HAF Goes to Cannes 22 June 2020 INTRODUCTION SCREENING INFO

To open the door to the international 22 June, 2020 (MONDAY) film community, the Hong Kong - Asia 10 – 12 noon / 4 – 6 PM Film Financing Forum (HAF) is proud to (CANNES TIME) (HONG KONG TIME) collaborate with Marché du Film, Festival de Cannes to present the “HAF Goes to Cannes” program, and bring five projects The Borderlands from the Work-in-Progress (WIP) program India for presentation and pitching at the Cannes Born to Be Second Film Festival, including The Borderlands, China Born to Be Second, Dear Immigrants: What Was Your First Meal?, Ningdu and Dear Immigrants: What Was Your First Meal?

Hong Kong Olympic Halftime. WIP is a vital extension of the services that HAF currently provides Ningdu and aims to facilitate projects already in Hong Kong | The Netherlands | USA production to secure post-production funds, Olympic Halftime sales agents or film festival support. Czech Republic | Greece | Slovak Republic

2 3 Documentary | Digital Format | Bengali, Gujarati, Hindi, Manipuri, Nepali, Punjabi | 90mins India The Borderlands An intimate exploration SYNOPSIS of how everyday In 2015, my hometown was attacked by militants. Stressed, sitting far away, I called home. My mother lives intertwine with sounded upbeat. Dinanagar, a nondescript border town near Pakistan, debuted on national news, and the sudden attention from so many kin made her feel like borders in the Indian a celebrity. While the violent narrative ran on TV, I was subcontinent. listening to my mother’s humane story. The powers that have turned borderland narratives into masculine fistfights, seen from the centre. The Borderlands captures everyday life stories in India’s border areas, rethinking borders through stories of longing, triumph and tragedy.

Dhauli meets her family for a few hours once a year, divided by the India-Bangladesh border fence.

Kavita, rescued from trafficking at a young age, now catches human traffickers red-handed as they try to cross the Nepal-India border.

Deepa, a Hindu refugee from Pakistan, aspires to be a doctor. Schooled in Arabic script till now, she struggles to learn Devanagari script for her exams.

Each story showcases a unique facet of borderland life, through an intimate inquiry into the life of one character. The spirit of India’s relationship with its neighbours seeps into the stories, and India’s borderlands become a microcosm of the global borderscape. 5 DIRECTOR

Samarth MAHAJAN

Mahajan, a self-taught non-fiction filmmaker based in Mumbai. Passionate about telling human stories from India that remain invisible to the mainstream, his documentary films have received critical and mass attention. The Unreserved (2017), his national award-winning documentary about passengers in third class of Indian Railways, premiered at Film Southasia 2017 and has been presented at more than 50 fora, while receiving a rare limited theatrical release in India. His works We, The People (2018), about India’s protest street Jantar Mantar Road, and Kazwa (2015), about fireflies and sustainable tourism, have been awarded at multiple international film festivals and fora.

PRODUCER

Sunil DOSHI

Doshi has produced over fifteen feature length films in 20 years. He co-produced Chauthi Koot (aka The Fourth Direction) (2015), selected in Un Certain Regard section at Cannes 2015. He has presented and distributed the most coveted world cinema titles in India, including DIRECTOR'S STATEMENT the Oscar-winning The Salesman (2017), Jafar DIRECTOR: PRODUCTION COMPANY Panahi’s 3 Faces (2018), Nuri Ceylan’s Winter Samarth MAHAJAN Sleep (2014), and Studio Ghibli/Miyazaki’s All Things Small The global debate around borders has reached a critical catalogue. He co-founded NDTV Lumiere, a PRODUCER: stage. As masses consume state-sponsored news and world cinema TV channel later acquired by All Things Small is a media company Sunil DOSHI listen to othering narratives from popular leaders, it is Turner Broadcasting. dedicated to telling true stories. We find and Ashay GANGWAR important to bring out perspectives grounded in reality. produce the best, most compelling non-fiction Amplifying such narratives can create a more vibrant from the Indian subcontinent, in a variety of WIP GOALS: formats and on every platform imaginable. discourse, allowing us to acknowledge the humanity We are passionate about telling stories that Funds, Sales agents, latent in us, and to inhibit the pace at which we are will inform, entertain and galvanize their Pre-sales moving into a more fragmented future. Ashay GANGWAR audiences. We dive deep into popular culture, uncover mysteries, spark new ideas, and spur FINANCING people and institutions into action. ATS Studio As a borderland citizen, from the junction of traditionally Gangwar has produced ten documentaries, Above-the-Line Production : US$ 41,020 finds, develops and produces compelling non- considered arch enemies India and Pakistan, my lived including The Unreserved (2017), and won fiction for consumer platforms, publishers, and Below-the-Line Production : US$ 28,280 experience affirms that borderland narratives are lost in awards for Best Film and Cinematography brands. From docu-dramas to multi-season Post Production : US$ 11,900 the noise of centre-led narratives. As a thinking citizen across globe. shows, podcasts to movies: the studio brings Other : US$ 24,620 of the world’s largest and most diverse democracy, I feel India's most compelling stories to life. Total Budget : US$ 105,820 India’s borderlands provide an ideal ground to explore CONTACT Secured Budget : US$ 77,000 what makes us a citizen before being human, and Samarth MAHAJAN human before being a citizen. TEL: The film explores borders through refugee movement, +91 78 7268 4118 cross-border kinship, livelihoods, faith and fluid EMAIL: identities. These themes intertwine with the axes of [email protected]/ gender, class, nationality and sexuality to present a [email protected] mosaic of intersectional stories, providing a humane PRODUCTION COMPANY: DIRECTOR’S FILMOGRAPHY lens to look at borderland narratives. In a world where All Things Small 2017 The Unreserved “Us versus Them” precedes the understanding of “Us and Them”, the film accepts the challenge to make us ADDRESS: notice similarities over differences. 202, Floor-2, 3, Navjeevan Society, Dr Dadasaheb Bhadkamkar Marg, Mumbai Central, Mumbai 400 008

6 7 China Born to Be Second

Documentary | Digital Format | Mandarin, Sichuan Dialect | 90mins

Born to Be Second follows two families haunted by their painful SYNOPSIS

past as they build When the 2008 Sichuan earthquake razed a Chinese city to the ground, thousands of families lost their only towards an uncertain child, and were permitted to try and have another in an effort to fill the void created by this tragedy. Born to tomorrow. Be Second follows two of these families. Mei and her husband Sheng had a biological son, Chuan, while their friends, Ying and her husband Ping, opted to adopt a daughter, Sunny. In 2017, Chuan was six years old. He is starting to make sense of the unusual burdens his parents place on him, and of the wound that time has never healed. Sunny, now eleven, had always been told that Ying and Ping were her birth-parents. She can recall having lived somewhere else as a very young child, but she has chosen to accept her parents’ white lie. Soon, however, fragments of the truth will emerge and it will be impossible for the families to confront them together. Both families are arriving at critical junctures in their lives, challenging how they have been living for the past ten years.

9 DIRECTOR

FAN Jian

Fan Jian is a documentary director who focuses on Chinese social issues through character- driven storytelling. He is a Documentary branch member of the Academy of Motion Picture Arts and Sciences (AMPAS). He has directed six feature documentaries, most recently Still Tomorrow (Winner, Special Jury Award at IDFA 2016). His other films include My Land (HAF 2013; Berlinale 2016; supported by the Sundance Fund) and The Next Life (IDFA 2011). His work has screened in competition at Hot Docs, Full Frame, Sheffield, Busan, and many other world festivals. Fan studied at the Beijing Film Academy and is based in Chongqing, China.

PRODUCER

Richard LIANG

Richard Liang has been producing documentaries for fifteen years. He has produced Chinese documentaries with international partners, most recently The Road (IDFA 2015, co-production with DR, SVT, IKON, and NHK) and The Next Life (2011, dir. Fan Jian, DIRECTOR'S STATEMENT co-production with NHK & Al Jazeera). DIRECTOR FAN Jian PRODUCTION COMPANY PRODUCER Born to Be Second is a quintessential Chinese story. Richard LIANG It scrutinizes the parent-child relationship, arguably S. Leo CHIANG FAN Film Studio S. Leo CHIANG the foundation of Chinese society. Many in the older S. Leo Chiang recently completed Our Time FAN Film Studio was established in 2011 by generations do not fully comprehend that one person well-known Chinese director Fan Jian, focusing WIP GOALS — one child — cannot substitute for another. This puts Machine (2019), which premiered at the Tribeca on documentary filmmaking. Its productions Funds, Sales agents, tremendous pressure on the younger generation, but it Film Festival and has earned six international The Next Life (2011) and Still Tomorrow (2016) Pre-sales, Festival Screening will not deter them from finding their own identity. The film festival awards. Other films include Out Run have both been selected into IDFA, the largest (2016), Mr. Cao Goes to Washington (2012) and documentary film festival in the world. Still leads our audiences through a complex examination in Tomorrow won the Special Jury Award at IDFA FINANCING the evolving value of individual life and identity through a the Emmy-nominated A Village Called Versailles 2016, and was nominated for Best Feature Above-the-Line Production : US$ 163,283 Chinese point-of-view. The parallel narratives of the two (2009). He is a member of the Academy of Documentary at the Shanghai International Below-the-Line Production : US$ 111,450 families form the crux of our structure. Scenes in which Motion Pictures Arts and Sciences (AMPAS). Film Festival 2017. Another feature documentary production, My Land (2015), Post Production : US$ 98,400 the two families come together — when the two narratives was selected in Berlin Film Festival 2016. The Other : US$ 26,500 overlap — provide insightful moments where audiences documentary series Ten Years: Forget Me Not Total Budget : US$ 399,633 can track and reflect on each family’s process. Visually, (2018) won the Best Documentary Series at Secured Budget : US$ 208,251 with Born to Be Second, we will build a strong cinematic West Lake International Documentary Festival experience on a character-driven story. My team’s ability 2018. to create this experience is evident our most recent film, CONTACT Still Tomorrow (2016), which won a Special Jury Award Richard LIANG in the IDFA 2016 Feature-Length Competition. The jury noted that “this film explores the complexity of the human TEL +1 81 8337 9387 experience in a poetic, intimate and powerful way”. EMAIL [email protected] DIRECTOR’S FILMOGRAPHY PRODUCTION COMPANY 2016 Still Tomorrow FAN Film Studio 2015 My Land 2015 Manufacturing Romance ADDRESS 2011 The Next Life Hong En Road 191 D1, 2006 Dancing in the City Jiangbei District, Chongqing, China 10 11 Hong Kong

Dear Immigrants: Documentary | Digital Format | Cantonese, English, Mandarin, Thai | 120mins What Was Your First Meal? A documentary unveils rich tastes of memory from the first meal of new settlers and further unravels SYNOPSIS the larger historical By recording immigrants’ memories of their first meals in Hong Kong, the documentary offers a gateway to understand these immigrants’ relationships with Hong flows of a “floating Kong. As these speakers move along the timeline from being an “immigrant” to becoming a “local”, the film city”, Hong Kong. aspires to record the continuous fluidity of Hong Konger identity and Hong Kong history by retrieving personal memories and thoughts of these immigrants. Propelled by the political unrest in Hong Kong in 2019, we hope to take this film further to portray the stories of Hong Kongers who have chosen to leave the city.

13 DIRECTOR

WONG Fei-pang

Wong Fei-pang is an independent director in Hong Kong who co-directed Ten Years (2015), the Best Film in 2016 Hong Kong Film Awards. He is the producer of the Japan- Hong Kong-Korea co-production The Murders of Oiso (2019), which premiered in the Busan International Film Festival last year.

PRODUCER

Diana CHEUNG

Diana Cheung has solid experience in multi- arts production. From project management to productions with distinctive cross-media characteristics, from short film and media art to music, she has worked on diverse productions for the cultivation of local artists. Projects involved include ifva - incubator for film and visual media in Asia (film and media arts), All About Us — filmmaking project for ethnic minorities (arts education), Jockey Club ifva Everywhere (marketing and PR) and Fresh Wave International Film Festival (PR).

DIRECTOR'S STATEMENT DIRECTOR WONG Fei-pang Food is an integral part of any lifestyle and a starting PRODUCER point to reflect on the differences and challenges Diana CHEUNG these immigrants have endured in life. They came with their imagination of Hong Kong. Their first meal in WIP GOALS Hong Kong became the first collision between reality Funds, Festival Screening and imagination. One by one, their dishes, embedded in memory, became the ingredients of this complex PRODUCTION COMPANY FINANCING city. As the film documents changes bit by bit, and Above-the-Line Production : US$ 38,900 story by story, the audience will come to understand Tonikaku Pictures Limited Below-the-Line Production : US$ 65,600 cultural imaginations of historical flows through those A new film production company based in Post Production : US$ 53,500 immigrants’ stories. Hong Kong. Its scope of services and projects Other : US$ 13,000 includes filming equipment rental and film Total Budget : US$ 171,000 production. The founding members are active Secured Budget : US$ 29,900 filmmakers who specialise in independent filmmaking.

CONTACT Diana CHEUNG

TEL +852 6108 4699

EMAIL [email protected]

PRODUCTION COMPANY DIRECTOR’S FILMOGRAPHY Tonikaku Pictures Limited First Feature Director ADDRESS Room 9, 2/F, Po Hong Centre, 2 Wang Tung Street, Kowloon Bay, Kowloon, Hong Kong

14 15 Hong Kong, The Netherlands, USA Animation | Digital Format | Mandarin | 85mins Ningdu

Caught between semi-gods and mass SYNOPSIS madness, in a world of Maomao recalls the struggles of his family amid China’s Great Leap Forward. When Dad is compelled to work propaganda images, in the countryside, the already sick Mum passes away. As the system forbids Dad to live with his children, the surrealist collage and three kids are kept in an orphanage. Locked in cages, Maomao and his two sisters become birds. Around pop-art animation, them, masses are burning iron and steel. They start gigantic constructions which infuriate the River Dragon. the Lei’s struggle A carp appears who turns into a woman and helps the children regain their human shape and settles with them to live through at home, becoming their adoptive mother. When Dad finally returns, harmony and happiness embrace this new family. Shortly afterwards, a new revolution starts. China’s tumultuous When the house is blown away, the sisters are pushed to fly away. Dad and the kids are separated again. In movements. the fields; people are burning flags and transforming into insects in a collective trance, while giant fruits and vegetables invade the world. Above, Gods of Clouds observe the chaos. Maomao and his new Mum are sent to the countryside where they try to adapt, while Dad in another village is asked to confess his political past. They all wait for the day to reunite…

17 DIRECTOR

LEI Lei

Born in 1985 in China, Lei Lei is an independent animator and artist, graduate of Tsinghua University with a Master’s Degree in Animation. His works include short animation films Recycled (Grand Prix of Shorts & Non- Narrative Films at Holland Animation Film Festival 2013) and Hand Colored No.2 (opened at Annecy International Animation Film Festival 2017). Since 2018, he teaches at California Institute of the Arts. His first feature, Breathless Animals, made its 2019 world premiere at the Berlinale Forum. His new short film A Bright Summer Diary was in Ammodo Tiger Short Competition at Rotterdam IFF 2020.

PRODUCER

LEI Lei (same as director)

Isabelle GLACHANT

Isabelle Glachant began her career in cinema as executive producer of Shanghai Dreams (Jury Prize, Cannes 2005). Since then she has participated in Wang Xiaoshuai’s films including 11 Flowers (2011), the first official Chinese- DIRECTOR'S STATEMENT DIRECTOR French co-production. Glachant founded the LEI Lei Hong Kong-based production company Chinese Shadows and France-based Shasha & Co PRODUCER In 2013, I read my father’s article about an oral history Production, which produced among others LEI Lei Changes of My Family and began to interview my family Wang Bing’s Three Sisters (Venice Orizzonti Isabelle GLACHANT members about their memory. When I listened to them, Best Film Award, 2012), Mouly Surya’s Marlina I realised that everyone had a different story about the the Murderer in Four Acts (Cannes Directors' PRODUCTION COMPANY WIP GOALS same time. These stories are like shadows projected Fortnight 2017). Appointed Knight of the Order Funds, Pre-sales, on the walls of a cave. I try to understand my family of Arts and Letters by the Ministry of Culture Chinese Shadows Festival Screening and history by reading them. As in a movie theatre, the (France), Glachant has been UniFrance’s audience experiences dreams through these pieces of Greater China representative since 2012. Founded in 2008, Hong Kong-based production company Chinese Shadows FINANCING shadows. If the cinema uses the language of dreams, represents Asian established voices and new Above-the-Line Production : US$ 235,930 the greatest charm of animation language is "dreaming talents by introducing their work to the world Below-the-Line Production : US$ 274,620 in a dream". In my animation documentary Ningdu, I try and producing Asian films with an international reach. The current line-up includes coming Post Production : US$ 258,480 to connect personal stories with collective memory with projects by documentary master Wang Bing, Other : US$ 182,767 different visual layers. All characters, mountains, and artist Lei Lei, and Indonesian helmer Eddie Total Budget : US$ 951,797 rivers are made of modelling clay, while I continue my Cahyono. Secured Budget : US$ 770,000 stylistic approach of collage of the historical archives like the China Pictorial magazine, old family photos and CONTACT official documentaries footage. But questions always Isabelle GLACHANT stand behind images: Where does the memory come TEL from? How do we distinguish reality from fiction? Who +86 136 0108 9214 defines history? I hope that Ningdu will be a brave step for me. And the rights to dream and to interpret dreams EMAIL [email protected]/ must be given to the audience. [email protected]

PRODUCTION COMPANY DIRECTOR’S FILMOGRAPHY Chinese Shadows 2019 Breathless Animals ADDRESS Flat 26, 22F, Metro-center II, 21 Lam Hing Street, Kowloon Bay, Kowloon, Hong Kong 18 19 Documentary | Digital Format | English, French, Greek, Japanese, Mandarin | 85mins

Czech Republic, Greece, Slovak Republic Olympic Halftime A film reflects on urban impacts and architecture of Olympic games. Controversial side effects SYNOPSIS The modern Olympic Games started in their original of the Olympics are location in Greece as a competition not only between individuals but also between nations. And soon after not consequences of the modern-day revival, the Olympics also became a race in global mobility due to the decision to host the Games in different cities. With the rise of globalisation, the games themselves, the event incorporated increasingly intense disciplines like urban restructuring of entire cities and areas and but of mobility. Is this creating specific Olympic architecture. This film explores the abandoned debris of ancient as well as modern sustainable? Olympic sites. The film also follows promotional activities organized by the members of the National Olympic Committees in three host countries (Tokyo 2021, Beijing 2022, Paris 2024) as well as a critical reflection through human activities and urban development in these cities that are experiencing what could be referred to as a “halftime” of the Olympic Games — places that already have hosted them in the past and will host them in the near future.

21 DIRECTOR

Haruna HONCOOP

Haruna Honcoop is a Czech-Japanese documentary filmmaker. She graduated in Sinology, studied at universities in Beijing and Taiwan, and lived in Japan. Later at FAMU where she is currently working on her PhD, she created video art installations that focused on architecture and history. Her mid-length documentary and cross-media project, Built to Last — Relics of Communist-Era Architecture (2017) was filmed in 11 post-communist countries of Eastern Europe. The film won an award at Archfilm Lund in Sweden. Her short Truth or False (2016), about Czech-Chinese relations, won an award at This Human World in Vienna.

PRODUCER

Vít JANEČEK

Vít Janeček (1970), director, writer and producer, associate professor at FAMU in Prague. He graduated from the School of Philosophy of the Charles University in Prague and from FAMU. Between 2012 and 2015 he DIRECTOR'S STATEMENT was Head of FAMU International. Since 2015 DIRECTOR he has produced films with socially relevant Haruna HONCOOP topics under D1film. In Asia, he produced The Monk (dir. The Maw Naing, CZ/MM 2014), PRODUCER This documentary is not intended to be a celebration under FAMU Burma Project, which he founded Vít JANEČEK of the Olympic stadia and games; it is meant to be a and has led since 2006. He continues in co- critical film about what today’s materialisation of the producing as well as teaching in Myanmar WIP GOALS Olympic idea can serve for. There is always the question within Cineport Yangon and other platforms. Funds, Sales agents, of the price that the environment and the citizens pay His filmography can be found at www.imdb.com Pre-sales, Festival Screening when such a big event is organised. The Olympics or www.D1film.com. involve huge investments in all countries. The first PRODUCTION COMPANY FINANCING phase entails demolition to obtain new space to build Above-the-Line Production : US$ 123,420 new infrastructure, followed by the construction of giant D1film Below-the-Line Production : US$ 213,202 sports facilities. Each host city races to be the biggest Post Production : US$ 80,586 construction giant, only so that the Olympic sanctuary D1film was found by Zuzana Piussi and Vít Janeček in Prague in 2014 as a boutique Other : US$ 59,556 becomes the centre of the world for three weeks. production platform focusing mainly for Total Budget : US$ 476,764 Once the Olympics are over, the city or mountains author's documentaries and other artistic Secured Budget : US$ 151,250 remain full of gigantic structures that scarcely find any production with relevant social, political or subsequent use. The film will follow the destinies of personal topics and approach. the Olympic structures and the people related to them in various ways after the Olympics are over, as well as CONTACT Vít JANEČEK the controversies that the current preparations for the upcoming games in Tokyo 2021, Beijing 2022 and Paris TEL 2024 entail. Considering that both Asian and European +420 603 164 232 countries will host the Games in the near future, EMAIL the topic will be interesting to a broad international [email protected] audience. PRODUCTION COMPANY DIRECTOR’S FILMOGRAPHY D1film First Feature Director ADDRESS Ujezd 7, 15000 Prague 5, Czech Republic

22 23 HONG KONG - ASIA PAST HAF FILMMAKERS FILM FINANCING FORUM (HAF)

HONG KONG Peter CHAN, Stanley KWAN, Ann HUI, Fruit CHAN, Teddy CHEN, Mabel CHEUNG, Widely recognised as one Asia's most important film Wilson YIP, PANG Ho-cheung, Philip YUNG, Derek TSANG financing platforms, HAF brings primarily Asian filmmakers with upcoming projects to Hong Kong for co-production CHINA JIANG Wen, JIA Zhangke, GU Changwei, ZHANG Yuan, ZHANG Yang, NING Hao, ventures with more than 1,000 top film financiers, WANG Bin, LI Hongqi, LI Yu, LOU Ye, LI Ruijun, YANG Chao, Pema Tseden producers, distributors, buyers and festival programmers from over 35 countries. In 2017, HAF launched the Work- TAIWAN in-Progress (WIP) initiative, designed for film projects TSAI Ming-Liang, LI Kang-Sheng, WEI Te-Sheng, SHEN Ko-shang, Leon DAI, CHANG Tso-Chi, CHUNG Mong-Hong, Arvin CHEN in the later stages of production; and then the Film Lab

in 2018, to provide training for young Chinese-speaking JAPAN filmmakers. KORE-EDA Hirokazu, KUROSAWA Kiyoshi, IWAI Shunji, MIIKE Takashi, YUKISADA Isao, SABU, KAWASE Naomi, FUKADA Koji, NAKANO Ryota

A foreign sales service HKIFF COLLECTION was also set SOUTH KOREA up in 2018. The latest additions to the collection are Ishii PARK Chan-wook, BONG Joon-ho, HUR Jin-ho, KIM Jee-woon, NA Hong-jin, E J-yong, IM Sang-sooo, LEE Yoon-ki, Park Jung-bum Yuya’s All The Things We Never Said, and Qi Rui’s The Day is Over, a WIP winner at the Pingyao IFF 2019. THAILAND Yongyoot THONGKONGTOON, Nonzee NIMIBUTR, Pen-ek RATANARUANG, Lee CHATAMETIKOOL, Apichatpong WEERASETHAKUL For more details please contact Pearl Chan ([email protected]) or Stephanie Lee (stephanie_ THE PHILIPPINES, MALAYSIA, SINGAPORE [email protected]). Please visit HKIFF COLLECTION website Brillante MENDOZA, HO Yuhang, Chris CHONG Chan Fui, TAN Chui Mui, at http://www.hkiffcollection.org.hk for more details. Kelvin TONG

VIETNAM, IRAN, INDONESIA, INDIA PHAN Dang Di, BUI THAC Chuyen, Ida PANAHANDEH, Nia DINATA, Sidharth SRINIVASAN, Santosh SIVAN

24 25 WIP 2019 | Verdict

RECENT SUCCESS Raymund Ribat GUTIERREZ The Philippines

- Best Performance by an Actress, Asia Pacific Screen Awards 2019 - Represent the Philippines to compete for the Best International Feature Film at Oscars 2020 - Nominated for Grand Prize, Tokyo FILMex 2019 WIP 2019 | The Works and Days - Toronto International Film Festival 2019 - Venice Horizons Special Jury Prize, Venice Film Festival 2019 C.W. WINTER, Anders EDSTRÖM USA | Sweden | Japan | Hong Kong | the United Kingdom

- Best Film, Encounters, Berlin Film Festival 2020 WIP 2019 | To Live To Sing

Johnny MA China

- NETPAC Award and New Chinese Cinema - Best Screenplay Award, WIP 2019 | The Shepherdess and the Seven Songs International Film Festival & Awards Macao 2019 - Cannes Film Festival Directors' Fortnight 2019 Pushpendra SINGH - Best Film and Best Actress of Asian New Talent Award, Shanghai India International Film Festival 2019

- Encounters, Berlin Film Festival 2020

WIP 2018 | Akya

Sergey DVORTSEVOY Russia | Germany | Poland | Kazakhstan | China WIP 2019 | Nomad Meets the City - Nominated for New Directors Competition, Seattle International Film Festival 2019 Anji Sauvé CLUBB - Best Actress, Antalya Golden Orange Film Festival 2018 Mongolia | USA | Czech Republic - Nominated for Best Performance by an Actress, Asia Pacific Screen Awards 2018 - International Documentary Film Festival Amsterdam 2019 - Best Actress, Cannes Film Festival 2018 - Grand Prize, Tokyo FILMex 2018

HAF 2016 | The Calming WIP 2019 | A Tunnel SONG Fang Nino ORJONIKIDZE, Vano ARSENISHVILI China Georgia - Encounters, Berlin Film Festival 2020 - International Documentary Film Festival Amsterdam 2019

HAF 2012 | Balloon

WIP 2019 | SUK SUK Pema Tseden China Ray YEUNG Hong Kong - Best Screenplay, Chicago International Film Festival 2019 - Cairo International Film Festival 2019 - Best Actor and Best Supporting Actress, - Grand Prize, Tokyo FILMEX 2019 Hong Kong Film Awards 2020 - Nominated for Best Screenplay and Best Film, - Panorama, Berlin Film Festival 2020 Asia Pacific Screen Awards 2019 - Nominated for Best Feature Film, Best Leading Actor, - Toronto International Film Festival 2019 Best Supporting Actress and Best Original Screenplay, - Venice Film Festival 2019 Golden Horse Awards 2019 - Best Picture and Best Actress, - World Premiere, Busan International Film Festival 2019 Hainan Island International Film Festival 2019

26 27 HAF 2020 – 2021 IMPORTANT DATES 2020 2021

JUNE HAF GOES TO JAN HAF PROJECT SELECTION FILM LAB PROJECT CANNES ANNOUNCEMENT SUBMISSION & (JUN TO JUL) JUL GUEST REGISTRATION

AUG 18TH HAF 26-28 AUG FEB WIP PROJECT SELECTION

HAF PROJECT ANNOUNCEMENT THE 3TH EDITION SEP SUBMISSION OF FILM LAB (AUG TO OCT)

OCT MAR 19TH HAF

YEAR-ROUND NOV WIP PROJECT HKIFF COLLECTION & SUBMISSION CO-PRODUCTION VENTURES (NOV TO DEC) DEC

www.haf.org.hk | FOLLOW US : hafhkiffs

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