of completing options such as work- tors. Maybe I just notice her second feature. shops. So I moved up to some because they are NAMI IGUCHI Tokyo and found work at women. One reason is the Nami Iguchi’s 2004 Inuneko was a 35mm remake of the What inspired you to a studio making promo strong tendency among 8mm film she’d written, shot and edited three years become a director? videos and commercials, Japanese women to stop previously, and went on to win awards internationally as I loved movies when I was which led to me working working once they have well as make her the first woman to win best newcomer in high school, though as an assistant to Shinya children. And, as well as from the Directors Guild of Japan. all I did then was play Tsukamoto. discrimination, in some Her latest film, released in February in Japan, sports the whole time, ways, Japanese women Nishino Yukihiko’s no Koi, stars heartthrob Yutaka morning until night. FORMA was six years in the also go along with gender Takenouchi as a ladies man who is somehow always But where I lived in the making, why was it such a roles, by not speaking unlucky in love. countryside in Kyushu long process? loudly or expressing their “Her style and the topics she tackles make her one of there wasn’t even a video I spent four years on opinions. the most exciting directors — not just as a female — of rental store. I used to the script while I was her generation,” says Yatabe. read the reviews of [leg- working as an assistant Have you faced much dis- endary Japanese critic] at the studio, writing crimination in your career? YUKI TANADA Nagaharu Yodogawa, and and rewriting with Ryo I can’t say there’s never Following in the footsteps of Nami Iguchi, Tanada won his list of Top 100 films. I Nishihara, and becom- been any, but I’ve never the Directors Guild of Japan’s best new director award would picture in my head ing better able to express really felt much. I don’t in 2008 with One Million Yen Girl. Her films, which are what the films were like what I wanted to say. In think the FORMA team often frank depictions of sex and relationships, have been and write notes about the end, FORMA was thought of me as a featured at festivals across Asia and North America. them. There were films prepared and shot in woman (laughs), maybe “There are female directors that make interesting that I had imagined so about a month, though because I’m sporty and films because they are women,” says producer Yukie vividly that years later I it took nearly two years I carried equipment Kito. “Yuki Tanada makes the kind of films that women thought I’d actually seen to finish post-produc- around when we were can do better.” THR them. I thought at the tion while I carried on shooting. THR

THE HOLLYWOOD REPORTER 9

day2_japanE.indd 2 3/24/14 12:29 PM EXECUTIVE SUITE

CHAIRMAN, MEDIA ASIA GROUP Peter Lam The veteran film exec discusses his company’s 20 anniversary, cracking the Chinese market and why he never complains about being over worked By Karen Chu

VER THE COURSE OF 20 We are producing Don’t Go years, Peter Lam, chairman Breaking My Heart 2. The first of Media Asia Group, has one, also by , was a O transformed the firm from a success, and we feel it is about film library management time we produce a sequel. company into an integrated Another one is from the writing- entertainment group with directing team of Cold War, revenue of $51.5 million Sunny Luk and Longman Leung, (HK$400 million) in 2013. A called Helios, which I have confi- noted gourmand, the divorced dence about, because it’s a story Lam, 56, has also expanded his that takes place simultaneously restaurant empire to Shanghai across borders. It’s an interest- and Beijing. He talked to The ing film — like nothing I’ve made Hollywood Reporter on the exact before. It’s an action thriller on a day of Media Asia’s twentieth level of its own, with a cast that anniversary on March 17 about combines talent from China, his ambitions for building an Hong Kong, Taiwan, and South international company, compet- Korea. This is a new endeavor ing against Hollywood and his that I’ve never attempted before. unique philosophy for enjoying his extremely hectic life. How do you feel about Hong Kong “For any company and Chinese movies’ competitive- the important thing is to have a good Congratulations on Media Asia cel- ness against Hollywood imports in team,” says Lam, who was photographed ebrating its 20th anniversary. What the Chinese marketplace? in his Hong Kong office is it that you are most proud of? Hollywood studios have noticed on March 17. If Media Asia is a person, he the enormous potential of the is entering his twentieth year, Chinese market, so they are What is Media Asia’s strategy experienced in that. It’s a win-win meaning he has matured from a poised to develop films with in China? situation. We can bring Chinese child to a grown man. What we Chinese themes to enter the Our strategy these few years movies to the international stage; want to do is to make more good Chinese market. But I think is simple — to make quality it’s something that a Hong Kong films this year. The thing that I the audience wants more films and to work with as many film company can do. And they am most proud of is that we have diverse types of movies. And I Chinese film companies as pos- can open up the Chinese market a good team. As the company think there is no chance that sible. There are a lot of outstand- to us, to combine our advantages grows, I’m very much gratified a Hollywood studio can make ing film companies that have together. I think it’s a very good by our team. Other than that, movies with Chinese themes bet- emerged in the last few years, marriage, to expand on each of I am proud of the fact that we ter than Chinese or Hong Kong such as China Film Group, our potentials. have made a lot of outstand- filmmakers. This is an opportu- Shanghai Film Group, Huayi ing movies, like Infernal Affairs nity for Hong Kong filmmakers, Brothers, Enlight Media, Le In 2012, Media Asia was involved in and Initial D. We are releasing as the audience have confidence Vision, and Wanda. Some of the the production of Cloud Atlas. What remarkable films every year. The that Hong Kong filmmakers can film companies started as theatri- is your strategy now regarding inter- audience’s knowledge of Media make films with Chinese themes cal chains but now are making national co-productions? Asia, from a small company to better than Hollywood — it films of their own. We have been working with for- today, is that it is a company that would be impossible otherwise. In the past few years we have eign companies; Cloud Atlas is one produces good movies. This is From our history and culture, worked with a number of dif- of the examples. We are looking the identity of Media Asia. The we are more capable of making ferent Chinese companies on to develop more English-language audience has confidence in the films with Chinese themes. It projects. They can provide their films in the coming years. This is productions of Media Asia. We brings more diverse options to theatrical distribution to our what we’ve been doing. We would have established, over the years, the audience. Some might like to films and we can work together in like to bring more international a reputation for producing qual- see imported Hollywood films, production. Media Asia can bring stories into China, and to bring ity movies, and that is something but there are also those who like their films to the international China out into the world. We I am happy about. to watch films with a local flavor. market. After all, Media Asia is would like to build Media Asia as As the box office in China grows, a company with an international not just a Hong Kong or Chinese Media Asia aims to produce films it gives us more opportunities to presence. We go to all the big company, but an international with Chinese themes, what projects make different kinds of films for film markets, such as Cannes company. That is something we are in production or development? the audience to choose from. and Berlin, and we are very want to achieve.

THE HOLLYWOOD REPORTER 10 PHILIPP ENGELHORN

day2_mediasiaE.indd 1 3/24/14 3:44 PM Lotte Ent_FilmartDay2.indd 1 3/19/14 11:57 AM World Sales: All Rights Entertainment - Filmart Sales Office: 1E - C19 Mail: [email protected] ww.allrightsentertainment.com

hk_q&a.indd 1 3/24/14 4:51 PM World Sales: All Rights Entertainment - Filmart Sales Office: 1E - C19 Mail: [email protected] ww.allrightsentertainment.com

hk_q&a.indd 1 3/24/14 4:52 PM EXECUTIVE SUITE

Owing to the demands for high quality Some say there is a lack of new talent television shows in China, Media Asia in the Hong Kong film industry — do has been developing TV projects for you agree? the Chinese market. How important is I think there is a number of new TV to your business strategy? successful filmmakers in the We have been working with Hong Kong film industry, such well-known producers to develop as the director of The Way We television shows. This is some- Dance, Adam Wong. And we are thing we will continue to do. For working with the writer-director Media Asia, television is as big a team of Cold War, Sunny Luk and market as film. Longman Leung. I’m more and more impressed by the creativ- The pay model for digital music is ity of the new generation of taking shape in China. What is Media filmmakers in Hong Kong. I’m Asia’s approach to music in China? looking at new things everyday. Lam has high hopes for Helios, We are collaborating with ten I think the new talents of Hong the latest from paid music platforms. We are Kong are getting better and bet- Cold War directors Sunny Luk and hoping to have more collabora- ter. As long as the Hong Kong Longman Leung. tion with platforms in the coming companies give them a chance, year. We are also doing concert there is no lack of new talent in big help with the theatrical distri- quality; and the restaurants productions, and we are going the industry. It is not something bution of our films in Hong Kong. that I have are brands of their to bring more K-Pop groups to we have to worry about. As we have a more comprehensive own too, especially considering China. We are also working with If there is no new talent — as distribution network, we can how important lifestyle is to the South Korea’s CJ E&M Music a creative industry we need new help to bring Chinese films to an younger generation. to bring the Mnet Asian Music inspirations and ideas — we international stage. It is all linked Awards to China. We are hoping cannot achieve greatness. New up together and each component You have many public offices, includ- to work with more Japanese and talent have a different viewpoint helps the other. This is the direc- ing the chairmanship of the Hong South Korean companies to bring from the filmmakers who are of a tion we are looking to develop. Kong Tourism Board and honor- more large-scale concert produc- certain age. Creativity is key. ary chair of the Hong Kong Motion tions to China. As a noted gourmand, how is your Picture Industry Association. How do How does Media Asia manage to restaurant business going? you manage your time? Media Asia is also noted for its talent create synergy within all its various I have restaurants in Hong I always say, “as required.” If I management. What do you look for divisions? Kong, Shanghai and Beijing. If told myself I have a lot of work, when signing artists? It is matter of adding to each you call me a gourmand, it only I would feel tired; but if I told We sign artists who think we are other’s strengths. If someone means I love eating. I do love to myself I have a lot of pleasure, going to help them. It is compre- has made a name for himself eat. It is one of the arts. Enjoy I would feel happy. I always say hensive; we hope to make use of on television, we can develop food, enjoy life. And it’s a talking my work is my pleasure, so I feel their full potential. For example, his film career, and if he suc- point. Good food from different happy. Truth be told, it is up to if someone is noted for acting, we ceeds in film, we can develop his regions can bring out different a person’s psychological state. I would like to expand his or her music career, and then a concert talking points. Some of our art- treat my work as a pleasure, so I repertoire to music and to being career, then a career as a product ists are fan of my restaurants. enjoy doing it and don’t feel tired a product spokesperson. We are spokesperson. It is all inte- Artists go to eat at my places in about it. I have no work pressure. looking at some new talents this grated. All our company depart- Shanghai and Beijing. So I have “As required” is a good motto. year. And for our current roster ments are integrated. Like for established a brand and a level One, there is no time constraint; — we have about 100 artists — we example we have acquired MCL of quality. Media Asia as a brand two, I enjoy it and three, I don’t hope to bring them to a high level (Multiplex Cinema Limited) and gives people confidence that the have work pressure. It is one of of fame. Intercontinental Films, and it is a films it produces are of a certain my philosophies in life. THR

TOP FIVE MEDIA ASIA BOX OFFICE HITS

INFERNAL AFFAIRS 2002 INFERNAL AFFAIRS III 2003 INITIAL D 2005 THE WARLORDS 2007 LOVE IN THE BUFF 2012 $7.1 MILLION HONG KONG BOX OFFICE $3.9 MILLION HONG KONG BOX OFFICE $4.8 MILLION HONG KONG BOX OFFICE $3.6 MILLION HONG KONG BOX OFFICE $3.6 MILLION HONG KONG BOX OFFICE

Famed as the source material The last installment in the Infernal Reuniting the writer-director team This historical epic starring , The sequel to the 2010 Love in a for Martin Scorsese’s Oscar- Affairs franchise brought back the of Infernal Affairs — , and Takeshi Kaneshiro Puff, also by director Pang Ho- winning , this tale of original cast for what was both a and — this was directed by . Apart cheung, this romantic comedy undercover agents in the police preqeul and a sequel to the first film. -starrer was an adapta- from being a hit, it took home eight became a cultural phenomenon force was an action-packed tour- Andy Lau won a best actor Golden tion of a Japanese Manga about Hong Kong Film Awards including thanks to its timely look at Hong de-force and the year’s highest Horse award after being nominated street racing that also spawned a best film, best director, and best Kongers relocating to Beijing. grossing Hong Kong release. for the same role in the original. TV series and video game. actor for Jet Li.

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day2_mediasiaE.indd 2 3/24/14 3:44 PM CMG_FilmartDay2.indd 1 3/18/14 12:05 PM REVIEWS

which stand out here, with Kang’s and Doyle’s episodes actually responding to what makes — or could have made — the world human, humane and indeed beautiful. Kang’s Awaiting begins with a young woman traveling to a family reunion with a coach full of elderly people along the barbed-wire borders South Korea shares with its estranged sibling-nation to the north. Yeon-hee (Moon Chae-won) is then seen thinking of her daily routine of doing domestic chores in her traditional homestead in the city, struggling with her fast-fading memory and making exquisite meals for a husband whom she says she wouldn’t allow to “cross over” to the other side again given the political situation of the day. Yeon-hee’s real existence is presented when she glimpses a older version of herself on the other side of the mirror: her youthful porcelain beauty is just a manifestation of how her life was frozen in time when her marriage was torn apart by the Korean War. Slowly, subtly and with a smidgen of sentimentality, Kang offers an emotive piece that recalls the brief family Moon Chae-won imagines what reunions across the Korean DMZ earlier this year. her life could Meanwhile, Doyle’s HK 2014 — Education for All is have been like. an even more melodrama-stripped affair. This third segment of Beautiful 2014 looks at how youngsters face challenging situations in comically (and a tad Beautiful 2014 disturbingly) adult-like ways. Sometimes speaking in voiceovers and sometimes delivering lines in tableau- Separation is the key to the third installment of like sequences, this awkward bunch (Chung Pui-kit’s the omnibus project, with stories touching on family reunions, gangly pet-shop-running teen; Vodka Wong’s poor, stifled sexual desires and children’s struggle with real life chubby rich boy living in a mountain-top mansion) of by clarence tsui schoolchildren muses about cram schools, bullying and absent parents exacting control via Skype. OW INTO ITS THIRD EDITION, THE HONG KONG Lip Ching-man’s elementary schoolgirl is perhaps the most startling International Film Festival and Youku Tudou’s port- specimen, as she grapples with her family’s below-the-breadline toils manteau project has shown some obvious signs of wear by filling her fishing-boat home with religious icons. In contrast, the and tear alongside the occasional moments of visual only dramatic element in the piece — a courtship between a school- flair. Similar to its predecessors, Beautiful 2014’s wildly teacher (Selene Cheung) and a socially awkward beat-boxer (Kevin varyingN tone is nearly inevitable — a fact pre-determined by the Lau) — looks artificial and out of place. abstract theme and a near-absence of a central plumb-line which runs The humanity of these two segments sandwich perhaps Beautiful across the four entries — but more worrying is a creeping sense of 2014’s biggest disappointments. An adaptation of author-filmmaker middling deja vu. Evan Yang’s short story about a 1950s middle-class woman’s stifled While previous editions boast of pleasant formalistic surprises sexual desires, Shu Kei’s The Dream ends up inadvertently celebrat- (such as Tsai Ming-liang’s meditative Walker and Kiyoshi Kurosawa’s ing male voyeurism. The piece bears an uncanny resemblance to the heady office-romance-turned-action-romp Beautiful New Bay Area Wong Kar-wai’s trademark dreamy retro-vibe, but it lacks the psycho- Project) this year’s offering is thin on the ground with such engage- logical nuance and sophistication of his similarly-themed short Eros. ment with the viewer. Frisson is also central to the concluding piece, Yuan’s Boss I With such omnibus features still welcome on the festival circuit — Love You. While feigning some kind of edgy formalism — not a single the Hong Kong film festival this year will actually see in the world line is said throughout the half-hour segment — it offers the most premiere of yet another of this kind of project, in the form of the straight-forward narrative in this collection, as a young chauffeur three-parter Three Charmed Lives — Beautiful 2014 should probably (Lu Yulai) contends with and finally acts on his infatuation with his still find a healthy lifespan in Asian showcases, especially with the tall and handsome boss (Li Quan). The performances are certainly cachet held by participants like Kang Jye-gu (Shiri), Shu Kei (Hu precise and production values are slick — perhaps because the auto- Du Men) and lensman-turned-director Christopher Doyle. A replay mobiles, attire and apartments are so slick themselves — but the story of Beautiful 2012’s international breakout will probably be a pretty rings hollow. uphill struggle. If one is to really locate a specific theme which underlines Beautiful Cast Moon Chae-won, Erica Yuen, Chung Pui-kit, Lu Yulai 2014’s four shorts it would be the idea of separation, brought about by Directors Kang Jye-gu (Awaiting), Shu Kei (The Dream), Christopher chasms in ideology, gender, class and sexuality. Let’s call it the mag- Doyle (HK 2014 - Education for All), Zhang Yuan (Boss I Love You) nificence of melancholy: it’s the two sadness-drenched “micro-movies” 117 minutes

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day2_reviewsA.indd 1 3/24/14 5:30 PM The 27th Tokyo International Film Festival will be held from October 23 (Thu.) - 31 (Fri.), 2014. The main venue will be Roppongi Hills, with new TOHO Cinemas Nihonbashi serving as additional screening venues! TIFFCOM 2014 will run from October 21 (Tue.) - 23 (Thu.), earlier than last year at the same venue GRAND PACIFIC LE DAIBA in the Tokyo Bay area.

Tokyo Film Fest d2 032514.indd 1 3/14/14 11:41 AM REVIEWS

Venus Talk Kwon Chil-in’s relationship drama offers some engaging and sharp observations about love and life among fortysomethings by clarence tsui

Korean director Kwon Chil-in’s with her turn as a television sta- romantic drama Venus Talk, tion producer who finds herself From left, which opened in South Korea dumped by her protégé-turned- Moon, Jo and on Feb. 13, has been bandied boyfriend, and then struggles to Uhm have frank discussions about as a local take of Sex and make sense of a young underling about sex. the City, and this comparison is (Lee Jae-yoon) who seems to love possibly due to its characters’ her for real; Moon So-ri (Oasis, and commit herself fully to her the cancer-driven clichés in frequent candid conversations Ha Ha Ha) provides some mea- mild-mannered and sensual soap operas. about femininity (among the sured comical moves as a wife carpenter date Sung-jae (Lee It’s such small details which standout lines being “If we don’t who goes above board to main- Geung-young). Her wish for a make Venus Talk move beyond get sex every night, we’re not tain a busy sexual life with her bright future, however, is marred merely a daring “chick-flick” — women” or “airheaded-ness if fatigued Viagra-popping husband by the demands of motherhood, something augmented well by cute only if you’re young”) and (Lee Sung-min). the waywardness of her partner’s production designs and camera- also the comforting presence of The most heartening turn here, masculinity and, finally, the onset work which strives to differenti- dream jobs (one owns a kitsch however, belongs to Jo Min-soo of a deadly disease. ate the moods required by the patisserie; another is a showbusi- (Pieta). Her thread provides While Kwon and his writer unfolding narratives of the three ness high-flyer) and men who are Venus Talk with a grounded and Lee Soo-ah (whose script won a characters here. either sexy, loyal or bohemian. sober moral anchor. Her char- Lotte Entertainment contest) What the film shares with its acter, Hae-young, is a frustrated do employ some melodramatic Sales Lotte Entertainment U.S. equivalent are gripping single parent desperately egg- tropes, their calibrated depiction Cast Uhm Jung-hwa, Moon So-ri, performances from the cast. Uhm ing her needy daughter (Jeon of Hae-young’s physical condi- Jo Min-soo Jung-hwa (Single, Haeundae) Hye-jin) to move out so that she tion and its effect on her every- Director Kwon Chil-in steers clear of doing easy hysteria can finally “taste her own food” day life is never played up like 109 minutes

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day2_reviewsA.indd 2 3/24/14 5:30 PM Tvorchestvo_Filmart_Day 2.indd 1 3/21/14 4:03 PM REVIEWS The tattooed Li looks forward to motherhood. Shadow Days Chinese director Zhao Dayong returns to the “ghost town” of Zhiziluo in an eerie film about China’s one-child policy by deborah young

Just as China’s strict family planning laws are being liberalized, Zhao Dayong’s powerful Shadow Days comes along to underline how inhuman the one-child policy can be when enforced to the extreme. Yet the strength of the film doesn’t reside in narrow finger-pointing at one law; it conveys a chilling sense of outrage against the whole dehumanizing system in which Chinese society finds itself caught. The unglamorous setting in a run-down, isolated mountain community and the simple, straight-forward story-telling mark it as an art film for limited audiences, but its clear, concise narration and basically bringing home a TV set. Surrounded by children out of wedlock in the city. But later realistic approach should also help the film majestic mountains and fresh air, they seem he casually asks the older man to procure a wend its way mainly through the festival to be in the right place to start life afresh. fake ID for him that will allow him to escape and art house circuits. Then his uncle gets him a job helping out the police. Though this is Zhao’s second feature the local family planning board he runs, If Liang Ming’s Renwei is so blasé he film, he is known above all as an outspoken together with a smug Madame Chairwoman. seems to be under-acting, Li Ziqian’s documentarist who peers deeply under the They have a quota to reach and urgently need Pomegranate is a more interesting character. rug. Shadow Days is set in Zhizilou, the same to get the populace back in line on the one- Her many tattoos, gold rings and fashion- remote community on the China-Myanmar child policy, “or the axe will drop.” Nothing forward clothes denotes her urban cool. border explored in his 2008 doc Ghost Town. seems more ridiculous than family planning Yet a note of melancholy creeps in to her Here the word ghost again stands in for in this remote, obviously under-populated cheerfulness as she happily looks forward psychological perversions of the human setting, but orders are orders and they set to maternity. The shadows of her past never mind which lead to ruin and destruction. about their business with old-school fervor take clear shape, but are certainly hovering The glorious natural landscape of that harks back to the Cultural Revolution. in the background when one night she sees a verdant mountain ranges could be Renwei feels very cool donning his faceless ghost in the room that terrifies her. the setting of a mystical film about camouflage fatigues and matching hat. And it’s not the only ghost to appear. finding oneself, yet here Dayong and co- Surprisingly, given that he’s about to become A rather maladroit VFX of a newborn screenwriter Fu Xinhua turn that genre a father, he proves adept and quite ruthless at baby begins to haunt Uncle, preluding a on its head. The little town where Renwei his new job. This mainly involves going door- mysterious illness. He now hobbles around (Liang Ming) and his pregnant girlfriend to-door with the thug-like gang of family on a cane and spends a lot of time in bed. Pomegranate (Li Ziqian) seek shelter from planners and dragging women out of their Though he calls in a local shaman to remove life’s storms is anything but the rural idyll it homes to be forcibly sterilized or even forced the curse, and then the pastor to pray for first appears to be. And the film’s spiritual to have an abortion. When they can’t find him, and even burns incense at his home moments, which aren’t all that convincing, one young woman in hiding, Renwei builds a altar, which incongruously features a are relegated to a Christian church tucked fire in the building to smoke her out, and is polished ceramic statue of Mao in place of a away outside town, while sick minds conjure patted on the back for his quick thinking. saint, recovery eludes him. (In the next scene, up ghosts and shamans to represent the But the nasty business soon takes its he orders a giant papier-mache effigy of Mao horrors the people visit on one other. karmic toll. From being a loving, happy to be carried out of storage, presumably for Renwei was born here, but he long father-to-be, he turns into a hard-drinking disposal, an effective shot but not very clear ago moved to the city where he met tough who spends his evenings with uncle in meaning.) The villagers begin to shun him Pomegranate. After getting into a serious and friends, leaving Pomegranate alone in as cursed. It is at this point that he hits on a scrape whose nature is never specified, he the empty schoolhouse. Left increasingly on really terrible idea, which leads to the film’s returns to his hometown to wait for the baby her own, she starts to drop by the Christian violent and hideously real final scenes. to be born and figure out what to do next. church on the edge of town, where she walks Whether or not China’s recent resolution His only remaining relative is his uncle (Liu in on a sermon that all too obviously begins, to let some families have two children, Yu), a local power player who lets him move “He gave his one and only Son…” The pastor providing one of the parents is an only into his old school, now a dusty, cobwebby is Renwei’s old chum Ah Pu, who simply says, child, will alleviate the misery and violence shell scheduled for demolition. But the two “I do the Lord’s work.” depicted here, Shadow Days is a hard-to- young people cheerfully set about cleaning Clearly the couple has something to hide, forget allegory of evil propagating itself. up a living space and making it home. but the screenplay discretely reveals as little Renwei lovingly attends to Pomegranate, as possible on this score. Renwei admits to Sales Lantern Films killing and cooking a chicken for her, Uncle they aren’t married, justifying himself Cast Liang Ming, Li Ziqian, Liu Yu making her porridge in the morning and that it’s very common for couples to have Director Zhao Dayong // 95 minutes

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chyi) finds herself in the midst at a friend’s encouragement — at of a crisis when dealing with least at home. a rebellious, distant teenaged Exit is intensely Taiwanese in daughter, a decaying apartment its aesthetic — lots of medium- (she is literally locked inside on long shots and still compositions occasion in one of the film’s less that see the characters move subtle symbols), a hospitalized into, around, and out of the parent she bears the brunt for frame. There’s not a lot here, caring for are all made more thematically or stylistically, unbearable by the onset of that hasn’t been done before; menopause and losing her job. middle-aged malaise remedied Ling appears to be on the verge by unconventional behavior of losing out to hopelessness and is common subject in Asian depression when her mother’s cinema. Chen’s understated and hospital ward-mate, Chang, a empathetic performance anchors

Chen plays a surgery patient who is blind and the film and watching her take woman attempting in incredible pain, inadvertently the baby steps towards reinvent- to reinvent herself. comes to her rescue. ing herself for her own happiness The film is at its most compel- (even if things don’t go her way) ling when Ling is tending to the is quietly moving. When frustra- Exit mysterious young man. There’s tion gets the better of her near Occasionally snail-paced drama about a woman’s an odd frisson of intimacy in the the end, her mini-meltdown is as midlife crises is lifted by a strong lead performance little kindnesses she affords him: relatable as any other single mo- by elizabeth kerr a drink of water, mopping up ment in the previous 90 minutes. sweat, a sponge bath. Her touch A jaunty score lifts the tone from Average middle-aged life, its but also show flashes of insight calms him down and it reminds being uniformly oppressively disappointments and the fight into fortysomething female anxi- Ling that she is a valuable, living glum to just fleetingly glum, and not to fall into despair are at ety. Though the film lags in parts woman. Invariably, she begins to reminds us of the humanity at the heart of Chienn Hsiang’s and spends a generous amount look forward to the hospital visits the heart of the story. sensitive and deliberately paced of time on the mundane (when less to see her mother and more document of a woman’s transi- a few shots would suffice) Exit to spend time with the stranger, Sales MM Square Co., Ltd tion from one period of her life should find a place on Asian- who begins to respond to her. She Cast Chen Shiang-chyi, to another. Exit is a recognizably focused festival events. comes even more out of her mis- Easton Dong Taiwanese drama that occasion- Middle-aged Kaohsiung gar- ery when she indulges her inter- Director Chienn Hsiang ally wallows in its own identity ment worker Ling (Chen Shiang- est in sparkly ballroom dancing 93 minutes

Unlike in these previous incarnations — where the character succumbs to the tempta- Once Upon a Time in Shanghai tions of power and money as the modern-day White-knuckle action scenes belie a dearth of flesh-and-blood drama metropolis eats into him — Shanghai’s Ma is by clarence tsui purity personified a la Bruce Lee in Fists of Fury. Rather than going through some kind Throughout his career, Hong Kong screen- hai should play well to hardcore kung-fu of rite of passage, the penniless country boy writer-director Wong Jing has been known aficionados as an exotic artifact, what with (played by Philip Ng, a Chicago-educated for making tills ring by milking fads dry — its “pedigree” of revisiting a Shaw Brothers martial arts actor getting top-billing for the and true to form, his latest film is a prime classic (namely ’s The Boxer from first time) here remains steadfastly prin- exemplar of that modus operandi. Wasting Shantung, from 1972). cipled, a perennial beacon of moral light no time to follow his bigger-budget, Bona- Just like The Boxer from Shantung (and the burning undimmed even as he befriends the backed 1930s gangland drama The Last 1997 film Hero, also a Shaw Brothers produc- ambitious wannabe Godfather Long Qi (Andy Tycoon — which took $24.5 million during its tion), Shanghai refashions the real-life 19th On, Cold War). month-long run in China just a year ago — he century martial arts expert Ma Yongzhen Just as the ample flying axes and machetes has now returned with a similarly-themed but into a fighter caught in the crossfire of the suggest a 3-D project unrealized, the half- modest-sized production shaped to capital- titular city’s chaotic mob wars in the 1930s. baked story struggles to generate a complete ize on the recent demand for action-filled engagement with the characters’ trials and bromances, demonstrated by the commercial tribulations. Once upon a time, Ma Yong- success of films like ’s Unbeatable. zhen’s story was deployed as an effective For all its flaws —­ ranging from thin char- morality tale and kickstarted the golden age acterization in Wong’s screenplay to director of the gangster genre in Hong Kong filmmak- Wong Ching-po’s heavy-handed deployment ing; here, it’s turned into a spectacle and not of slow-motion trickery and stirring muzak ­— much else. Shanghai flickers only through Yuen Cheung-

yan’s action choreography, ably brought alive Ng, right, Sales Mega-Vision Pictures by a cast featuring the martial-arts genre’s shoulders quite Cast Philip Ng, , Sammo Hung a burden. prime upstarts or elder statesmen. Shang- Director Wong Ching-po //97 minutes

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day2_reviewsA.indd 4 3/24/14 5:30 PM Three Charmed Lives A typically hot and cold omnibus project that proves not all actors make great directors by elizabeth kerr

Disparate men in desperate situations provide the very loose link that ties together the independent stories in the ironically titled omnibus fea- ture Three Charmed Lives. Tog-

Hoffman, left, gling between utter nonsense and Turturro plot and assured storytelling, the their next move. film is glaring proof that great Chang Chen’s actors don’t necessarily make Inchworm great filmmakers. The themes chronicles one man’s descnet God’s Pocket of urban isolation and discon- into despair. Mad Men star John Slattery makes his directorial feature nection, as well as desperation debut with a black comedy that comes to half-life that connect the trio offer a lonely elderly man despite by todd mccarthy familiar territory that isn’t re- the client — the man’s son — ally explored in any fresh detail doubling the fee. The killer The absurdist black comedy drawn from daily life in a blue-collar here and none of the three spends his days painstakingly Philadelphia neighborhood registers about half-way in God’s Pocket. shorts is particularly notable mapping out what the old man Based on the first novel (1983) by Peter Dexter, whose The Paperboy for its aesthetics. But Three does, but never takes the step got rather roughed up when it became a film two years ago, this first Charmed Lives will find a place toward carrying out the assas- feature from Mad Men actor John Slattery only partly succeeds in its on regional film festivals given sination. Jung has starred in his aim to derive outrageous humor from its hardscrabble setting, ulti- the considerable star power share of thrillers (Daisy, Cold mately playing like a movie by the Coen Brothers directed with one behind the camera, which may Eyes) and here he manages to arm tied behind their backs. also carry it to some events blur the line between who’s the Although part of a big city, the community referred to as God’s overseas. Other than that the subject and who’s the object. Pocket is an extremely insular one populated by tough types, mostly film’s shelf life is limited. Is the killer watching or being Italian, with perhaps some Irish, of whom it’s said that, “The only One of Hong Kong’s finest watched? Is the old man ready thing they can’t forgive is not being from God’s Pocket.” A partial ex- actors, Francis Ng (The Bride to die anyway? The stolidly ception is Mickey Scarpato (Philip Seymour Hoffman), who’s accept- with White Hair, The Mission), unfussy camerawork belies ed by virtue of his marriage to a local woman (Christina Hendricks) kicks off the wildly uneven af- some real tension and The Killer so immeasurably more attractive than anyone else there it’s a wonder fair with The Tangerine, which Behind really only wavers near she’s stuck around. sees a criminal on the run from its overly artistic closing shots. Mickey’s 22-year-old stepson has just died, a sad occasion to be the law in an anonymous Chi- The film wraps up with sure, at least until we see that the kid was a reckless punk who nese city compelled to stop and Taiwanese actor Chang Chen’s brought his death on himself at a day-labor job where he racially rethink his life following two (The Grandmaster) Inchworm, taunted an old black worker and put a switchblade to his throat, random acts of kindness, the the one film among the three whereupon the black man whacked him with a pipe. Instinctively first by a homeless man that that is mostly resolutely mid- pulling together in their clannish way, the many working stiff wit- shares his meager meal and the dling. An average salaryman, nesses cover it up, telling police it was an accident. second by a fruit vendor. By far Jung-chang loses his job and Still, some are not satisfied. While Mickey spends the next couple the weakest entry, The Tanger- then falls into a videogame-fu- of days conspicuously ignoring his wife while drinking and making ine is overloaded with need- eled depression and withdraws arrangements for the burial, his pal (John Turturro) sends a couple of less camera flourishes, sloppy from the world. Jung-chang is, his goons over to the work site to find out what really went down. They subtitling and a poor sound for the most part, an irritat- end up wishing they hadn’t gone. mix. However it’s most guilty of ing character that’s hard to Shooting in Yonkers, N.Y. and placing the action in what looks being paper-thin in its imagery like, and his spiral into life as like the mid-to-late 1970s, Slattery, who has directed five episodes (we get it, egregious wealth a game is less resonant than it of Mad Men, does a solid job of conjuring the feel of a tight, insular and poverty sit side by side should be. The emotions, lies neighborhood where everyone makes it their business to know about in modern China) and oddly and shame that drive him— everyone else’s business. The houses, bars and work environments are disjointed in its narrative. Ng both into his shell and ulti- all depressingly dingy to the edge of rot, a state undisguised by Lance is one of Asia’s all time greats, mately pull him out of it—are Acord’s drabness-emphasizing cinematography. but he may want to consider universal enough but there so The film only intermittently displays the snap, precision and stylis- staying in front of the camera. little substance to the charac- tic smarts a mixed-tone project like this requires; a half-good effort Next up is the strongest ter it’s hard to care. is not enough where buoyancy and a sly-to-mean spiritedness are entry: Korean heartthrob Jung required at all times. Woo-sung’s The Killer Behind, Cast Cheng Taishen, Zhang The Old Man. The suitably stoic Xinyuan, Andy Choi Sales Electric Entertainment Andy Choi plays an ultra-me- Directors Francis Ng, Jung Cast Philip Seymour Hoffman, Christina Hendricks, John Turturro thodical hitman who’s reluctant Woo-sung, Chang Chen Director John Slattery //88 minutes to carry out a contract against 89 minutes

THE HOLLYWOOD REPORTER 23

day2_reviewsA.indd 5 3/24/14 5:30 PM 8 Decades of The Hollywood Reporter The most glamorous and memorable moments from a storied history

“Two reels and it’s no good, Run Run out!” said Shaw (left, on the set of one of the 16 films he produced in 1973) on his Shaw Liked moviemaking philosophy. “We’re here to make money.” ‘Movies That Make Money’

T’S PROBABLY SAFE TO SAY that there’s only one 106-year-old Hong Kong film producer to ever be Iincluded in Awards’ In Memoriam tribute. Run Run Shaw, who died Jan. 7, was a legend on both sides of the Pacific. He released more than 800 films worldwide and did it all with a philosophy that out-Hollywood-ed Hollywood. Asked what his favorite films were, he once replied: “I particularly like movies that make money.” As for making money in the U.S., Shaw’s high point was the early 1970s, when his martial arts films, including the mega-hit Five Fingers of Death, were all the rage. And though his films made no attempt to synchronize speech to lip movements (a character could continue talking long after his mouth had stopped moving), Shaw didn’t see that as a problem for the U.S. market. “It’s like Chinese food,” he once said about his films. “When Americans taste it, they like it.” Recalls Oscar winner Michael Deeley, who got financing from Shaw for many of his produc- tions, including Blade Runner and The Deer Hunter: “My dealings with him were always on a first-class level. If you can be in the film busi- ness until you’re 106 and nobody can remember you ripping them off, that’s a pretty remarkable achievement.” — BILL HIGGINS

THE HOLLYWOOD REPORTER 24 JACK GAROFALO/PARIS MATCH VIA GETTY IMAGES

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108 Media Corp. Asia Division / Booth: 1B - D32 Contact: Ryo Ebe Email: [email protected] Dir: +81-80-5656-3771

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