Despite this one being a mediocre season for Asian cinema, NYAFF still managed to include a number of gems in its huge program, once more justifying its place as the biggest festival of Asian cinema in the Western world. With an obvious focus on titles by and about women, the programmers offered a diverse selection that included the whole spectrum of genre films from the whole region, while also of note was the inclusion of a plethora of shorts, both live-action and animation. Japanese and Korean (family) dramas, action and horror from ASEAN countries, while the Chinese mainland cinema highlighted a couple of captivating stories. Comedies are still a mixed-bag, at least for the Western audience, but some progress is also evident in that category also. Without further ado, here is a list of this year's coverage of New York Asian Film Festival
You can read the full reviews by clicking on the titles
1. Film Review: Dream (2023) by Lee Byeong-heon
That is not to say that the narrative isn't a serious one at all either. Homelessness is a topic very rarely seen in Korean cinema, and lesser so in comedies, but Lee takes this opportunity to put across the harsh conditions and prejudices the homeless face in the country. The violence, the disregard, disrespect and ignorance is accurately portrayed, but the narrative doesn't delve too deep in this regard, nor does it give equal importance to its many characters. While some of them get sufficiently detailed storylines, others are relegated to mere one-sentence explanations. This is an inexcusable shortcoming, especially considering that the film runs just north of the two-hours mark. Most of that time, at least until the narrative gets to the World Cup, is utilised to tell Hong-dae's rather uninteresting story which swiftly runs out of steam, with some elements, like his mother, being quickly forgotten. The unrealistic commentary during the football matches is also going to prove quite bothersome for many. (Rhythm Zaveri)
2. Interviews: Takeshi Fukunaga
3. Home Sweet Home (2023) by Takumi Saitoh
In a testament to Takumi Saitoh‘s directorial abilities, “Home Sweet Home” thrives on two axes, for the most part. The first one is the way he manages to artfully mix the family drama with the thriller/horror and the whodunnit, with the first providing the base and the second the small nuances that make the mix quite intriguing. The weird behaviors in particular, which are presented through brief scenes here and there, along with some flashbacks, are a true wonder to watch. This aspect also benefits the most by the excellent acting by the secondary actors, namely Yohei Matsukado as Koichi, Nao as Ms Honda, the female architect, and Yosuke Kubozuka as Satoru giving great performances, whose overall demeanor is the one that lets the horror gradually creep into the narrative. The same applies to some smaller scenes, as the one with the spiders and some voyeuristic ones, while the whodunnit element becomes more and more intense as a number of people are killed and the officer who handles the case (another great acting from Ayumu Nakajima) does not seem to have any particular answers. (Panos Kotzathanasis)
4. Interviews: Takumi Saitoh
“I learned from the various directors that I work with that the director's personality is what creates the mood of the set and so, as a director, I try to be as gentle and kind as possible. I also try to limit the amount of stress that I have and I carry in the set. I also learned that directors who really enjoy food tend to have great sets and great food on sets and that is something I am trying to incorporate into my production sets as well. I think that good food directly connects with the happiness and subsequently, the work of the actors, and so I try to feed everyone organic foods, fermented foods.”
5. Film Review: Mayhem Girls (2023) by Shinichi Fujita
Fujita's latest film liberally spends considerable time and momentum developing the four girls' burgeoning relationships that its cataclysmic curveball – the manipulative Yusuke – throws itself into disarray, choking its blithe spirit with an unnecessarily toxic grip it chooses to ignore. Culminating in a showdown putting to use their heightened powers at the apex of corruptible greed, ‘Mayhem Girls' plummets from a coming-of-age exploration of friendship and femininity at a time of great social upheaval down to an arguably silly psychological battle between good and evil faster than the film can possibly build itself up to. The leaps in logic and narrative this requires, including in its own supernatural laws, defy comprehension, choosing to forget issues and questions it had previously raised for a new set, none of which, again, are explored to any great depth. (JC Cansdale-Cook)
6. Kitty The Killer (2023) by Lee Thongkham
Lee Thongnam evidently tries to include as many genre-favorite elements as he can in his narrative, with the movie including secret societies, sexy girl murderers with guns, kids, handsome villains and heroes, a lot of action, much comedy, a bit of romance, some super hero notions and a few betrayals to add a bit of depth to the story. Expectedly not all of them work as well, with the comedy in particular seeming out of place on occasion, even if this time the source of the majority of it is the wimpy who is trained by all powerful women and a little, in an appealing role reversal here. However, when the movie goes beyond the slapstick comedy and enters the domain of parodying a number of the aforementioned genre elements, then the level is definitely raised, with the irony here being particularly smart. (Panos Kotzathanasis)
7. Film Review: Miss Shampoo (2023) by Giddens Ko
The romance between the two unlikely lovers is both hilarious and interesting, with the combination of drama and romance being well implemented throughout, and the back and forths between the two protagonists, rather intriguing. That the two of them almost immediately jump into a relationship also works well here, particularly since Ko avoids the cliche of the will-they-won't they, which is so prevalent in romantic movies. This aspect also benefits the most by the acting, the charisma and the antithesis of the two, with gorgeous Vivian Sung being the smart and beautiful as Fen and Hong Yu-hong the strong and inexperienced in love, in the most appealing fashion, with the chemistry of the two carrying the movie from beginning to end. (Panos Kotzathanasis)
8. Film Analysis: Motherhood (2022) by Ryuichi Hiroki
Ryuichi Hiroki directs a very layered, very intricate story that manages to be both entertaining throughout and to present a number of comments regarding life in Japan, particularly for women. The way the hardships women face in a society where Confucianism is still prevalent is eloquently presented, particularly since three generations of women seem to suffer from the exact same issues, which occasionally, and rather surprisingly, are both self-imposed and hereditary. Looking at Rumiko essentially being tortured by her mother-in-law, one would expect her to do anything to protect her daughter. In this case, though, it is not only the opposite that happens, with Sayaka trying to stand up to her grandmother fed up with her treatment of her mother, but even when she does so, Rumiko chastises her, insisting that they must respect the elders at all times. (Panos Kotzathanasis)
9. Film Review: Vital Sign (2023) by Cheuk Wan-chi
The film is an affectionate homage to Hong Kong, his people, and his front-line workers, incarnated in the character of Ma. His common sense, his passion and his family values have often been associated with the people of Hong Kong and his controversial choices cannot alienate the empathy that he effortlessly brings about. The whole film is based on, and kept together by the contrast between him and Yau and the tension that is generated from it is the glue that links the otherwise episodic unraveling of the narration, giving it a thriller pace at times. It is the classic buddy or rookie movie trope, with a very strong Hong Kong local flavor. In fact, the context and Ma's family plot highlight a realm that is intrinsically local and gives room for a heartfelt social commentary. (Adriana Rosati)
10. Film Review: I Love You, Beksman (2022) by Perci M. Intalan
Ridiculously goofy and full of flavor, “I Love You, Beksman” is a candy land of pink pastels, kitschy soundtracks and cutesy makeup and costumes (courtesy of the brilliant aesthetic stylings of Art Director Emilio Medrano and Carmela Danao's production designs) that is unapologetic in delivering its message. You are not a man if you don't make gains at the gym or change car tires at the mechanic shop. Real men don't cry unless they're ‘fags', right?… Well, maybe not anymore. (Leon Overee)
11. Interview: Quark Henares and Royce Cabrera
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