DOCSLIB.ORG

From: Reviews and Criticism of Vietnam War Theatrical and Television Dramas ( Compiled by John K

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
From: Reviews and Criticism of Vietnam War Theatrical and Television Dramas ( Compiled by John K From: Reviews and Criticism of Vietnam War Theatrical and Television Dramas (http://www.lasalle.edu/library/vietnam/FilmIndex/home.htm) compiled by John K. McAskill, La Salle University ([email protected]) X5195 XICH LO (FRANCE/VIETNAM, 1995) (Other titles: Cyclo) Credits: director/writer, Tran Anh Hung. Cast: Le Van Loc, Tony Leung-Chiu Wai, Tran Nu Yen Khe, Nguyen Nhu Quyeh. Summary: Melodrama set in contemporary Ho Chi Minh City. In the heart of the city, Cyclo (Le) a young pedicab driver, transports anonymous passengers through the teeming streets, trying to eke out a meager living for his two sisters and elderly grandfather. When his bicycle is stolen, he joins a small band of criminals led by a young poet (Leung) to earn money to repay his boss. Unbenown to the cyclo, his older sister has also been mesmerized by the poet and has turned to prostitution to please him. The cyclo is put to a test by the gang. He narrowly escapes a psychopathic killer and the police while transporting cocaine concealed in a pig carcass. He decides to ask for his old job back. Andersen, Soren. “‘Cyclo’ grim chaotic film about postwar Vietnam” News tribune (Nov 29, 1996), SoundLife, p. 5. Anderson, John. “Life on the razor’s edge in Ho Chi Minh City” Newsday (Feb 12, 1997), p. B7. Armstrong, David. “‘Cyclo’ strong on visuals, weak on plot” Cincinnati enquirer (Nov 22, 1996), Weekend, p. 27. ______________. “Exquisite pictorialism highlights ‘Cyclo’ film: Second film by director of ‘Papaya’” San Francisco examiner (Aug 2, 1996) Baltake, Jeff. “Post-war Vietnam spins out of control in ‘Cyclo’” Sacramento bee (Oct 18, 1996), Ticket, p. TK25. Bennett, Paul. “‘Cyclo’ examines modern Ho Chi Minh City life: From the ashes of hope” Santa Fe New Mexican (Oct 25, 1996), p. 43. Brumley, Al. “‘Cyclo’ is visual beauty that’s too restrained” Dallas morning news (Dec 20, 1996), p. 12C. Busch, Lyall. “Cyclo’s canvas is a busy Vietnamese street” Seattle times (Nov 29, 1996), p. F5. Butler, Robert W. “Cardboard cutouts could serve as actors’ stand-ins: Vietnamese director is all over the road with second effort” Kansas City star (Dec 13, 1996), p. 10. Carr, Jay. “Transcendent ‘Cyclo’ moves powerfully” Boston globe (Nov 1, 1996), Arts & film, p. E5. Denerstein, Robert. “‘Cyclo’ gives innocence brutal ride” Rocky Mountain news (Oct 25, 1996), Entertainment/weekend, p. 10D. Donovan, Patricia. “Life of the party: Two films document the horrors of totalitarian life” Buffalo news (Oct 31, 1997), Gusto, p. 34G. Dupont, Joan. “Bringing Vietnam back to the Vietnamese” International herald tribune (Feb 21, 1996), p. ? Elliott, David. “Images make a poem to urban life” San Diego union-tribune (Sep 26, 1996), Night & day, p. 9. Gabrenya, Frank. “Tran’s stylized ‘Cyclo’ probes Vietnam’s violent circles” Columbus dispatch (Jun 6, 1997), p. 8E. Gilbey, Ryan. “Pain in pleasure, peace in chaos” Independent [London] (Mar 21, 1996), Film, p. 10. Guthmann, Edward. “‘Cyclo’ no ride in the country: Crime and violence in Ho Chi Minh City” San Francisco chronicle (Aug 2, 1996), Daily datebook, p. D3. Hinson, Hal. “‘Cyclo’: The rickshaw thief” Washington post (Sep 13, 1996), p. F6. Hoberman, J. “Big wheels” Village voice 42/7 (Feb 18, 1997), p. 75. __________. “Fest forward: Cyclo directed by Tran Anh Hung” Village voice 40/40 (Oct 3, 1995), p. 76. Hornblow, Deborah. “A wretched life in Vietnam makes for a wrenching, yet beautiful film” Hartford courant (Apr 11, 1997), p. E7. Howe, Desson. [Cyclo] Washington post (Sep 13, 1996), Weekend, p. 44. Hunter, Allan. “Dog-eat-dog nightmare serves up potent morality tale” Scotland on Sunday (Mar 24, 1996), Spectrum, p. 16. Kehr, Dave. “‘Cyclo’-pathic land of the lost” Daily news [New York] (Feb 12, 1997), p. 39. Klawans, Stuart. “subUrbia” Nation 264/8 (Mar 3, 1997), p. 35-6. Larimer, Tim. “Obscure motorbike mechanic in the midst of a cultural debate” Houston chronicle (Mar 17, 1996), p. 31. LaSalle, Mick. “A portrait of lost innocence in Vietnam” San Francisco chronicle (Jul 28, 1996), Sunday datebook, p. 45. Levy, Emanuel. “Movies: Film clips: Tran-spotting: Vietnamese director looks at dark side” Los Angeles times (Jul 28, 1996), p. 28. Malcolm, Derek. “Screen: Wheels of fortune: Film of the week: Tran Anh Hung’s second film, Cyclo, comes laden with faith, hope, and numerous awards” Guardian [London] (Mar 21, 1996), p. T10. Maslin, Janet. “A Vietnamese taxi driver and his unworldly sister” New York times (Oct 12, 1995), p. C20. Milenski, Aaron. “Cyclo” Motion picture guide annual (edited by Jay Robert Nash and Stanley Ralph Ross) Chicago : Cinebooks, 1987-2000. (1998, p. 93-4) Millar, Jeff. “At the movies: ‘Cyclo’ powerful portrait of a city” Houston chronicle (Oct 18, 1996), Weekend preview, p. 1. Movshovitz, Howie. “Chaos propels ‘Cyclo’ as it searches for a vanished past” Denver post (Oct 25, 1996), p. F5. Mydans, Seth. “Censors limit movies to those about ‘real’ Vietnam” Palm Beach post (Sep 1, 1996), p. 31. __________. “Filming the ‘real Vietnam’” International herald tribune (Sep 4, 1996), p. ? “No way out for innocents in a harsh Ho Chi Minh City” New York times (Feb 12, 1997), p. C18. Potts, Jackie. [Cyclo] Miami herald (Nov 1, 1966), p. G8. Powers, John. “Foreign arrivals: Cyclo directed by Tran Anh Hung” Vogue 186/9 (Sep 1996), p. 366. Rayns, Tony. “Reviews: Cyclo/Xich lo directed by Tran Anh Hung” Sight and sound 6/4 (Apr 1996), p. 42+ Rea, Steven. “In urban Vietnam, descent into violence” Philadelphia inquirer (Apr 11, 1997), Weekend, p. 12. Romney, Jonathan. “Framespotting: Whose identity crisis?” Guardian [London] (Mar 29, 1996), p. T5. Rooney, David. “Cyclo (Xich lo)” Variety 360 (Sep 11, 1995), p. 108. Sachs, Lloyd. “‘Cyclo’ spins downbeat tale” Chicago sun-times (Nov 1, 1996), p. 34. Sheehan, Henry. “Allegorical elements tarmish ‘Cyclo’” Orange County register [California] (Aug 2, 1996), p.F17. ____________. “Tran Anh Hung crafts film after observing life in Vietnam: Paris- based director’s second attempt at shooting in the country proves the charm” Orange County register [California] (Aug 2, 1996), p. F18. Stack, Peter. “Asian world on film: Vietnamese drama opens S.F. festival” San Francisco chronicle (Mar 7, 1996), Daily datebook, p. E1. Thomas, Dana. “‘Cyclo’: Missing Saigon-- Tran Anh Hung’s film depicts misery of postwar Vietnam” Washington post (Sep 15, 1996), p. G4. Thomas, Kevin. “‘Cyclo’ focuses on gritty life in Vietnam” Los Angeles times (Aug 1, 1996), Calendar, p. F2. Verniere, James. “Movies: ‘Cyclo’ ride is scenic but veers off course” Boston herald (Nov 1, 1996), p. S9. Vice, Jeff. “‘Cyclo’ looks beautiful but is devoid of emotion” Deseret news [Salt Lake City] (Jan 26, 1997), Arts, p. E11. Walker, Alexander. “Confusion reigns on a ride to trouble” Evening standard [London] (Mar 21, 1996), p. 26. Wilmington, Michael. “Superb ‘Cyclo’ shows a Vietnam on the brink of chaos” Chicago tribune (Nov 1, 1966), Friday, p. F. c2005 J.K.M. Enterprises .
Load more

Recommended publications
  • A Film by Nord-Ouest Presents
    A FILM BY NORD-OUEST PRESENTS A FILM BY WITH RUNTIME: 115 MINUTES – FORMAT: 2.40 – SOUND 5.1 FRENCH RELEASE SEPTEMBER 7th, 2016 DISTRIBUTION AND INTERNATIONAL SALES [email protected] WWW.PATHEFILMS.COM WWW.PATHEINTERNATIONAL.COM PRESS KIT AVAILABLE FOR DOWNLOAD FROM WWW.PATHEFILMS.COM SYNOPSIS At the end of the 19th century, Valentine, aged 20, marries Jules. Around a 100 years later, her granddaughter runs across a bridge in Paris and into the arms of the man she loves. Over the century in between, men and women meet, fall in love, embrace, and fulfil their destinies, creating a family tree and a life-force that goes on for eternity… TRAN ANH HUNG DIRECTOR Director Tran Anh Hung was born on December 23rd, 1962 in Vietnam. He came to France as a refugee in 1975, and in 1987, studied filmmaking at the École Louis-Lumière, where he made his first short film as part of a study project, followed by a second with Christophe Rossignon, who went on to produce his next three features. THE SCENT OF GREEN PAPAYA, his first feature-length film, is a carefully crafted portrait of a young girl taken from her home at a very young age to work in a tumble-down aristocratic ©2016 NORD-OUEST FILMS – KRIS DEWITE ©2016 NORD-OUEST FILMS house in the center of Saigon during the 1950s. The film was shot in a studio in Paris, earning its director the Caméra d’Or at the Festival de Cannes in 1993, a César for Best First Film in 1994, and an Oscar nomination for Best Foreign Language I COME WITH THE RAIN, shot in Hong Kong and released Film.
    [Show full text]
  • Semester at Sea Course Syllabus Colorado State University, Academic Partner
    Semester at Sea Course Syllabus Colorado State University, Academic Partner Voyage: Fall 2017 Discipline: Communication Studies Course Number and Title: SPCM 350 Evaluating Contemporary Film Division: Upper Faculty Name: Dr. Rachel Raimist Semester Credit Hours: 3 Meeting: A Day 1230-1350, Kino Prerequisites: None COURSE DESCRIPTION This course explores narrative and documentary cinematic traditions, aesthetic forms of artistic practice, and transcultural modes of storytelling across the globe. Students learn theoretical approaches to understanding film as world cinema, international cinema, and third world film. Lectures and screenings will examine cinematic movements and genres from African film that explores social and political themes to the Hong Kong pop and action genres that illuminate how types of filmmaking converge with theories of globalization and migration of culture across regions. Student will learn film grammar and develop a vocabulary to analyze production and enable critical discussions of texts. This approach includes close readings of images, story, and the cultural and historical specificity of filmic productions from Europe, Africa, and Asia. This study of contemporary cinema will expose students to modes of filmmaking outside of “Hollywood” traditions and encourage understanding beyond Western traditions. LEARNING OBJECTIVES At the completion of this course, students will be able to: Articulate key terminology and engage in critical discussions about theory and practices of film that demonstrate an understanding
    [Show full text]
  • Scent of Green Papaya (MU I DU J)U XAN!-1/L'oj)EUIZ
    Scent Of Green Papaya (MU I DU J)U XAN!-1/L'OJ)EUIZ. l)E LA I'AI'AYE VEIZ.TE) Tran Anh Hung France 1993 "The scent of green papaya is for me a chi ldhood memory of maternal gestures. This story shows the ambiguity and complexity between love and servitude. It is a way of showing the love can free a woman from her servitude, while all the time enclosing her in it even more" . The Scent Of Green Papaya is the first Vietnamese film ever to get a release in this country. It is the debut film of Tran Anh Hunge, a Vietnamese who lives in France, and won the Camera D'Or at The Cannes Film Festival in 1993. The film is split into two parts. The first concerns a ten year old peasant girl Mui (Lu Man San), who comes to Saigon as the lowest servant in a moderately prosperous household supported by the family's small drapery store. Mui enjoys her work, is enthralled by the physical world around her, and develops a passion for the schoolfriend of her master's eldest son. The second half of the film picks up ten years later, when the twenty year old Mui, (Tran Nu Yen-Khe) is passed on to work for the wealthy boy she secretly loves. He is now a successful musician, living a Western life-style but retaing the traditional attitudes towards women so evident throughout the film. The women work, serve, organise and suffer; the men are arrogant, do nothing and generally get in the way.
    [Show full text]
  • Norwegian Wood
    Mongrel Media Presents NORWEGIAN WOOD A Film by Anh Hung Tran (133 min., Japan, 2011) Language: Japanese with English Subtitles Distribution Publicity Bonne Smith 1028 Queen Street West Star PR Toronto, Ontario, Canada, M6J 1H6 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Fax: 416-488-8438 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com/press.html SYNOPSIS Published in 1987 and since translated into 33 languages, NORWEGIAN WOOD is a story of loss and heartbreak in a time of global instability. Haruki Murakami’s bestselling novel is brought to the screen by Tran Anh Hung (Golden Lion winner for CYCLO and Academy Award nominee for THE SCENT OF GREEN PAPAYA) and features Japanese rising star Kenichi Matsuyama (DEATH NOTE, DETROIT METAL CITY) and Oscar nominee Rinko Kikuchi (BABEL) alongside newcomer Kiko Mizuhara. Tokyo, the late 1960s…Students around the world are uniting to overthrow the establishment and Toru Watanabe’s personal life is similarly in tumult. At heart, he is deeply devoted to his first love, Naoko, a beautiful and introspective young woman. But their complex bond has been forged by the tragic death of their best friend years before. Watanabe lives with the influence of death everywhere. That is, until Midori, a girl who is everything that Naoko is not – outgoing, vivacious, supremely self- confident – marches into his life and Watanabe must choose between his past and his future. ABOUT THE NOVEL A nostalgic story of loss and sexuality, NORWEGIAN WOOD’s protagonist Watanabe looks back on his days as a freshman university student living in Tokyo.
    [Show full text]
  • To Queer History: Gender, Borders, and Body Politics in Post-Handover Hong Kong Crime Films
    Concentric: Literary and Cultural Studies 46.1 March 2020: 39-57 DOI: 10.6240/concentric.lit.202003_46(1).0003 From “Crisis of Masculinity” to Queer History: Gender, Borders, and Body Politics in Post-Handover Hong Kong Crime Films Leo Chia-Li Chu Science and Technology Studies University of British Columbia, Canada Abstract This paper will examine the ambivalences and contradictions in post-handover Hong Kong cinema through the lens of gender, border, and the body politic in three crime films. The first of them, Intruder (恐怖雞 Kongbu ji, 1997), released when sovereignty over Hong Kong had just been transferred from Britain to China, may evoke a “crisis of masculinity” through its border-crossing female antagonist; in contrast, the portrayal of women, as well as transgender and queer people, in Ming Ming (明明, 2006) and I Come with the Rain (2009), appears to be more nuanced. Reading the three films against one another and against established narratives about the city, I intend to investigate how these films adopt gendered narratives and the questions of border in the construction of identity politics in post-handover Hong Kong. By juxtaposing the fluid, unstable, and multi-faceted bodies of fictional characters with the city’s history, this paper argues that the representation of past and future in these films reflects the struggle to narrate anxiety and hope in post-handover Hong Kong. Keywords Hong Kong, crime films, handover, gender, border, body politic 40 Concentric 46.1 March 2020 Introduction The development of Hong Kong cinema reflects the evolution of the city as well as the imagination and construction of its present, past, and future.
    [Show full text]
  • Hanh 2021 a Quick Look at Vietnamese Cinema in the Era Of
    Conflict, Justice, Decolonization: Critical Studies of Inter-Asian Societies (2021) 2709-5479 A Quick Look at Vietnamese Cinema in the Era of Renovated Economy (Đổi Mới) Hanh T. L. Nguyen Institute of Social Research and Cultural Studies National Chiao Tung University This short article gives an overview of the Vietnamese cinema in the era of economic reforms in Vietnam since 1986 to the present time, known as Đổi Mới era. Due to social, economic and political transformations brought about by Đổi Mới, Vietnamese cinema has become increasingly preoccupied with economic advances and expressions of individuals rather than commemoration of past wars. Moral decadence as a result of encroaching capitalism is also explored in several contemporary films. Keywords: Đổi Mới, economic reforms, liberalization, urbanization, Vietnamese cinema Introduction: Vietnam’s Neoliberal Economic Reforms Đổi Mới More than a decade after Vietnam’s North-South reunification in 1975 (or the end of the second Indochinese war as referred to in the West), Vietnam was tightly under the grip of poverty and hunger (Elliott, 1992). Aid from its ally—the Soviet Union—was also dwindling towards the end of the 80s as the Eastern Bloc was heading towards dissolution. Vietnam was faced with the precarious reality inside the country and the neoliberal pressure from international donors such as the IMF (International Monetary Fund) and the World Bank to open the country’s market in exchange for loans and donations. At its Sixth National Congress in 1986, the Vietnamese Communist Party decided to adopt a new economic model called the socialist-oriented market economy, following its communist neighbour China.
    [Show full text]
  • Mémoire De Recherche Master 2
    Mémoire de recherche Master 2 NGUYEN Phuong Thao Film vietnamien, coproduction française : la construction identitaire du cinéma de Phan Đăng Di au cœur des processus transnationaux de production et de réception Mékong Stories (2015) par Phan Đăng Di © DNY Viet Nam Productions Sous la direction de Amanda Rueda Mention Culture et Communication Parcours Médiation culturelle et Études visuelles Année 2017-2018 Remerciements J’aimerais exprimer ma gratitude à ma directrice de mémoire, Amanda Rueda, pour avoir accepté d’encadrer ce travail qui me tient particulièrement à cœur et pour m’avoir encouragée à me diriger vers la recherche. Mes remerciements vont à Franck Bousquet et Mélanie Le Forestier, membres du jury de ma soutenance, pour leur intérêt porté à ma recherche. Merci à mon amie Kim Hương qui a fait plusieurs relectures de ce mémoire. 2 Sommaire Introduction ................................................................................................................................... 4 I. Cadre théorique ....................................................................................................................... 10 1. Cinéma transnational ............................................................................................................ 10 2. Cinéma indépendant .............................................................................................................. 17 3. Méthodologie .......................................................................................................................
    [Show full text]
  • Curriculum Vitae
    MARIAM B. LAM CURRICULUM VITAE Associate Vice Chancellor for Diversity, Equity and Inclusion and Chief Diversity Officer Associate Professor of Comparative Literature and Southeast Asian Studies Cooperating Faculty – Ethnic Studies; Coordinating Faculty – Queer Studies & Global Studies Programs Affiliated Faculty – Media & Cultural Studies, Gender & Sexuality Studies, Labor Studies Department of Comparative Literature and Languages 900 University Avenue University of California, Riverside Riverside, CA 92521-0321 Email: [email protected] Office Phone: (951)827-5672; Mobile Phone: (951) 660-3365 EMPLOYMENT: 2016-Present Associate Vice Chancellor and Chief Diversity Officer, University of California, Riverside 2009-Present Associate Professor of Comparative Literature and Southeast Asian Studies, UC Riverside Summer 2017 Luce AGSF Visiting Senior Research Fellow, Asia Research Institute, National University of Singapore 2014-2016 Vice Chair, Academic Senate, Riverside Division, UCR 2011-2016 Director of the Southeast Asian Studies Research Program (SEATRiP), UCR Fall 2010 Visiting Senior Research Fellow, Asia Research Institute, National University of Singapore 2003-2009 Assistant Professor of Comparative Literature and Southeast Asian Studies, UC Riverside 2002-2003 Acting Assistant Professor of Comparative Literature, UC Riverside 2002-2003 Postdoctoral Fellow, William Joiner Center for the Study of War and Social Consequences, UMass, Boston 2001-2002 Visiting Lecturer, Loyola Marymount University 2000-02; 1997- Teaching Assistant, University of California, Irvine ’99; 1995-‘96 EDUCATION: Ph.D. in Comparative Literature, Graduate Certificates of Emphasis in Feminist Studies and Asian American Studies, University of California, Irvine. M.A. in Comparative Literature, University of California, Irvine. B.A. cum laude in English, Minor in Spanish, Humanities Honors Program, University of California, Irvine.
    [Show full text]
  • Andrei Tarkovsky NOSTALGHIA (1983), 125 Min
    October 17, 2017 (XXXV:8) Andrei Tarkovsky NOSTALGHIA (1983), 125 min. (The online version of this handout has color images.) Cannes Film Festival 1983 Won Best Director, Andrei Tarkovsky tied with Robert Bresson for L’Argent (1983). Won FIPRESCI Prize, Andrei Tarkovsky Won Prize of the Ecumenical Jury, Andrei Tarkovsky Nominated Palme d'Or, Andrei Tarkovsky DIRECTED BY Andrei Tarkovsky WRITTEN BY Andrei Tarkovsky & Tonino Guerra PRODUCED BY Manolo Bolognini, Renzo Rossellini, Daniel Toscan du Plantier (uncredited) CINEMATOGRAPHY Giuseppe Lanci FILM EDITING Erminia Marani, Amedeo Salfa CAST Oleg Yankovskiy…Andrei Gorchakov (as Oleg Jankovsky) Erland Josephson…Domenico Domiziana Giordano…Eugenia completely reshot on a dramatically reduced budget after an Patrizia Terreno…Andrei's Wife accident in the laboratory destroyed the first version, and after Laura De Marchi…Chambermaid Nostalghia (1983), Tarkovsky defected to the West. His last film, Delia Boccardo…Domenico's Wife Offret (1986) was shot in Sweden with many of Ingmar Milena Vukotic…Civil Servant Bergman's regular collaborators, and won almost an unprecedented four prizes at the Cannes Film Festival. He died ANDREI TARKOVSKY (b. April 4, 1932, Zavrazhe, Ivono, of cancer at the end of the year. Russia—d. December 28, 1986, Paris) my be the most famous Soviet filmmaker since Sergei M. Eisenstein. Tarkovsky, the son TONINO GUERRA (b. March 16, 1920 in Santarcangelo di of noted poet Arseniy Tarkovsky. studied music and Arabic in Romagna, Emilia-Romagna, Italy—d. March 21, 2012, age 92, in Moscow before enrolling in the Soviet film school VGIK. He Santarcangelo di Romagna, Emilia-Romagna, Italy) is the son of shot to international attention with his first feature, Ivanovo a fisherman/fishmonger father and an illiterate mother whom he detstvo (1962), which won the top prize at the Venice Film later taught to read and write.
    [Show full text]
  • Pan-Asia Film Festival 1 – 13 March 2011
    Special Event Asian Film and Media Industry Seminar A s i a H o u s e Fri 11 March, 9:00 – 12:00, Asia House Invited Guests Only Pan-Asia Film Festival Industry experts assess the radical changes in film and media across Asia. Panels will cover a range of topics including financing, distribution, digital technologies and exhibition of Asian cinema today. 1 – 13 March 2011 Booking Information Apollo Cinema (Piccadilly) BAFTA From Iran to Japan… 19 Regent Street 195 Piccadilly Asia’s New Cinema London, SW1Y 4LR London W1J 9LN Tickets Tickets £12 (full) £15 (full) £8 (concessions) £12 (concessions) £8 (Asia House Friends) £10 (Asia House Friends) Box Office Box Office Tel: +44 (0)87 1220 6000 Book through Asia House www.apollocinemas.com/apollo- Tel: +44 (0)20 7307 5454 piccadilly-circus.aspx e-mail: [email protected] Asia House Ciné Lumière 63 New Cavendish Street 17 Queensberry Place London W1G 7LP London SW7 2DT Tickets Tickets £10 (full) £9 (full) £6 (concessions) £7 (concessions) £5 (Asia House Friends) £7 (Asia House Friends) Box Office Box Office Tel: +44 (0)20 7307 5454 Tel: +44 (0)20 7073 1350 e-mail: [email protected] www.institut-francais.org.uk/book Festival Information All certificates TBC. Acknowledgments Atom Cinema Programme may be subject to Beta Cinema change at short notice. Finecut Festival Pass £160 – VIP ticket plus First Hand Films guest to five selected screenings House of Film and invitation to press launch, Iranian Independents industry day and opening and Kamoli Films closing receptions. Ananth Mahadevan Orient Studio Productions For more details visit Tony Rayns www.asiahouse.org Small Talk Inc Soda Pictures Festival Director Star Sands Sumi Ghose Cary Sawhney Exchanges Cover Image: Taipei Front Artistic Director Design Sonali Joshi www.opx.co.uk Registered Charity 1072696 The Pan-Asian Film Festival is a compelling selection of new independent cinema featuring award-winning premieres, work by acclaimed directors and fresh emerging filmmaking talent from across Asia.
    [Show full text]
  • Screening Boredom: the History and Aesthetics of Slow Cinema
    SCREENING BOREDOM THE HISTORY AND AESTHETICS OF SLOW CINEMA Orhan Emre Çağlayan A Thesis submitted for the degree of Doctor of Philosophy in Film Studies University of Kent February 2014 ABSTRACT This thesis examines Slow Cinema, a stylistic trend within contemporary art cinema, although one with a longer pre-history. Its distinguishing characteristics pertain ultimately to narration: the films, minimalistic by design, retard narrative pace and elide causality. Specifically, its aesthetic features include a mannered use of the long take and a resolute emphasis on dead time; devices fostering a mode of narration that initially appears baffling, cryptic and genuinely incomprehensible and offers, above all, an extended experience of duration on screen. This contemporary current emerges from a historical genealogy of modernist art films that for decades distended cinematic temporality and, furthermore, from the critical and institutional debates that attended to it. This thesis, therefore, investigates Slow Cinema in its two remarkable aspects: firstly, as an aesthetic practice, focusing on the formal aspects of the films and their function in attaining a contemplative and ruminative mode of spectatorship; and, secondly, as a historical critical tradition and the concomitant institutional context of the films’ mode of exhibition, production and reception. As the first sustained work to treat Slow Cinema both as an aesthetic mode and as a critical discourse with historical roots and a Janus-faced disposition in the age of digital technologies, this thesis argues that the Slow Cinema phenomenon can best be understood via an investigation of an aesthetic experience based on nostalgia, absurd humour and boredom, key concepts that will be explored in respective case studies.
    [Show full text]
  • The-Third-Wife Presskit.Pdf
    OPENS MAY 15TH, 2019 at FILM FORM in NEW YORK Vietnam - Vietnamese with English subtitles - 2018 - 1.66:1 - 5.1 - 94 mins “Aesthetically entrancing...sensitively poetic....” –The Hollywood Reporter “Ash Mayfair’s supremely atmospheric feature debut explores repressed desires against the resplendent but emotionally suffocating landscape of late-19th century rural Vietnam. Telling the story of a young girl who enters an arranged marriage to a landowner, The Third Wife echoes the ravishing art- house triumphs of Tran Anh Hung, who serves here as an ‘artistic advisor’, while his wife and frequent collaborator Tran Nu Yen Khe plays one of the principal roles. Yet Mayfair acquits herself in such confident fashion that her sensuously elegant drama isn’t at all hindered by the inevitable comparisons.” –Screen Daily “Debut director Ash Mayfair delivers a gorgeously intimate, evocative, and melancholy story of female subjugation in 19th-century Vietnam. By focusing with unwavering empathy on the interior life of teenage bride May (Nguyen Phuong Tra My), the remarkable The Third Wife feels newborn and ineffably modern. Winner of prizes at both the San Sebastian and Toronto festivals, this is the rare debut that derives its freshness not from inexperience but from a balance between compassion and restraint that most filmmakers take decades to achieve.” –Variety PRESS CONTACTS Michael Krause | Foundry Communications | tel: 212-586-7967 | [email protected] Adam Walker | Film Forum | tel: 212.627.2035 x306 | [email protected] FILM MOVEMENT BOOKING CONTACTS Clemence Taillandier | Theatrical | (212) 941-7715 | [email protected] Maxwell Wolkin | Festivals & Non-Theatrical | (212) 941-7744 x211 | [email protected] SHORT SYNOPSIS In the late 19th century in rural Vietnam, fourteen-year-old May is given away in an arranged marriage and becomes the third wife to her older husband.
    [Show full text]