In an age where the complaints for budget cuts have been coming from festivals all around the world, the New York Asian Film Festival seems to have managed to have a rather bigger budget than the previous years, something that was particularly mirrored in the number of guests attending it. At the same time, the quality of the program remained at the very top of Asian film festivals in the West, with the programmers finding gems all around Asia, even in a year that Korea in particular is not exactly at its best, particularly regarding genre cinema.
The Chinese and Chinese diaspora movies truly stood out with titles like “Brief History of a Family“, “The Escaping” while one could also include Singaporean “Pierce” in roughly the same category. The ASEAN countries once more dominated the action scene with “Operation Undead” although Japan seems to invest in that regard significantly, with huge productions like “Kingdom: Return of the General” or smaller, but rather established franchises as the third part of the Baby Assassins movie series.
Without further ado, here is a list with all our coverage of this year’s NYAFF, which includes a number of interviews.
1. Film Review: Baby Assassins: Nice Days (2024) by Yugo Sakamoto
What is surprising about “Nice Days” is how Chisato gets more involved in fights Mahiro would have just taken alone like in the first two movies. A lone assassin taking out a gang or having a solo brawl with the gang boss is the convention; a two-on-one is odd, especially if the numbers favor the protagonists. But the quirkiness of the duo makes it work. The greatest part of the charm of the fight scenes Sakamoto and action director Kensuke Sonomura designed for the Baby Assassins movies is that physics does not always align with the skills; even professionals become clumsy in the actual laws of the world. This “Weekly Shonen Jump” treatment, as its director describes, makes the two versus one still a struggle, and so satisfying to see unfold. (Epoy Deyto)
2. Interview: Yugo Sakamoto and Yusuke Suzuki
3. Film Review: Brush of the God (2024) by Keizo Murase
The premise for “Brush of the God” is very promising and, on the surface, endearing. It is a passionate tribute to the special effects art form of tokusatsu while channeling the filmmaking mode of meta-cinema. There is prominent self-insertion, with Kenzo Tokimiya meant to represent Keizo Murase and reflect on his career. The work of the deceased artist within the movie humorously references Murase’s real-life contributions to the medium, including films like “Matango,” the “Daimajin” sequels, and “The Mighty Peking Man,” yet the fictional movies showcased still feel like they could exist. There’s even referencing real independent productions, prominently “Howl From Beyond the Fog.” Additionally, there are themes of family reconciliation, with Akari reflecting on who her grandfather was as a person beyond his craftsmanship, material that can make for compelling drama. (Sean Barry)
4. Interview: Daisuke Sato
5. Interview: Yeon Je-gwang and Lee Ju-seung
6. Film Review: How to Make Millions Before Grandma Dies (2024) by Pat Boonnitipat
Boonyanuch Kraithong’s cinematography focuses on realism, particularly in presenting the suffocating space the two protagonist’s inhabit, while also highlighting, though, how much of a home it feels. Thammarat Sumethsupachok’s editing results in an expectedly slow pace, which does become somewhat tiring after a point, particularly because the movie lags in a number of moments throughout its duration. At the same time, at 125 minutes, it definitely overextends its welcome, to a point at least. (Panos Kotzathanasis)
7. Film Review: Gold Boy (2023) by Shusuke Kaneko
DP Katsumi Yanagijima highlights the difference in the setting the rich and the poor inhabit in the island in a way that becomes part of another comment in the movie, regarding discrepancy, although his visuals are a bit too polished on occasion. Chieko Suzaki’s editing results in a relatively fast pace that suits the effort to present a rather intricate story in the 129 minutes of the movie. “Gold Boy” is an excellent film, particularly due to its story and acting, and one that will appeal to all fans of crime films. (Panos Kotzathanasis)
8. Film Analysis: Bushido (2024) by Kazuya Shiraishi
“Bushido” is a must-see for longtime fans of samurai cinema and a stellar introduction for newcomers to Chanbara. Coupled with lavish production values and stylish direction, Kazuya Shiraishi treats viewers to a compelling revenge tale while showcasing powerful themes of deconstructing preconceived judgment during a gritty period of Japanese history. Despite intentional pacing and minimal action, the film remains engaging thanks to a superb script and great performances. (Sean Barry)
9. Interview: Kazuya Shiraishi
10. Film Review: Kingdom: Return of the General (2024) by Shinsuke Sato
The same quality applies to the rather fast pace here, which, despite the 145 minutes of the movie, does not seem to lag at all, as it has enough story, characters and events to carry it fully. The cinematography and the SFX are also on a very high level, with the filmmakers taking full advantage of the different settings, forest, mountain, desert-like in order to present images of true epicness. (Panos Kotzathanasis)
11. Interview: Kento Yamazaki and Shinzo Matsuhashi
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