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The 25 Best ASEAN Movies of 2021

The 25 Best ASEAN Movies of 2021

15. (, Philippines)

Zig Dulay has managed to create a very sensitive movie, that, despite focusing on little children, actually includes quite a rich context, as it highlights the inequalities Aeta people face, along with their way of life that seems to be forcibly eradicated. Both the dream and the effort of Itan to go to school highlight this aspect in the best fashion, while his interactions with his sister, eventually showcase the value of family, and how kids can actually be much more smart than grown ups on occasion. This last aspect is also the source of the most hilarious moment in the short, along with the “teaching” sessions, with the “micromanaging” of the father being a delight to watch. Lastly, Dulay also seems to exemplify the role of local governments and teachers, which also extends to a comment about retaining hope even when things seem hopeless. (Panos Kotzathanasis)

14. (, Indonesia)

Alvaro Gurrea creates a rather unusual narrative, where space and time are not exactly defined, with his repetitive, episodic approach adding even more to the sense of disorientation of what is exactly happening. In that fashion, the film can be perceived as a documentary, due to its permeating realism and frequent, actual footage of rituals and the life in the areas the story takes place in, but, at the same time, the main story is highly fictional, essentially ignoring all the “rules” of the documentary. Furthermore, the whole movie seems to be permeated by a deadpan kind of ironic/black humor, as the various prayers and rituals do not fulfill their purpose, the cryptocoins are proven a scam, and the tourists that come to take photographs in a place where the workers face grave dangers due to the sulphur they inhale everyday, eloquently highlight. Lastly, the meta concept of a film within a film is also present here, if briefly, cementing the overall diversity. (Panos Kotzathanasis)

13. (, Thailand)

Sawanee Utoomma as Nim – The Medium – Photo Credit: Sasidis Sasisakulporn/Shudder

Granted with an impeccable atmosphere, a fun concept, and more than enough scares to offset the minor drawbacks, “Medium” emerges as one of the finest films in the genre if kept from reaching the highest status due to those minor drawbacks. Fans of Asian horror, spiritual exorcism films, or the past work of the creative crew will highly enjoy the film. (Don Anelli)

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12. (, Thailand)

The Edge of Daybreak by Taiki Sakpisit @IFFR2021

Food often plays an important role in Asian cinema when it comes to bringing families together and have them talk and discuss their problems and everyday life. However, in “The Edge of Daybreak” it plays a different role. The one communal dinner progresses in total silence. Tension builds up by what is left unsaid. Women prepare food but the emphasis is on the more gruesome aspects such as slaughtering a chicken or butchering a pig. On top of that, the film is laced with still lifes of dead animals and decaying food, shown in dilapidated locations. In art, still lifes of food and game are normally used to show richness and splendor, but here the images rather echo the lack of perspective in life. (Nancy Fornoville)

11. (, Philippines)

Matti is addressing one of the biggest problems in the Philippines – the ‘disappearance' of many people who oposed the regime in the past decades, and he isn't gentle about it. On the other hand, he is taking stylistic compromises led by the emotional input. For his role of an initially corrupt journalist who realised the full weight of his wrong-doings after the murder of his friend and his young son, Arcilla won the the Volpi Cup for Best Actor in Venice. Towards the end, he turns into a modern hero who live-casts his own way of no return in a scene which is a poignant reminder of a digitally-steered parallel reality we currently occupy. (Marina Richter)

10. (, Singapore)

Apart from the permeating, dead-pan humor, the movie also thrives due to its visuals, with DP Qi An Juan doing an excellent job in capturing the plethora of different settings, and  the way the frames include the protagonist, who is there but barely seen. The same prowess applies to the editing, with each scene staying on screen just long enough for the deadpan humor and the whole style of work of the sound recorder to be presented in all its glory, while at 77 minutes, the movie definitely does not overextend its welcome. “24” is a truly remarkable film, a masterclass in deadpan humor, cinematography and sound, while also featuring a documentary-level presentation of the work of the sound man. Definitely among the best of the year. (Panos Kotzathanasis)

9. (, Vietnam)

The Vietnamese filmmaker Le Bao has already shown a considerable talent with his shorts, but after his feature debut “Taste” he seems destined to be regarded as one of the most promising auteurs of today and tomorrow. “Taste” premiered at Berlinale's more daring and avant-garde competition programme Encounters where it was awarded with the Special Jury Prize. For a reason, since it is one of a kind gripping viewing experience. (Marko Stojiljković)

8. (, Thailand)

On the appearance and the production structure levels, “Memoria” might seem as a bit of departure from Apichatpong Weerasethakul's usual environment, but on the topical and craft level, it is not. It can be considered more of an expansion than a recontextualization. It is a new page in his career, but the page is from the same book. The end result is pretty much spot-on. (Marko Stojiljković)

7. Vengeance Is Mine, All Others Pay Cash (, Indonesia)

#Vengeance Is Mine, All Others Pay Cash

Edwin will address various issues, ranging from sexual tension to jealousy to violence against women and revenge. Nonetheless, the stylistic craziness and pastiche and mocking vibe never leave. There will be more painted boards (this time on backs of trucks) coming to life, insane stories of terrifying gangsters reluctant to visit a dentist or even some extra supernatural spice. (Joanna Kończak)

6. (, Malaysia)

“Barbarian Invasion” strikes without a doubt as a very personal film for Tan Chui Mui, and consequently it strongly feels that it wouldn't have had the same impact if the lead role had been given to another actress. Tan Chui Mui decides to play Moon and face the challenge of juggling the two roles of director and lead actress, and to what result! The intriguing and multi-layered script (also from Mui), where the boundaries between Moon and the film heroine becomes gradually blurred, is enriched by the director persona and her own emotional background. Not to forget her good acting skills, that we have already appreciated in another troublesome motherhood role in Jacky Yeap's “Sometime Sometime”. (Adriana Rosati)

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