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ASEAN producers training program Phnom Penh - Cambodia th th February 13 - March 8 , 2017 2 Asiadoc training program At the end of 2014, Docmonde, in partnership with the Bophana Center in Phnom Penh, set up a new program of training on a wide geographical area: the South-East Asia. This program, Asiadoc , has the objective to facilitate the rise of new authors’ point of view and skilled producers, the development of a documentary professionals' net - work (authors, directors, producers, broadcasters) and exchanges between Europe and the 10 countries of the ASEAN region (Cambodia, Laos, Vietnam, Myanmar, Brunei, Indonesia, the Philippines, Singapore, Malaysia and Thailand) in the field of cre - ative documentary. In 2015 and 2016, Asiadoc focused on training for documentary filmmakers. 27 au - thors took part in the scriptwriting residences in Phnom Penh and Hanoi and by the beginning of 2017, 22 films are either in development or in production. This year, Asiadoc and its partners decided to address the training to emerging pro - ducers based on the need for this specific profile in the Southeast Asian documentary landscape. Out of 34 applications received, Asiadoc selected 16 participants coming from 8 countries in the ASEAN region: Cambodia, Indonesia, Laos, Malaysia, Myanmar, the Philippines, Thailand and Vietnam. Artistic development of creative documentary, dramaturgy of the script, film screen - ings and analysis, and also coproduction, legal aspects, production strategy, fundraising, budgets, cash-flow and distribution are among the many topics that trainers (Vladimir Léon, Carine Chichkowski, Björn Jensen) will develop during 3 weeks. Participants will also meet with several international experts from different fields. Davy Chou and Marc Eberle will discuss with them about their experiences as local filmmakers, while Thanassis Karathanos will share his extensive knowledge about in - ternational coproductions. And 12 international experts will take part in 3 days of round-tables and individual meetings to deepen important production issues and help the participants sharpen their strategy for the production and distribution of their projects. Once again Asiadoc benefits from the strong support of the regional audiovisual co - operation of the French Ministry of foreign affairs, the Goethe Institute in Bangkok, the German Federal Foreign Office, the French Embassy in Thailand and the French Institute in Cambodia, the German-French cultural fund, the Cambodia Film Com - mission, Film ASEAN, as well as from the cooperation with the Bophana audiovisual resource center, AG Dok, other Goethe and French Institutes in Southeast Asia, the Film Development Council of the Philippines, Wallonia-Brussels International and Meta House cultural center in Phnom Penh. 3 TABLE OF CONTENT Page 4 Program Page 5 Trainers Page 6 Participants Page 23 Experts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ladimir Léon makes documentary films ( Nissim says Max , 2003; The Brahman of the Comintern , 2007; Goodbye the Street of Radiators , 2008, The Polyhedron and the Elephant , 2015) and fictions ( Far from the Front , 1998; The Angels from Port-Bou , 2011). With his company, les Films de la Liberté, he produces filmmakers to whom he feels close (Pierre Léon, Nathalie Joyeux, Arnold Pasquier, Serge Bozon). He also tu - tors filmmaking workshops for the Universities of Paris 1 and Paris 7 and manages regularly documentary scriptwriting workshops in France and abroad. In over 25 years, Björn Jensen worked as supervising pro - ducer, executive producer and consultant on more than 90 documentary and feature films, many of them award-winning. Credits include Quiet Days in Hollywood with Hilary Swank, Montreal Symphony (winner best Canadian documentary at FIFA), Under the Ice (winner best documentary at Kuala Lumpur Festival), Scientists Under Attack (winner 11 interna - tional festival awards) and many more. He holds a Master De - gree in German and English Literature (MA) and an International Business MBA and is board member of several film associations. Björn worked for 15 years as Head of Production for the production company Kick Film GmbH before he founded Ginger Foot Films in 2007. For 6 years he was as treasurer in the board of directors of AG DOK (the largest association of independent film pro - fessionals in Germany). After stu dies in international" "manage"ment, Carine Chichkowski worked for several" y" e"ar"s " as marketing and commercial manager in the industry" "secto" r in North America. After a few years, she wanted to apply her business expertise to a ‘subject’ that really mattered to her - cinema. " S"he "gath" e" red exp" erience" in "the p" r"oduc" tion" "mana"ge"ment of " " " " " " " " " " " " " " ficti"o"n s"hort f"ilms or" v"ide" o" clips, a"nd de"epen"ed" her k"no" wledge in docu" m"en" ta"rie" s by" co" m" p"let"ing" a s" pe"cializ"ed "M" as" ter "at Paris 7 D"idero" t "Un"ive" rsity "while" o"b" taini"ng" mo"re tec" h" ni"c"al training in sh"ooting" . She" "the" n had" the op" p" ortu" nit"y t"o " wo"rk "wit"h Jea"n "Gruau" l"t (the leg" endary " " " " " " " " " " " " " " " " " " " " " screen"w"rite"r o"f am" ong" ot"hers T"ruffaut," R" esna" is, R" osse" llini, "Akerm" an an" d "Goda" rd) who ha"d j"ust", "at "the" "ag"e of 8" 4", c"reated" his o"wn" pr"od" u" cti"on" co" m" pan"y, "Les Film" s de" la villa, " " " " " " " " " " " " " " " " " " " " " in" o"rder t"o d"evel"op" the " d" ocum" "enta" ry" fres"qu" e M" a" frou"za " by" Emm" an" u" elle D" emoris (5x2.5"h)", Go"lde" n Le" op"ard" in" Loc"a"rno" in" 20" 10. " " " " " " " " A f"ew y" e" a" rs la"ter "Ca" "rine "fo" und" h"er "ow"n "comp" a" n"y Surviv"an" c"e ("Su" rviv"al), "w"ith Guil - " " " " " " " " " " " " " " " " " " " " " " " " " " " " " laume "More" l. From i"ts fo" un""E3G");'1")%#@"'1"G%0#")=");%@"B%40$1%"')"%34=@N011%1"B=);");%"'3)'@0)%"03G"N=A')'40A"0#%0:dation, Survivance has two main activities : producing doc - u2 m"en" taries" and f"ict"ion" a"rt-ho"u" se film" s and "dis" trib"uting "rar"e "films o" n "DV" D" and in the" at"re" s wit"h C" ari"ne" in "ch" arge o" f produ"cti"on de"v"elo" pm" e" nt and" Guillaume at the head of distr ibution acti vities. " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " "" " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " "" " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " "" " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " "" " " " " " " " " " " " " " " " " " " " " " " " " "" " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " PARTICIPANTS 7 Abigail Lazaro The Philippines Southern Lantern Studios +63 916 433 1140 [email protected] Education: Asia Pacific Film Institute, Motion Picture Production Certificate Course. Abby is a free-lance producer with experience both in documentary and narrative films. She’s currently involved in two documentary projects, All Grown Up , a full length doc - umentary by Wena Sanchez (in production) and My Father The Executioner , a full length documentary by Cha Escala, and in My Name is Laila , a full length narrative flm, in development, directed by Sheron Dayoc. In 2015, Abby produced and directed Sons of Leng Lengs , a full length Skateboarding documentary funded by The National Commission for Culture and the Arts (NCCA). Southern Lantern Studios is a creative think tank and production company for mul - timedia short and long film and video content. It began as a documentary production outfit niched for Mindanao social and cultural advocacies. Its current project, My Father The Executioner by Cha Escala, is one of the twelve film projects developed and produced in the recent Asiadoc Scriptwriting Residency and International Co-production Meetings 2016 held in Cambodia and organized by Docmonde (France).
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    VISUAL COMMUNICATIONS presents the LOS ANGELES ASIAN PACIFIC FILM FESTIVAL APRIL 23 – 30, 2015 No. 31 LITTLE TOKYO _ KOREATOWN _ WEST HOLLYWOOD SEE YOU NEXT YEAR! CONTENTS 7 Festival Welcome 8 Festival Sponsors 10 Community Partners 12 “About VC” Update for 2015 14 Friends of Visual Communications 16 AWC Indiegogo Supporters 18 Year of The Question of the Year! 26 Why Arthur Dong Still Matters 32 Festival Awards: Past Awardees 36 Festival Award Nominees: Feature Narrative 39 Festival Award Nominees: Feature Documentary 42 Festival Award Nominees: Short Film 48 Programmers’ Recommendations 51 Conference for Creative Content 2015 56 Filmmaker Panels & Seminars 60 Program Schedule 61 Box Office Info 62 Venue Info 63 Parties & Afterhours 65 Festival Galas 75 Festival Special Presentations 83 Artist’s Spotlight: Arthur Dong 87 Narrative Competition Films 97 Documentary Competition Films 107 International Showcase Films 123 Short Film Programs 144 Acknowledgements 146 Print & Tape Sources 150 Title/Artist Index 152 Country Index The Los Angeles Asian Pacific Film Festival • 2 The Los Angeles Asian Pacific Film Festival • 3 The Los Angeles Asian Pacific Film Festival • 4 The Los Angeles Asian Pacific Film Festival • 5 The Los Angeles Asian Pacific Film Festival • 6 WELCOME Welcome to the 31st edition of presentations, we are extremely proud to showcase the Los Angeles Asian Pacific returning, seasoned, and emerging Asian Pacific Film Festival! American and International artists and their stories to After a 5-year absence, Visual our communities throughout the Festival at the JACCC, Communications is excited to Japanese American National Museum, Downtown open the Festival at the Japanese Independent, The Great Company, CGV Cinemas, and American Cultural & Community the Directors Guild of America.
  • Barretto Watch Comedians in Her Entry AJ & Le Chazz on Into Showbiz JANUARY 12 • 6PM TORONTO PAVILION Why Chinese Investment Stagnated 190 Railside Dr

    Barretto Watch Comedians in Her Entry AJ & Le Chazz on Into Showbiz JANUARY 12 • 6PM TORONTO PAVILION Why Chinese Investment Stagnated 190 Railside Dr

    2019 JANUARY what START 2019 LAUGHING influence para masaya kayo did her tita sa buong taon Claudine have on JULIA barretto Watch comedians in her entry AJ & Le Chazz on into showbiz JANUARY 12 • 6PM TORONTO PAVILION Why Chinese investment stagnated 190 Railside Dr. corner Lawrence Ave. E. near DVP. The DazzlersEntertainment, togeth- Most of the reasons were local laws, under the table requests, er with JJavier Digital Media and JVF Productions, will be presenting a stand-up competition from administration opponents and ironically, allies. comedy show to welcome 2019 at the Toronto Pavilion (lo- MANILA - Pundits and inter- cated at 190 Railside Road, national relations scholars have Toronto) on January 12th, Spotlight 2019, Saturday. often argued that territorial NATIONAL LIBRARY, ERMITA 1960’S The show will feature disputes in the South China Sea the exciting comedi- have prevented increased Chinese an/singer tandem investment in the Philippines. of AJ Tamiza and Le But while inter-state relations Chazz, regu- lar performers in Phil- do matter, the political relations ippine television and between Beijing and Manila do at Allan K’s Klownz not solely shape the rise or fall of Comedy Bar and Chinese foreign direct investment Zirkoh in Manila. (FDI). This would be the 7-year partners’ first Since the early 1990s, China’s outward FDI major performance has increased from a few million to US$2.5 trillion in 2015 — largely due to overcapacity When is it wrong to address in Canada. In 2012, and falling rates of profitability in China. they performed Since new Chinese companies continue to someone as “Tita”? in Edmonton and form and Chinese citizens need somewhere Calgary.
  • The Missing Picture - Film Review

    The Missing Picture - Film Review

    Genocide Studies and Prevention: An International Journal Volume 8 Issue 3 Humanitarian Technologies and Article 12 Genocide Prevention October 2014 The Missing Picture - Film Review Lior Zylberman Center for Genocide Studies, UNTREF Follow this and additional works at: https://scholarcommons.usf.edu/gsp Recommended Citation Zylberman, Lior (2014) "The Missing Picture - Film Review," Genocide Studies and Prevention: An International Journal: Vol. 8: Iss. 3: 103-105. DOI: http://dx.doi.org/10.5038/1911-9933.8.3.10 Available at: https://scholarcommons.usf.edu/gsp/vol8/iss3/12 This Film Review is brought to you for free and open access by the Open Access Journals at Scholar Commons. It has been accepted for inclusion in Genocide Studies and Prevention: An International Journal by an authorized editor of Scholar Commons. For more information, please contact [email protected]. The Missing Picture - Film Review, Director: Rithy Panh, Documentary Cambodia/France, 2013 Reviewed by Lior Zylberman Translated by María Belén Riveiro “In the middle of life, childhood returns (…) I seek my childhood like a lost picture”, those are the opening words pronounced by Rithy Panh in The Missing Picture (L’image manquante). His film is focused solely on recovering that loss. However, we will soon realize that his childhood was not lost. The Khmer Rouge took it away from him between 1975 and 1979, in his native Cambodia. Rithy Panh was born in Phnom Penh in 1964. At the age of 11, he had to abandon his birthplace. His family, like many others in every city, was displaced to the ‘rehabilitation’ camps in a forced evacuation.