75 films from 12 countries, 228 guests of honour and 65 thousand spectators. These are all the numbers of Udine Far East Film Festival 2024. There was an increase of accredited visitors (of 24% over 2023) and the screenings at Udine's 1,200-seat Teatro Nuovo venue were always full, from 9 in the morning to midnight. This says a lot about the growing interest in Asian Cinema.
China and South Korea were the protagonists of the opening Night of Wednesday the 24th of April, with two international premieres: Yolo and Citizen of a Kind, followed by some more South Korean box office sensations, The Roundup: Punishment, 12.12: The Day and horror movie Exhuma. Some very welcome returns of festival friends were Jun Lana, with LGBT comedy of errors Becky & Badette, Norris Wong with the musical The Lyricist Wanna Be, Nick Cheung, in the director's chair, with Peg O'My Heart and Herman Yau with three actioners: Moscow Mission, Raid of...
China and South Korea were the protagonists of the opening Night of Wednesday the 24th of April, with two international premieres: Yolo and Citizen of a Kind, followed by some more South Korean box office sensations, The Roundup: Punishment, 12.12: The Day and horror movie Exhuma. Some very welcome returns of festival friends were Jun Lana, with LGBT comedy of errors Becky & Badette, Norris Wong with the musical The Lyricist Wanna Be, Nick Cheung, in the director's chair, with Peg O'My Heart and Herman Yau with three actioners: Moscow Mission, Raid of...
- 5/6/2024
- by AMP Group
- AsianMoviePulse
As we have mentioned many times before, the most successful product of Asian cinema towards the US market (apart from anime) are the action/martial arts movies, and as such, it is by no surprise that the biggest industries of the continent and particularly S.Korea have invested heavily towards the particular category, with China following close by, in a genre that, most of the time, budget is the most crucial element. In that fashion, ultra violent and stylistic is the path S. Korea productions follow (this year), while China seems to be going more towards the sci-fi now that the Ip Man franchise has become somewhat preterit. Japan choose live-action adaptation or its rather famous franchises, while the duo of Tak Sakaguchi and Yudai Yamaguchi continue their effort to produce as realistic martial arts scenes as possible. China follows the stylistic martial arts approach, while India has come up...
- 12/30/2023
- by AMP Group
- AsianMoviePulse
In the realms of Asian cinema, where fascination and sadism frequently intertwine, the existence of a legion of unforgettable villains is not exactly a surprise. Menacing yakuza bosses, cruel moguls, serial killers, vengeful parents, trigger happy crime lords and rogue samurais among others have casted their sinister shadows and have left an indelible mark on the silver screen. With their complex motivations, chilling charisma, and uncanny ability to evoke both fear and fascination, these 30 villains have become iconic figures, embodying the depths of human malevolence. Join us as we delve into their twisted minds and explore the mesmerizing realm of Asian cinema's most unforgettable antagonists.
Without further ado, here are 30 of the most iconic villains ever to appear on Asian cinema, in random order.
1. Lee Woo-jin
The case of Lee Woo-jin in “Oldboy” shows the futility of revenge as an action for a man that could do so much with what he had,...
Without further ado, here are 30 of the most iconic villains ever to appear on Asian cinema, in random order.
1. Lee Woo-jin
The case of Lee Woo-jin in “Oldboy” shows the futility of revenge as an action for a man that could do so much with what he had,...
- 7/12/2023
- by AMP Group
- AsianMoviePulse
by Simon Ramshaw
There is a moment in Jia Zhangke’s “Platform” where an argument between a cynic and an idealist creates an unexpected glimpse of a bright future. One of the film’s central characters Cui Mingliang (Wang Hongwei) declares “the four modernisations: Industry, Agriculture, Defense and Science” will be embraced by China in the year 2000, and it’s no mistake that this statement is a bitterly ironic one for his little town. Taking place between 1979 and 1989, Jia’s second feature film looks at the fallout of the death of Mao Zedong and the formation of the People’s Republic of China, which leaves the performers of provincial Communist theatre troupes without the purpose they once had in Mao’s lifetime. Their stage plays are state-sanctioned propaganda that young and old alike attend in their droves, yet there is the pervasive feeling that this nostalgia will take them nowhere.
There is a moment in Jia Zhangke’s “Platform” where an argument between a cynic and an idealist creates an unexpected glimpse of a bright future. One of the film’s central characters Cui Mingliang (Wang Hongwei) declares “the four modernisations: Industry, Agriculture, Defense and Science” will be embraced by China in the year 2000, and it’s no mistake that this statement is a bitterly ironic one for his little town. Taking place between 1979 and 1989, Jia’s second feature film looks at the fallout of the death of Mao Zedong and the formation of the People’s Republic of China, which leaves the performers of provincial Communist theatre troupes without the purpose they once had in Mao’s lifetime. Their stage plays are state-sanctioned propaganda that young and old alike attend in their droves, yet there is the pervasive feeling that this nostalgia will take them nowhere.
- 1/25/2023
- by Guest Writer
- AsianMoviePulse
by Simon Ramshaw
Few production companies hold the same strength of trademark from its creator than Wong Kar-wai’s Jet Tone Films. While many of us know the celebrated Hong Kong filmmaker for his sumptuous romantic works like “Chungking Express” and “In the Mood for Love”, his career as a producer for other directors holds some of the same trail-blazing intrigue he brought to Hong Kong cinema since the 1980s. Set up in 1991, Jet Tone Films has been responsible for funding Wong’s oeuvre and has recently expanded overseas to collaborate with Japanese and Thai directors (Sabu and Nattawut Poonpiriya respectively) alike. But in this period of blossoming experimentation in the 1990s, Wong set prolific Hong Kong actor Eric Kot Man-Fai a challenge to direct a project about first love, and thus, the sprawling, affectionate “First Love: Litter on the Breeze” was born.
on Amazon by clicking...
Few production companies hold the same strength of trademark from its creator than Wong Kar-wai’s Jet Tone Films. While many of us know the celebrated Hong Kong filmmaker for his sumptuous romantic works like “Chungking Express” and “In the Mood for Love”, his career as a producer for other directors holds some of the same trail-blazing intrigue he brought to Hong Kong cinema since the 1980s. Set up in 1991, Jet Tone Films has been responsible for funding Wong’s oeuvre and has recently expanded overseas to collaborate with Japanese and Thai directors (Sabu and Nattawut Poonpiriya respectively) alike. But in this period of blossoming experimentation in the 1990s, Wong set prolific Hong Kong actor Eric Kot Man-Fai a challenge to direct a project about first love, and thus, the sprawling, affectionate “First Love: Litter on the Breeze” was born.
on Amazon by clicking...
- 1/12/2023
- by Guest Writer
- AsianMoviePulse
by Simon Ramshaw
Lam Nai-Choi’s “The Seventh Curse” opens with a wistful statement from its creator, prolific pulp writer Ni Kuang: “Everyone has many strange things happen around them every day. Every little thing, as long as you’re willing to dig deeper, can be turned into a strange story.” He sits in a comfortable armchair, nursing a glass of brandy as Miss Asia contestants listen eagerly to his every word. One may almost think it’s the introduction to a “Twilight Zone” tale, one of intrigue and philosophical musing within tales of the weird and macabre. Enter blossoming Hong Kong megastars Chow Yun-Fat and Chin Siu-Ho with a strange story of their own to share, one that blows the viewer’s expectations out of the water with a cult Hong Kong horror-comedy gem, filled with booby-trapped ancient temples, flying kung-fu demons and many, many explosions of blood and gore.
Lam Nai-Choi’s “The Seventh Curse” opens with a wistful statement from its creator, prolific pulp writer Ni Kuang: “Everyone has many strange things happen around them every day. Every little thing, as long as you’re willing to dig deeper, can be turned into a strange story.” He sits in a comfortable armchair, nursing a glass of brandy as Miss Asia contestants listen eagerly to his every word. One may almost think it’s the introduction to a “Twilight Zone” tale, one of intrigue and philosophical musing within tales of the weird and macabre. Enter blossoming Hong Kong megastars Chow Yun-Fat and Chin Siu-Ho with a strange story of their own to share, one that blows the viewer’s expectations out of the water with a cult Hong Kong horror-comedy gem, filled with booby-trapped ancient temples, flying kung-fu demons and many, many explosions of blood and gore.
- 12/12/2022
- by Guest Writer
- AsianMoviePulse
Wednesday marked the end of the Festival in cinemas, and the International People’s Jury has chosen the best films of the New Asian cinema section. But the 16th Five Flavours is not over – viewers all across Poland can watch 30 films from the Festival program till December 4!
The members of the 16th Five Flavours Asian Film Festival International People’s Jury are: Simon Ramshaw (UK), Dora Leu (Romania), Khushi Jain (UK), Sara Carotenuto (Italy), Siria Falleroni (Italy), Suphon Niamkamnoet (Estonia), Stefano Facchinetti (Belgium), Aleksander Michalec (Poland), Aleksander Kmak (Poland) i Basia Majchrowicz (Poland).
The Jury decided to award the Grand Prix of the 16th Five Flavours to “Arnold is a Model Student” by Sorayos Prapapan from Thailand. Here is how the Jury motivated their verdict:
“We decided to give the International People’s Jury award to a film that impressed us with its subversive yet comedic approach to its political subject matter.
The members of the 16th Five Flavours Asian Film Festival International People’s Jury are: Simon Ramshaw (UK), Dora Leu (Romania), Khushi Jain (UK), Sara Carotenuto (Italy), Siria Falleroni (Italy), Suphon Niamkamnoet (Estonia), Stefano Facchinetti (Belgium), Aleksander Michalec (Poland), Aleksander Kmak (Poland) i Basia Majchrowicz (Poland).
The Jury decided to award the Grand Prix of the 16th Five Flavours to “Arnold is a Model Student” by Sorayos Prapapan from Thailand. Here is how the Jury motivated their verdict:
“We decided to give the International People’s Jury award to a film that impressed us with its subversive yet comedic approach to its political subject matter.
- 11/25/2022
- by Adriana Rosati
- AsianMoviePulse
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