The Hollywood Reporter

day1_n1 b:001THRP_D1100810 10/7/10 8:17 PM Page 1

the Pusan

REVIEW

“The Man From Nowhere” SEE PAGE 5

Friday, day dailyOctober 8, 2010 1 THR.com/pusan 1 Kim kicks off grand finale Festtounspool Newisold 108premieres in Zhang’s By Jonathan Landreth heautumnsunshone brightlyonSouth ‘Hawthorn’ Korea’sHaeundae BeachonThursday, welcomingthesingle By Jonathan Landreth biggestgatheringofglobalT moviemakingprofessionalsin irector Zhang Yimou was the Asiatotheopeningofthe15th guest of honor Thursday at the PusanInternationalFilmFestival. D15th Pusan International Film At the final PIFF presided Festival, as his softly-paced Cul- over by Kim Dong-ho, the fes- tural Revolution romance “Under Director Zhang Yimou is flanked by his co-stars Zhou Dongyu, tival’s longtime director and right, and Shawn Dou on Thursday at the press conference the Hawthorn Tree” opened Asia’s for PIFF’s opening night film “Under the Hawthorn Tree.” patriarch, the initial curtain largest cinema event. rose under the stars of Korea’s Stepping off an airplane from Beijing Wednesday night, clad in a baseball cap second-largest city.In front of a and black boots, Zhang quipped coolly to The Hollywood Reporter that packed house of more than “Hawthorn” opening Pusan was “nothing special” and “a matter of timing,” 3,000 guests, Kim welcomed expanding to allow that of all the festivals he’d been to “Pusan is superb.” opening film director Zhang Aloof? Perhaps. After all, Zhang is the same made-man of Chinese cinema Yimou from China to the red whose use of whole batteries of fireworks and synchronized armies of carpet at the Busan Yachting continued on page 15 Center Outdoor Theater. Festivities included a music REVIEW video dedicated to outgoing festival director Kim,who then introduced the 12 members of ‘UndertheHawthornTree’ the New Currents Jury.He also introduced opening film director By Maggie Lee Korean love tragedies, Zhang Yimou,himself a PIFF the film is not unabashedly veteran.“Twelve years ago my nder the Hawthorn Tree,”is romantic. There’s timo- continued on page 14 without question Zhang rousness in the lovers’ “UYimou’s simplest work. The innocence and repression tale of pure young love set during the n their modesty,which sig- WHAT’S INSIDE Cultural Revolution is laid back and nals a throwback to the more lushly shot, with any sexual passion conservative characterization >Reviews. PAGE 5, 6, 7, 8, 9, 10 or political overtones exiled to the and film grammar of pre- >Reviews in Brief. PAGE 11, 12, 13 narrative margins. Even though the 5th-generation directors. storyline closely resembles ‘80s continued on page 8 >Calendar. PAGE 16-19 PRESSER PHOTO: CHUNG SUNG-JUN/GETTYIMAGES day1_n1 b:001THRP_D1100810 10/7/10 8:17 PM Page 2

The Hollywood Reporter | Friday, October 8, 2010 | news

ZHANG, NOWANDTHEN: PIFF opened on Thursday with a screening of the director’s latest work“Under the Hawthorn Tree”; Zhang on the set of his film“To Live,”which was an award winner at the Cannes International Film Festival, and Gong Li in his award-winning “Raise the Red Lantern”

“Raise the Red Lantern” were return to stories of plain Chi- economic boom of the past 30 Zhang the first two Chinese films nese people overcoming adver- years and before the mass continued from page 1 nominated for the best for- sity against the odds. media and exposure to the out- eign-language film Oscar in Based on an online novel, side world diluted the Party’s dancers ushered China into the 1990 and 1992, respectively. “Hawthorn” follows an edu- control over the minutiae of world spotlight at the opening Zhang has shaped the talents cated teenager from her urban daily life. ceremony of the Beijing of some of China’s most home in Hubei Province, in “I’ve seen a few of Zhang’s Olympics in 2008 — 20 years famous actors, helping to central China, who, in the films before and I liked this one after the Summer Games in export their brands, and Chi- upheaval wrought by Mao for telling a different story of Seoul heralded the start of a nese cinema, around the world. Zedong’s policies of the time, my parents’ and grandparents’ new era for South Korea. Early in their screen careers, is “sent down” to the country- time,”said 23-year-old anima- Visiting Korea’s second city actor Jiang Wen and actress side for “re-education” by tor Sun Guodong, coinciden- for just two days,Zhang is the Gong Li starred in Zhang’s peasants. tally also from Hubei,as he same man who overcame Bei- 1987 Berlin Golden Bear-win- There, the aspiring school- emerged earlier this week from jing’s ban of his 1994 film“To ning film “Red Sorghum.”Ge teacher meets a male suitor a public screening of Live”to go on to become the You’s role in ”To Live” won him and “Hawthorn” becomes the “Hawthorn” at a Stellar Mega- only director from the People’s the best actor award at Cannes, story of unrequited love in a media Cineplex in Beijing. Republic to make a real splash the most visible accolade yet time in China when every- By Sept. 28, just before in the United States. Zhang’s bestowed overseas to a Chinese body’s every move was deter- China went on a weeklong hol- “Hero” grossed $54 million in thespian. The 20-year-old mined and monitored by the iday to celebrate its National the United States in 2002 and Zhang Ziyi first starred in Mao’s Communist Party. Day,“Hawthorn” had in 12 remains China’s most success- Zhang’s “The Road Home,” Zhang said “Hawthorn” was days grossed roughly 100 mil- ful film export to date. winner of the Silver Bear in important at this moment in lion yuan ($15 million), accord- Zhang didn’t get to work on Berlin in 2000. his career because “It’s a love ing to producers at Edko Films the Olympics opener, as With none of the marauding story. It’s a Cultural Revolution in Hong Kong. planned, with the imported armies of “Hero,”the martial story. It’s a simple story. I think That Zhang’s latest film has Oscar-winning talent of Steven arts mastery of “House of Fly- alotofpeopleintheir20sand done that well, competing with Spielberg. The Hollywood ing Daggers,”or the courtly 30s will find it interesting that louder domestic and imported director ditched his advisory splendor and intrigue of they have the same feelings as commercial titles such as role to protest China’s bolster- “Curse of the Golden Flower,” their parents and grandparents “Inception” for the attention ing Sudan’s attacks in Darfur, some reviewers remarked that felt in their time.” of China’s swelling moviegoing leaving all the glory to Zhang. “Under the Hawthorn Tree” Notably, “Hawthorn” tells a public,could be seen as a tes- During his career, Zhang had reminds them of “The Road tale of a China fast disappear- tament to a growing Chinese already earned plenty of his Home”and that it appears to ing in 2010,a country that was appreciation of films outside own fame: his“Ju Dou”and be a return to Zhang’s roots,a distinctly agrarian before the continued on page 15

By Andrew Wilson road movie about two brothers and their cow, Muchka, who are his year’sFlash Forward washed away from their village section at Pusan is all about when torrential downpours Tgrowth. Not only among cause the nearby river to flood. the up-and-coming directors Olivier van Malderghem is behind the 11 contenders in the bringing “Rondo,”a Belgian- section, but also in the content of French production about a the films and the judges panel, Jewish grandfather and grand- which added a seat. son who take refuge in England The section, which started during World War II. The pair last year, pits films against seem to disagree about every- each other, with each country thing until the tragedies of the A business trip takes a getting only one slot on the war sink in to unite them. young man back to his home- roster. The United States, Rus- The grandfather-grandchild town and leads to unexpected sia and all of South America are relationship is also the focus of meetings with old friends and Theaterexpansion notable absences, but the list “Lou.”In the film by Australian former hangouts, causing the of films promises enough sub- director Belinda Chayko, the character to embark on an stance to sidestep those holes love between a girl and her emotional journey through his makesHorsesense in the lineup. demented grandfather is mis- life in Polish director Marek “Crebinsky,”by Spanish understood and deemed dan- Lechki’s “Erratum.” By Jonathan Landreth director Enrique Otero, is a gerous by her mother. continues on page 15 Beijing Galloping Horse Film & TV plans to open 15 theaters next year, costing about 500 million yuan ($75 million), a company execu- Yodare-enlists as TIFF chief tive said Thursday. The company plans to By Gavin J. Blair ment-con- TY Limited, along with partner become the latest entrant trolled body the Kinoshita Group, bought into China’s booming cine- TOKYO – Tatsumi “Tom” that runs the Gaga Communications from ma sector, where an aver- Yoda will continue his chair- festival, had cable and internet outfit Usen. age of one new screen manship of Tokyo International asked Yoda to The 15th and final film, a lights up daily. Film Festival for two more years, continue his world premiere of “Buddha Each theater planned by according to festival organizers, stewardship. Mountain” by Chinese director the producer and distribu- who also announced the final- Although the Li Yu, completes the competi- tor in China of Su Chao- ized film lineup. Yoda festival is tion lineup for this year’s TIFF. pin and John Woo’s “Reign This month’s TIFF was due to acknowledged to have made Full competition listing, with direc- of Assassins” will have be the last under Yoda, 70, who progress on Yoda’s watch, some tors and countries, are: eight-12 screens, for a total had agreed to a three-year term. have expressed concern that the “And Peace on Earth;” Matteo of 100 screens by the end Hideyuki Takai, president of combination of his extensive Botrugno, Daniele Coluccini (Italy); of 2011, Ivy Zhong, general UniJapan (Japan Association for business interests and heading “Beautiful Boy”?, Shawn Ku (U.S.); manager of the company’s International Promotion of the up TIFF would be too demand- “Brighton Rock,” Rowan Joffe (U.K.); continues on page 14 Moving Image), the govern- ing. Last year, Yoda’s company, continues on page 14

THR.com/pusan q&a Friday, October 8, 2010

MANI RATNAM aniRatnam,54,isoneofIndia’smostrespectedandsuccessful filmmakerswhohasshapedthecareersofbothstarsandtech- MniciansinHindiandsouthIndiancinema.Inadditiontogar- neringahostofdomesticawards,Ratnamhasreceivedvariousinterna- tionalhonorsincludingaLifetimeAchievementAwardatthisyear’s VeniceFilmFestival.Withhislatestrelease“Raavan,”whichstarreda mixoftopHindiandsouthIndiancinemastars,Ratnamagain stretchedhisboundariesasthefilmnowtravelstoPusan.Ratnamtalks withTHRIndiacorrespondentNyayBhushanandadmitsthatafilm- makercanneverhavealltheanswers.

After your honor at Venice, “Raa- between the actor and the direc- van” is now traveling to Pusan. tor is like a non-playing captain How does it feel to go to Pusan and the team. You are the cap- with this film? And how was the tain, you get to have a strong say experience at Venice? on the composition of the team, Mani Ratnam: Venice has always the strategy,the preparation and been wonderful.So it was this the motivation. But finally it is time.The award and the recep- the players who have to perform. tion for“Raavan”was very exhil- You watch from the sidelines. arating.I have been to Pusan once You get to have your say during before with a few of my films.A and after the game but the game lovely festival.You get to see a lot is still played out there while you that you are behind schedule and role can Indian cinema play in the of films and the festival showcas- watch from the sidelines. This over budget. But the director Asian marketplace? es Asian films very well. means the actors have to trust deals with each of them and tries Ratnam: Indian cinema is you and more importantly you to get one focused vision togeth- unique. It works as a single In India “Raavan” seemed to have have to trust the actors. In my er.I tend to work very closely medium that does what several received a better response to its experience, I have learned that with my tech team. You need to forms do in the West. It covers Tamil version than the Hindi ver- there is no particular way in be passionate and a little mad to drama, entertainment, music, sion. What did you think of this? which you can treat the talent. be able to work intensely togeth- and extravaganza. It is one show Ratnam: If only the filmmaker Each one is different and you er.So I work with very talented that covers quite a few others. knew all the answers ...! have to adapt a method that gets and slightly mad gentlemen. What is special is that it has its the best out of them. In India the They bring in a lot of input into roots from the oral tradition, and You have worked with some of the talent is multiregional and mul- the film and the film would not has maintained its identity best talent in India, both in Hindi tilingual. Only the script binds be the same without them. despite Hollywood. Indian cine- and south Indian cinema. Can you everyone together. ma is one of the few industries share your favorite experiences? Would you agree that “Raavan” that have withstood the Ratnam: The relationship Your films are known to set new was a departure of sorts from the onslaught of Hollywood and standards in technical achieve- kind of films you made earlier? James Bond because of its unique ments. “Raavan” was universally What kind of uncharted territories flavor.In this day of globaliza- vital stats praised for its brilliant visual style were you exploring with this film? tion, Indian cinema is a prime captured by cinematographers Ratnam: “Raavan” deals with example of how being rooted is Nationality: Indian Manikandan and Santosh Sivan something very ancient. Raavan the best form of global identity. Born: June 2, 1956 (who has had a long association is this larger than life, 10-headed Festival entry: Raavan monster who is the antagonist in After having created such an Selected filmography: with you). What kind of working Pallavi Anu Pallavi (1983); relationship do you have with the ancient epic Ramayan. The acclaimed body of work in India in Dil Se .. (1998); A Peck On the technicians? How do they con- film deals with the fact that the your career, would you now be Cheek (2002); Yuva (2004); tribute to your vision? character that was written over interested to explore an interna- Guru (2007) Ratnam: It is said that the direc- 2,000 years ago is relevant in tional project? What kind of film Notable awards: 1998 Berlin tor does the least during the today’sIndia. featuring international talent International Film Festival’s making of a film. The writer would interest you as a director? Netpac Award for Dil Se ..; 2005 writes, the actors act, the DOP The Indian film industry is going Ratnam: A film is a film. It is still Filmfare Award for Yuva; 2003 cranks, the editor cuts, the com- through an evolution as it inte- a laborious task, whatever the National Film Award, India for A poser does the music and the grates with the global industry. region or language. The key is the Peck On the Cheek

producer constantly tells you According to you, what kind of script and not the market. ∂ GARETH CATTERMOLE/GETTY IMAGES

THR.com/pusan reviews Friday, October 8, 2010

>KOREANCINEMATODAY, PANORAMA

BOTTOM LINE “Leon the Professional” gets a gutsy transplant. PRODUCTION: CJ Entertainment, United Pictures present an Opus Pictures production. CAST: Won Bin, Kim Sae-ron, Kim Hee-won, Kim Tae- hoon. DIRECTOR-SCREENWRITER: Lee Jeong-beom. PRODUCER: Lee Tae- yoon. DIRECTOR OF PHOTOGRAPHY: Lee Tae-yoon. PRODUCTION DESIGNER: Yang Hong-sam. MUSIC: Shim Hyun-jung. EDITOR: Kim Sang- bum. SALES: CJ Entertainment. No rating, 119 minutes.

child-like Jean Reno, the drama involving Cha and So- mi (way-too-cute compared to her soulful appearance in “A Brand New Life”) is short and screens out anything risque. The film prefers to let Won — dressed more for clubbing than killing in a jazzy black suit, hone his “Mission Impossible” image. The action scenes are staged with both velocity and ferocity, especially when Cha is pitted against a Vietnamese killer played by Thai actor Thanay- ong Wongtraul, who surprises with acting chops that are almost too good for his sup- porting role. Their final knife ‘The Man From Nowhere’ combat is shot with fast cam- erawork and transmits a raw, he Man From stamina, staying in Korean cin- effacing man who runs a beserk energy like an imitation Nowhere,” emas for more than two pawnshop below her flat, of “Ong Bak.” about a solitary months, pulling in more than 6 known only as “Ajeoshi” (the The atmospheric production man with a past million moviegoers. Elsewhere, film’s Korean title, meaning design thoughtfully mirrors the who rescues an it targets DVD labels specializ- “Mister”). Although the man human depravity and psychotic “Torphan girl from drug lords, is ing in Asian action and in treats So-mi gruffly, he risks torture scenes depicted with inspired by “Leon the Profes- Japan, fans of its leading man exposing his past to save her shady,Stygian hues. The sional.”However, rather than Won Bin. when she and Park are kid- screenplay is less meticulous paying homage to the kitschy Inspector Kim Chi-geon napped. Her captors are about making sense. Cha sup- entertainment of Luc Besson, stakes out a nightclub where a sociopath brothers who use posedly sold army intelligence director Lee Jeong-beom heroin transaction is taking Chinatown as a base for their for $200 million, so why is he paints a nightmarish world of place, but the operation is business trafficking drugs, running a dirty pawnshop in such cruelty and human misery botched when Park Hyo-jung, organs and children. Seoul’s slums instead of sun- that,it is as if the screenplay a junkie erotic dancer at the While “Leon”’s appeal is bathing in the Maldives? And was co-written by Eli Roth and club steals the stash. Park’s rooted in the sexual undercur- don’t even ask how Inspector Charles Dickens. daughter So-mi (Kim Sae- rent knowingly suggested by Kim unlocked Cha’s classified The darkly stylish produc- ron) spends all her time with the precocious Natalie Port- dossier by sending a prank email tion has shown incredible Cha Tae-sik (Won), a self- man in her chemistry with the to Obama in Cha’s name. ∂

The Hollywood Reporter | Friday, October 8, 2010 | reviews

‘OllieKepler’sExpanding PurpleWorld’

By Maggie Lee

iv Fongenie’sportrait of a man who has a breakdown Vunder stress is in two minds about what kind of film it wants to be. The experience of mental illness inevitably involves suffering, yet from the mouthful of a title to its colorful sets to the fan- tasy-tinged dialogue, one senses an aspiration to be wacky and out-of-left-field when visualiz- ing the protagonist’sworld. The flashes of humor fall flat and feel more awkward or painful than funny (try laughing at Ollie pointing an electric drill ‘The Lightning Tree’ at his brain). However, certain situations in the film do convey By Maggie Lee he falls in love with Sukijiro’s “April Bride.”When she charges a loneliness and panic beyond sister Rai (Aoi), who was kid- in her white steed to “steal” common human experience. s a result, the picture is napped as an infant and raised Narimichi from his arranged Other than small festivals with uneasily pitched between in the woods by her captor marriage, she is the knight in a taste for independent films, Athe gossamer delicacy of (Saburo Tokito). shining armor to the infirm, not many buyers or program- Hiroki’s contemporary inde- Hiroki’s characteristic pampered weakling. mers will go potty over this. pendent woman-centered dra- respect for women is evident The camera is in supple When web designer Ollie mas like “Vibrator” or daring, in Rai’s portrayal. She’s a motion, either sidling up to its Kepler’s (Edward Hogg) fiancée erotic films like “M,”and the composite of Miyazaki’s subject with hand-held inti- dies suddenly, his mind atro- tragic weight that its production Princess Mononoke, a female macy, or punctuated with phies, and he becomes scale and historical background Robin Hood and Truffaut’s high-angle crane or helicopter obsessed with the color purple is expected to elicit. Whether it “The Wild Child.” Her shots that sweep across the and outrageous astronomic succeeds hinges on Yu Aoi, who strength is like a force of majestic courtyards and theories. Excessive scenes of carries the film with confidence nature, symbolized by the breathtaking mountainous Ollie battling self-engendered and fervor. Her novelty pairing sakura tree that survives plains, observing the lovers voices or in static images as a with pretty boy newcomer being split by thunder and from a cosmic context. The talking head spouting theories Masaki Okada partially reme- lightning, and from which music is an eclectic, youthful of universal entropy in front of dies resistance to the genre’s her name Rai (thunder) assortment of light jazz, coun- a cardboard galactic back- cultural specificity. comes from. try-folk and even songs with ground are cinematically tire- Narimichi (Masaki Okada), However, her defiance of English lyrics. some. The art direction is heir to the Shimizu clan, suf- social hierarchy is consistent This brings out a fresh, impressive: the use of rich pri- fers from hysteria and is sent to with Hiroki’s other young hero- modern accent that updates mary colors giving images a convalesce in Seta, hometown ines who are initiators in rela- the conventions of formal lovely velvety sheen. ∂ of his retainer Sukijiro. There, tionships, like “Last Words” and movement and composition in

The Hollywood Reporter | Friday, October 8, 2010 | reviews

>PUSANINTERNATIONAL FILMFESTIVAL ‘Sampaguita,NationalFlower’ NEWCURRENTS BOTTOM LINE A lucid and By Maggie Lee nation, a girl is roused at sympathetic social film that crack of dawn and sent to pick fuses the urgency of ampaguita, National Sampaguitas with other chil- documentary with intimacy Flower” exposes the dren from the orchard in of personal dramas. Splight of Philippine chil- Pampanga. The frail flicker of Production: Cinemalaya Foundation dren employed in an offshoot their oil lamps is poignantly Inc presents Quantum Films, Voyage industry that grows and sells evocative while the tonal shift Studios, a Pasion Para Pelicula Productions production.Cast: Marlon the flowers as church offer- from night into day is beauti- Abalos, Jeffrey Abalos, Rinalyn ings. Since national symbols fully captured. Bernado, Maya Bernado, Reynalyin embody a country’s self-per- The girl, Ronalyn, is sent to Bunag, Jordan Isip, Ronalyn Ramos. ceived character and virtues, study in Manila. The scene Director-screenwriter-producer: the film compels one to notice changes to chaotic city life Francis Xavier Pasion . Producer- the gap between what that is where street urchins hover editor: Chuck Gutierrez. Executive and what it aspires to be. around a cathedral flogging producers: Josabeth Alonsa, John Francis Xavier Pasion uses the strings of sampaguitas, or Victor Tence. Director of conversational semi-docu- roam the streets till late night photography: Neil Daza. Production designer: Digol Ricio. Music: Paulo mentary style of his previous trying to sell the flowers Tirol. Sales: Ignatius Films Canada. work “Confessional” to more before their fragrance expires. No rating, 77 minutes. polished, cinematic effect, Pasion’s approach is jour- and tempers the biting politi- nalistic, alternating between cal satire of his debut with a interviews with seven chil- by police) but their occasional softer, more humane angle. dren and following them highs, when they receive food Films about Third World around the streets. The man- as random acts of generosity children are never in short ner, however, is sympathetic. by passersby,or a makeshift supply so there’s no guarantee Each child is accorded birthday party under a nation- of how well “Sampaguita” can respect and individuality. The al monument. In the inter- fare even in festivals. Howev- camera pauses on their faces, views, the kids talk about their er, Pasion’s keen political giving vent to their myriad worst experiences and dreams edge and deepening human reactions from hunger to of the future, adding relevance interest make him a young weariness, from despair to and irony to the earlier radio talent to watch. flashes of joy and playfulness speech on children being the “Sampaguita” opens with a in long close-ups. The kids nation’shope. tongue-in-cheek montage of appear so open and genuine The film achieves artistic >OPENCINEMA Philippine national symbols. on screen, what’s real or fic- unity with an end that In a dimly-lit hut, as a voice tional ceases to matter. comes full circle, with Rona- BOTTOM LINE An epic period saga on the radio speaks glibly The most touching parts are lyn the flower picker cross- shot with contemporary indie about the education of chil- not their low points (like ing paths with Maya the film language. dren being the hope of the sleeping rough or being bullied flower vendor. PRODUCTION: “The Lightning Tree” Production Committee, IMJ Entertainment. CAST: Yu Aoi, Masaki Okada, Saburo Tokito, Akira Emoto. DIRECTOR: Ryuichi Hiroki. SREENWRITERS: Sachiko Tanaka, Masato Kato. BASED ON THE NOVEL BY: Mari Uesa. Supervising producer: Shu Kubota. EXECUTIVE PRODUCERS: Takashi Hirano. DIRECTOR OF PHOTOGRAPHY: Atsuhiro Nabeshima. PRODUCTION DESIGNER: Kyoko Heya. MUSIC: Yoshinori Ohashi. SALES: TBS (Tokyo Broadcasting System, Inc). No rating, 133 minutes.

“jidaigeki.”Modernity also has its pitfalls. Swordplay scenes are not Hiroki’s forte and focus is all over the place. Although it is billed as a“Japanese Romeo and Juliet,”it doesn’t stir with that kind of emotional oomph. ∂

The Hollywood Reporter | Friday, October 8, 2010 | reviews

Jingqiu (Zhou Dongyu), who is the hospital bed (his hand goes ‘Hawthorn’ in her last year of high school, is straight to where it counts). That continued from page 1 “sent down” to Xiping Village is what lends the film its beauty. to learn from the peasants, and Zhou, who is a 17-year-old An older age group, especially to conduct research for the high school student plucked if they like Zhang’s “The Road school curriculum. She gets to from thousands of teenage Home,”enjoy “Hawthorn”’s know another “zhiqing” (young hopefuls, personifies the film — wholesomeness as much as vis- city-born intellectual) Sun fresh as cut grass, untainted by ‘Lou’ iting an organic farm. Japan Jianxing, who’s in the geologi- professional training. She would be the most receptive cal unit. Sun takes an instant exudes serene calm even as the By Maggie Lee market. For a youth film, it is so liking to Jingqiu and courts her melodrama intensifies. The film stuck in Zhang’s arrested nos- with little gifts and frequent unfolds mostly from a feminine he eternally charismatic talgia for his own salad days, visits. perspective. As a result, Sun’s John Hurt and a stunning that contemporary Chinese After Jingqiu returns to the character is rendered at a Tnewcomer Lily Bell-Tind- youngsters probably won’t con- city,she and Sun begin to date remove, and he is too perfect to ley illuminate this domestic nect to it. Acceptable domestic secretly.However,since her be more than a cipher. drama set in the Australian sub- box office is possibly on its way father is in a re-education camp Almost religious devotion to urbs, about a teenage girl’s to reaching $14 million. for being a “rightist,”she is objects prevails, with a light fraught relationship with her Adapted from a true story, under tremendous pressure to be bulb or a foot basin acquiring flaky and man-hungry single novelized by Aimi, “Hawthorn” on best behavior during her pro- symbolic significance as love mother, and her reconnection is typical of China in the ‘70s. bation as a teacher.The couple’s tokens. The meticulous evoca- with her grandfather afflicted pact to see the blossoming of a tion of period detail reflects the with dementia. If the candid, hawthorn tree (the landmark of film’s elegiac attitude to innocent’s perspective, the par- > OPENINGFILM Xiping Village) becomes a sym- ephemera. What it mourns ent-child role reversals and the BOTTOM LINE A cinematic holiday bol of their longing and loyalty. most is not the transience of emotionally naked clashes from the complexities of The film’s promotion tagline youth or of love, but the tran- played out feel similar to Tony modern, urban life. is “the cleanest romance in his- sience of happiness, especially Ayres’ autobiographical “The PRODUCTION: Beijing New Pictures tory.”Indeed, Zhang’s touch is when its harmless pursuit is Home Song Stories,”it’s Film Co. Ltd., IDG China Creative Media rarely so delicate in describing systematically obstructed by because he is the executive pro- Ltd., New Classical Entertainment Co. the pre-pubescent looking collective ideology.Perhaps that ducer of “Lou.” Ltd., Film Partner (2010) Intl. Inc. CAST: Jingqiu’s perplexity and embar- is why it ends with such an Belinda Chayko’s direction is Zhou Dongyu, Shawn Dou, Xi Meijuan, rassment toward Sun’s aching sense of loss. less calibrated, and without the Jiang Ruijia. DIRECTORS: Zhang Yimou Screenwriters: Yin Lichuan, Gu XIaobai, advances, as well as her naivety The narrative structure is perks of the Chinese immigrant A Mei. Based on the novel “Hawthorn (she thinks sharing a bed is strictly linear, organized by old experience that forms the cul- Tree Forever” by Aimi. Producers: Zhang enough to cause pregnancy). In fashioned intertitles of quota- tural backbone of Ayres’ film, Weiping, Hugo Shong, Cao Huayi, Bill fact, a deep sexual undercurrent tions from Aimi’s novel, thus “Lou” needs to elbow its way Kong. DIRECTOR OF PHOTOGRAPHY: rippling under their blushing giving the film a fusty,literary out of other generic women- Zhao Xiaoding. PRODUCTION complexions — when she frolics feel. Production quality is top centered family dramas to get DESIGNER: Wu Ming. COSTUME with him in the pond, wearing drawer, especially the lighting, local theatrical runs or movie DESIGNER: Ma Defan. Music: Chen the red swimsuit he gave her, which bestows radiance on channel airings. Qigang. EDITOR: Meng Peicong. SALES: when he bandages her feet, or every inch of Zhou’s translucent Uniting star poise with farm- Edko Films Ltd. No rating, 109 minutes. when they lie down together in young skin. ∂ fresh sweetness, Bell-Tindley is

The Hollywood Reporter | Friday, October 8, 2010 | reviews

>PUSANINTERNATIONAL FILMFESTIVAL ‘TheReef’ MIDNIGHTPASSION BOTTOM LINE A realistic, By Maggie Lee around the world delivering effects-free survival film on yachts to their buyers, invites how to avoid becoming he Reef” is in essence his friends Matt, Warren, shark food. a slasher film that Suzie and Shane to join him PRODUCTION: Lightning takes place in the for a sea holiday.His ex-girl- Entertainment, Screen Australia in “T association with Screen NSW and ocean where the serial killer friend Kate (Zoe Naylor) also Prodigy Movies CAST: Damian is a shark. And like many comes along unannounced Walsh-Howling, Zoe Naylor, Gyton slasher films, the protago- resulting in uneasy sexual Grantley, Keiran Darcy-Smith, nists are libidinous couples tension. Out of nowhere, Adrienne Pickering, Mark Simpson. with beautiful bodies, and no “something” rips off the keel DIRECTOR-SCREENWRITER- distinct personality. Shot on of their yacht and they find PRODUCER: Andrew Traucki. Australia’s Great Barrier Reef, themselves on a sinking ship. PRODUCED BY: Michael the film has such a slow Except Warren who wants to Robertson. EXECUTIVE buildup that it sometimes stay put, the rest decide to PRODUCERS: Michael Baskin, feels more akin to “The Big swim out in search of land. Janine Pierce, Richard Guardian, Richard Goldberg. DIRECTOR OF Blue” than “Jaws.”But direc- Wherever they drift, some- PHOTOGRAPHY: Daniel Ardilley. tor Andrew Trauki has a way thing seems to be tailing or PRODUCTION DESIGNER: Adam of representing the psycholo- encircling them. Head. MUSIC: Raphael May. gy of being exposed to The first 15 minutes of “The EDITOR: Peter Crombie. SALES: unknown danger, so when the Reef” could pass for a promo- Lightning Entertainment. predator finally rears its tion video by the Australian No rating, 88 minutes. head, the outcome is not only Tourist Board. The sea swift and merciless; it feels sparkles like sapphires, the more real than a blockbuster underwater shots of marine is the most complex and monster movie. life are divine. There’s even a intelligent character in the >FLASHFORWARD It’s no coincidence that stopover on a dream island. film. The suspenseful BOTTOM LINE Radiant young and “The Reef” stayed afloat as However, once the yacht is moments are all shot from its old leads elevate this modest ancillary (Blockbuster is quot- wrecked, there is a lull that P.O.V.One could figure out a family drama. ed to have rented out more seems to simulate their real hunter’s mind at work, setting PRODUCTION: A Big and Little Films than 400,000 discs) rather time experience of being traps, chasing and toying with production for Matchbox Pictures. than theatrical release. All the adrift in the sea; (the story is its prey rather than just feed- CAST: Lily Bell-Tindley, John Hurt, Emily tension and action is reserved supposed to be based on true ing impulsively.The last 15 Barclay, Jay Ryan. DIRECTOR- SCREENWRITER-PRODUCER: Belinda for the end, making it hard to events). The shark doesn’t minutes switch into totally Chayko. PRODUCED BY: Helen Bowden, keep a cinema crowd stay still make a kill until 50 minutes different gears as a tense sur- Michael McMahon, Tony Ayres. for long periods of inertia. into the film, but the speed of vival drama and even EXECUTIVE PRODUCERS: Tony Ayres, Luke (Damian Walsh- the editing is very effective. approaches the romance of Phil Hunt, Compton Ross, Liz Waits. Howling), whose job is to sail There’s no doubt the shark one scene in “Titanic.” DIRECTOR OF PHOTOGRAPHY: Hugh Miller. PRODUCTION DESIGNER: Pete Baxter. COSTUME DESIGNER: Virginia Cook. MUSIC: Glenn Richards. Editor: Denise Haratzis. SALES: Bankside Films. No rating, 77 minutes.

a knockout as the many-sided Lou. She musters up more maturity than her mother Rhia (Emily Barclay), whom she looks on with dismay at her emotional neediness. Simultaneously, she reveals her own craving to be loved in her encouragement of her grandfather Doyle (Hurt)’s amorous advances, knowing that he has mistaken him for his deceased wife. There’s potential for the situation to turn taboo and sensitive but Chayko tactfully keeps it innocent and wistful. ∂

The Hollywood Reporter | Friday, October 8, 2010 | reviews

>GALAPRESENTATION ‘Raavan’ BOTTOM LINE Pan-Indian saga with epic sweep, intense By Ray Bennett emotion and gorgeous images.

ONDON — Filled with rich colors and lively action,Mani music of A. R. Rahman, Oscar- LRatnam’sclassically themed winning composer of the epic“Raavan”brings together “Slumdog Millionaire” score. the mythology of Indian culture These musical sequences and the flair and fun of Bolly- include a splashing war dance at wood with tremendous flourish. a jungle temple, a romantic por- Cinematographers Manikan- trait of domestic bliss and a cel- dan and Santosh Sivan with ebration of impending nuptials; production designer Samir the choreography is as bold and Chanda and editor A. Sreekar striking as the music. Prasad serve Ratnam superbly Vikram cuts a strong figure as with images, settings and vitali- the police officer,though in his ty that take one’s breath away. dark glasses, he often resembles Success is inevitable through- ishing wife of a police inspector during a wedding, he retaliates a sinister hard man from a film out India and with expat audi- she calls Dev.He is played by the by kidnapping Ragini and taking about a South American dictator. ences. Such is the flare of the actor Vikram, who has moved to her deep into the mountainous Bachchan has fun with a charac- filmmaking that international take over policing a remote part outback. Dev sets out with his ter who is fierce, passionate and audiences also can be expected of Northern India filled with men to bring her back. dangerous but also comic in his to respond positively. jungles, ravines, imposing cliffs Shot in two versions in the self-doubt over whether to kill The story is drawn from the and waterfalls. Abhishek Hindi and Tamil languages — his captive or make love to her. legend of Ramayana, Raavan, a Bachchan (Rai’s real-life hus- the Hindi version will play in As for Rai, the camera adores 10-headed demon-god who kid- band) plays Beera Munda, a most international territories — her just as it loves the mist on naps Sita, the wife of Lord Rama. multifaceted character whom the film mixes styles with great the river, the rainfall in the jun- He must hack off all those heads some regard as a criminal but invention so that the drama is gle and the white water surging in order to recover his beloved. others revere as a benefactor. filled with intensity.There also over rocky cliffs. She, too, is a Top Bollywood actress Aish- When Beera’s family is bru- are dynamic musical sequences force of nature. The film makes warya Rai plays Ragini, the rav- tally victimized by the police enhanced by the irresistible the most of it. ∂

sharp-tongued humor and feisty characters to concentrate on stimulating the tear ducts ‘Aftershock’ through traditional but polished storytelling techniques. By Maggie Lee The story commences July 28, ONG KONG — The desire 1976,the day of the earthquake, to impart Confucian values in Tangshan,an industrial city Hof parental love and filial 140 kilometers from Beijing.The duty overrides the need to make heroine,Yuan'ni (Xu Fan,Feng’s a spectacle of death and destruc- wife and muse of his early works), tion in “Aftershock,”Feng Xiao- is happily married to truck driver gang's $25 million summer Fang Daqiang.They have twins: blockbuster about the psycho- daughter Deng and son Da. logical scars of survivors of the Feng’s treatment of the 1976 Tangshan Earthquake that proverbial calm before a storm claimed about 242,400 lives. is nothing if not economical. Although the state-of-the- Two short scenes define Feng’s a tomato, Yuan’ni gives it to Da. Hollywood disaster flicks. art effects of the brief earth- absolute bliss against compro- Tomatoes will play a role in the Nonetheless, one can sense quake scenes lend the film an mised economic conditions of heart-tugging coda that occurs Feng's eagerness to get the epic feel, and the story arc the period — Yuan'ni huddles 32 years later. blockbuster elements out of the clearly harbors ambitions of with her children to enjoy the For overseas viewers, the way so that he can get on with encapsulating China’s strenu- luxury of their newly purchased quality of CGI and special what he does best — personal ous road to prosperity through electric fan; Yuan’ni and effects — partly handled by a human drama. ∂ one family's saga over 32 years, Daqiang, who have no room of Korean team — are secondary in “Aftershock” ultimately is a their own, have a romp inside novelty to seeing the toppling >WINDOWONASIANCINEMA small family melodrama revolv- his truck. One scene suffices to of vintage Stalinist-Chinese ing around perennial themes of reveal the family dynamic that architecture rather than the BOTTOM LINE A touching family love, forgiveness and coming- leads up to the pivotal plot skyscrapers and dams that drama with an earth shattering of-age. Feng ditches his usual point: When the twins fight for make regular appearances in historical backdrop.

reviews

THR.com/pusan inbrief Friday, October 8, 2010

cinemas in the West and more commercial releases in Asia. — Maggie Lee “Aurora” BOTTOM LINE: Nothing happens, and for three hours, before a strong conclusion. These days young Romanian directors seem to be indulging in a frenzied round of macho competition: How long can we baffle and bore the audience before we deliver the goods? How much will they take before walking out? It must be said immediately that the goods are, in fact, always delivered at the end of the best of these films, and that’s wonderfully true in “Aurora” as well. But what do we have to go through to get there? Cristi Puiu’s “Aurora” clocks in at 3 hours, and at least one of those could easily be “The Actresses” done without. As such, commercial prospects look grim, even among the many art film tivals. Overseas theatrical mar- lovers who have come to admire “3 Backyards” “The Actresses” kets are constricted, with Japan recent Romanian cinema. BOTTOM LINE: Humdrum BOTTOM LINE: A witty actresses’ having highest potential. — Peter Brunette characters ambulate nowhere in ensemble piece disguised as a — Maggie Lee their suburban cove. documentary “Basilicata Aslice-of-lifestorycuttoo Knowledge of Korean film thin,“3Backyards”isaminimal- and entertainment is essential “Au Revoir,Taipei” Coast to Coast” istglimpseintothelivesofaburg for full appreciation of “The BOTTOM LINE: A perky urban BOTTOM LINE: Fun but forgettable ofuninterestingpeople.It’slikely Actresses” — E J-yong’s deli- dramedy that makes one smile musical road movie shows little- exhibitionneighborhoodwillbe cious mockumentary in which from ear to ear. known region of Italy. video-on-demandwhere top Korean stars play them- A romantic comedy match- Actor Rocco Papaleo’sdirecto- cineasteswilltakeachanceon selves or, more accurately,play made with a crime caper,“Au rial debut is being billed as a recognizablecastnames—Edie on their professional personas. revoir Taipei” is best compared musical comedy,but it’smore a Falco,EliasKoteas,Embeth Liberally peppered with indus- with Taiwan delicacy “Pearl loving tribute to the southern Davidtz.SetinabucolicNewYork try in-jokes and offering the Milk Tea” — sweet, bubbly, Italian region from which he coastalenclave,“3Backyards’ titillation of watching outtakes with something tasty to chew hails,one that even Italians con- intercutsbetweentheresidentsof of a “making-of,”it cunningly on. Directed with panache — sider God-forsaken.“Basilicata threedwellings.Unfortunately, toys with boundaries between American-Chinese first-timer Coast to Coast”is sweet and sim- filmmakerEricMendelsohnhas fiction and reality.“JCVD” is a Arvin Chen, this delightful tale ple,sometimes overly cutesy,but createdsuchahumdrumassort- loose Western equivalent, but of fumbling love and day- it ambles out of mind as easily as mentoffolksthatit’shardtoget Hong Kong actor boy band par- dreaming in the city has a it ambles in.It centers around interestedinanyoftheircom- ody “The Heavenly Kings” is the sound script idea that can be four small-time musicians who ings-and-goings.Smartly closest parallel. It’s probably too transposed to any metropolis decide to cross their home region observedandpreciselyvisualized, smart for the popular audience, from Bangkok to Barcelona. on foot,in 10 days,to reach a “3Backyards”isnonethelessa even in Korea, where theatrical The influence of executive music festival on the eastern bore:Wenevercareforanyofthe grosses were moderate. Howev- producer Wim Wenders, com- coast.Their little odyssey is cap- charactersandtheirlivesof“quiet er, the celebrity aura of these bined with upbeat critical tured by a reluctant,unhappy desperation.” ravishing beauties could make it response could help the film journalist (Giovanna Mezzo- — Duane Byrge a magnet at Asian-themed fes- rendezvous with some art house giorno,whose performance picks

The Hollywood Reporter | Friday, October 8, 2010 | reviews in brief

up as the film progresses),who is sent out to“chronicle this anachronism.”The locally well- known cast should draw interest at home,but beyond domestic borders,the film holds little appeal.Its strongest point is that it isn’t overly picturesque,which is not what international audiences usually want from Italian road movies. — Natasha Senjanovic “Bibliotheque Pascal” BOTTOM LINE: The rancid fruit of a horribly overactive imagination. “You’re probably thinking, how long is this gonna go on for?” remarks the villainous title character roughly two- thirds of the way through “Bib- liotheque Pascal,”a classic hostage-to-fortune line if ever “The Ditch” there was one. Because by this stage, the fourth feature by Hungarian writer-director Soviet Georgia, “Chantrapas” is distinguish individual prison- him to pursue the good life, but Szabolcs Hajdu has become a light but satisfying fare for the ers, whose terrible stories tend his own resolve is shaken by the creative train-wreck of epic cultured or cinema-literate. to blend together. Only with the financial stakes in his marriage proportions. The enigmatically European arthouse cinemas arrival of the wife do a few faces and career. Zhang subtly elicits titled film is Hajdu’s follow-up seem to be its natural abode. and personalities come into sympathy for their predicament to 2006’s “White Palms,”which Technical credits are polished, focus. In the end, “Ditch” without glossing over their reaped considerable acclaim especially in the superb choice remains an ensemble film in flaws or self-centeredness. and several awards on the festi- of music scores that is always which the suffering of one Comparisons to Zhang’s debut, val circuit. Its success was pre- appropriate to the situation, stands in for the suffering of “Love Spicy Soup,”make “Dri- sumably what convinced the 22 from traditional folk songs and many.Editor Marie-Helene verless” taste like chicken funding bodies and sponsors Soviet propaganda music to Dozo weaves about 130 hours of broth, with the former’s plucky named in the end credits (count classical and contemporary. HD footage into a handful of characters and piquant humor ‘em!) to support this woefully — Maggie Lee simple, haunting stories. One of watered down to more comfort- misbegotten and misconceived the most moving scenes shows a ing melodrama for a local com- farrago. Festivals receptive to dying man dictating a letter to mercial audience — though the howlingly pretentious, fatuous- “The Ditch” his brother, begging for food. style of “Driverless” remains ly offensive nonsense really BOTTOM LINE: A documentary-like — Deborah Young too classy and mature to chal- must check it out. Everyone else memorial to China’s forced-labor lenge domestic market domi- is advised to steer well clear of camps, respectful but harrowing to nance of such blase, materialis- this toxic cinetrash. watch. “Driverless” tic chick-flicks as “Go Lala Go” — Neil Young The Chinese equivalent of BOTTOM LINE: A mosaic of urban or “Love in Cosmo.”It drew Alexander Solzhenitsyn’s horror romance. about $1.8 million from nation- stories from the Russian gulags, The fates of five couples col- wide boxoffice within 10 days — “Chantrapas” Director Wang Bing’s “The lide in a road accident in Zhang a passable figure. Elsewhere, BOTTOM LINE: A sharp and Ditch” is a heart-wrenching Yang’s “Driverless,”which bor- Zhang’s kudos as a sixth gener- amusing observation on the memorial to 1 million Chinese rows Paul Haggis’ concept of ation mainstay ensures a artist’s search for freedom. citizens who were caught up in making the car a catalyst for smooth ride to festivals and Solemn themes of exile, free- the political purges of the 1950s intertwined stories in “Crash.” overseas niche sales. dom of expression and the and deported to forced-labor As the title implies, the theme is — Maggie Lee artist’s struggle to be under- camps, from which many never loss of control or direction in stood are tinkled in a wry and returned. The film’s respectful- life. This comes across with charming way by Otar Ios- ly distanced treatment of its strongest social resonance in “The Four Times” seliani, who channels them painful subject points to limited the case of former lovers and BOTTOM LINE: Intimate, wordless through the experiences of fic- art house release. The filmmak- business rivals Zhixiong (Liu Ye) tour-de-force on the elements and tional Georgian director Nicolas ing is most powerful as a docu- and Xiaoyun (Gao Yuanyuan). cycles of nature stands out in (Dato Tarielashvili), who can ment of the nightmarish condi- As examples of China’s emerg- Directors’ Fortnight. never be happy or at home any- tions in the camp, where the ing yuppies, their dilemmas in It’s tempting to call “The where, and whose films flop starving men are led to the love and career are bound up Four Times” documentary-like, everywhere. Offering an affec- extremes of cannibalism, but with the country’s surging except that documentaries usu- tionately ironic look at both much weaker in dramatic struc- materialistic values. Zhixiong ally explain what it is we are filmmaking and everyday life in ture. For one thing, it’s hard to accuses Xiaoyun of ditching seeing. Instead, Michelango

The Hollywood Reporter | Friday, October 8, 2010 | reviews in brief

Frammartino uses his back- producer Rakesh Roshan’sstory, ground as a video installation Roshan anchors the film with a artist to create something that solid, believable performance one could just as easily come and a palpable chemistry with across playing at an art gallery. his co-star that will remind The director simply turns on the audiences just how hot a good camera and shows us the natu- Bollywood romance can be. Basu ral progression of time in a place has struck an outlandish tone where time seems to have with “Kites” with his over-the- stopped. Though interesting, moon, operatic approach that “The Four Times” does not have fits the film just right.“Kites” the draw that more global films isn’t likely to suit enough main- like “Koyaanisqatsi” or stream viewers to justify its U.S. “Powaqqatsi” had to enthrall release on more than 200 screens mass audiences. But that’s also (the widest release of any Hindi because Frammartino’s canvas film to date), but art house audi- isn’t the world, only a small ences and Indian movie buffs are corner of it, so the visuals are sure to get into the swing of it. fittingly more intimate. — Lisa Tsering — Natasha Senjanovic “The Light Thief” “Hahaha” BOTTOM LINE: Irresistible actor- BOTTOM LINE: A pleasant merry- director wins over audiences in go-round of sexual encounters. uneven story about dying Basking in the sunny,relaxed traditions in rural Kyrgyzstan. mood of its cleverly punning “The Light Thief” — Aktan title — which means “Summer, Arym Kubat is a bumpy mix of Summer, Summer” in Korean — poetry,naivete and documentary “Hahaha” is a midsummer (for what it shows us of the little- night (and day) sex comedy that known Kyrgyzstan and its cus- sees director Hong Sang Soo at toms) that works thanks to the his most good-humored and director-actor’sprofound tolerant toward his characters. humanity,which permeates The human observations are throughout. Played by the direc- less cynical, the jokes less cal- tor,Svet-ake is the electrician of culated and the structural sym- a remote, impoverished village in metries less rigid in the film, the Kyrgyz mountains who which took the top prize at the “The Housemaid” dreams of bringing wind-pow- Festival de Cannes’ Un Certain ered energy to the valley. Regard section. As ever, booze Progress, good and bad, is per- and sex are the overt or covert carbon copy “remake” a la Gus crack at both art house and sonified by Bekzat (Askat agendas of almost every situa- Van Sant’s “Psycho.”Admitted- genre markets in Europe as well Sulaimanov), a dubious young tion. For Hong’s fans as well as ly,the film has serious flaws, as limited runs in the U.S. tycoon who has returned to his art film-inclined audiences notably the abrupt and awk- — Maggie Lee native village looking to buy land coming to his films new,this is ward character transition of the and go into business with even as tangy and refreshing as san- lead role, plot developments are shadier Chinese investors. He gria. Hong’s usual niche release glaringly melodramatic, “Kites” promises to finance Svet-ake’s and ancillary should bring exploding in an ending that not BOTTOM LINE: IndianstarHrithik surprisingly modern windmills if slightly better returns. only defies script logic but is Roshanmakesastriking the latter works for him, though — Maggie Lee sure to incense pro-Kim internationaldebutinanambitious the help goes hand in hand with purists. But the three female Bollywoodcrossoverfilm. the death of centuries-old tradi- leads’ high voltage chemistry, J(HrithikRoshan),acocky,lar- tions. This is not how the West “The Housemaid” the sumptuous mis en scene cenousyoungIndian-American sees the East, but how someone BOTTOM LINE:Anoperatic,sensuous (the biggest set in Korean film man,andMexicanhottieNatasha from the East views the down- socialsatirethatdarestobe history), stylish symmetric (BarbaraMori)meetwhileonpar- ward spiral of his country.Art differentfromtheoriginalclassic. compositions and lilting (per- alleltrackstoseduceawealthy house sales powerhouse the Kim Ki-young’s “The House- haps Wong Kar-wai influenced) brotherandsister(strongly Match Factory can count on pos- maid,”about a domestic string score offers such sensory played—IndianmodelKangna itive reactions from Western helper’s revenge after her affair pleasure while pacing is so RanautandAustralianactor audiences who often enjoy this with the master goes sour, is a smooth that two hours seem to NicholasBrown)butsoonrealize kind of pastoral work from the gem of Korean cinema. Im glide — imperceptibly.The out- thatdespitethefactthatthey developing world. The lengthy Sang-soo’s version, far from come is a flamingly sexy soap don’tspeakacommonlanguage, standing ovation after the offi- being a masterpiece, is not even opera whose satire on high soci- theirloveistherealthing,worth cial screening that brought subtle. Yet, he deserves credit ety is sometimes as savage as morethanmoney. Kubat to tears bodes well for life for his gutsy departure from the Claude Chabrol’s “La cere- Despite the extremes of film- on the festival circuit. original, rather than doing a monie.”The film could have a maker Anurag Basu’sscript and — Natasha Senjanovic

The Hollywood Reporter | Friday, October 8, 2010 | news

was a journalist, I didn’t feel his Opener presence so much. When I went to work for the festival, I saw his continued from page 1 Pusan Daily Edition presence was bigger than I ever film was screened here as a clos- imagined, especially when I Office 105, Seacloud Hotel ing film,and I’m honored to be went to events overseas. Kim is Haeundae-Gu, back,”Zhang said,whose“Keep the symbol of Korean cinema.” Busan, Korea 612-020 Cool”had played here previously. Michael Werner, co-founder Oliver Stone, Willem Dafoe, of film sales agency Fortissimo Lori Burgess Aishwarya Rai and Juliette Films and one of the world’s Publisher Binoche arrived to celebrate most dedicated promoters of Kim’s achievements and help Asian cinema, called Kim’s Janice Min open the festival that will screen founding PIFF as an incubator Editorial Director 308 features, documentaries, for the region’s rising stars, animated films and shorts from “both audacious and visionary.” Owen Phillips 67 countries, including a record “PIFF foreshadowed and then Executive Editor 108 premieres. paralleled the rebirth and inter- Korean actor Jang Dong-gun nationalization of Korean cine- Elizabeth Guider (“Good Morning, President”) ma while at the same time estab- Editor walked the gauntlet just three lishing itself as the pre-eminent days after the birth of his first gathering spot of everyone relat- David Morgan child, promoting his debut Hol- ed to, involved in, or interested in Deputy Editor lywood film, “Warrior’s Way,” Asian Cinema,”said Werner, EDITORIAL while Chinese actress Tang Wei who’sattending the festival with Gregg Kilday (Film Editor), (“Lust, Caution”) joined the Fortissimo’sEsther Yeung and Patrick Hipes (Copy Chief), procession to promote the Winnie Lau, flying in from Hong Steven Schwankert (Copy Editor) release of her English-language Kong and New York, respective- REPORTERS film “Late Autumn,”a Hong ly.“The fact that three Fortissi- Jonathan Landreth (China Kong-Korea-U.S. co-produc- mo execs are attending this year Correspondent), Park Soo-mee tion shot partly in Seattle. attests to the importance we (Korea Correspondent), attach to the event.” Nigel D’Sa (Reporter) The tireless and amicable Kim, who turned 73 in August,will be Park Soo-mee contributed to Tang Wei REVIEWERS feted at a farewell party on Oct. this report. Maggie Lee (Chief Asia Critic), 14,the day before the festival he Elizabeth Kerr (Film Critic) founded officially closes. ART “Mr. Kim is like air and water. “The second theater we’ll Jackie Rubi (Senior Designer) When it’s there, you don’t Galloping open, in May in Guangzhou, is notice; when it’s gone, we’ll with Haiying,”Zhong said, THR.COM continued from page 3 Andrew Wallenstein know how important it was,” referring to Guangzhou Haiying said Nam Dong-chul, a former production division, told The Group Co. ADVERTISING film industry reporter with the Hollywood Reporter. As China’s second- and Micheala Apruzzese (Associate Publisher), Kelly McAuliffe (Director popular Korean magazine As China’sbox office contin- third-tier cities build new Sales Development), Tommaso Cine21, who joined Kim’s team ues to grow – jumping more than shopping malls, their develop- Campione (International Executive at PIFF a few years ago. “When I 80% in the first half of this year ers are keen to offset a portion Director), Alison Smith (International alone – production companies of their overhead by signing Sales Director), Matt Price (Director Independent Film/Tech), Ivy Lam vying for greater control of their long-term leases with cinemas (Hong Kong Sales), Damjana Finci titles’ revenue in an increasingly that are believed to draw con- (International Advertising Sales Yoda competitive market are bucking sumers ready to spend money Executive) for control of cinemas as one way elsewhere in the mall. continued from page 3 OPERATIONS + IT to increase profits. Galloping Horse also will Kelly Jones, (Production Director,) Starting with an all-VIP venue develop theaters individually, “Buddha Mountain,” Li Yu (China); Armen Sarkisian in Cixi City,Zhejiang Province, Zhong said, adding that “each (Network Administrator) “Flamingo No. 13,” Hamid Reza Aligholian (Iran); “If the Seed Doesn’t 80 miles south of Shanghai, Gal- project and our partners really Die,” Sinisa Dragin loping Horse will dive into cine- depends on the local economy.” (Romania/Serbia/Austria); “Intimate ma circuit operation in the same Galloping Horse’s past pro- e5 Global Media LLC Grammar,” Nir Bergman (Israel); “The year its CEO Li Ming hopes to list ductions include the ongoing Invisible Eye,” Diego Lerman the firm on the stock exchange in TV series “Three Kingdoms,” JAMES A. FINKELSTEIN (Argentina/France/Spain); “Never Let either Shenzhen or Shanghai, and, last year, the feature Chairman Me Go,” Mark Romanek (U.K./U.S.); Zhong said. “Kungfu Cyborg: Metallic “The Piano in a Factory,” Zhang Meng Working with, among other Attraction.”This year, the RICHARD D. BECKMAN (China); “Post Card,” Kaneto Shindo real estate developers, Hong- company produced “Just Chief Executive Officer (Japan); “Primary!” Iván Noel Kong-listed China Resources Another Pandora’s Box” and PRIMALIA CHANG (Spain); “Sarah’s Key,” Gilles Paquet- (Huarun), Galloping Horse’s will next be involved in Holly- Chief Operating Officer Brenner (France); “Sketches of Kaitan cinemas will target China’s wood director Rob Minkoff’s City,” Kazuyoshi Kumakiri (Japan); swelling urban middle class in “Chinese Odyssey” and Zhang “Zephyr,” Belma Bas, (Turkey) (Asian cities such as Guangzhou, Yibai’s “Cherish Our Love Premiere) ∂ Chengdu, Harbin and Wuxi. Forever.” ∂ WEI PHOTO: CHUNG SUNG-JUN/GETTYIMAGES

The Hollywood Reporter | Friday, October 8, 2010 | news

Zhang “It’s a love story. It’s a Cultural continued from page 2 the new mainstream — even Revolution story. among younger ticket buyers It’s a simple story. whose movie habit has been formed at newly sprouted mul- I think a lot of people tiplexes that are, for purely in their 20s and 30s will commercial reasons, the great- est supporters of middle-of- find it interesting that the-road blockbuster fare. But “Hawthorn” appears to they have the same have its appeal, nonetheless, feelings as their parents even to China’s new, urban and increasingly jaded audience: and grandparents felt “Life and romance were much in their time.” clearer then. Lots of girls today “Rondo” will want their boyfriends to — Zhang Yimou see this movie,”said Sun, an unattached, college educated director Benoit Philippon is man in a generation whose For at least one moviegoer Flashforward about a musician who aban- boys far outnumber girls as a born after the most devastating doned his craft after the death continued from page 3 result of China’s 30-year-old chapter in the country’s mod- of his wife until he stumbles one-child policy. ern history had come to an end, In Italian director Massimo upon Pi, who provides an outlet Throughout “Hawthorn,” “Hawthorn” is “about loyalty,” Coppola’s film “Afraid of the for him to open up again. as the fate of the lead actress’s said Sun with a knowing smile. Dark,”a young woman leaves The death of a significant political prisoner father looms “Hawthorn” stars unknowns her home in Bucarest for Italy other also fuels the plot of — causing her mother to warn — the 18-year-old ballet after she loses her job. Although “Ollie Kelper’s Expanding Pur- her that with one misstep the dancer-turned actress Zhou the move seems out of the ordi- ple World” from U.K. director Party could “ruin her whole Dongyu and the 21-year-old nary at first, she has an ulterior Viv Fongenie. In the film, Ollie life” — the phrase “soon, maybe Canadian-raised actor Shawn motive: finding her mother. quits his job and tries to make the policies will change” is Dou.If the film is about loyal- Denmark is throwing Kasper up for broken promises that repeated in refrain, especially ty, Zhang might be asking Bech Holten’s rendition of Don began to haunt him after the by her hopeful male suitor. modern Chinese moviegoers to Giovanni into the mix. The sim- death of his fiancee. “Hawthorn” is probably the rediscover the roots of post- ply titled “Juan” is a modern- “Children of the Green Drag- first major theatrical commer- revolutionary Chinese film ization of the Mozart master- on,”by Hungarian director Bence cial release in China by a well- when everybody was a nobody piece about a womanizing artist Miklauzic, is about the shaky known director to address, and there were no stars. With whose life becomes his art. relationship between a real estate however obliquely, the dark “Hawthorn,”Zhang might also Mozart inspired another film, broker and a security guard who political fates doled out during be asking viewers to look past “Pure,”by Swedish director Lisa end up at odds over the sale of a the Cultural Revolution, which the consider instead spending Langseth,where his music serves warehouse and the affections of ran from 1966-1976. their hard-earned yuan on as a catalyst for change for a 20- a pizza delivery girl. Zhang, having paid his dues more traditional filmmaking. year-old woman with a troubled Andreas Pieper’s“Disen- and stuck with the Party that (China’s box office rose more past and rocky prospects who chantments” is Germany’s entry first stymied but later bol- than 80% in the first half of adopts music as her way out. and features four segments stered his career, might be the 2010, in large part because of Although “Pure” focuses on where characters have to deal only director allowed by film the arrival of “Avatar”). the positive effects of music, with loneliness and the random- industry regulators to wade in Perhaps with “Hawthorn,” “Lullaby for Pi” from French ness of life, death and love. ∂ these murky waters and still Zhang is moving past his own expect approval for release. In last film — an attempt at “Hawthorn,”Zhang appears to remaking the Coen Brothers’ step ever so carefully, so as not 1984 debut noir “Blood Sim- to churn up too much political ple” that prompted one review- mud. The idealistic male suit- er to cite it as proof that Ameri- or, who believes change will cans were not the only people come quickly, breaks all kinds who could screw up a remake. of rules but ultimately does not With “Hawthorn,”Zhang see the change he predicted. might be asking Chinese ticket buyers to find a calm eddy on PIFFEVENT the edge of the mainstream, to Zhang remains in the festival lift a smooth old rock — Zhang spotlight Friday with the will soon be 60,nearly as old as “Master Class – My Life, My the P.R.C.itself — and wait for Cinema” event, at 7 p.m. at the waters to still, crystallizing the Haeundae Grand Hotel. into a reflection of what it means to be Chinese. ∂ ---- “Pure”

calendar THR.com/pusan Friday, October 8, 2010

“Late Autumn”

>TODAY fight piracy and protect content Shinsagae Centum City Cultural future of film festivals, moder- by leveraging digital technology. Hall ated by Ahn SooJeoung, Ph.D 10:00 New Currents Jury Moderator, Kim Jongwon, 21:00 Canadian Night, The Korea National University of press conference, Haeundae Sangmyung University. Garden, Novotel Ambassador Arts. Choongwon, Grand Hotel Grand Hotel, Sky Hall Choongwon, Grand Hotel 21:30 APAN cocktail party, 16:00 Outdoor Stage 12:00 Outdoor Stage 16:00 “Late Autumn” press Novotel Ambassador Grand Greeting - Strangers in the Greeting - Man From conference with director Kim Ballroom City, PIFF Village Outdoor Nowhere, PIFF Village Outdoor Tae-Yong and cast Hyun Bin, 24:00 APAN party, Grand Stage Stage Tang Wei, Shinsaegai Centum Hotel Convention Hall 16:00 Path of the Warrior 12:30 Outdoor Stage Greeting City Cultural Hall press conference, Grand Hotel - The Lightning Tree, PIFF 16:30 Meet the Guest: Talk to Convention Hall Village Outdoor Stage Talk - No Doubt, PIFF Village >SATURDAY 16:30 Outdoor Stage Greeting 13:00 Outdoor Stage Outdoor Stage - Here Comes the Bride, PIFF Greeting - Acoustic, Nampo- 19:00 Master Class - My Life, 11:00 Flash Forward jury Village Outdoor Stage dong Outdoor Stage My Cinema. A look at Chinese press conference, Haeundae 17:30 Open Talk - A Man in a 13:00 APAN conference, filmmaker Zhang Yimou and his Grand Hotel, Sky Hall Woman with director Giada Grand Hotel Choongwan work. Choongwon, Grand Hotel 11:30 Australian luncheon, Colagrande and actor Willem 15:00 Open Talk - Raavan 19:00 Meet the Guest: Talk to Seacloud, 4th Floor Theus Dafoe, PIFF Village Outdoor director Mani Ratnam and cast Talk — Come and See Our 14:00 “Recipe’ press confer- Stage Aishwarya Rai, Abhishk Independent Act, QOOK TV ence with director Anna Lee, 18:30 Handprinting with Bachchan, Chiyaan Vikram, Lounge producer Jin Jang and cast Lee Willem Dafoe, PIFF Village PIFF Village Outdoor Stage 19:00 Bu-il Film Awards Yo Won and Tyu Seung Ryoung, Outdoor Stage 16:00 PIFF Academy: Ceremony, Chosun Beach Hotel Shinsaegae Centum City 18:30 Meet the Guest: Talk to Content Copyright in the Grand Ballroom Cultural Hall Talk — Kim Ki Duk’s children, Digital Era. Content and plat- 20:30 “Raavan” press con- 14:00 PIFF Academy: The QOOK TV Lounge form providers, government ference with director Rami Status of Research and the 18:30 New Zealander Party, agencies and legislators gather Ratnam and cast Aishwarya Role of International Film Grand Hotel, second floor lobby to discuss detailed measures to Rai, Abhishek Bachchan, Festivals. A discussion of the 19:30 Cine Concert - A Little

The Hollywood Reporter | Friday, October 8, 2010 | calendar

“Ceritified Copy”

“Raavan”

Bit Closer, PIFF Village Outdoor professor, Keimyung University. Competition 3, Indie Lounge 14:00 PIFF Academy — New Stage Choongwon, Grand Hotel 18:30 Thai Night, Grand Hotel Front For the Industry: 21:00 Korean Cinema 14:00 Production Association Favion Collaboration Between Korea, Retrospective Night, Novotel Seminar, LOTTE Cinema 19:00 German Night, Yejae China and Hollywood. Grand Ballroom Theater 9 Restaurant Moderator, Patrick Frater, editor, 21:30 French Night, Grand 14:00 AFM event: Korean 19:30 Cine Concert - Dream Film Business Asia, Choogwan Hotel Emerald Hall Producers in Focus 2010, Iris Factory, PIFF Village Outdoor Hall, Grand Hotel 23:00 Cinematic Love, Film Room, Novotel Ambassador Stage 14:00 Production Association Production Studio 14:00 “Rolling Home With A 21:00 Asian Film Market Seminar, LOTTE Cinema Bull” press conference with Opening Reception, Grand Theater 9 director Yimi Soo-rye and cast Hotel Tiffany 14:00 AFM event: Korea New >SUNDAY Kong Hyo Ji and Kim Yeong Pil, 22:00 Spanish Night, Novotel Story Pitching, Iris Room, Haeundae Grant Hotel, Sky Hall Garden Novotel Ambassador 10:00 AND Class 2010 ses- 16:00 Handprinting Ceremony 22:30 Asian Filmaker’s Night, 15:30 Meet the Guest: Talk to sion 1, Novotel Iris Room — Spanish filmmaker Carlos Grand Hotel Convention Hall Talk — All Women’s Names Are 11:00 Flash Forward directors Saura. PIFF Village Outdoor Jiwoo, QOOK TV Lounge presentation, Shinsaegae Stage 16:00 Handprinting Centum City Cultural Hall 16:00 PIFF Academy: >MONDAY Ceremony: Korean actress 12:30 Outdoor Stage Retrospect and Reflection on Kim Jimi, PIFF Village Outdoor Greetings - Meeting 30 Years of History of Korean 10:00 AND Class 2010 ses- Stage Europeans in Busan, PIFF Film Criticism. Moderator: Kim sion 2, Novotel Iris Room 17:00 Outdoor Stage Greeting Village Outdoor Stage Youngjin, film critic, professor, 11:00 Master Class: My Life, - If You Were Me, PIFF Village 13:00 PIFF Academy: Seminar Myoungji University. My Cinema. A look at Spanish Outdoor Stage on the Spanish Cinema, a spe- Choongwon, Grand Hotel filmmaker Carlos Saura and his 17:00 European Film cial program designed to cele- 16:30 Meet the Guest: Talk to work. Choongwon, Grand Hotel. Promotion cocktail, Theus brate the 60th year of diplo- Talk — Korean Films Through 11:00 New Currents directors restaurant, Seacloud Hotel matic ties between South Korea NetPac Eyes, QOOK TV Lounge presentation, Shinsaegae 17:00 “All About Love” press and Spain. The session will 17:00 Korean Shorts competi- Centum City Cultural Hall conference with director Anna explore the origin of Spanish tion 2, Indie Lounge 14:00 “When Love Comes” Hui, Haeundae Grand Hotel, films’ subversive imagination 17:00 Meet the Guest: Talk to press conference with director Sky Hall with a focus on films created Talk — NETPAC and Korean Chang Tso-chi and cast Li Yi-Jie 17:00 PIFF Academy: Kurdish during the Franco dictatorship. Films, QOOK TV Lounge and Kao Meng-Chieh, Cinema: The Unconquered Moderated by Seo Jeongham, 18:00 Korean Shorts Haeundae Grand Hotel, Sky Hall Spirit, A discussion of the

The Hollywood Reporter | Friday, October 8, 2010 | calendar

“All About Love”

unique characteristics, histori- Grand Hotel Skyhall My Cinema. A look at Taiwanese 22:00 Wide Angle party, G- cal significance and aesthetic 21:30 Taiwanese reception, cinematographer Mark Lee and Terrace qualities of Kurdish films and Grand Hotel Tiffany his work. Choongwon, Grand 21:30 Italian party, Grand the artists who make them. 22:00 Czech Night, undeter- Hotel. Hotel 1st Club Moderated by Nam Inyoung, mined 16:30 Outdoor Stage Greeting 24:00 Festival Director’s pri- director of IM Kwonaek Film 22:30 Filmmaker’s Night - - Here Comes the Bride, My vate party, PIFF Pojangmacha Archive & Research Center, Asia, Korea, Aquarium Mom, PIFF Village Outdoor Dongseo University. Stage Choongwon, Grand Hotel 17:00 AND project meeting, >WEDNESDAY 17:00 AND Seminar, Novotel >TUESDAY Seacloud Theus restaurant Iris Room 17:00 PIFF Academy: 17:30 Outdoor Stage Greeting 10:00 AFM event: Film Fund Inspection of Independent - Villan, Nampo-dong Outdoor Talk, Iris Room, Novotel Films and Television. Stage Ambassador Moderator, Won Seunghwan, 17:30 Outdoor Stage Greeting 10:30 PIFF Academy: The director, Independent Film - Green Days, PIFF Village Present and Future of Korean Distribution Support Center. Outdoor Stage Film Education. Does the Choogwon, Grand Hotel. 18:00 Meet the Guest: Talk to quality of film education meet 18:00 Meet the Guest: Talk to Talk — “We Are Asia 1,” QOOK the demands of the industry. Talk — “Films From Novels,” TV Lounge Choongwon, Grand Hotel QOOK TV Lounge 18:30 Outdoor Stage Greeting 13:00 Filmmaker’s Luncheon, 19:00 Russian party, Grand — Red Eagle, PIFF Village Cine de Chef Hotel Grand Ballroom Outdoor Stage 14:00 AFM event: 20:00 Cinema Talk Beyond 19:00 Cine Conceret - Kurdish International Conference, Iris Cinema: Tony Rayns: The Songs, PIFF Village Outdoor Room, Novotel Ambassador Secret History of Chinese Stage 14:00 “Certified Copy” press Cinema, Choogwon, Grand 20:00 Asia Cinema Funds conference with director Hotel Night, Novotel Grand Ballroom Abbas Kiarostami and actress 20:00 Kurdistan reception, 20:00 Poland Night, Grand Juliette Binoche, Shinsaegae Grand Hotel Favion Hotel Favion Centum City Cultural Hall 20:00 Press Night, Cine de “Wall Street: Money Never Sleeps” 21:00 Japanese reception, 14:00 Master Class: My Life, Chef

The Hollywood Reporter | Friday, October 8, 2010 | calendar

“When Love Comes”

“Camelia”

15:30 Special event, Forever Grand Hotel. — American director Oliver Cinema Theater 9 Young: Remembering Kwak 16:00 Handprinting Stone, PIFF Village Outdoor 21:00 AFA Graduation Party, Ji-kyun, with directors Ahn Ceremony: Japanese costume Stage Grand Hotel Favion Sungki, Kang Sooyeon and oth- designer Wada Emi, PIFF 14:00 PIFF Academy: Legals 22:00 Festival Director’s ers, PIFF Village Outdoor Stage Village Outdoor Stage Issues on the Improvement of Farewell Party, Grand Hotel 16:00 Master Class: My Life, 17:00 Open Talk - They Walk Labor Conditions in the Film Grand Ballroom My Cinema. A look at master Together, with Juliette Binoche, Industry. Moderator: Kim costume designer Wada Emi Abbas Kiarostami, Ho Shao Chihwan, professor Youngsan and her work. Choongwon, Sian, PIFF Village Outdoor Stage University. Choongwon, Grand >FRIDAY 18:00 Handprinting Hotel Ceremony: French actress 14:30 “Wall Street: Money 16:30 Festival closing press Juliette Binoche, PIFF Village Never Sleeps” press confer- conference, Haeundae Grand Outdoor Stage ence with director Oliver Hotel, Sky Hall 19:30 Meet the Guest: Talk to Stone, Haeundae Grant Hotel, 19:00 Closing ceremony, Talk — “We Are Asia 2,” QOOK Sky Hall Busan Yachting Center Outdoor TV Lounge 14:30 Closing night film Theater 20:00 Cinema Talk Beyond “Camellia,” followed by a 19:30 Closing night film, Cinema: Amir Naderi: The press conference with direc- Camellia, Busan Yachting Transmission from Black and tor Wisit Sasanatieng, Pusan Center Outdoor Theater White to Color in the World Cinemateque 23:00 Closing party, Grand Cinema, Especially in Korean 16:30 Closing Film preview, Hotel Grand Ballroom and Japanese Cinema, Cinematheque Choongwon, Grand Hotel 17:00 Outdoor Stage Greeting 21:00 PPP Awards and - Camellia, PIFF Village Closing Ceremony, Novotel Outdoor Stage Seascapes 18:00 Meet the Guest: Talk to Talk — “Korean Film Vision,” For for more details on the QOOK TV Lounge special events go to the PIFF >THURSDAY 19:00 Camellia press conference, Cinematheque website at www.piff.org 14:00 Handprinting Ceremony 19:00 AFA graduation, LOTTE

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The Dailies at Tokyo

THR is proud to launch the ﬁ rst Tokyo Dailies in cooperation with the Tokyo International Film Festival and TIFFCOM.

The Tokyo Dailies will cover this vibrant and growing market, taking place in one of the most creative hubs in the world.

Bring your business to the forefront at Tokyo and reserve your advertising space today.

Publication dates: Oct. 24-27 Materials deadline: Oct. 20 Bonus distribution: Tokyo International Film Festival

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