LOOMING STORM (NYAFF 2018)

THE LOOMING STORM STILL 12 — Courtesy of Enjoy Pictures

A strong moody atmosphere-driven crime drama is also an entry into this year’s Tiger Uncaged competition, and for good reason; it is an extremely accomplished first feature for one Dong Yue. Here again, setting is a crucial element of the story, with a city to the far north, built around its factories, on the verge of staggering depression in the years from 1997 to the early 2000’s. Its gray monoliths to production cast a dreary enough spell, but Yue also depicts a landscape besieged by harsh weather. This is the stage of a series of ghastly murders, which a revered security officer and unofficial sleuth, Yu, is compelled to get to the bottom of. The film deftly handles a variety of themes. With the overarching dread of economic collapse ever present, THE LOOMING STORM represents struggles that look inward; obsession with achieving a goal and preoccupations of not measuring up. Duan Yihongas Yu eschews both a sense of naïve pride and being haunted by self doubt.

A kindred spirit to the great BLACK COAL, THIN ICE and even South Korea’s supernaturally leaning THE WAILING, a murder case may seem to be the main plot, but it is exploded outward, abstracted even, to deal with bigger issues and ideas. While a bit difficult to construe at times, the beautifully shot drear makes for an absorbing cinematic experience.

THE LOOMING STORM is being screened at the 2018 New York Asian Film Festival on Monday, July 9th, at 9:30 PM at the Walter Reade Theater. Director Dong Yue will attend the screening for a Q & A. Visit the NYAFF homepage for tickets and information.

THE LOOMING STORM STILL 29 — Courtesy of Enjoy Pictures

WRATH OF SILENCE (NYAFF 2018)

Wrath_of_Silence-_SONG_Yang_as_ZHANG_Baoming_4 — Courtesy of Bingchi Pictures Co., Ltd.

The first of two very dark and powerful suspense crime dramas from China (which are being screened together on the same night to make for a powerful double feature, WRATH OF SILENCE is only the second feature of Xin Yukun, but its sweeping cinematography and lurid interiors suggests a visionary at work. The backdrop of a desert landscape, peppered by sparsely populated villages of miners and their families, is integral to the story. Characters are moved into this minefield by motivations that speak both of their integrity and where their lot in society lies: finding a missing child, building a monopoly on work sites. Yunkun uses aggressive behavior as another way of defining characters, their weapons and manner of striking out extensions of who they are, be it the utilization of anything of nature within a grabbing range, or a polished and apparently expensive bow and arrow set used for hunting its owner’s quarry. It is a fantastic instance of strife arising from worlds colliding.

Violence is often jarring, and can downright brutal when making a point,. Visuals are left lingering in the viewers’ mind. Yunkun’s navigation of calm and calamity make this one of the strong picks of the festival.

WRATH OF SILENCE is being screened at the 2018 New York Asian Film Festival on Monday, July 9th, at 6:30 PM at the Walter Reade Theater. Director Xin Yukun and actor Jiang Wu will attend the screening for a Q & A, and Jiang will be presented with the NYAFF 2018 Star Asia Award. Visit the NYAFF homepage for tickets and information.

Wrath_of_Silence_-_Song_Yang_as_ZHANG_Baomin_3 — Courtesy of Bingchi Pictures Co., Ltd.

THE THIRD MURDER (NYAFF 2018)

THE THIRD MURDER STILL 3 — © 2017 FUJI TELEVISION NETWORK/AMUSE INC./GAGA CORPORATION All rights reserved.

Drawing instant intrigue for fans of director Hirokzau Kore-Eda, acclaimed director of numerous works showing understated and often obscure views of family dynamics; how would his mark be made on a genre-fied courtroom drama by way of a murder mystery? It may not seem like as drastic a mark as one might expect. But there is an understated feel to it, even as that crucial testimony is called for in a courtroom on the verge of a decision. There are also some deep moral and philosophical quandaries being dealt with, putting the film in good company with its festival peers (such as SCYTHIAN LAMB). The film is anchored by the very solid performances of Koji Yakusho, as an inscrutable suspect who hides myriad realities behind sad and searching eyes, and Masaharu Fukuyama as cocksure and morally flexible defense attorney, a character type of great familiarity. Fukuyama’s character stands to change the most, and does so engagingly as complications in his own family life bear impact on his dealing with the case. There is a very Kore-eda esque feel to gently chiding interactions between him and his father, which are a bit meandering and very natural. A solid drama with a bit of arthouse subtlety, which leaves plenty of mental matter to consider afterwards.

THE THIRD MURDER is being screened at The 2018 New York Asian Film Festival on Saturday, June 30th, at 12:15 PM. Visit the NYAFF homepage for tickets and information.

THE THIRD MURDER STILL 47

BLOOD OF WOLVES (NYAFF 2018)

BLOOD OF WOLVES STILL 5 — © 2018 THE BLOOD OF WOLVES Production Committee

Kazuya Shiraishi has been something of a ringer for the New York Asian Film Festival, churning out a steady, reliable stream of hardboiled hits every time one of his films is brought in. Starting with the dark peek into the working of a grizzly murder case in THE DEVIL’S PATH, followed up by the convoluted tale of a corrupt cop’s rise and undoing in TWISTED JUSTICE, and topped off last year with the more simmering NIGHT OF THE FELINES, a low-key entry into the Nikattsu Studio’s Roman Porn Reboot series. This time at bat, the director with a knack for true crime dramas takes a big swing, and connects with BLOOD OF WOLVES. Deserving of the term period piece, Shiraishi’s production manages to convincingly evokes an 80s Yakuza crime drama. While of a mostly different look and feel, I am reminded of the great South Korean crime drama NAMELESS GANGSTER (which played a past NYAFF) and how thoroughly that film embraced a time period. I also cannot help but draw parallels between that film’s Choi Min Sik, and similarly revered Koji Yakusho featured here as a detective in lates 80s Hiroshima, specializing in dealing with the Yakuza.

To picture Yakusho here in his role as Detective Ogami, think of his ‘wildman’ persona in KAWAKI. Switching effortlessly between seething quietly and recklessly lashing out, seemingly unable to be contained. The well-worn trope of the odd couple is played to the hilt, as he is paired with the straight-laced Hioka (Tori Matsuzaka, who shows a great deal of depth in his portrayal of inner conflict).

As warring Yakuza factions edge closer and closer toward an escalating gang war, a multilayered story of corruption also unfolds. Acts of violence go to some teeth-grinding uncomfortable lengths, and Shiraishi’s storytelling has a karmic sensibility.

Ogami describes his situation of oft-compromised morality as ‘walking a line,’ and the film seems to do so too, not tipping its hand as to which way is right – upholding ethics at all costs or using questionale tactics to get results. A selection in this year’s Tiger Uncaged jury competition, and one that could easily walk away with it for its unrelenting intensity.

BLOOD OF WOLVES is being screened at The 2018 New York Asian Film Festival on Monday, July 2, at 9:15 PM. Visit the NYAFF homepage for tickets and information.

BLOOD OF WOLVES STILL 3 — © 2018 THE BLOOD OF WOLVES Production Committee

The New York Asian Film Festival returns, setting phasers to slay

On June 29^th, The New York Asian Film Festival will return, reliably, to the Walter Reade Theater at Lincoln Center to thrill, dazzle, and vex adventurous movie-goers. Its unique cinematic offerings, are culled mostly from the realm this and the previous year’s theater releases of Asian countries being represented, along with a handful of premieres. One can look forward to 2 – 3 screenings each evening (more on the weekends) until things slide downtown to the SVA theater from the 13^th– 15^thfor a stacked conclusion.

Some things will be familiar to long-time attendees. An award for astounding action cinematography in the name of founding festival organizer Daniel Craft will once again be given, this time to Hong Kong cinema stalwart Dante Lam. As well as a lifetime achievement award to a veteran figure of Asian cinema, here being Japan’s Harada Masato, and a Rising Star award recognizing vibrant new talent.

Some recently launched innovations, such as a gallery exhibition, this year’s theme being “Safe Imagination is Boring” and a jury competition for best film, reserved for new directorial voices and now called the Tiger Uncaged Award, continue to take root. Ever changing, the festival will unveil some new features, such an HBO sponsored Free Talks series. Taking place at the Elinor Bunin Munroe Film Center’s Amphitheater, across the street from the Walter Reade, offering a chance for audiences to engage in lengthier dialogues with directors and performers in the movies being shown.

As for the films themselves, they again represent a significant range of countries both with film industries recognized globally, such as China, Hong Kong, Japan, and South Korea, and those with less (or somewhat less) worldwide exposure: Malaysia, Taiwan, Thailand. The Philippines has taken on a steadily stronger presence, and this year really has a foothold in the proceedings with the number and quality of films being shown, as well as guests on hand. Deeming this year it’s “Savage Seventeenth” and touting an unofficial slogan of “not (being) your average fucking festival, ” the mostly young crew is staying steadfast in bringing a challenging selection of films, downright confrontational at times, and often with something significant to say.

There is no way I could dream of taking it all in. So here I present a sampling of films I’ve been able to preview that made an impression. Numerous other films round out the fest, so be sure to visit the NYAFF homepage as you make your plan of attack.

DYNAMITE GRAFFITI (Japan, 2018) directed by Tominaga Masanori

BLOOD OF WOLVES (Japan, 2018) directed by Kazuya Shiraishi

ONE CUT OF THE DEAD (Japan, 2017) directed by Shinichiro Ueda

THE SCYTHIAN LAMB (Japan, 2017) directed by Daihachi Yoshida

THE THIRD MURDER (Japan, 2017) directed by Hirokazu Kore-eda

RIVER’S EDGE (Japan, 2018) directed by Isao Yukisada

MICROHABITAT (South Korea, 2017) directed by Jeon Go-woon

MIDNIGHT BUS (Japan, 2017) directed by Masao Takeshita

WRATH OF SILENCE (China, 2017) directed by Xin Yukun

LOOMING STORM (China, 2017) directed by Dong Yue

	The New York Asian F… on LOOMING STORM (NYAFF 2018…
	The New York Asian F… on WRATH OF SILENCE (NYAFF 2…
	The New York Asian F… on MIDNIGHT BUS (NYAFF 2018)
	The New York Asian F… on MICROHABITAT (NYAFF 2018)
	The New York Asian F… on RIVER’S EDGE (NYAFF…