After two rainy days in Treviso and Venice, I [Raf] arrived on Monday morning April 28th. Arriving in the Agriturismo Gon is always a good experience. I was at the border of the city of Udine and already had cows who would provide the milk, butter and cheese for the week.
I got the keys of the appartment and let the bags in. I got a bike to ride to the Teatro Nuovo under the Sun. I felt good! Then in the Teatro Nuovo I got my Black Dragon pass. I still had two hours until my first movie. Perfect to have lunch and prepare the list of movies to watch.
Alex arrived on Monday afternoon and has been again a good companion during the festival.
I [Jo] could only reach Udine on Wednesday late. But just in time to say hello to Luniaco and Regina, grab the room keys, the bike, and ride to the Teatro Nuovo to meet the others and enjoy the last movie of the day. I even had time for a beer and sandwiches at the bar of the theater, surrounded by familiar faces and very glad to be here, only five hours after I had left work.
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| Teatro Nuovo can seat 1200 people |
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| The very sexy catalog of FEFF 2014 |
Time lapse of the entrance of the Teatro Nuovo Giovanni da Udine when the spectators leave a movie.
Within one week JoRafCinema have seen 22 movies in total. As we like statistics we present you some.
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| Number of movies presented at the FEFF 2014 by country |
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| Histogram of movies ratings per country |
The attorney from South Korea,
Shift from the Philippines,
The search for Weng Weng from Australia,
May we chat from Hong-Kong.
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| Siege Ledesma (center) reading a touching introductory speech for her great movie Shift |
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| Andrea Leavold (left) spent 7 years searching for Weng Weng |
Nobody's child from Hong-Kong,
People of the slums from South Korea.
Other movies that we recommend pending your own inclination:
People of the slums from South Korea.
Other movies that we recommend pending your own inclination:
Barber's tales from the Philippines,
The terror live from South Korea,
Broken from South Korea,
Bilocation from Japan,
The face reader from South Korea,
Personal tailor from China.
The terror live from South Korea,
Broken from South Korea,
Bilocation from Japan,
The face reader from South Korea,
Personal tailor from China.
,+director+of+Bilocation.JPG) |
| Mari Asato (center), director of Bilocation |
,+director+of+The+Face+Reader.JPG) |
| Han Jae-rim (center), director of The face reader |
Other movies that we would really not recommend:
Boy golden from the Philippines, 3D naked ambition from Hong-Kong.
The official public prices (large public) have gone to
The eternal zero by Yamazaki Takashi from Japan, also director of the appreciated Always - Sunset on third street, seen during FEFF 2006,
The attorney from South Korea, wining also the official Black Dragon price,
Barber's tales from the Philippines.
Apart from the movies, JoRafCinema has been to a press conference on new Asian directors. Unfortunately the few basic questions asked by the moderators filled completely the availability of the directors, so that we did not have the opportunity to have a specific interview. Here is a summary of the press conference.
Question: What kind of education do you have and how did you come to the position of director?
Pisanthanakun and Roh followed the classical way of one national film academy. Chiu started as cartoonist and then did the Beijing film academy. Kwok is a self made director having learned by practising.
Q: How is the new generation of film directors different from older ones?
Roh considers that the new generation of Korean directors cannot make the movie they want to. Projects are allocated to an educated director rather than given to the initiator of a project.
Chiu explains that the breakthrough is searched abroad rather than in Malaysia.
Kwok states that in the 80's there was plenty of money in Hong-Kong film industry. Now the directors must be multitasking for lack of funding. This implies the use of real life subjects. New is also the cooperation with China main land to get more funding by accepting the specific rules and restrictions.
Pisanthanakun explains how the quality of Thai productions is sourced in the increasing national production for TV commercials and in the digital technology giving film making a large access.
Q: What have you learned from your first production?
Pisanthanakun learned to speak the language of his goal public, the teenagers. By learning their fashion, their language.
Kwok learned to improve his view on the China main land censorship. It works! His next project will be so and then he would like to be again more independent.
Chiu learned to include tradition into his film and will continue doing so. He learned also to discuss with the production to make a movie for a larger public. He will also continue having non professional actors.
Roh learned a lot of the reality of film making. Her next goal will be to keep the initial objective of her movie.
Aside from the festival, JoRafCinema could not resist in enjoying the Italian cuisine.
The eternal zero by Yamazaki Takashi from Japan, also director of the appreciated Always - Sunset on third street, seen during FEFF 2006,
The attorney from South Korea, wining also the official Black Dragon price,
Barber's tales from the Philippines.
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| Press conference with young directors, Banjang Pisanthanakun (Pee Mak), Philip Yung (May we chat), Keng Guan Chiu (The journey), Deak Roh (Very ordinary couple) (from right to left) |
Question: What kind of education do you have and how did you come to the position of director?
Pisanthanakun and Roh followed the classical way of one national film academy. Chiu started as cartoonist and then did the Beijing film academy. Kwok is a self made director having learned by practising.
Q: How is the new generation of film directors different from older ones?
Roh considers that the new generation of Korean directors cannot make the movie they want to. Projects are allocated to an educated director rather than given to the initiator of a project.
Chiu explains that the breakthrough is searched abroad rather than in Malaysia.
Kwok states that in the 80's there was plenty of money in Hong-Kong film industry. Now the directors must be multitasking for lack of funding. This implies the use of real life subjects. New is also the cooperation with China main land to get more funding by accepting the specific rules and restrictions.
Pisanthanakun explains how the quality of Thai productions is sourced in the increasing national production for TV commercials and in the digital technology giving film making a large access.
Q: What have you learned from your first production?
Pisanthanakun learned to speak the language of his goal public, the teenagers. By learning their fashion, their language.
Kwok learned to improve his view on the China main land censorship. It works! His next project will be so and then he would like to be again more independent.
Chiu learned to include tradition into his film and will continue doing so. He learned also to discuss with the production to make a movie for a larger public. He will also continue having non professional actors.
Roh learned a lot of the reality of film making. Her next goal will be to keep the initial objective of her movie.
Aside from the festival, JoRafCinema could not resist in enjoying the Italian cuisine.
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| Alex having difficulties choosing in the Menu of the Osteria Alla Ghiacciaia |
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| Beautiful and delicious starters from Sardinia at La Nicchia |
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| Alex, Raf, Enrico and Jo in the rustic Al vecchio stallo |
The festival was great and it was a pleasure to watch the too rare Asian movies in Europe and discover young and great directors. JoRafCinema really hopes that Asian cinema will be more distributed in Europe, because Asia is an original and energic source of creativity in the world of cinema. Currently the most effervescent. Far East Film Festival, we will miss you... until next time.
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| One of the Black Dragon privilege is to have our names on the seat |
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