Asian film festivals – Monte Carlo Film Festival Tue, 22 Nov 2022 06:11:22 +0000 en-US hourly 1 Asian film festivals – Monte Carlo Film Festival 32 32 White Wave Dance is now accepting applications for the 22nd Annual DUMBO Dance Festival Mon, 21 Nov 2022 19:30:00 +0000

White Wave Dance is accepting applications for the 22nd Annual DUMBO Dance Festival, presented June 22-25, 2023 at the Mark Morris Dance Center, 3 Lafayette Avenue, Brooklyn, NYC. The deadline for special Early Bird requests ($80 standard application fee per work; $90 application fee per work if applying for the Grand Finals) is November 28, 2022 at 11:30 p.m. ET. The deadline for regular entries is December 20, 2022 at 11:30 p.m. ET ($90 standard entry fee per work; $100 entry fee per work if applying for the Grand Finals). To apply, CLICK HERE.

Applications must be for pieces of a maximum duration of 9 minutes (group performances) or 6 minutes (solos). Each choreographer or company may submit up to two applications. Each application requires a separate, completed application form and a non-refundable application fee.

The four-day festival will feature more than 70 dancers from the New York metro area and across the country, selected by a panel of distinguished presenters and dance artists.

White Wave’s mission is to act as a powerful stimulus to broaden the horizons of dance by producing dance concerts, festivals, residencies and educational activities. White Wave offers dancers the opportunity to come together, create and present new work on prestigious stages to discerning New York audiences.

For inquiries regarding DDF 2023, please contact Young Soon Kim, Artistic Director at 718-855-8822 or by email at

About the WHITE WAVE dance

Founded in 1988, WHITE WAVE Young Soon Kim Dance Company (WHITE WAVE Dance) strives to inspire audiences through multi-dimensional dance productions reflecting both modern and timeless themes and philosophies. Our mission is to be a powerful stimulus for change and expansion in the world of dance and the arts through the production of dance concerts, courses, residencies and education.


Founded in 1988, WHITE WAVE Young Soon Kim Dance Company (WHITE WAVE) strives to inspire audiences through multi-dimensional dance productions reflecting both modern and timeless themes and philosophies. Our mission is to be a powerful stimulus for change and expansion in the world of dance and the arts through the production of dance concerts, courses, residencies and education. Artistic Director Young Soon Kim’s vision is vast, challenging the threshold of dance, music, theater and visual arts, rushing forward to create new possibilities. Ms. Kim creates works of vision and body language with respect and awe of the new that challenge and expand the boundaries of dance. We provide emerging and established choreographers/companies with a place in New York where they can gather, create, rehearse and present new dance work through our festivals.

Mission and brief history of WHITE WAVE

Founded by Korean-born Young Soon Kim in 1988, WHITE WAVE Young Soon Kim Dance Company is dedicated to inspiring audiences through multi-dimensional dance productions reflecting both modern and timeless themes and philosophies. We constantly strive to be a powerful stimulus for progress and evolution in the world of dance and the arts. By producing dance concerts, festivals and educational activities, WHITE WAVE Dance offers both new and seasoned choreographers/companies an encouraging environment where they can create, collaborate and present new work in the undisputed dance capital of the world, New York. .

WHITE WAVE established DDF in 2001 in response to the dance community’s need for performance opportunities that would not only showcase, but also produce the work of emerging choreographers at minimal cost to the artist. The festival is now recognized as New York’s most prestigious gathering of pioneering choreography, encouraging experimentation, creativity and originality.

To date, WHITE WAVE Dance has proudly presented over 3,000 choreographers/dance companies and over 22,500 performers to a total of over 90,500 spectators.


Young Soon Kim, Artistic Director of WHITE WAVE Dance, is a nationally and internationally renowned choreographer, whose work has been hailed for its uplifting, visually stunning and emotionally rich phrases and textures.

In addition to her role as a performer and artistic director, Ms. Kim established a series of dance festivals soon after the inauguration of the WHITE WAVE John Ryan Theater in DUMBO, Brooklyn, in 2001.

Since then, she has become one of New York’s most recognized producer/curators. Ms. Kim was also a juror for the New York City Department of Cultural Affairs in 2006 and for the Lower Manhattan Cultural Council in 2014.

After the world premiere at La MaMa Moves 2017! Dance Festival, The Canadian premiere of “iyouuswe” (read as I-You-Us-We-two) by WHITE WAVE Dance at the 2018 Vancouver International Dance Festival was a resounding success! WHITE WAVE performed “Eternal NOW” on our hugely successful 2019 tour of Korea and China. In Gwanju, Korea, we performed at a special event at the Asian Cultural Center, one of the most prestigious arts complexes in all of Asia. There we participated in the opening celebration of the 2019 FINA World Championship Masters Games, a sporting event that rivals the Olympics. Then we flew to China to perform at the Ningbo Cultural Plaza, as part of a Sino-American cultural exchange program. A dazzled sold-out audience greeted us at each performance!

During the summer/fall of 2021, Young Soon Kim continuously premiered “iyouuswe II, A Dance Film” and a stage version of the production.

In October 2021, WHITE WAVE Dance presented three free performances of their new production, iyouuswe II (I-You-Us-We-Two), on October 9 and 30, 2021 at DUMBO Archway, and two shows at the Home of WHITE WAVE Dance at 5 p.m. as part of the City Artist Corps Grant Initiative.

“iyouuswe II, A Dance Film” was selected as a finalist of the 2022 Cannes International Film Festival, the Paris International Short Film Festival, the Vancouver Independent Film Festival and an OFFICIAL SELECTION at the International Short Film Festival London 2021, Espoo International Film Festival Digi-Dance (Finland) and Experimental, Dance, Music Film Festival (Canada).

“There are people who just have a lot of energy, and Korean-born choreographer Young Soon Kim is clearly one of them.” -Roslyn Sulcas, The New York Times

WHITE WAVE’s programs are supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, New York State Council on the Arts, NYC COVID- 19 Response and Impact Fund of the New York Community Trust, Dance/NYC’s Coronavirus Dance Relief Fund, Howard Gilman Foundation, Harkness Foundation for Dance, Mosaic Network & Fund, John Ryan COMPANY and individual arts supporters like you.

]]> PH International Film Industry Conference, then and now Sat, 19 Nov 2022 14:52:47 +0000

I remember going to the Busan International Film Festival for my first official assignment as head of the Film Development Council of the Philippines in 2016. There I was first exposed to the various lectures, panel discussions and Intensive workshops available for festival goers so they could learn more about the inner workings of the global film industry.

Kara David, Kara Alikpala-Magsanoc, Leni Velasco, Monster Jimenez and Baby Ruth Villarama during the round table on documentary cinema.

Kara David, Kara Alikpala-Magsanoc, Leni Velasco, Monster Jimenez and Baby Ruth Villarama during the round table on documentary cinema.

I was like a kid in a candy store, absorbing and learning from international industry speakers to learn about the entire spectrum of filmmaking – from development to film financing to production including programming, budgeting, packaging a film, through to proper post-production, audio post-production, film distribution, film sales and archiving.

I remember thinking, “If only filmmakers and industry professionals in the Philippines could access this type of training, they would feel more empowered to make films not just for the domestic market but for the world. .

They would be equipped with the tools to navigate the global space, learn the ropes of international cinema, understand trends happening beyond our local film industry, and understand how they can incorporate these ideas as strategies for their projects. following. “

This awareness was further reinforced when I went to the American Film Market in November of the same year, where the film conferences were more structured and specific.

The columnist at the International Conference of the Motion Picture Industry in 2018.

The columnist at the International Conference of the Motion Picture Industry in 2018.

The columnist at the International Conference of the Motion Picture Industry in 2018.

There, I immersed myself even more to absorb this new learning on the different essential aspects of cinema. These have been divided into particular lecture sessions that allow you to embrace the creative and business aspects of filmmaking.

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This experience allowed me to assess the current landscape of the local film industry, where we were raising a lot of creative professionals through grants and festival funds, but not so much individuals who would champion the business side of filmmaking, what I felt was as important if not more important.

I figured that since I couldn’t drive the whole film industry to these international film festivals, we would bring these international film experts to the Philippines.

Armed with the dream of bringing together local and international industry professionals and experts to discuss the latest trends, developments, platforms and cooperation opportunities that will significantly help aspiring filmmakers and producers, I rolled up my sleeves, conceptualized , developed and designed what would be the International Motion Picture Industry Conference (IFIC) as we know it today.

But what I thought was the perfect solution was not received as warmly as I had hoped. In 2017, when we organized the first IFIC, the local film industry was still very insular. Most films are specially made for local audiences. Only a few films traveled outside the Philippines, including those shown at international film festivals. The idea of ​​bringing in international experts who would share their knowledge of global movie trends was therefore very, very new in the industry.

There was a lot of opinion, even resistance to the idea of ​​introducing best practices that we can adapt because our local industry is so used to the way we do things. Over the past 100 years the film industry has regulated itself and people have their own set systems and their own ways of making films. So bringing in these best practices that would normalize filmmaking seemed so alien and daunting to most.

At the first motion picture industry conference, we literally had to meet with production companies to encourage their staff and teams to participate in the workshops and roundtables. As the concept was new, we created the first year of IFIC, consisting of discussions and roundtables with local industry. IFIC has become a platform to discuss current shortcomings in the film community and industry.

While the Film Industry Conference aims to bring global film trends and insights to the Philippines, the event has also become an opportunity to showcase our local industry professionals who have experience working in the world space.

It has also enabled the Philippines to collaborate with various international institutions around the world. In IFIC’s first year, we brought together the top three international film festivals, Cannes, Berlin and Venice, in a panel to talk about how Filipino films have created a strong presence at their respective festivals in over the years.

Six years later, IFIC has found its permanent place and has become a compelling platform and tool to engage and empower our industry professionals to explore opportunities in the global film industry.

Over the years, this program has nurtured producers who are now well-informed about international co-productions and how to create better funding structures to increase the funding gap in our local industry.

New businesses have emerged that maximize opportunities in the international space. Local productions have created international production divisions within their companies to explore collaborations and partnerships with foreign countries.

There has also been a significant increase in the number of film companies participating in world film markets to seek financing, distribution or sales agents for their films. In terms of attendance, from 500 attendees in 2017, IFIC has now grown to over 2,000 attendees.

This year, IFIC continues to provide an international platform to pursue industry synergy by showcasing experts and professionals online and on-site with its new hybrid format. They offer free public sessions on documentary filmmaking, global trends in film distribution and exhibition, incentives and grants for Filipino filmmakers, and funding opportunities.

As IFIC continues to promote regional and international synergy in the film industry, IFIC’s public sessions for this edition include a panel discussion with ASEAN and ROK film commissions and agencies on access to global opportunities for the Southeast Asian film industry and a session on international co-production in Asia.

With this hybrid setup that caters to both onsite and online attendees, IFIC attendees are sure to exponentially increase not only Filipino filmmakers, but also film industry professionals from around the world. And with this extended release, this small initiative by the country’s national film agency to bring best practices to our local film industry has now spread its wings to share knowledge from the global industry, including our own, with the world.

Hainan Film Festival returns with Marco Mueller as director Thu, 17 Nov 2022 07:35:00 +0000

China’s Hainan Island International Film Festival will resume operations early next month for a fourth edition. Marco Mueller, former director of the Locarno, Venice and Rome film festivals, has been appointed as the new artistic director.

Mueller is now based in China and has previously advised Chinese festivals, including those in Shanghai and Pingyao.

The festival will be held from December 3 to 10, 2022 in Sanya, Hainan province. Its mission is to “strengthen international film cultural exchange and cooperation”.

The lineup hasn’t been announced, but it’s expected to include more than 100 films organized into six sections: Gala, Fest Best, Asian New Directors, Panorama, New Horizons and Classics. Titles will compete for Golden Coconut Awards in at least seven feature film categories, as well as a Best Documentary Award and a Best Short Film Award.

Additionally, there will be public screenings in other parts of the island, branded “Around the Island” and “Screening by the Sea”.

In addition, a section dedicated to the industry will see a revival of the H!Action Project Market, the H!Market Best Shooting Location Recommendation Conference and masterclasses.

A forum or discussion section will be led by Professor Yu Li. Topics include women’s films, documentaries, developments in China’s children’s film industry, filmmaking and technology.

“We must continue to question ourselves before, during and after the festival. This is also how you have to face the public of the 4e HIIFF – we must not stop asking them questions, seeing festival goers as a question, rather than an answer, in order to convey to them the fever of cinema, the passion for films,” said Mueller Variety. “We will continue to uphold the virtues of the festival as a starting point for popular knowledge and for viewing and discussing what is moving and emerging in the different modes of filmmaking in China and around the world, confirming the positive strands of contemporary cinema, and also indicating directions for future development.

Hainan, often considered China’s tropical resort town, is touted as a developing business center and a gateway for commerce and culture. It offers less stringent visa policies for entry and 30-day visa-free entry for citizens of 59 countries, including the US, UK, Australia and most EU countries. .

China is currently enforcing an aggressive zero-COVID policy that aims to eradicate the disease and has high cross-border entry barriers for health reasons and some ongoing inter-provincial travel restrictions. China’s State Council said the time foreign visitors must spend in mandatory quarantine facilities will be reduced from seven days to five days. But officials also said they were refining the rules, not scrapping them.

The festival said it expects to only be able to welcome foreigners who already reside in China for this year’s edition.

Hainan authorities last week ordered mass testing for everyone in Sanya on Saturday. But on Friday evening, they replaced that order with a request for residents to make their own arrangements and get tested every three days instead.

Red Sea International Film Festival unveils selection of festival favorites Mon, 14 Nov 2022 09:36:55 +0000

A selection of new films from the global festival circuit will be screened as part of the program in Jeddah.

The Red Sea International Film Festival has unveiled its Festival Favorites selection. These films have been chosen from the world’s top film festivals and will be screened as part of the Red Sea International Film Festival lineup, bringing the best and promising films from some of the world’s up-and-coming talent to Jeddah.

The Festival Favorites selection includes a round-up of the year’s international successes from audiences and critics, as well as films discovered and specially selected by the festival team.

Speaking about the shortlisted films, Antoine Khalife, Director of Arab Programs and Film Classics, said, “Arabic directors present an extraordinary selection of stories that are both daring and original in the festival’s favorites selection. The subjects are often difficult and worrying, but told with such precision and authenticity that they bring to the screen these intimate subjects such as identity, revolution, patriotism in all forms of the genre with a subtle finesse of realization. and perfect in form.

Kaleem Aftab, Director of International Programming at RedSeaIFF, added, “We are committed to supporting emerging talent and fostering greater recognition of diversity in global cinema. The selection reinvents the landscape of cinema and highlights the impact of African and Asian filmmakers in their own countries, but also in Europe and North America.

The 19 films chosen as Festival Favorites include Ajoomma, by Singaporean director He Shuming. The Oscar-nominated film, inspired by soap operas, tells the story of a widow, an overprotective mother and Mrs. Lim, obsessed with the drama K.

The latest film from Oscar-nominated writer and director Basil Khalil, A weekend in Gazais a humorous, action-packed film about an English journalist, Michael, who finds himself trapped in the occupied Palestinian territories after a rapidly mutating virus is released from an infectious disease lab.

Helloa documentary by Houda Benyamina, Diam’s and Anne Cissé, centers on French rap star Mélanie Georgiades (aka Diam’s), who converted to Islam, turned her back on fame and dedicated herself to a orphanage charity.

Director Firas Khoury presents alam, a coming-of-age film set in the occupied Palestinian territories. The film explores themes of nationalism, propaganda, flag symbolism and the true meaning of freedom.

Godard Alone The Cinema is a documentary by Cyrille Leuthy about the Franco-Swiss director Jean-Luc Godard, who left a legacy of around 140 films when he died. Leuthy’s documentary paints a portrait of the human side of this obsessive filmmaker, using interviews with many people who worked with him coupled with excerpts from Godard’s films.

In a film based on real events, Alice Diop stages the trial of a Senegalese student who drowned her child in the sea near the town of Saint-Omer in 2013. The film, titled Saint Omerreconstructs Diop’s direct experience of the trial in the character of Rama, a literary scholar writing an article about Medea, the figure from classical mythology who kills her own children.

Based on a graphic novel by Marya Zarif, Dounia And The Princess of Aleppo wraps the hard facts of the refugee experience in a feast of fantasy, with an animation style inspired by Syrian tradition and complemented by oud and flute music. The story follows six-year-old Dounia, who is forced to leave her home in Aleppo after her father is taken away in the middle of the night.

In another work of fact-based fiction, under the fig trees evokes the sights, smells and fraternal gossip of a team of fruit pickers who go daily to an orchard in northern Tunisia.

The blue caftan is a story that revolves around the relationship between Halim and Mina, a hardworking and loving couple who make traditional Moroccan caftans.

Elements of film noir and crime thriller combine in Youssef Chebi Ashkalwhich takes place in the strange and abandoned development of the Jardins de Carthage in the north of Tunis.

Gravity, from director Cedric Ido, combines gritty French urban drama with Japanese anime aesthetics in a unique combination. At the center of the story are brothers Daniel, a professional athlete, and Joshua, a wheelchair-bound drug lord. Tension mounts when their former friend Christophe returns from prison, as under a reddening sky, eight planets align and fall out of gravity.

riceboy sleeps is a study of a Korean mother and son as they assimilate to life in Canada, which won the top prize in the Platform section of the Toronto International Film Festival.

In Livea reimagining of Akira Kurosawa’s 1952 masterpiece Ikiru Based in London, Mr. Williams (Bill Nighy) is a management official in a council planning office. For 30 years he ensured that there was no antagonism and no voices raised in his office, slipping in anything that needed action – like a mother’s petition for a playground – at the bottom of his bin. It is not until he is diagnosed with terminal cancer that he realizes how much life he has wasted. He decides to do something worthwhile: build this playground.

Located in Romania in 1972, Metronome centers on 17-year-old Ana, who is more concerned with a boy she loves than politics, but finds herself at a classmate’s party listening to The Doors on Radio Free Europe while her friends make plans to resist communism.

Through an artistic series of narrative leaps shot in black and white, Korean director Hong Sangsoo depicts a selection of conversations within the same building in his rich yet puzzling film To go up. A film that focuses on a director trying to cope with the pandemic forcing him to stay at home for a long time.

falcon lake is a sensitive story of the first love of actress-turned-director Charlotte Le Bon.

In Son, Kurdish-Austrian director Kurdwin Ayub draws on her own life experiences to tell the story of Yesmin, who wears a hijab in public but also films her best friends Bella and Nati twerking in the prayer clothes of his mother for TikTok. When they suddenly go viral – Yesmin’s mother is appalled, but her father proudly shows the clip to his friends – the girls are invited to perform in costume at Kurdish parties.

Based on real events, Fatih Akin’s film Rhine gold moves with infectious energy and a rock soundtrack through the life of German rapper Xatar.

The documentary A.K.A follows the lives of three Indian look-alikes, or “doubles”, who make a living impersonating Bollywood megastars.

The films will be screened during the Red Sea International Film Festival, which will take place from December 1 to 10, 2022 in Jeddah. The best new films from the world festival circuit, selected by the RSIFF team and presented as part of the Festival program in Jeddah

Leicestershire’s arts and culture scene will get a huge financial boost Fri, 11 Nov 2022 07:00:40 +0000

INVESTMENT IN THE ARTS: A performance by the Bamboozle Theater Company which works with hundreds of families of children with profound learning difficulties

Arts organizations in Leicestershire are set to get a welcome boost after receiving substantial funding from Arts Council England.

They will receive a share of £7.2m each year from 2023-2026 as part of a new national portfolio of funded organisations. A total of 24 groups will benefit, ensuring that more people in more places can find fantastic and fulfilling art and culture on their doorstep.

The investment will reach a rich and diverse mix of groups, from established organizations to ambitious pioneers and innovators, enabling more people to experience and participate in high quality creative and cultural activities where they live.


While building on the longer-term ambitions set out in the Arts Council’s ten-year strategy, Let’s Create, funds will also be invested in seven new Leicestershire organizations which together will help find and develop the next generation of talents.

The new portfolio is more diversified and larger than ever and will include:

  • 2Funky Arts who bring black arts and music together, to communities in Leicester and beyond while engaging with hundreds of young people in positive music-making initiatives.
  • Cosmopolitan Arts, which specializes in creating large-scale events and unique performances including live music, dance, street theater and art.
  • Inspirate, which produces festivals and arts events, providing culturally dynamic experiences to audiences across the country.
  • Leicestershire Museums, Library and Heritage Service (Leicestershire County Council) – which operates from sites across the county.
  • Nupur Arts, which engages with artists and people of all ages, abilities and backgrounds, to develop, promote and support South Asian dance through outreach workshops and performances.
  • Opal22 Arts, a heritage and cultural organization that provides visual arts, music, literature, theatre, educational activities and exhibitions for local communities.
  • Phizzical Productions, which works across England to commission and produce South Asian cultural experiences, includes producing for the UK Asian Film Festival and delivering music workshops for young people.
SOUTH ASIAN DANCE: Indian Classical Dancers from Nupur Arts

The Arts Council will also increase its investments in: the company Bamboozle Theatre, which produces accessible and immersive theater for children and young people with intellectual disabilities; Darbar, which uses classical Indian music and dance in live, primary school and online events; and Serendipity, which strive to integrate African and Afro-Caribbean diaspora perspectives, from supporting artists to creating new work and mentoring young people.

Peter Knott, Regional Director, Arts Council England, said: “We are delighted to unveil our ambitious new portfolio which is reaching more people in more places across Leicester/shire than ever before.

“The Arts Council is investing more money outside of London, and we are introducing seven new organizations locally. Leicester/shire already has a vibrant cultural scene with an international reputation for excellence and we look forward to supporting more opportunities for even more communities in the region to experience creativity on their doorstep.


Sukhy Johal MBE, Chairman of the Midlands Regional Council, said: “The cultural landscape of the Midlands is exciting and energetic with artists and organizations creating extraordinary work that engages and enriches communities. We want to support a sector that breaks down barriers, creates more opportunities to showcase creativity and talent and makes England a truly creative nation.

Submitted by Arts Council England.


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‘Joyland’ receives overwhelming reception at Indian film festival Mon, 07 Nov 2022 12:32:10 +0000

At Saim Sadiq joyland made waves at the 11th edition of the prestigious Dharamshala International Film Festival (DIFF) in India this year. Only, the shows were not filled, but there was a queue, lined up outside the room where an audience waited impatiently to finally see the winner of Cannes from Pakistan.

The achievement is a huge feat since political differences between neighboring countries have made any collaboration in the field of arts and culture almost impossible. However, thanks to DIFF, the film had its Indian premiere on November 6 and it received rave reviews.

A tweet from the official DIFF account described Joyland as “Superb. Unbelievable. Captivating. Jaw-dropping,” with a photo of a large audience marveling at Sadiq’s genius. In awe, another tweet read: “What do you even say after a movie like this Joyland?”

A film critic detailed the overwhelming environment of the room after the screening. “People were crying, we saw a lot of kissing. Saim Sadiq’s premiere in India was a momentous occasion. I’ve seen the movie twice now but was still emotionally blown away. I hope the film will get an Oscar nomination. Moment of pride for all desires.

It was reported that originally there was only one show for Joyland, but due to popular demand another show was held. “Joyland’s joy is immense at DIFF,” one user wrote, attaching a video of the long queue of Indian movie fanatics waiting to watch Joyland.

“Just look at this queue for the 5.50pm screening of Saim Sadiq’s film starring Alina Khan and Sarwat Gilani. By public demand, there may be another show tomorrow,” it read.

The news of Joyland getting an Indian premiere made many people happy, and some even expressed a desire to attend DIFF, especially for Joyland.

Another user thought DIFF was great for bringing artists closer to their audience. “Indian or Pakistani, cinema has its own unifying identity. Artists want to connect. The public wants to connect. Kudos to DIFF for being that bridge, and to all South Asian film festivals for doing this work in their cities,” he wrote. Joyland will be released in Pakistan on November 18.

Darcy Paquet captures the best of Korean cinema Sat, 05 Nov 2022 12:35:08 +0000

When Darcy Paquet moved to Korea in 1997, he was already a fan of Asian cinema, having enjoyed films from Hong Kong and Japan, so he decided to learn more about Korean cinema.

“The movies I saw were way better than I expected,” said Paquet, who grew up in Massachusetts. “And yet I was going online and looking for information and there was nothing about it in English. So I decided to create a Korean cinema website, thinking it would be better than nothing.

Launched in 1999, this site,, was so “better than nothing” that it became an insightful source of English film news for international moviegoers. The website also served as a business card for Paquet’s career as a journalist, covering Korean cinema for publications such as Cine24, and eventually led to his translation of subtitles for award-winning Korean films, such as Bong Joon-ho’s movie. Parasite and Hirokazu Kore-eda Broker.

“I was lucky with my timing,” said Paquet. “I started writing about Korean cinema at the very time when Korean cinema was reaching out to the rest of the world. It was at a time when the thirst for knowledge about Korean cinema was strong in the world and there was very few people who provided this knowledge.

Paquet began his career as a subtitle translator by proofreading English translations and sometimes co-translating with a Korean friend. “About ten years ago, I felt my Korean was at a level where I could do first drafts,” he said. “And even today, a lot of people criticize my work.”

Over the past decade, he’s worked with some of Korea’s top directors and notes that every experience is different.

“I think the best directors are all very sensitive to the intricacies of translation and they understand how important it is,” said Paquet. “Bong Joon-ho is very handy in terms of translation. Before he started, he sent me four pages of notes and after he finished, there were email exchanges. Then we spent two days sitting in front of the screen going over the translations line by line with the producer and a few other people from CJ. It was a very intensive process. Very useful and interesting for me because I could always ask for anything that interested me.

Broker, directed by Kore-eda, presented a particular challenge as the script was originally written in Japanese. Kore-eda understands some Korean, Paquet said, but mostly worked through an interpreter, who communicated any suggestions for subtitle revisions.

“For me, the big challenge of Broker was the matter of tone,” Paquet said. “Because I think Kore-eda is a director who is able to walk the line between very emotional and overly emotional and he knows how to stay right on the right side of the line. translation. You have to be very specific about where you set the tone. That was my biggest challenge with the film.

Translating subtitles is unlike any other type of translation, says Pacquet. “Audiences can hear the actors speak, they can feel a lot of emotion on screen. The translation has to complement that. I watch the performances very closely while I translate. I often feel like I’m translating a performance rather than text.You should also be aware of issues such as timing.

When the actor reacts to certain information, the translator must ensure that the audience processes it at the same time as the actor.

“In general, I think a lot about character relationships and how characters develop through the story,” Paquet said. “And the dialogue reflects everything that’s going on in the character’s mind. I have to try to be aware of what’s going on below the surface and make sure I’m thinking as much as possible.

Paquet is the author of New Korean Cinema: Breaking the Waves, which covers the industry from the 1980s to the 2000s. He wrote the book in 2009 and notes that one of the obvious ways the industry has changed since then is the growing level of international interest.

“I think Korean filmmakers are now very aware of international audiences,” Paquet said. “And so directors like Park Chan-wook and Bong Joon-ho make movies for global audiences, whether it’s in Korean or in English.”

But the biggest change might be the growing number of independent films currently being produced in Korea. To celebrate these independent films, Paquet founded the Wildflower Film Awards, an independent film festival.

“The independent sector is very dynamic,” he said. “Producing at least 100 feature films a year with incredible acting performances. Exciting new talent comes out every year, but inevitably they get somewhat overlooked. It’s a time every year when we can celebrate the achievements of these filmmakers .

Paquet will attend the London Korean Film Festival, which will run until November 17. He signed on to serve as a panelist, participate in a question-and-answer session after a screening of Broker and present two independent films. One of the movies is called Hot during the day, cold at night.

“There are a lot of independent movies these days that show how ordinary people struggle financially and this one does it with humor,” he said. “It’s a real advantage, but it’s not sarcastic. Or negative. It’s warm. »

He will also present A lonely island in the distant sea.

“It’s about a young woman, who is a talented artist, but gives up on art and goes to a Buddhist temple,” Paquet said. “It’s about the relationship between her and her father. This raises many questions about what is important in life.

During his decades of living in Korea, Paquet also appeared in a few dramas and films, including Hong Sang-soo’s 2020 film. The running woman. His part-time acting career happened by chance.

“Living in Korea, I met a lot of directors,” he said. “Both through subtitling work, but also as a journalist and at film festivals. Eventually I came across a director who urgently needed a foreign actor, so I got into the role. So when other directors saw that, they said, oh, Darcy. Whenever someone needs an undemanding and not too expensive foreign actor, they call me.

He is happy to attend the London Film Festival for the chance to introduce an even wider audience to what he admires about Korean cinema.

“A regular festival has its own program and its own relationship with its audience,” said Paquet. “While a festival like this can really delve into different styles of cinema in Korea. I think it really has the pulse of what’s new and interesting in Korean cinema.

San Diego Asian Film Festival spotlights new talent, old classics Wed, 02 Nov 2022 23:38:00 +0000

The 23rd annual San Diego Asian Film Festival kicks off Thursday with the documentary “Bad Axe” at the San Diego Museum of Natural History. This year’s festival will feature 130 films from more than 30 countries and will be screened in four venues.

The documentary “Bad Axe” opens the 23rd annual San Diego Asian Film Festival.

Relaunch the festival

Film festivals, like so many arts organizations, have been hit hard by the pandemic and trying to bring audiences back to the cinema has been a challenge.

“Last year was a great buildup,” said Brian Hu, artistic director of the San Diego Asian Film Festival. “We were back in person but we thought, let’s not do more than one location at a time. Partly because we might still be a little rusty. It’s a lot of work to do multiple locations in same time and then we didn’t know if the demand was still there.”

This year, they’re in pre-pandemic numbers with film screenings at UltraStar Mission Valley headquarters, as well as the San Diego Museum of Natural History, Museum of Photographic Arts, and Price Center at UC San Diego. Diego.

“So we are ready to do that, to go back to where we were and to multiple sites at the same time. And very soon we will be back to 2019 in terms of operations,” Hu added. “We feel good about it. The public seems to be too. And ticket sales are good.”

Showcasing Asian diversity

Although the festival is over two decades old, some moviegoers may still assume that an Asian film festival only features countries like China, Japan, and South Korea.

“One of our goals is to remind everyone that Asia is the biggest continent in the world and they make movies everywhere, and really good movies,” Hu said. “So obviously India is one of the biggest producers of films in the world and India doesn’t just make Bollywood films. India has this vibrant new independent film scene, films made in multiple languages . And so we have some films from India.”

There will also be films from Iran, Afghanistan, Indonesia and the Pacific Islands. Additionally, the focus is on Asian American and Asian Canadian films.

“This is a film festival that is largely founded and organized by Asian Americans,” Hu said. “I think one of our goals is to give a platform to marginalized voices here in the United States. I mean, Asian Americans don’t have a high profile in Hollywood or mainstream media. audience. So those filmmakers and artists who will be going there to get on screen, we want to give them a platform as well.”

The festival will also screen an anthology film called “We Are Still Here” featuring Australian and New Zealand filmmakers. But it’s not your typical anthology movie.

“This one is a bit more ambitious,” Hu said. “It allows filmmakers from New Zealand, Australia and Samoa to each have their own little short film, but they are woven together in an overlapping way. One starts and then stops halfway through. Another one starts and picks up later And the really ambitious part about that is that they take as an impetus, the arrival of Captain Cook in the Pacific Islands, as some kind of spark for indigenous people to have a voice, but then it turns into talking about anti-colonial resistance, and then it turns into this incredible imagination of what the future might look like, so not only does it show that there are many indigenous voices in the islands of the Pacific, but that they really think outside the box.

Spotlight on new filmmakers and veterans

While “We’re Still Here” features young filmmakers and new voices, the sidebar titled Masters reminds us of the great filmmakers who have been churning out stunning works of art for decades. It allows us to see new works by veteran filmmakers as well as introduce those directors to a new generation. This year, the Iranian Jafar Panahi, the Japanese Hirokazu Kore-eda, the South Korean Hong Sang-soo and the Filipino Lav Diaz are among the artists presented.

Master filmmakers are also on display in the Classics Restored showcase. As someone who fell in love with Hong Kong cinema in the 80s when the new wave of Hong Kong was hitting, I’m glad to see two Johnnie To films on the program: “Heroic Trio” and “Executioners”. These films represent the wild energy, bold style and delirious madness of Hong Kong’s New Wave. They feel like they’re dusting off everything that’s come before and inventing something entirely new.

Both films feature a trio of female action stars: Michelle Yeoh (who rides high in “Everything Everywhere All At Once”), Anita Mui and Maggie Cheung.

“These are not films that you would normally think of as important films of world cinema. But they are,” enthused Hu. “These are just the craziest Hong Kong action films of the 1990s. Not necessarily in terms of jaw-dropping action, but they’re also all deranged. Above all, there are only the three stars the most spectacular of Hong Kong cinema at the peak of their powers. , kicking, wearing amazing outfits and being totally memorable besides the fact that there is a director like Johnny To who just allows them to do the most deranged things. I mean, it’s too irresistible. We show both [in 4K restorations] and it sells well. And we know the audience is going to have a great time.”

I can also guarantee a great time at the amazing Mystery Kung Fu Theater, where you have to trust Hu to pick a movie you’ll love. And it has yet to disappoint. The movies tend to be 70s and 80s kung fu gems and Hu is particularly excited about this year’s mystery selection.

Last year there was a sound problem during the screening and the public, including myself, voted to watch the film and make sound effects live. It was one of the funniest screenings I have ever seen. So, as always, I look forward to this event and urge people to come for something magical.

The San Diego Asian Film Festival runs Thursday through November 12.

Primer: Why the Denver Film Festival Matters | Culture & Leisure Sun, 30 Oct 2022 07:00:00 +0000

The first rule of cinema is: “Don’t talk in the cinema”. The first rule of the 45th Denver Film Festival will be: “Let’s talk at the cinema (as soon as the film is finished).”

The virtual experience is over. Denver Film is aiming to put the butts back in the seats and the party back in the festival with panels, parties and all kinds of in-person interactivity after two years of pandemic limitations. Oh, and 230 films never seen before in Denver, from Oscar contenders to homegrown movies to feature films from around the world.

“Having the opportunity to see a film that you wouldn’t normally see, and seeing it with other human beings in the same room as you is what makes film festivals special,” said Denver Film CEO, Kevin Smith, who is hoping for global participation. of about 25,000 from November 2 to 13. “You have the opportunity to immerse yourself in someone else’s world for 90 minutes and then talk about it with other people.”

Jamie Dornan brought “Belfast” to the Denver Film Festival in 2021 before it was widely released and earned an Oscar nomination for Best Picture.

Because it’s been a minute, and many Denver residents may be new to one of the city’s most enduring (and endearing) cultural traditions, I asked Smith and the festival’s artistic director , Matthew Campbell, to take a step back and introduce the festival and its place on the larger film festival circuit, to newbies. A starter, of sorts.

First of all, the Denver Film Festival lives in an ecosystem that begins with the glamorous appointments of the world of cinema: Sundance in January, Berlin in February, South by Southwest (SXSW) in March, Cannes in May, Tribeca in June and Telluride in September. (And Campbell, the lucky duck, can go to all of them.) These big league festivals are not for the movie-going public but for the distributors who are there to buy the films that then appear in your local theaters and on your streaming devices. continued.

“The hub of regional festivals like ours is our local community of moviegoers,” Campbell said. And Denver occupies the sweetest of sweet spots on the festival calendar. At the end of the year, the cream has risen to the top, and there are only a few weeks left before most of the nominees for the Best Picture of the Year Oscars are announced.

This means that Denver Film can select the best films that have emerged at other festivals throughout the year (as long as they have not yet been released). In recent years, Denver festival-goers have gotten glimpses of soon-to-be-nominated films like “Belfast,” “Diana” and “Knives Out” weeks before the rest of the country. This year’s list of contenders includes ‘She Said’, ‘The Whale’, ‘Empire of Light’, ‘Armageddon Time’, ‘Women Talking’, ‘The Inspection’ and ‘All the Beauty and the Bloodshed’.

“Our place on the calendar,” Smith said, “is extremely strategic.”

It’s also a very reciprocal relationship between regional festivals and film distributors. “Festivals like ours help build buzz for a given film before it hits theaters,” said Smith, who then fuels discussions about award nominations.

CB Stockfleth’s documentary on Elephant 6 Recording Company looks back at the early days of landmark bands of the 1990s, including Denver’s Dressy Bessy and Apples In Stereo, as well as Olivia Tremor Control, Neutral Milk Hotel, Elf Power, the Music Tapes, the Minders , Gerbils, Montreal, Beulah, Great Lakes and more. 7:15 p.m. November 11 and 1 p.m. November 12 at AMC 9+CO 10.

The Denver Film Festival’s nerve center is the Sie Film Center, and this year’s festival will be more entirely centralized around its surrounding retail complex, with the Tattered Cover Book Store hosting virtual reality programming and experiences. one-on-one immersive sessions previously held at the McNichols Building in Civic Center Park. The enclosed restaurant space next to the Tattered Cover will serve as the festival’s main hospitality lounge. Films will also screen at the new AMC cineplex at 826 Albion St., and red carpet screenings will once again take place at the opulent Ellie Caulkins Opera House downtown.

Here, some of your questions about what makes the Denver Film Festival special might be answered:

John Moore: How would you suggest a newcomer approach the festival?

Kevin Smith: This year we created the Mile High Pass, which gives you the perfect taste of the festival. It includes two red carpet movies, two special presentations and five general admission tickets of your choice, as well as access to our virtual reality offerings, lounges and some of the parties. This should give you a good overview. (Note: $450 for non-members.)

JM: For those who are festival regulars, what else is new for 2022?

Matt Campbell: We’re launching a new series called “Stories We Tell,” curated by Chris Getzan of History Colorado, which will launch discussions around four topics emerging from this year’s programming that touch on our daily lives: news, food , the arts and work.

JM: What is an example?

MC: One session will discuss how politics and climate change will influence the taste of your pizza in the future.

Denver Richard Kind Film Festival 2021

Veteran television and film actor Richard Kind was among the visitors to the 2021 Denver Film Festival.

JM: Who will win your most prestigious annual award, the John Cassavetes Award?

KS: We thought there was no good match for this award this year.

JM: Last year, the festival’s message was, “Virtual is here to stay,” but I don’t see home viewing as an option this year.

KS: It’s not, largely because the distributors just haven’t made a lot of those films available in a virtual format. They want people to come back to the theater. Our hope is to be able to bring back a virtual component next year.

JM: What are your designated specialty areas this year?

KS: It’s important for people to know that Denver Film operates year-round and that the festival highlights the work we do throughout the year, because all of the smaller festivals that we present each year have their place. within the Denver Film Festival as well. This includes CinemaQ, highlighting LGBTQ+ films; and the Dragon Boat Festival, highlighting contemporary Asian and Asian American cinema. This year we also launched our continuing series “Color of Conversation”. And this year there will be programs specifically featuring British/Irish, Italian, LatinX and French films.

Denver Film Festival 2021 Phamaly Imperfect

Local filmmakers Brian Malone and Regan Linton kicked off a year on the film festival circuit by bringing “Imperfect,” the story of the disability-friendly Denver Phamaly Theater Company, to the 2021 Denver Film Festival.

JM: What is the place of the local film community in all of this?

KS: It’s essential to what we do on a daily basis. We have a fiscal sponsorship program to help local filmmakers realize their projects, and we offer screening opportunities throughout the year. And we are always looking for new opportunities to help you.

MC: This year’s “The Holly,” a local documentary by Julian Rubinstein, is a very exciting opportunity for us to bring this important film to Denver audiences. We were very excited to turn this one into a full red carpet presentation at the Ellie Caulkins Opera House. But there are plenty of great local films on the program this year.

2022 Denver Film Festival Hunt

South Korea’s thriller ‘Hunt’ marks the directorial debut of ‘Squid Games’ star Lee Jung-jae

JM: What is your approach to international films?

MC: Each country submits a film to the Oscars. We pride ourselves on trying to schedule as many of these films as possible. This year, for example, we have “The Quiet Girl” from Ireland, “Broker” from South Korea, “Plan 75” from Japan and “Corsage” from Austria, among others.

JM: Conclusion: Why should a newcomer come to the Denver Film Festival this year?

MC: This will be your only chance to see some of the best films in the world that have been made in the past year. The Denver Film Festival truly brings the world to our doorstep. You will be introduced to different communities, cultures and eye-opening views on life. And it’s an entertaining experience.


2022 Denver Film Festival Guests

From left to right: Sheila McCarthy, Mark Mothersbaugh, Mario Martone, Gabriella Cowperthwaite, Raúl Castillo, Ravi Kapoor, James Benning and Samuel D. Hunter

  • Writer-director Mario Martone will receive the festival’s Italian Filmmaker Award at the Nov. 4, 3:30 p.m. screening of “The King of Laughter” at Sie FilmCenter.
  • Gabriella Cowperthwaite will discuss her documentary “The Grab,” which exposes nations grabbing farmland and water far from their own borders at 7:15 p.m. Nov. 4 and 4 p.m. Nov. 5 at AMC 9+CO 10 .
  • James Benning: This year’s Denver Film Festival Stan Brakhage Vision Award premieres at 7 p.m. Nov. 6 at the Sie FilmCenter.
  • Raúl Castillo will receive the festival’s Excellence in Actor award at the Nov. 9 7 p.m. screening of “The Inspection” at the Denver Botanic Gardens.
  • Film composer and DEVO frontman Mark Mothersbaugh will talk about music and film composition at 7 p.m. on November 11 at the Denver Botanic Gardens.
  • Director Ravi Kapoor will discuss his Wes Anderson-esque comedy “Four Samosas” at 7:30 p.m. Nov. 11, 1:45 p.m. Nov. 12 at AMC 9+CO 10.
  • Samuel D. Hunter will receive the festival’s Outstanding Writing Award at the Nov. 12 4 p.m. screening of “The Whale” at the Denver Botanic Gardens.
  • Actress, writer and director Sheila McCarthy will receive the festival’s Career Achievement Award at the 8 p.m. screening of “Women Talking” on November 12 at the Ellie Caulkins Opera House.
Portland Film Festival 2022: Thomas Mignone wins Best Director for The Latin From Manhattan Thu, 27 Oct 2022 22:56:00 +0000

The original Latin From Manhattan movie poster by Shepard Fairey

The Portland Film Festival has announced director Thomas Mignone as the winner in the Best Director category for his new feature The Latin From Manhattan, the festival's opening film.

The Portland Film Festival has announced director Thomas Mignone as the winner in the Best Director category for his new feature The Latin From Manhattan, the festival’s opening film.

PORTLAND, OREGON, UNITED STATES, Oct. 27, 2022 / — The Portland Film Festival has announced director Thomas Mignone as the winner in the Best Director category for his new feature film The Latin From Manhattan, the opening film of the festival. Mignone is known for his highly original film On The Doll and his intense concept visions for MTV award-winning musical artists such as Mudvayne, Slipknot and System Of A Down.

The Latin From Manhattan: The Vanessa Del Rio Story follows the crazy and uplifting life of legendary adult film icon Vanessa Del Rio, set against the backdrop of organized crime-controlled Times Square in the 70s and 80s.

“I love working with original stories and finding a way to present them in a light that stays true to their spirit and is successfully embraced by a very wide audience. Even though Vanessa was an adult star, she didn’t never allowed to be victimized or belittled for her choices. I feel audiences today will resonate with her determination to proudly stand up for who she was and not allow herself to be treated in a misogynistic way,” said director Mignone.

The Latin From Manhattan stars Drea de Matteo (The Sopranos), Taryn Manning (Orange Is The New Black), Esai Morales (Mission: Impossible: Dead Reckoning Part 1 & 2), Jesse Metcalfe (John Tucker Must Die), David Proval (Mean Streets), Shane West (A Walk To Remember), Elizabeth Rodriguez (Logan), Dita Von Teese (Don’t Worry Darling) and Isla Farris as young Vanessa.

“Director Thomas Mignone’s storytelling talent is no secret in Hollywood. ‘The Latin From Manhattan’ brings the provocative and important life of Vanessa Del Rio to cinemas.” said Josh Leake – executive director and founder of the Portland Film Festival

Celebrating its 10th anniversary and named “one of the coolest film festivals in the world” by MovieMaker Magazine, the 2022 Portland Film Festival presented by Comcast is taking place in person at Lloyd Center Mall from October 11-23 and virtually from October 11 to November 27, 2022.

This year’s festival was filled with film marathons, panels with mental health professionals and criminal detectives, hundreds of independent film screenings, discussions with directors, networking events as well as workshops and educational panels. The Portland Film Festival is accessible from around the world online at, and Comcast subscribers with an X1 Voice Remote or Flex Casting device will have easy, free access to a collection of films.

The 2022 Portland Film Festival featured stories by and about women, the Asian community, the Black community, the Indigenous community, the Latino community, the LGBQTIA+ community, the Muslim community, people with disabilities, veterans and athletes, among many other important and gripping stories.

Comcast subscribers across the country will have free access to a collection of films by simply saying “Portland Film Festival” into their X1 or Flex voice remote during the festival.

About Presenting Sponsor Comcast Corporation

Comcast Corporation (Nasdaq: CMCSA) is a global media and technology company that connects people in the moments that matter. We are primarily focused on broadband, aggregation and streaming, with over 56 million customer relationships in the US and Europe. We provide broadband, wireless and video through our Xfinity, Comcast Business and Sky brands; create, distribute and broadcast premier entertainment, sports and news through Universal Filmed Entertainment Group, Universal Studio Group, Sky Studios, NBC and Telemundo broadcast networks, Peacock, NBC News, NBC Sports, Sky News and Sky Sports ; and deliver memorable experiences at Universal Parks and Resorts in the United States and Asia.

About the Portland Film Festival

Founded in 2012, the Portland Film Festival is one of Oregon’s biggest film festivals and was named “one of the coolest film festivals in the world” by MovieMaker Magazine. It is a non-profit, year-round organization dedicated to nurturing filmmakers and audiences by
celebrate the power of a good story. The Festival focuses on the people, ideas, technology, skills and artistry behind filmmaking and provides both entertaining and educational opportunities for audiences.

Supporting sponsors in addition to main Festival sponsor Comcast include Lloyd Center, Koerner Camera Systems, Gearhead Production Rentals, Oregon Governor’s Office of Film & Television, City of Portland Film Office, Boys & Girls Club of Portland, Ryan Artists, SAG-AFTRA, Portland Mortgage and Pepsi, among others.

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