11. Cape No. 7 (Wei Te-sheng, 2008, Taiwan)
The film's slice-of-life style, the two romances, the forming-the-band concept and the notion of small-time individuals becoming great through cooperation and struggle, are globally loved and presented elaborately here, thus explaining the film's success. (Panos Kotzathanasis)
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12. Castaway on the Moon (Lee Hae-jun, 2014, S. Korea)
Lee Hae-jun took the ordinary tale of the castaway on an island and enriched it with humor, romance and Asian fantasy, which, as usual, moves very close to surrealism. Through the extraordinary romance between two eccentric, desperate characters and the concept of the deserted island, he wants to show that many of the issues troubling modern society could be solved just by thinking “outside the box”. (Panos Kotzathanasis)
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13. Coffee. Waiting. Love (Chiang Chin-lin, 2014, Taiwan)
A romantic comedy that is so silly, naïve, quirky, witty, sweet, funny, smart and entertaining is not easy to come by these days. “Café. Waiting. Love.” is exactly that kind of film. You know, a love story filled with bubbles, rainbow, and unicorns. And a dash of coffee. It starts with a faecal “it really happened” story from a dorm and soon after lays out its plan. Still, it never ceases to surprise. Just when you think it cannot come up with a more over the top craziness, it tops it. Its world is populated with “unique” characters with weird hobbies that totally make sense when things get, let`s say, rough. Unashamedly honest about own eccentricity and cuteness overdose, “Café. Waiting. Love.” is a film to fall in love with. Moreover, it is a lovestory dedicated to cinema and cinema of Taiwan specifically – not only in its end credit scenes. “Café. Waiting. Love.” marks another hugely successful adaptation of Giddens Ko's novel after “You Are The Apple of My Eye “(again produced by Adam Tsuei). (Anomalilly)
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14. Daisy (Kwak Jae-young, 2006, S. Korea, )
“Daisy” is a very beautiful movie that draws strongly from Amsterdam, wonderfully portraying the antithesis between the grey and gothic beauty of the city with the blue skies and the blooming fields of the country. The same applies to the protagonists, with both Jun Ji-hyun as Hye-young and Jung Woo-sung as Park-yi looking gorgeous. (Panos Kotzathanasis)
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15. Devdas (Sanjay Leela Bhansali, 2002, India)
The production features lavish sets, which are a trademark of Bhansali's films. Paro's room was created with the help of 122,000,008 glass pieces. Saroj Khan's choreography is another standout feature of the film. She won a National Film Award for her work in this film which is highlighted magnificently in the songs ‘Dola re Dola' and ‘Silsila ye Chahat ka' The songs are a staple amongst Bollywood fans and are etched in their memories even today. The film was India's official entry to the Oscar and is one of Bollywood's finest films of the century. (Reubyn Coutinho)
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16. Failan (Song Hae-sung, 2001, S. Korea)
Song Hae-sung directed an unusual romantic film based on the Japanese novel “Love Letter” by Jiro Asada, since the two protagonists almost never meet and neither are actually aware of the other's existence, until one of them dies. In that fashion, the film is quite melancholic, with Hae-sung focusing as much on the romance as on loneliness, yearning, and hope. The biggest asset of his direction is the narration, which is presented in an easy-to-understand way, despite the flashbacks and the complexity of the story. (Joanna Konczak)
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17. Homecoming (Takeo Kikuchi, 2017, Japan)
“Homecoming” is a great sample of contemporary Japanese family drama, and a testament to Takeo Kikuchi's growing prowess. Furthermore, Kanae Minato's novels, (after “Confessions” “A Chorus of Angels”, “The Snow White Murder Case” etc) are proven to be excellent cinematic material. (Panos Kotzathanasis)
18. I'm a Cyborg, but That's OK (Park Chan-wook, 2006, S. Korea)
It is to Park Chan-wook's credit that the film, which is usually considered the weaker work in his oeuvre, still ranks among the finest romantic films in a film industry awash with some absolute masterpieces of the genre. Park has stated that after making the DMZ-set “JSA” and the very violent Vengeance Trilogy, he wanted to make a film that his little daughter can watch. “I'm a Cyborg, But That's OK” almost feels like a non-traditional fairytale at places with weird, bonkers but wonderful characters. Go on, recharge your batteries. Be wacky. Sometimes, that's OK. (Rhythm Zaveri)
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19. Il Mare (Lee Hyun-seung, 2000, S. Korea)
Lee Hyun-seung focuses on two axes. The first and most obvious one is the relationship between the two, and particularly if they manage to meet and form a relationship. The second one is the change the two of them experience through a relationship that could only be attributed to a miracle. (Panos Kotzathanasis)
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20. In the Mood for Love (Wong Kar-wai, 2000, Hong Kong)
“In the Mood for Love” is a visually beautiful film about love, urbanity and secrecy. Supported by masterful cinematography, a great score and a brilliant ensemble led by Leung and Cheung, this is a film deserving the praise it has received over time and will undoubtedly continue to receive. (Rouven Linnarz)
