20. Third World Romance by Dwein Baltazar (Philippines)
Starring real life couple Charlie Dizon and Carlo Aquino, “Third World Romance” is a film that actually focuses more on the first two words of the title, in a rather refreshing approach that moves quite away from the done-to-death romantic comedy recipe and has recently found its way to Netflix. (Panos Kotzathanasis)
19. Solids by the Seashore by Patiparn Boontarig (Thailand)
The fact that Fon is a video artist allows Boontarig to include intense art house elements, with the way the art gallery is presented in particular being impressive, highlighting the excellent job in the editing by Nisarat Meechok. The combination of the modern concerns with local folklore is also quite intriguing, with the presentation of the menacing threats instigated by Shati's recollection of her grandmother's tales showcasing the also excellent job of DP Benjamaporn Rattanaraungdetch, whose capturing of all the aforementioned different settings is one of the movie's best traits. At the same time, the inclusion of all these elements does make the movie somewhat self-indulgent on occasion, perhaps even overly ‘arty', while the almost complete lack of tension makes its watching a bit tiresome on occasion. On the other hand, the beauty of the images and the rich context definitely compensate, to a degree at least, with “Solids by the Seashore” emerging as a film definitely worth watching, particularly for art-house fans. (Panos Kotzathanasis)
18. Sara by Ismail Basbeth (Indonesia)
All the elements to shoot a truly polemic film about the rights of LGBT in a Muslim country were there, but Ismail Basbeth chose a calmer, and essentially more realistic approach. The ways he managed to do that are as interesting as they are intelligent. The first is the whole situation with Sara's parents. The friction that could have taken over the narrative with them is nowhere to be found since the father is dead and the mother senile, with the approach actually adding to the drama here. Furthermore, even when the locals ask her not to appear in the mosque considering her situation, they do so politely and quietly, essentially asking instead of demanding, in an approach that also moves towards the same direction. Lastly, that Sara decides to focus on taking care of her mother instead of fighting for her rights as a transgender, concludes this approach. (Panos Kotzathanasis)
17. The Last Wife by Victor Vu (Vietnam)
Apart from the comedy/parody elements that could have been avoided, “The Last Wife” emerges as a rather entertaining genre movie that also manages to include much context, while visually, it is one of those titles that definitely deserves to be watched on the silver screen. (Panos Kotzathanasis)
The Last Wife is currently screening in US and Canada cinemas, courtesy of 3388 Films
16. Like & Share by Gina S. Noer (Indonesia)
The turn Indonesian indie cinema seems to be making the last few years, towards social issues that torment the local society, mostly through the lives of youths, is one of the most interesting things happening in the industry at the moment, with movies like “Yuni” and “Photocopier” being among the most prominent samples. Award winning script writer turned director Gina S. Noer's movie also follows in the footsteps of the aforementioned. (Panos Kotzathanasis)
15. Rock-a-bye Baby by Le Binh Giang (Vietnam)
Following his low-budget splatter “KFC”, which, rather surprisingly for a film of its genre, managed to have a great festival run, Le Binh Giang returns with the even more onerous “Rock-a-bye Baby”, a movie that manages to combine POV horror with slasher and even avant-garde elements. (Panos Kotzathanasis)
14. Hito by Stephen Lopez (Philippines)
“Hito” is a great short, another testament to the heights of entertainment filmmaking can reach when artists allow their imagination free, in an aspect that seems to become a trademark of Filipino cinema. (Panos Kotzathanasis)
13. Kitty The Killer by Lee Thongkham (Thailand)
Despite the fact that the story is somewhat illogical and that the film would be better off without the comedy, “Kitty the Killer” impresses with captivating battles, darkly feminine aesthetics, and sharp irony in a title that all fans of action cinema will enjoy. (Panos Kotzathanasis)
12. Hunger by Sitisiri Mongkolsiri (Thailand)
Although “Hunger” can also be perceived as a missed chance for Mongkolsiri to make his comments and essentially his narrative, more pointed, the film as a whole, works excellently, as the direction, the acting, and most of all, the visuals are truly outstanding. (Panos Kotzathanasis)
11. Your Mother's Son by Jun Robles Lana (Philippines)
Essentially, “Your Mother's Son” is an ensemble piece with many great performances. Sue Prado, Elora Españo and especially Kokoy De Santos each have their moments in the feature, highlighting their character's unique struggles and their approach to get by. De Santos has an incredibly difficult task of playing a duplicitous, envious man who has gotten used to being “the man of the house” and a lover to two women (without them knowing of his betrayal of course), that he now feels pressured into a corner and losing his status. (Panos Kotzathanasis)
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