Since moving back to London I have elected to give FOEC a little makeover and shift operations to its new home on Squarespace. New logos, slick designerizin’ and other sundries abound!
Check out the first review in the new site, a special write-up from the East End Film Festival of neo-Giallo The Strange Colour of Your Body’s Tears with an all-new original score by Blanck Mass!
After 9 days gorging on a diet of international cinema (and more than a few Subway sandwiches between screenings) my coverage of the 14th Shanghai International Film Festival has reached its conclusion.
The Golden Goblet Awards for Best Film and Best Actor went to Turkish drama HAYDE BRE, while the Jury Grand Prix and Best Director goblet went to China’s offbeat HELLO MR TREE. Tiwa Moeithaisong’s vivid cinematography for FRIDAY KILLER was awarded, too, and Yuthlert Sippapak’s riveting genre exploration finally took home the Jury Award.
In the Asian New Talent Award, Taiwanese Yung-Shing Teng received the Best Director award for his deeply felt portrait of migrant workers in Shanghai, RETURN TICKET, and Japanese offerings, KASAAN MOM’S LIFE and BIRTHRIGHT were awarded Best Film and the Special Jury Prize, respectively.
In summary of SIFF 2011 (and to indulge an unhealthy addiction to list-making) I’ve compiled a list, below, of all the festival films I’ve reviewed on FOEC, ranked in order of preference and divided by my three levels of enthusiasm. Read More
My poor choice of screenings makes for a whimpering finish to an otherwise fine week of movie gluttony in rainy Shanghai…
Nice ink in THE LAST DEATH
The international premiere of 33 POSTCARDS marks the first product of a fruitful and, hopefully, long-lasting relationship between Australian and Chinese filmmakers…
Zhu Lin and Guy Pierce in 33 POSTCARDS
Exotic deaths are plentiful in Vishal Bhardwaj’s 7 SINS FORGIVEN and Mathieu Amalric’s directorial debut revels in the free-wheeling individuality of New Burlesque…
Priyanka Chopra in 7 SINS FORGIVEN
The second day of Yuthlert Sippapak’s Killer Trilogy falls short of FRIDAY KILLER’s brilliant clarity of vision and Chinese psychological thriller/horror, THE DEVIL INSIDE ME, neither thrills, nor shocks…
Kelly Lin in THE DEVIL INSIDE ME
Thai crowd pleaser BANGKOK TRAFFIC (LOVE) STORY strikes a rare balance between Schadenfreude and pathos, whilst modest slice-of-life RETURN TICKETS brings Shanghai’s migrant workers into focus…
Theeradej Wongpuapan and Sirin Horwang in BANGKOK TRAFFIC (LOVE) STORY