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Jogja-NETPAC Asian Film Festival 2024 Reviews and Interviews

Samsara Ario Bayu
A summary of all our reviews and interviews for the Jogja-NETPAC Asian Film Festival 2024

With Indonesia’s first film market taking place during JAFF, the enthusiasm for the festival was even bigger, in a way that is actually quite contagious, particularly since the overwhelming majority of the audience were in their 20s, with their attitude giving the whole thing a party essence that was quite appealing. The program was also interesting, with the local films taking a rather large part of the program, allowing for new discoveries in an industry that is dominated by horror movies, but actually produces a number of other genres. Also of interest is the fact that the local productions seem to move more towards mainstream paths, something that also dictates the festival’s program, in contrast to European film festivals who usually pick the arthouse path.

Without further ado, take a look at our coverage of JAFF (by clicking on the titles, you can read the full reviews)

Film Review: A Brother and 7 Siblings (2024) by Yandy Laurens

A brother and 7 Siblings Chicco Kurniawan

Dimas Bagus Triatma Yoga’s cinematography is somewhat excessive in the close ups, but in general works quite well, particularly in the moments many of the characters are together on screen. Hendra Adhi Susanto’s editing results in a fitting mid-tempo, although as mentioned before, the movie could definitely be briefer. Essentially a soup-for-the-soul type of film, “A Brother of Siblings” is pleasant to watch for the majority of its duration and it could even have been great if Laurens toned down the crowd-pleasing elements and tightened his narrative.

Video Interviews:

Film Review: Love and Videotapes (2023) by Ryan Machado

Mark Shun Love and Videotapes

Mark Shun as Andoy is convincing in the role, without particular exaltations though, perhaps with the exception of his excellent chemistry with Bon Andrew Lentejas as Pido, which finds its apogee in the movie-discussing scenes. From the rest of the cast, Serena Magiliw as Ariel definitely stands out, particularly in the comical scenes. There is nothing particularly wrong with “”, but there is nothing remarkable either, perhaps with the exception of the retro nostalgia and the whole concept of the awakening. As such, the movie can be described as above average, but that is where the bar stops.

Film Review: The Queen of Witchcraft (2023) by Fajar Nugros

Queen of Witchcraft Raihaanun

It is not easy to establish if the the sum of pros and cons of “” leans towards the one or the other side. I feel, however, that fans of horror movies will have a good time with this one, particularly if they can leave logic out of the cinema, where the movie definitely deserves to be watched.

Video Interviews:

Film Review: Yukiko A.K.A (2024) by Naoya Kusaba

Yukiko Ryo Yamashita

There have been many movies lately about Japanese people who seem to be stuck in life, with the message usually being that being stuck is not exactly that bad. however, has a completely different approach, since his character actually makes a significant effort to change, which, impressively, though, is not exactly met with surprising success. It is this realism that mostly helps the movie stand out in a rather unique way, along with some other, equally interesting aspects.

Video Interviews:

Film Review: The Gesuidouz (2024) by Kenichi Ugana

The Gesuidouz Natsuko

Granted, “” definitely demands some knack for punk music to be appreciated, and also of the Japanese slapstick style as it has been formed by directors like Katsuhito Ishii and Takashi Miike. For those who appreciate both, however, and for those who manage to throw logic out of the window, the film will definitely be a treat for both eyes and ears.

Video Interviews:

Film Review: Bride Kidnapping (2023) by Mirlan Abdykalykov

Bride Kidnapping Akak Berdibekova

” is a truly impactful film that highlights a despicable custom in all its appalling glory, while presenting a small society that is tragically doomed to self-sabotage due to poorness, intense patriarchy, lack of education and essentially hope.

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About the author

Panos Kotzathanasis

Panagiotis (Panos) Kotzathanasis is a film critic and reviewer, specialized in Asian Cinema. He is the owner and administrator of Asian Movie Pulse, one of the biggest portals dealing with Asian cinema. He is a frequent writer in Hancinema, Taste of Cinema, and his texts can be found in a number of other publications including SIRP in Estonia, Film.sk in Slovakia, Asian Dialogue in the UK, Cinefil in Japan and Filmbuff in India.

Since 2019, he cooperates with Thessaloniki Cinematheque in Greece, curating various tributes to Asian cinema. He has participated, with video recordings and text, on a number of Asian movie releases, for Spectrum, Dekanalog and Error 4444. He has taken part as an expert on the Erasmus+ program, “Asian Cinema Education”, on the Asian Cinema Education International Journalism and Film Criticism Course.

Apart from a member of FIPRESCI and the Greek Cinema Critics Association, he is also a member of NETPAC, the Hellenic Film Academy and the Online Film Critics Association.

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