“Even the executioner does not have to see the body after he has done the job.”
(from Chavoret Jaruboon’s memoir “The Last Executioner”)

After his feature “Mindfulness and Murder” (2011), Thai director Tom Waller found his next project in the form of an obituary in a local newspaper. The announcement was about the death of Chavoret Jaruboon, something of a celebrity in Waller’s home country since he was the last executioner carrying out death sentences via firing squad. When Thailand’s government abolished death by firing squad in 2003, Jaruboon also resigned. Since his formal appointment to the position in 1984, he had been responsible for 55 executions, all of which carried out with him shooting the prisoner with a mounted machine gun. In the years until his death, he was a regular guest on TV shows and wrote books about his time as executioner.

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Interestingly, the study of former executioners such as Jaruboon provides many noteworthy aspects for the discussion about the necessity of capital punishment in general. In an article about Albert Pierrepoint, the last British executioner carrying out death by hanging, author Lizzie Seal introduces the concept of the “haunted hangman”. While choosing their duty towards their country and their families as narratives for their profession, some of them describe also the trauma of guilt and regret resulting from their job. Writer Susan A. Bandes begins her essay on the debate about the death penalty in general, with the question whether one can truly ask anyone to perform a task such as the one Pierrepoint and Jarubon had to perform. As a consequence, one needs to discuss how any judicial system can spend a large amount of resources on maintaining capital punishment.

In the end, both Pierrepoint and Jaruboon explained how they became either opponents of or at least skeptical about the practice whose resources could have been used better in the field of crime prevention. However, the most fascinating aspect of the life of the latter for Waller was the strange contradiction of a man who would pose willingly with a machine gun while performing as an Elvis imitator in other pictures. Besides these points, the character was interesting for a country still defined by religion and superstition, most importantly the concept of “karma”. For a true Buddhist such as Jaruboon, doing his duties as executioner naturally would lead to an immense conflict with his own principles, which is what he also describes in his various books. Despite the morbid theme and the existence of two films on the topic, Waller eventually found the necessary financial support for his approach towards a very controversial figure.

Thailand in the late 1960s. Because the country has become a place for American GIs to relax and party away from the war in Vietnam, the influx of American culture, especially rock’n roll-music can be felt anywhere. Chavoret (Thira Chutikul) plays the guitar in a band making just enough money to get by. When he meets Tew (Suchada Rojmanothum) and the relationship develops into something serious, the days of rock’n roll are over and the young man has to find a steady job. As their first child is on the way, a friend of his tells him about Bang Kwang Central Prison searching for prison guards. After his training, Chavoret becomes a guard and is eventually assigned to accompanying death row prisoners to their execution.

In 1984 Chavoret (Vithaya Pansringarm) is given the opportunity to make more money as the new executioner. Even though his family needs the money, he is hesitant after having witnessed so many executions himself during his time in prison. As he searches for answers in his faith with the support of the local abbot (Jaran ‘See Tao’ Petcharoen), and with the heavy burden of his family’s debt, Chavoret finally becomes the next, and eventually final, executioner of Thailand.

Although Chavoret certainly was an interesting persona, even Tom Waller himself had to admit his private life was not that exciting. Being a civil servant, his life consisted mostly of routine and his duty towards his job as well as his family. However, the script written by Don Linder provides not only an interesting narrative approach to the character, but also offers two concepts of approaching what is essentially an uncomfortable topic, to say the least.

For example, in one of the most revealing scenes for the nature of Chavoret, he shows his relationship to death and his family. Staged as a family meeting, Vithaya Pansringarm’s character tells his wife and children about the money on his bank account, how his savings and his insurance will secure their lives for years to come. Since the news does not bring any smiles or other signs of joy to the faces around him, he eventually leaves the table saying he hopes the mood will have changed upon his return. Just as writer Kong Rithdee points out in his review of the film, in a film whose central character defines himself through disguising or hiding his emotions, Waller repeatedly shows how this estranges Chavoret from his family. Paradoxically, the nature of his job – mean to secure his family’s future – has only widened the emotional gap between them.

In order for this approach to work, Vithaya Pansringarm’s performance is the key ingredient. His exchanges with the abbot, his wife and his colleagues at work establish an approximation of what drives this character. The constant invocation of “duty” as a core theme in his life – the obligation to his family, to his father, to his work, to his country, to his faith – point at the question of what is left of the corny Elvis impersonator from the beginning. Within the development of the action, the various moments the script illuminates, one can observe how duty changes, from an obligation to a mask to hide behind on occasion. In a remarkable effort, Pansringarm presents a person whose mask of routine and duty is slowly showing the cracks of the internal moral struggle, the emotional toll his dealings with death has taken on him.

Consequently, as a means to visualize this struggle, the film introduces the character of the Spirit (David Asavanond). Appearing in a variety of costumes and with two other henchmen at his side, the Mephistopheles-like figure makes Chavoret aware of the contradictions in his behavior while also making fun of them at the same time. As his influence is never truly apparent at first, a viewer might think of him as an especially devilish guard, not at all unusual considering Chavoret’s merciless work environment.

Given the film’s nature, it is quite astounding how Waller never truly takes on a moral perspective on the character. More significantly, Chavoret is presented as “part of a system” (Pansringarm), a piece within a huge machine made to kill and exploit. The difference between the private and the workplace, the dark, gray walls of Bang Kwang Central Prison, becomes blurry over the course of the film. As the Spirit gains more control over the character’s thoughts, the financial situation becomes more pressing and duties more demanding, there, finally, is no border anymore. This, of course, does not excuse any of the character’s actions, but it poses the question whether the system asking him to commit murder is just as merciless as he has become.

“The Last Executioner” is a challenging film to watch. It demands to accept the narrative of a man whose life has become preoccupied with delivering death masked as “doing my duty”. Supported by a good cast as well as an inventive script, this film tells an uncomfortable, provocative story of one man’s moral corruption becoming a reflection of the social and spiritual foundation of a system.

Sources:

1) Barrow, Richard (2017) The Last Executioner
http://www.thaiprisonlife.com/books/the-last-executioner/, last accessed on: 06/02/2018

2) Bandes, Susan A. (2016) What Executioner Can – and Cannot – Teach Us About the Death Penalty (abstract)
https://www.tandfonline.com/doi/full/10.1080/0731129X.2016.1238606?scroll=top&needAccess=true, last accessed on: 06/02/2018

3) Givens, Jerry (2013 ) I was Virginia’s executioner from 1982-1999
https://www.theguardian.com/commentisfree/2013/nov/21/death-penalty-former-executioner-jerry-givens, last accessed on: 06/02/2018

4) Seal, Lizzie (2015) Albert Pierrepoint: a ‘haunted hangman’ and the death penalty today
https://theconversation.com/albert-pierrepoint-a-haunted-hangman-and-the-death-penalty-today-45915, last accessed on: 06/02/2018

5) Rithdee, Kong (2014) All he Needs is Kill
https://www.bangkokpost.com/print/418804/, last accessed on: 06/02/2018

6) Pountain, David (2016) Tom Waller on The Last Executioner
https://www.filmdoo.com/blog/2016/05/31/interview-tom-waller-on-the-last-executioner/, last accessed on: 06/02/2018

Good band documentaries often aren’t about the music or backstage antics, they focus on the struggles of the band and their usually very normal lives. “Mad Tiger” is a film about a Japanese punk band called Peelander-Z who live and play in NYC, which does just that. This doc is an intimate look at the relationship between two band members and if you read between the lines you can see where the troubles start.

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Peelander-Z reminds me a lot of the band Gwar. If you don’t know who Gwar is you likely aren’t a metal head like I am, but they claim to be from another planet, wear crazy costumes, play simple rock music, and often spray the audience with fake blood and put on a very crazy stage show. Peelander-Z doesn’t have the same budget for stage effects and could be seen as a baby Gwar. They make their own costumes and play small clubs around New York City. The band’s gimmick is similar to Gwar; they claim to be from another planet and are here on Earth to eat the smiles of people they play for. Each member takes on the persona of a different character based on a colour. The lead singer/guitarist Kengo Hoiki is Peelander-Yellow, his close friend Kotaro Tsukada and bassist in the group is Peelander-Red. Pink (Rumiko Hioki), Yellow’s wife, and Green (Akihiko Naruse) round out the group. Drummer Peelander-Green isn’t in the film a lot, but when he is interviewed you can tell he is very reluctant to talk about stuff that the group’s leader, Yellow, hasn’t authorized.

The dynamic in the band is one of the film’s primary focuses. Peelander-Yellow, 45 year old Kengo Hoiki, is clearly the band’s boss and can be pretty harsh with his control over the rest of the members. In one scene with Yellow and Red, Kengo is mad at Red and actually headbutts him while telling him what he should be doing with his life. It’s an ugly peak into how the band is run by Kengo and his use of intimidation and violence. It’s even more disturbing that Kengo tells the camera person not to use that footage in the film and to cut it out. Kengo’s control over the other members is obvious when they are being interviewed by the filmmakers. In one scene, Pink asks if they have already talked to Kengo/Yellow about a particular topic and implies that she doesn’t have anything to say that he hasn’t already said. Kengo walks in and out of the room and gives Pink and the crew permission to talk about whatever they want but Pink doesn’t have much to say. It’s very ominous.

The second act focuses on Red’s exit from the band to open a bar, a dream he has had for a while. Yellow clearly isn’t happy that Red is leaving and there isn’t much he can do about it and you can tell he is hurt by Red’s departure. Even though Yellow is like a father figure to Red, their relationship has a clear power dynamic. Yellow does care for him and hopefully the violence we saw was a one time thing, it’s difficult to tell.

With Red gone from the band, Kengo/Yellow invites his bassist friend from Japan to join the band who becomes Peelander-Purple (Akiteru Ito) whose outfit looks a bit like a rhino version of Barney from the popular children’s TV show. During all this turmoil, we do see the band play a few small club gigs. Their music is nothing to write home about, even Kengo says the band is based on 10% music and 90% theatre. I am not really a punk fan but it’s easy to hear that this band plays entry level silly sounding punk rock and doesn’t focus on creating anything interesting or original. The directors do a nice job of showing the two sides of the band, it’s self described Japanese action comic punk stage shows, and it’s troubled relationships and personal struggles.

Filmmakers Michael Haertlein and Jonathan Yi have few directing credits on IMBD but both are accomplished camera men. The cinematography in this doc at times seems amateur although it may be a punk aesthetic they are trying to achieve. Most of the shots are three quarter talking heads and I would bet the entire film was shot on a DSLR camera. There are a few blurs, fades and slo-mos with most of the action shot hand held, which leads to a few focusing issues but its excusable considering the content of the doc.

“Mad Tiger” is the title of one of the band’s songs and it may have been chosen to title the film since it could be referring to Yellow/Kengo himself. Kengo is an ambitious and driven man who’s future is crumbling before him but can do very little about it. If you enjoy band documentaries or docs in general you will likely enjoy this in depth yet short look at the Japanese punk band Peelander-Z.

Following the end of the tournament, the young heroes start their first internships with real pros, realizing, more and more, the fact that in this age, being a super hero is a profession which comes with many responsibilities and requirements beyond sheer power. At the same time, The League of Villains is once again on the move, as they have unleashed Hero Killer: Stain onto the world, in a series of events that eventually bring him facing the protagonists of the series. The season ends with another splendid arc, as for their final exams, the students face their toughest opponents yet—their teachers.

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This time, the anime takes a darker and more serious turn, since, besides the aforementioned class with reality, we learn a lot more about All Mighty’s past and where his power and his injury came from, and we are finally introduced (kind of) to the arch villain of the series. Furthermore, Iida’s relationship with his now incapacitated brother, Todoroki’s with his father, and the one between Bakugo and Midoriya become more intense and more dramatic. The presence of Stain allows for a number of additional comments regarding the concepts of hero and justice, as the young protagonists, and the public for that matter, become confused by Stain’s raw pragmatism. At the same time, some of the girls learn of the world of show business, in another aspect of their job that benefits more from their looks than their abilities. The themes of heroism, friendship, comradeship, coming-of-age are also here once more, inducing the title with additional depth.

The above however, do not mean that the action is put in the background; on the contrary, the various action scenes remain impressive, even including characters like Froppy, who were not given so much time previously. The presence of Stain and the revealing of the abilities of the teachers and a number of new professional heroes benefit this aspect even more, while the “darker” turn we mentioned before also applies to the battles, who have become much more serious.

Lastly, the elements of humor and parody remain, and intensify the entertainment aspect of the title.

I daresay that the second part of the second season is even more impressive, as we watch the main characters evolve through the dramatic events that take place in their world. Personally, I cannot wait for more

Ethnographic documentaries are amongst the most difficult to shoot, since they demand close and lengthy (time-consuming if you prefer) examination of the people of the main subject, along with knowledge of their history, customs and general circumstances. Anushka Meenakshi and Iswar Srikumar film such a documentary, which manages to stand out though, due to its main theme, which also focuses on music.

“Up Down & Sideways” runs as part of the 9th edition of the Bagri Foundation London Indian Film Festival, that runs at 15 cinemas, across London, Birmingham and Manchester, from 21st June to 1st July, with 27 films, including features and short films, in competition. It is the largest South Asian film festival in Europe. Buy your tickets via this website, at respective cinema box offices: http://londonindianfilmfestival.co.uk/

Surrounded by an ominous presence and the death within her village. A young teenage girl finds herself becoming detached from the world around her. Feelings of isolation and detachment grow stronger as her relationship with her father is strained due to excessive drinking that causes a lot of untoward interaction. Her mother, a religious woman, seems more intent to put her faith into her beliefs than to save the broken family. A dependency on the father to support the family and an unnamed illness makes her complicit in her daughter’s detachment from the world around her.

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“How to Disappear Completely” delivers a “tale of disengagement” through short vignettes accompanied by a hypnotic electronic score. The film uses these elements to convey a highly stylized and mesmerizing tale that transcends your average tale of teenage angst.

The highlight of “How to Disappear Completely” lies within its visual storytelling, utilizing slow pans, serene and, at times, profound imagery. This is punctuated by an electronic score that floats into the scenes with well-executed timing. Raya Martin’s approach to creating a visual/audio experience is on par with western counterparts known to excel in this particular style. I am generally hesitant to draw name comparisons on any other creators content to avoid bias, but given that I think this film deserves a wider audience, I noted that the visual styling was reminiscent of Nicolas Winding Refn, in style, tone and presentation.  Within the film, there are other hints of Western influence, as Raya Martin commented in an interview that he was influenced by the style of John Carpenter for this particular production.

Taking the visuals into account, it may appear that the story takes a back seat and although while watching the film I found this to be the least interesting part, I believe it’s a straightforward and earnest approach, as the script builds a strong connection to the viewer. Most of the scenes are short monologues or dialogues that don’t really serve as much to deepen the characters giving the speeches, but rather to frame the life of the young girl and why her detachment harbors and becomes devious. The film also contains a fair amount of social commentary, and although there was a bit of a disconnect on my end due to limited knowledge of Filipino culture, there are still elements that are prevalent regardless. For example, looking at the aspects that make this, in part, a “Coming of age” film, relates themes of isolation and uncertainty that people can be empathetic to, regardless of their cultural upbringing. After watching the movie, I read some interviews of director Raya Martin, and although getting this background is not necessary for the enjoyment of the film, his insights into his work and society did add some depth and further appreciation of his work.

“How to Disappear Completely” is hard to place genre-wise, there are definitely elements of horror, given that the young girl does have these visions of this ghost-like figure that appears when she is facing deeper inner turmoil. However, given the timing and the way the creature appears, it becomes more of a mystery, as to if this entity is real or just a symbol of her growing resentment towards her parents/culture. Not being able to firmly place the film in one genre is more of a positive reflection on the content, as viewers will be drawn to different aspects and I think the experience with the film will vary based on the person viewing. There is a lot of depth within the story that, at face value, seems rather simplistic. With what I see being a varied experience and a strong visual presentation, I also feel the film would benefit from multiple viewings to gain a deeper appreciation of the content.

“How to Disappear Completely” really took me by surprise, it had a bit of a profound effect on me, and, despite of the cultural divide and the content, will resonate with me for some time. Although I embraced a movie deeply, I am still aware it will not be for all audiences. The score I can see deterring some viewers and the dreamlike way of creating this fable of youthful detachment from society won’t be to everyone’s taste. Overall, Raya Martins “How to Disappear Completely” deserves a greater audience, deeper recognition, and discussion.

Kulikar Sotho ventures herself into her first time director adventure on this emotional journey over the search of a missing film. Starring Rous Mony, Ma Rynet, Dy Saveth, Hun Sophy and Sok Sothun among others, “The Last Reel” tells a story about love, loss and redemption.

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In the city of Phnom Penh in Cambodia. Sophoun, the rebellious daughter of a colonel, lives her life to the limit, being part of a local street gang. But when one day her father returns home with another proposal of marriage, Sophoun flees from her home, which is collapsing for her, and seeks refuge in an abandoned cinema. There, to his surprise, she will meet the owner of the cinema with whom she will strike up a curious friendship, but she will also find an unfinished film from the 70s, a melodrama starring her own mother, who is now ill, showing a young and glamorous woman. A story of the past. A story of a different world and time. It is from that moment on that they both decide to find the missing reel and reconstruct the missing ending from the film.

If i could describe this movie with three adjectives, those would be: Honest, beautiful and personal. Although “The Last Reel” is written by a foreigner in terms of Cambodian residence, the story is the director Kulikar Sotho’s idea, and the characters are based on her own parents, to whom the film is dedicated, aside from the whole victims of the Khmer Rouge era. “The Last Reel” is honest when it comes to treating and representing the violent past of the country. A past where even art, in this case the cinematic one, suffered great losses and repression. Films and film rolls were burned, and artists from the film industry of the country were murdered. Many of the films of the past were lost. In other words, many stories were lost, and this is the main theme of the movie: recovering a story of the past.

The first minutes of the film seem like the typical independent story of street gangs, but little by little, it is transformed into an intimate story that recalls the best works of Zhang Yimou, with all that sensitivity and naturalness. Sophoun, played by Ma Rynet, is the main character of the film. Her work is exceptional, without falling into melodrama or overacting, her role is 100% believable, as is the case with the rest. Her love interest in the story, played by Rous Mony, may not stand out much that much, but every time he is on scene shines. At first, he seems like the stereotypical impulsive young violent teen, but then you see he is a normal person. Then there is the second protagonist of the story: Vichea, the film projectionist played by Sok Sothun. His character takes an unexpected turn at the end of the film, and it is one of the many aspects of the movie that steals your heart. Sophoun and Vichea are two characters who need each other as they meet, forming a truly natural and honest couple.

The story unfolds slowly but interestingly enough to be engaging. It is true that it costs a bit to earn the interest of the story, but after twenty minutes into the film, the trip becomes emotional and memorable. The cinematography of Bonnie Elliott is also praiseworthy, as it is very well crafted and really gorgeous to look at. Also, all the locations and environments are really beautiful.

What cannot be denied is that this movie has true love inside its core, not only for cinema, but for life in general. “The Last Reel” has an implicit love for cinema that in some moments reminds us of “Cinema Paradiso”. All that search for the lost film within the film itself is nothing more than an action to find oneself and to re-encounter with the ghosts of the past. To be able to be at peace with yourself. The reality is that “The Last Reel” is a breakthrough and a strong push for Cambodian’s cinema industry, proving that it can become a powerful one if more films like this are made. For all the stories that were lost and for all the others that are still to be told.

On the occasion of his film, Take Me to the Moon, screening at  the 8th Annual San Diego Asian Film Festival Spring Showcase, we speak with Hsieh Chun-Yi about the film, the 90’s, Chang Yu-sheng, Vivian Sung and Jasper Liu, rom-coms and other topics

Can you tell us about the path that led you to filmmaking? Did you have any studies in the field?

I studied in New York University Tisch School of Arts Asia, the campus is in Singapore. I graduated in 2012.

“Take Me to the Moon” combines the teen rom-com with time travelling. How did this approach came about? 

The script writer is Birdy Fong. He is a huge fan of  Chang Yu-sheng. He wrote this script several years ago and it won the Silver Prize in The 9th “Filming Taipei” Screenplay Competition in 2014.

The main theme of this story is about following your dreams and first love. If you get a second chance to change the past, would you be able to break her heart to save her life?

The films pays tribute to Chang Yu-sheng. Can you tell us a bit about this concept and your reasons for including it in the film? In general, where do you draw inspiration from, for your movies?

He is a legend in Taiwan. Many singers are influenced by his music. His songs are usually very positive and optimistic. We used 5 of his songs in the movie. Each one fits the corresponding scene and is functional for the plot.

The film takes place in the 90’s mostly. Why did you choose this decade for the film to take place?

I am the same age with the protagonist. So I knows 90’s.

How was your cooperation with Vivian Sung and Jasper Liu? 

I think they both are great actors. Vivian is a very talented girl. She had many thoughts about the role. We discussed and came up with  a personality for her. I think she did a wonderful job. It’s not easy because she needed to sing, dance and perform at the same time.
Jasper is a warm boy, this is his first lead role in movie. I think he put much efforts in it, which paid off on the screen.

Can you tell us about the locations the film was shot? How was the shooting of the film? Any memorable episodes, good or bad? 

The locations are mainly in Taipei. However, Taipei changes a lot. So, for the Ximen Ding scene we build a whole set in the studio, we use a lot of visual effects in the film.

https://www.facebook.com/ takemetothemoon2017/videos/ 722517717958177

We spend 2 months shooting. We faced 6 typhoons. It was a tough shooting but we made it on schedule. Very impressive work by the crew.

Very frequently, critics seems to snub rom-coms. In your opinion though, what is the value of these kind of films? 

I think you have to respect each genre. Rom-coms are very serious for me. To make the audience laugh and also create a touching story is not a easy job.

What is your opinion of Taiwanese cinema at the moment?

Tt is not the worst of time, but close. We have to make better movies and hope audience can give us a chance.

 Are there any new projects you have been working on?

I am working on several movie projects. The recently one “SOMEONE LIKE YOU” 《還魂記》was just selected by BIFAN “It Project” this year.

Launching In London On June 29; Touring The Uk In Summer/Autumn 2018

Aperture: Asia & Pacific Film Festival is a new UK-wide film festival dedicated to screening some of the boldest, most daring, challenging, and striking films from the Asian and Pacific regions. Focusing particularly on  underrepresented cinemas, from Azerbaijan to Vanuatu and everything in between, the festival aims to open  windows on worlds whose landscapes and peoples remain largely absent from UK screens. Aperture is the only φestival in the UK currently with a remit that specifically covers the whole of the Asian and Pacific regions.

For this first edition of the festival, key areas of focus include films from Central Asia, the Himalayas, Southeast  Asia, New Zealand and Pacific Islands. The programme comprises 12 features, including 4 UK premieres and 4  London premieres, and 17 short films.

Key themes within the festival programme include migration and displaced peoples, social justice, and female  empowerment. Over half of the festival programme comprises films made by women. This spotlight on women in film includes a dedicated shorts programme of films by and about women entitled “Women in the Frame”.  This strand also features the first film by a female filmmaker in the post-Taliban era A Letter to the President, the New Zealand film Waru by 8 Maori female filmmakers, winner of three Indian National Film Awards this year Village Rockstars, and a short documentary on human rights activist Sabeen Mahmud and actorfilmmaker/activist Fawzia Mirza The Streets are Ours: Two Lives Cross in Karachi.

Other festival highlights include shorts and features from lesser-known film industries exploring far-flung  corners of the Asian and Pacific regions and offering insights into communities and landscapes rarely seen on  UK screens – Afghanistan, Armenia, Assam (India), Bhutan, Georgia, Malaysia, New Zealand, and Pakistan.

The festival is co-founded and co-directed by Sonali Joshi and Jasper Sharp and is presented in partnership with the Centre for Research and Education in Arts and Media (CREAM), University of Westminster. The  festival is supported by Purin Pictures.

Aperture is intended to be an ongoing and collaborative project with events taking place across the year. The  festival opened in Glasgow in the Spring, and tours across the UK during Summer/Autumn 2018, with a two part programme for the London leg of the festival at the beginning and end of the Summer.

Aperture/London Part 1 runs from 29 June-8 July at Close-Up Cinema, The Cinema Museum, The Lexi Cinema and The Horse Hospital.

Aperture/London Part 2 will take place in mid-September, comprising a Southeast Asian focus and a one-day symposium hosted by CREAM, University of Westminster.

Aperture is jointly presenting some events with other festivals, including Masala Festival in Newcastle at Tyneside Cinema on 21 July, and Chinese Visual Festival in September.

Festival Director Sonali Joshi commented:
“The idea behind Aperture was to bring some of the freshest and boldest films emerging from across Asia and  the Pacific, and to fill a gap in the current festival landscape in the UK. We feel this is an important initiative to  widen audience choice for Asian films in the UK and to offer more opportunities to see films that rarely reach UK screens.”

Festival Director Jasper Sharp commented:
“It is absolutely thrilling to be able to bring such a diverse array of wonderful films to the UK, many from countries you’d never expect to be making films.”

• Aperture/London Part 1 programme listings:
Aperture Shorts I: Women in the Frame – 29 June, The Horse Hospital
A selection of films by and about women, putting women in the frame.

Aperture Shorts II: UnorthoDocs – 29 June, The Horse Hospital
Short documentary and experimental works exploring ideas of geography, territory and landscapes, both natural and manmade.

Aqerat (Edmund Yeo, Malaysia 2017) / UK premiere – 30 June, The Cinema Museum
A topical feature film focusing on migration of persecuted Rohingya to Malaysia.

Fake (Tatsuya Mori, Japan 2016) / UK premiere – 30 June, The Cinema Museum

Documentary on Mamoru Samuragochi, the once celebrated deaf composer dubbed “Japan’s Beethoven” but later denounced, exploring the nature of truth and lies.

A Letter to the President (Roya Sadat, Afghanistan 2017) / London premiere – 30 June, The Cinema Museum

The first feature film by a female director in Afghanistan’s post-Taliban era, presenting a poignant portrait of a female police chief striving for justice in the face of a corrupt and patriarchal society.

Waru (various female Maori filmmakers, New Zealand 2017) / London premiere – 6 July, The Lexi Cinema
A sequence of eight ten-minute short films shot by eight individual female Maori filmmakers that weave a narrative around the death of a young Maori boy.

Returnee (Sabit Kurmanbekov, Kazakhstan 2017) / UK premiere – 7 July, Close-Up Cinema
The trials and tribulations of a Kazakh family who, having migrated to Afghanistan, attempt to return to their homeland.

Namme (Zaza Khalvashi, Georgia 2017) / UK premiere – 8 July, Close-Up Cinema
Contemporary fable about a young woman entrusted to take over the family tradition of healing local villagers with water from a local spring, while in the background environmental issues are stake with the construction  of a hydroelectric power station.

Tickets for screenings can be booked from the festival’s website: www.day-for-night.org/aperture.

Set in rural Assam, where the backwaters of India can almost leave you desperately moving your entire life in a wooden boat, Dhunu (Bhanita Das) – a young girl on the brink of puberty wishes to form a rock band. Even though she defies multiple norms set by the repressive, culturally appropriate elders of the village – the ones that want her to stop climbing trees like a boy while learning supposedly ‘womanly-ethics,’ her imagination and sincerity make us vouch for her. Supported by a single mother who is as important as the little girl in this quiet tale with cardboard dreams, Rima Das’s Dhunnu feels like a character made out of her own soul.

“Village Rockstars” runs as part of the 9th edition of the Bagri Foundation London Indian Film Festival, that runs at 15 cinemas, across London, Birmingham and Manchester, from 21st June to 1st July, with 27 films, including features and short films, in competition. It is the largest South Asian film festival in Europe. Buy your tickets via this website, at respective cinema box offices: http://londonindianfilmfestival.co.uk/

“Village Rockstars” is a charming film about the seeding tendency of growing up in a poverty-stricken home, basing one’s existence on one big old philosophy that you only get the things you truly wish for if your head believes in that eventuality. The 10-year old girl at the center of the film is a roaring hooligan. A playful tomboy who one day decides that her cardboard-made guitar needs to be replaced by a real one. The reason why we see hope in her dreams is a sweet and charming sincerity in everything she does. Whether it is talking to or loving her goat, climbing long difficult trees to get the nuts or just being a little ball of mush for her mother to love.

While Dhunu flocks around with her elder brother and a young group of other naughty rural boys, she is enjoying the kind of freedom that even some modern day Indian girls don’t get. In showing her lying around, drenched in waters of the farmland, Das slowly brings us closer to the empowering nature of her tale. Dhunu’s freedom hinges on her mother’s calm rebellious nature towards what a girl should be based on the rural culture. At a point in the film, she shouts out loud, commenting on the actions of the other village women who defamed her daughter. Das also loads her slightly observed feminist troops and veil weaklings in the male species. Both Dhunu’s brother & her father are representations of a society which is only male-dominated for the sake of it, while the women become the ones who stand for themselves, earn for themselves and swim for themselves.

The sweet and affectionate tone of Rima Das’s film shows how it is such a special film for her. Dedicating the film to the people of Chhaygaon, Rima lenses both the beauty of innocence in her child protagonist and the giving and chaotic beauty of nature with both tight portrait shots & long wide-angle shots. She captures the rural life, struggles, poverty, muddy lanes & innocent kids sharing comic books and cycle rides with stilted love and care, giving the film an almost documentary-like feel. Bhanita Das, who remains the special center of Rima’s film, is exceptional as a girl who is just the right amount of innocent, carefree, caring and strong. However, a few other kids including the posh kid with the bicycle felt like cardboard cutouts of other superior films like Avinash Arun’s “Killa” (2014).

Writing, directing, editing, doing the camera work, costume design and most of the production assignments, Rima Das, pretty much like her petite central heroine, is a roaring one woman army. While occasionally pondering into the conventionality of the coming-of-age sub-genre, “Village Rockstars” mostly remains an earthling full of life, joy and push towards the glorious feeling of believing in oneself and their little dreams.

For a country with such a rich visual history in their films, it would seem that another effort would’ve come along by now that tackled the so-called ‘Avant-Garde Vampire Film’ movement. Still, such is the praise being labeled on Naoki Yoshimoto’s celebrated hour-long experimental piece Kyuketsu, also known as ‘Sanguivorous’ and destined to have originally been performed with live musical accompaniment.

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Trying to move her relationship along, a young woman (Ayumi Kakizawa) finds herself struggling with strange nightmares and bizarre dreams about vampires. Her boyfriend (Masaya Adachi) finds a link involving her family discovering a coffin of a Romanian count hundreds of years ago and becoming a part of a family curse turning her into a vampire. As she delves deeper into the series of dreams and nightmares about a strange vampire tormenting her, she comes to realize the danger it poses to her and her boyfriend.

For the most part, there isn’t much to say about this one. This is basically a series of seemingly unrelated images accompanied by strange photographic effects added to the finished product. The vast majority of footage director Yoshimoto, who also served as numerous roles, including cinematographer, on the project, captured doesn’t make for all that appealing genre fare, being that it’s generally shadowy hallucinogenic shock cuts or bizarre soundless montages that don’t follow any narrative cohesion. None of this is in the slightest bit scary or suspenseful, and seeing people turn into these disturbed figures aren’t given any formal context into why it’s happening, which drains the illusion further. Seeing as how this is generally told in dialog-free sequences featuring the avant-garde manner of screen distortions and modifications, the film loses any chance at telling its story cohesively. All it does is offer the excruciatingly bizarre scenes that focus on filmmaking tricks rather than capturing a form of everyday life that could’ve offered a semblance of normalcy to the whole effort.

That said, in terms of displaying those filmmaking tricks, this succeeds in leaps and bounds. The constant use of shadowy black-and-white for her hallucinations does effectively create some haunting visuals, and the overwhelmingly creative means of generating the transfers here is nice to watch. Seeing people materialize out of total shadows, overlaying figures transposed over each other and frayed images dissolving into the next sequence are merely glimpses of the technical trickery accomplished by Yoshimoto, as the experimental procedures are whipped out pretty consistently by the varying tactics being employed. One of the best examples of this is a stellar sequence featuring her tormenting her trapped boyfriend who’s bound to a chair screaming for help, which is one of the few moments of true traditional horror displayed here. Beyond that, only the great performance of the vampire lead, Ko Muroboshi, is worthy of mention as his spastic, gyrating figure tormenting her which is hard to take your eyes off of while watching. Otherwise, this will mostly be looked at as barely worthwhile at all.

As a form of visualistic expression, there’s a lot to really like here which is especially important when realizing that this was intended to be accompanied by a live musical performance and not as a stand-alone feature. Still, when looking at this as a feature film, it is barely worthwhile and doesn’t have much here leaving it only for the most adventurous and curious among us to dive into.

Is it possible to make a film that mixes friendship themes in the style of Shunji Iwai with the intrigue and bizarre terror of Takashi Miike? The new director Ryohei Watanabe has proved that yes, you can, but not only with good results, but also with a very limited budget. It is  these films that encourage young directors to take the plunge and fulfill their dream of making a film.

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“Shady” tells the story of two friends: Misa and Izumi. They both meet at school and soon become close friends. Misa is a somewhat innocent and peculiar girl, which causes her classmates to make fun of her suffering. Her only friends seem to be a goldfish at the science room in school and her pet budgie bird at home, but it is when she meets Izumi that Misa opens up more to life. Izumi is everything that does not seem to be Misa: Beautiful, extroverted and an always smiling girl. Soon they establish a strong and close friendship between them, but it seems that, little by little, the true character of Izumi is revealed, which will cause Misa to feel increasingly uncomfortable.

With hardly any budget and with practically unknown and non-professional actresses, Ryohei Watanabe is able to take advantage of everything that surrounds him and manages to create a story that is not only exciting but also intriguing and terrifying. “Shady” is supported mainly by the characters of Misa and Izumi. They are the absolute protagonists of the film. Without them, there would be nothing to see here. The film not only addresses the issue and consequences of school bullying, but also the importance of having a good friend by your side that supports you and makes you feel special. But there is also an important theme within the film, how such a special friendship can become a toxic and harmful one, in a matter of time.

“Shady” begins as a typical cheerful and friendly teen movie, and continues well for a while with some flashes of what will come in the future, until the true essence of evil comes. The moviehas a good pacing that has nothing to envy from any blockbuster. It is really enviable what is achieved in this film with so little. Even Katsuki Tsuji’s cinematography seems to be more than it is, speaking in the sense of the film’s own production, with shots full of symbolism and symmetrical shots. There are some scenes in which the lack of budget is obvious, especially at night because of the lack of light, but that doesn’t drag the film from being an enjoyable experience

It is also appreciated that the director focuses totally and solely on the two main characters, since there are hardly any secondary one. There are, but they lack real importance, so we are continually seeing how the friendship between Misa and Izumi evolves. Their performances are really brilliant, especially Izumi’s one, played by Izumi Okamura. It is easy to fall into overacting and ridicule in this kind of crazy and extroverted roles, but the actress knows how to measure perfectly between her body gestures and vocal acting. On the other hand, Misa, played by Mimpib is more controlled, but not worse, mainly because her character demands it. Mimpib gives life to Misa with a lot of credibility.

Ryohei Watanabe knows perfectly well when and how to create tension in the environment. Sometimes he does it in a natural way and ends the scene without more to add, with the characters reacting in a more or less natural way, but there are other moments in which the situation becomes so rare that even the characters, in this case Misa, reacts out of the ordinary and the scene becomes more tense than it already is.

In conclusion, “Shady” is a more than recommended film if you want to see a rarity that mixes the bizarre horror genre with the teenage coming of age genre in the most purest Japanese style. As I said before, it’s as if Takashi Miike and Shunji Iwai had made a movie together and this was the result. “Shady” is entertaining, intriguing and captivating, showing that you can tell a lot with very little.

If one was to seek the quintessence of the Golden Harvest martial arts film (wuxia if you prefer), one would have to look not much further than “Iron Monkey”, a film that encompasses all the elements that made the genre so popular, starting with the people in charge, whose names include Yuen Woo Ping, Tsui Hark and Donnie Yen, among others. Let us take things from the beginning though.

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In another episode from folk hero Wong Fei-hung’s life, whose heroics have been immortalized in films the “Once Upon a Time in China” series, “Drunken Master”, “Magnificent Butcher” etc, the very young at the time Wong meets Iron Monkey, as he travels with his father Wong Kei-ying.. Iron Monkey is actually the alter ego of a traditional Chinese medicine physician called Yang Tianchun, who, in a combination of Zorro and Robin Hood, dresses in black every night, punishing the corrupt officials of the area, and particularly Governor Cheng, and giving their spoils to the poor. However, when father and son first arrive in the town, Kei-ying is tasked with capturing the Iron Monkey, after a series of unfortunate events that lead to his son held hostage by Cheng.

As the merchants in the area refuse to have anything to do with the newcomer, since they consider the Iron Monkey their hero, an exhausted and extremely hungry Kei-ying ends up in Yang Tianchun’s house, where the doctor and his wife (?), Miss Orchid take care of him, even helping him release his son from the jail Cheng has put him in. Their clash seems inevitable, but eventually Hin-hung, an Inspector for the government arrives in the area with his team, and everything turns upside down.

Let us start with the obvious. The action scenes in the film are impervious. Yuen Woo Ping, who is also the action director has come up with a number of more than impressive choreographies, taking advantage of his protagonists’abilities, as Donnie Yen in his 30s moved like a lightning while Lee Fai (White Eagle, one of Hin-hung’s disciples) and Angie Tsang (Wong Fei Hung) were Wu Shu champions. Furthermore, the wirework, the stunts, and the special effects are more than impressive, with Yuen Woo Ping not shying away from the blood and violence, even when the receivers are children and women.

Arthur Wong and Tam Chi Wai’s cinematography is impressive, with their camera following the action as closely as possible. Furthermore, with the combination of Ringo Cheung’s production design and Ng Bo Ling’s costumes, the presentation of the era is quite accurate, both in the slums and in the palace. Chi Wai Chan, Angie Lam and Marco Mak’s editing induces the film with a very fast pace, which also extends to the non-fighting scenes, in a tactic that heightens the entertainment aspect of the film even more.

Furthermore, most of the archetypical elements of the wuxia are here, as the film includes corrupt officials, beautiful women, fights in roofs, the naming of the techniques used, shaolin monks, and impressive entries by both the villains and the protagonists. Add to that some elements of slapstick humor, a bit of drama, and you have the backbone of a true wuxia.

However, what sets “Iron Monkey” apart is that the political comments are quite frequent and pointy, with the script highlighting the corruption of the officials and their neglect of their subjects in the harshest fashion. The scene where Cheng is wondering about a way to raise money to buy another position is a distinct sample of the fact, along with his practices, which show absolutely no concern about the living or dying of the people in the area, but also his employees.

As is usually the case in the category, the acting serves the action scenes, for the most part. However, it is definitely on a much higher level here, than it is usually the case. Donnie Yen is quite convincing as the father in distress, while Rongguang Yu as Iron Monkey emits kindness and dignity from every pore. Gorgeous Jean Wang as Miss Orchid provides the necessary female aspect with gusto. The ones who steal the show though are the villains, with James Wong appearing as sleazy as possible in the role of Governor Cheng, while Yen Shi-kwan is great in the archetypical role of the majestically evil, as Hin-hung. Lastly, Yuen Shun-yi as General Fox, the head of Cheng’s guard, is the mains source of comedy in the film, rather successfully.

“Iron Monkey” is a masterpiece of the genre (to say the least) and a film all fans of wuxia and martial arts in general should have in their collection. The release from Eureka is excellent, in both image and sound, while the extras are more than interesting, as they include interviews with almost the whole cast, and even martial arts exhibitions from Angie Tsang and Lee Fai.

“As I was making a ‘kidney’ from a straw I was struck by the thought that nobody notices me.”

The second film of Japanese writer and director Satoshi Miki is a “miscellany of characters” reminiscent of Jean-Pierre Jeunet’s “Amelie” albeit lacking “both sentimentality and humor” according to reviewer Emma Slawinski, whose focus is also on the missing plot of the film. Even though her review may be harsh, it nevertheless points at some of the aspects of the film as well as Satoshi’s body of work as a whole.

Having worked within the Japanese TV industry, the director was responsible for TV movies, mostly in the field of drama, until he eventually ventured into feature films for the cinema. In an interview following the release of his most popular film in the West, “Adrift in Tokyo” (2007), he claims his style of infusing often nonsensical comedy in everyday situations is derived from the British comedy group Monty Python. Apart from both countries being islands, British audiences thus understand the humor of his films better and do not  expect a slow build until the humor can work. Considering the often depressing routine of his protagonists ranging from housewives to salarymen, the world of these characters is completely changed through the absurd underbelly of the urban environment, similar perhaps to the work of his Satoshi’s colleague SABU (“Monday”, “Dangan Runner”) or the comedies by Takeshi Kitano such as “Getting Any?”.

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“Turtles Are Surprisingly Fast Swimmers” is a comedy as well as a study about urban life, isolation and the concept of being ordinary. Referring to Japanese popular culture and stereotypes, filled with wild ideas, the film shows the uniqueness of being unobtrusive.

Suzume (Juri Ueno) is a housewife whose tasks, besides the taking care of her and her husband’s apartment, consist mainly of feeding his pet turtle Taro while he is on business trips. Fed up with being ignored and isolated in everyday life and being so ordinary in comparison to her childhood friend Kujaku (Yū Aoi) nicknamed “Peacock” she searches desperately for ways to make her stand out, her life less boring to her and the outside world.

Following an advert offering positions as spies Suzume contacts a strange couple, Shizuo (Ryō Iwamatsu) and his wife Etsuko (Eri Fuse). They tell her about a network of spies working undercover like them within the Japanese society, a job which demands her best talent of being, well, ordinary. Even though she has not been given a specific task, Suzume embraces her life as a spy until one incident threatens her position and life when the government suspects spies in the city leading to a manhunt led by special agents of the Japanese secret service.

As she looks back on her friendship with Kujaku, Suzume thinks of scenes on the beach with the two of them building sand castles. While Suzume has managed to make a small hill of sand, her friend has already started on the roof tiles of a temple made of sand. Additionally, she remembers the days in school when her friend would have stickers of cool bands on her school bag while hers were just ordinary stickers showing animals. A “poor taste in sticker” equals a “poor taste in life” is Suzume’s resume thinking of how these incidents have turned out to be a self-fulfilling prophecy given how her life is the very definition of ordinary and poor.

While following the plot of Suzume becoming a spy, Satoshi’s film reveals itself to be a study of what constitutes being normal and ordinary in the first place. To some, this may be a highly subjective entity, but within a universe as crazy, colorful and inventive as the world in which the film takes place it is quite difficult to make out what “being normal” is, given this context. The opening 15 minutes alone showing the world of Suzume, her apartment that is, exemplifies many things, but nothing one might stereotypically call normal or ordinary. Then again, in a life or rather a society defined by competition, making yourself noticed among the crowd is the goal, while the idea of being part of the great mass, the ordinary people, has become undesirable.

However, being noticed is the central problem. Considering the context of Japanese life, TV culture and music, the stereotype of being normal has been eradicated in the film’s universe, creating the demand for spies, people following a so-so lifestyle, job and attitude no one would suspect them of working undercover. Ironically, the spies Suzume meets are anything but unobtrusive, with Etsuko’s unhealthy obsession with her pink panda cushion or Shizuo’s mysterious bowel movements leading to a hilarious scene with a local plumber, the “Sewer King”, who needs to clean up the latest mess.

Structurally, Satoshi’s film follows a constant row of incidents and scenes, each of which is spiced with absurd, deadpan, and at times nonsensical humor wonderfully acted by the cast. Supported through many interesting visual ideas highlighting the closeness to TV culture even further “Turtles…” is a cross section through Japanese culture and society, and a funny one at that.

“Turtles Are Surprisingly Fast Swimmers” is a laugh-out-loud comedy about the secret pleasures of being ordinary, with many creative ideas and a great cast supporting them. While not every joke might work as intended, the overall charm of this unique production is undeniable and will likely attract many viewers. This may lack the romance, but not the sentimentality of films like Jeunet’s “Amelie”, but given the sheer flow of colors, ideas and stories, each one linked to a specific area of Japanese culture, this is a truly individual work, one which more people should take a closer look at.

Sources:

1) Saroch, Andrew (2013) Interview: Satoshi Miki and Eri Fuse

http://www.fareastfilms.com/?feature_post_type=interview-satoshi-miki-and-eri-fuse, last accessed on: 10/25/2017

2) Cotterill, Simon (2009) Turtles Are Surprisingly Fast Swimmers

http://www.midnighteye.com/reviews/turtles-are-surprisingly-fast-swimmers/, last accessed on: 10/25/2017

3) Slawinski, Emma (2008) Turtles Are Surprisingly Fast Swimmers

http://www.eyeforfilm.co.uk/review/turtles-are-suprisingly-fast-swimmers-film-review-by-emma-slawinski, last accessed on: 10/25/2017)

The cab runs towards the airport. Himadri takes out an old photograph of his and his ex-wife and shows it to Uma sitting on the backseat. Uma says “sorry”! Himadri bursts into tears. And the director Srijit Mukherji plays his masterstroke with this scene, bringing out the aura of a movie where everyone tries to fulfill others’ wishes.

“Uma” runs as part of the 9th edition of the Bagri Foundation London Indian Film Festival, that runs at 15 cinemas, across London, Birmingham and Manchester, from 21st June to 1st July, with 27 films, including features and short films, in competition. It is the largest South Asian film festival in Europe. Buy your tickets via this website, at respective cinema box offices: http://londonindianfilmfestival.co.uk/

Srijit Mukherji is a passionate story teller. “Hemlock Society”, “Jaatishwar”, “Nirbaak”, “Chatushkone” , “Rajkahini”  –  in every movie Srijit has portrayed a different narrative with a powerful and distinct story line for his audience.  “Uma” is a movie where Srijit upholds the power of love, unity, togetherness and wish – underneath the emotional story of fatherhood. The movie is adopted from the real life events of Evan Leversage, a seven year old boy from St. George, Ontario , Canada – suffering from an inoperable brain tumor, whose wish to see another Christmas prompted his community to organize and celebrate holidays early with a Santa Clause parade, floats, fires and even snow. “Uma” is a story of a young girl suffering from the terminal disease and her father’s strive to organize an early Durga Puja ( Biggest festival of Bengal in India) to fulfill his daughter’s wish.

Uma (Sara Sengupta) is a young girl who stays in Switzerland with her father Himadri ( Jisshu Sengupta) as her mother Menoka (Sayantika Banerjee) left them when she was only two years old. Uma is suffering from cancer and might not survive for long.  But Uma wants to see Durga Pujo in Kolkata for once as she has heard about this greatest festival of Bengal since her childhood. But Durga Pujo is six months away in October and Uma might not survive till that time as her condition is deteriorating with time. And the narrative  revolves around Himadri’s strive to create a fake Durga Pujo in the month of April in Kolkata to fulfill the wish of her dearest daughter – Uma.

Durga Pujo- the festival of love and togetherness upholds the message of unity. The concepts of Barowari Pujo emerges from the world “baro” which means twelve and “yari” stands for friend’ ‘connection. It defines the concept of community pujo. And Srijit Mukherji decides to bring in the emotional aspects of all the characters of his narrative to be a part of the mission to fulfill the dream of Uma ,by recreating Durga Pujo in the summer of April in Kolkata. Himadri mets Brahmananda (Anjun Dutt) , a film director who is living on his past glories , to recreate Durga Pujo for Uma. Brahmananda is emotionally drained as a failed father and rejected by his wife and son.  The veteran director, in his strive to fulfill the dream of Uma, satisfies his own wishes which were never fulfilled before.

There are many other characters in the movie and Srjit places those in the narrative brilliantly, to the point that I thought the glimpses of the past of Brahmananda could have transformed into a full-fledged narrative, so much is the inherent power of the script.  Every character in the movie has a distinct role like their names (extracted from the Hindu Mythology which depicts the creation of Goddess Durga) and has ample opportunity in the narrative to prove so. Rudranil Ghosh as Gobindo and Anirban Bhattacharya as Mohitosh Sur perform brilliantly in the movie.  Jisshu Sengupta has matured with time but I thought he has failed in some scenes to portray the emotions of a desperate father (the scenes with the doctor in Switzerland). Anjun Dutt is a cerebral actor and puts up a superlative performance as Brahmananda.  Srabanti Chatterjee looks glamorous and convincing as Mariyam. Babul Supriyo is a big surprise in the movie and refreshing as Bihari don.

I thought the director kept the narrative in a way that all the characters are instinctive in the movie except Uma- who has a specific wish, which needs to be fulfilled.  And Srijit has allowed Sara Sengupta to portray her role instinctively, which is reflected in her characterization. She portrays the character with immense maturity, perfectly.

The movie has a few chartbuster songs brilliantly tuned by renowned music director Anupam Roy.  All the songs are melodious and blend perfectly with the narrative. Anupam himself is superlative in “Hariye Jawar Gaan”.  Surangana Bandyopadhyay renders “Aaloshyo” beautifully which is one of the best scores of Anupam till date. “Jaago Uma” by Rupankar Bagchi is electrifying and arouses goosebumps.

Srjit Mukherji has to manage the expectations of audiences of different profiles in his every movie. He is always under the pressure to craf out a blockbuster with a meaningful and aesthetically portrayed story line. And he did it brilliantly in Uma- placing every card in perfect  position, which is acceptable for audience of all generations. The movie is full of statements about life, livelihood, love, affection, duty, wish, failure and many other aspects of human life. When Menoka comes back to see Uma , Himadri questions her role in life as she has already failed as a mother and the position is taken away by another person, Mariyam. It signifies our role in this big stage of the theatre called life and the duties we all need to perform to fulfill the expectations of others.  Brahmananda wants to fulfill the wishes of a dying child as he failed to accomplish the tag of a perfect father in life.

And coming back to the last scene inside the cab again- as Himadri burst into tears as he understands that Uma knows from beginning that Mariyam is not her biological mother but accepts her as real mother in the same way as she accepts the “fake” Durga Pujo as a real occasion to fulfill the dreams of her father, who is striving to fulfill Uma’s wishes only.  And the director Srijit Mukherji stimulates our thoughts by making a statement about our  roles in the stage called life, as a father, daughter or a mother – Uma. Take a bow Srijit for crafting out such a masterpiece called “Uma” and Evan must be smiling from heaven, watching your master craftsmanship.

In my last trips in Indonesian cinema, I have watched an art-house biopic (Solo, Solitude), a drama (Emma), and a thriller of sorts (A Copy of My Mind). I guess it was about time to watch a Western, although one much different from the American ones, since “Marlina” features a distinct feminist tone, throughout its duration.

Marlina the Murderer in Four Acts is screening at Art Film Fest Kosice 

As stated in the title, the film is split if four acts. In the first act, in genuine western fashion, a man enters Marlina’s house uninvited, pragmatically informing her that his gang will soon arrive, take all her money, her livestock and sleep with her, and there is nothing she can do about it, since her husband is actually dead, placed mummified in a corner of the room. Furthermore, and in a mockery of the customs of hospitality, she makes her cook dinner for everyone. This last order however, proves fatal, as Marlina poisons the soup, killing everyone in the gang but one, who, unknowingly, proceeds on raping the woman. Alas, his fate is not much different, since Marlina decapitates him with a machete soon after.

As the second act begins, we witness Marlina trying to get to the local police station, holding the severed head of the bandit in her hands. In her path she meets Novi, a pregnant friend who is on her way to her husband, Umbu. In another misogynist concept, Umbu thinks that her late pregnancy is due to adultery. Novi does not seem bothered by the head, and the same applies to another passenger catching the same car the two women get into, who is going to her nephew’s marriage with two horses that are to be presented as gifts. As the women have a conversation about pregnancy sex, the remaining members of the gang, Franz and Ian, make their appearance, forcing Marlina to flee in one of the horses.

Eventually, in the third act, she reaches the police station, where she is treated with indifference, having some ridiculous procedures thrown at her face, while Novi has to face her husband.

Taking on the basic concept of the western, that “this is a men’s world”, Mouly Surya turns completely against it, by presenting a story that proves how wrong this conception is, as Marlina, Novi, and even the woman on the car are anything but. In this world, men are nothing more than ignorant victims, who fail due to the misconception that they can do whatever they want to the women around them. As they pay for their ignorance, the film is induced with a distinct feminist tone that seems to fit the western setting in surprisingly good fashion.

Through the four acts, Surya presents an odyssey of a woman who experiences an awakening about who she actually is and the world around her, with the end of the trip finishing a cycle in the most meaningful way, as Surya elaborately builds the sympathy of the audience towards the main characters.

The movie is set on realistic premises, particularly regarding the living conditions in the country and the presentation of its culture, but some surrealism is not missing, chiefly through the concept of the decapitated corpse that seems to follow Marlina around. These moments however, provide the film with a unique sense of humor, which makes it more entertaining and “breaks” the art-house aesthetics that dominate, after a fashion.

One of the highlights of the production is Yunus Pasolang’s cinematography, that retains its artfulness in the two central settings, the house and the desert. In the first, the framing and the use of a single light are impressive, with Pasolang creating a claustrophobic sense that fits the events depicted perfectly. In the second, his long shots highlight the beauty of the desolate setting, presenting images of rare beauty of the desert. Zeke Khaseli and Ydhi Arfani’s score is another trait of the film, with a combination of Indonesian folk and classic western tracks that intensify the general feeling of each scene.

Marsha Timothy as Marlina is impressive, highlighting her character’s radical change through her trip, without exaltation, but chiefly through her facial expressions and body stances. Dea Panendra as Novi is quite good, presenting a lively character, unfazed by anything that comes their way, through a combination of naivety and courage.

“Marlina” is a film with very few faults, that manages to present a completely different take on the western, through an artful, meaningful and quite entertaining approach.

Sushama Deshpande is a theatre director, writer and actor, who has been active in the field for more than 30 years. Her work in cinema is limited when compared with theatre, however, Deshpande gives an outstanding performance in Devasish Makhija‘s “Ajji“.

Here are her top thirteen Indian films, in random order.

1. Pather Panchali (Satyajit Ray, 1955)

Impoverished priest Harihar Ray, dreaming of a better life for himself and his family, leaves his rural Bengal village in search of work.

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2. Charulata (Satyajit Ray, 1964)

The lonely wife of a newspaper editor falls in love with her visiting cousin-in-law, who shares her love for literature.

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3. Machis (Gulzar, 1996)

A realistic, hard-hitting portrayal of terrorism and youth in the Punjab after the 1984 riots.

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4. Aandhi (Gulzar, 1975)

J.K. is a hotel Manager in a scenic location in India. One day he gallantly comes to the rescue of a drunk daughter, Aarti, of a politician, and chooses to be discrete about it. When she recovers, she and he fall in love; get married in a small marriage ceremony, have a daughter, and thereafter differences arise to such an extent that they decide to separate.

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5. Ijaazat (Gulzar, 1987)

Mahendra is in love with Maya and would like to marry her. But Maya is a woman of the 20th century, who does not believe in marriage, but would like to continue having a relationship. Mahendra’s family pressures him into getting married, and he finally gives in and marries another woman by the name of Sudha. But Mahendra is unable to get Maya out of his mind, and his marriage with Sudha fails, and ends up with a formal separation.

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6. Umbartha (Dr. Jabbar Patel, 1982)

After the passing of her husband, Mrs. Mahajan takes care of four institutions, and lives a comfortable lifestyle with her two sons – Dr. Mohan and his wife, Maya; and Advocate Subhash Mahajan, his wife, Savitri, and their daughter, Rani. Savitri is unhappy as she wants a career for herself. She finally gets a chance to prove her skills in social services when she gets a job offer as Superintendent of a Women’s Reformatory Home in distant Sangamwadi. Although Rani and Subhash as well as the rest of the family oppose her going, she has made up her mind.

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7. Fandry (Nagraj Manjule, 2013)

Love, the most beautiful emotion in all living creatures that God has made knows no bar, caste or boundaries, is the central theme of Fandry. A young lad (Jabya) falls in love with his classmate. Incidentally, he belongs to a lower caste, a family below the poverty line which does all sorts of jobs in the village to survive like catching Pigs and the girl belongs to a higher caste. His parents are working hard to arrange money for their daughter’s wedding while Jabya is collecting money for new clothes to impress the girl. Fandry is a story of his aspirations, quest, sorrows, anguish and frustrations. Fandry also touches upon the age old monster of Caste System which is still lurking large upon the society.

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8. Vihir (Umesh Kulkarni, 2009)

Sameer and Nachiket are relatives and friends. Nachiket, who is the more mature of the two, wants to escape his stifling surroundings. Sameer does not understand this. Then one day, Nachiket drowns in a pool where they often swam together. His death takes over Sameer’s life, as he becomes lost in the fear and meaning of death. No one comes to his help. He must search to learn the meaning of life, however vaguely, on his own.

9. Simhasan (Dr. Jabbar Patel, 1979)

When Chief Minister of Maharashtra gets an anonymous call to warn him against possible rebellion in his party, all is not well. The current government is being questioned by opposition on a lot of issues such as health, education but the most important being the situation of drought. Finance Minister Vishwasrao wants to fall out of current government has an ambition to become CM but he is not the only one. There are others like Manikrao and Daulatrao who nurture the same aspirations. The CM has to foil this plan. At any cost. Intriguing tale of Machiavellian politics that’s devoid of any values.

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10. Piku (Shoojit Sircar, 2015)

A quirky comedy about the relationship between a daughter and her aging father, whose eccentricities drive everyone crazy.

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11. Maqbool (Vishal Bhardwaj, 2003)

The intrigue of the Shakespearean tragedy ‘Macbeth’ is transposed to the Mumbai underworld.

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12. Sarfarosh (John Mathew Matthan, 1999)

After his brother is killed and father severly injured by terrorists, a young med student quits his studies to join the Indian Police Service to wipe out the terrorists.

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13. Bombay Talkies (Zoya Akhtar, Dibakar Banerjee, Karan Johar, Anurag Kashyap, 2013) 

One hundred years of Hindi cinema is celebrated in four short stories showcasing the power of film.

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During the recent years, there has been an increase on the Asian films that deal with the LGBT community, with productions like “Wolf and Wolbachia“, “Small Talk” and a number of others. Montreal-based Eisha Marjara makes her own effort on the subject, through a rather cheerful approach.

“Venus” runs as part of the 9th edition of the Bagri Foundation London Indian Film Festival, that runs at 15 cinemas, across London, Birmingham and Manchester, from 21st June to 1st July, with 27 films, including features and short films, in competition. It is the largest South Asian film festival in Europe. Buy your tickets via this website, at respective cinema box offices: http://londonindianfilmfestival.co.uk/

Sid is a Montreal Punjabi, who, after years of struggling with his gender identity, has decided to come out as a woman, to the shock of his traditional Punjabi mother, who cannot fathom the fact, in contrary to his father, who is rather sympathetic. The procedure to change sex begins normally, with the sole exception of his mother’s constant crying, but things turn completely upside down, when Ralph, until a 14-year-old boy, turns up and insists that Sid is his long lost dad from a teenage affair. Sid now finds himself with a teenager who seems to idolize him and even prefer him from his current family, but also having to face his boyfriend, who refuses to acknowledge their relationship publicly, and the deteriorating attitude of his mother.

Eisha Marjara directs film that implements a happy-go-lucky atmosphere, almost from beginning to end, in a rather light approach on her subject. This approach has both cons and pron. The most significant negative is that the dramatic scenes, most of which depict a confrontation between Sid and another of the protagonists, are not as impactful as they could be, since they lack intensity. The positive though, is that her messages regarding the struggles the members of the LGBT community have to face, particularly with their families and in their romantic relationships, are quite well communicated. Furthermore, the general cheerfulness proves very beneficial regarding the entertainment the film offers, which ends up as quite an enjoyable experience.

This approach benefits the most by Mark Ellam’s cinematography, who fills his frames with vivid colors and polished images, Mathieu Bouchard-Malo’s editing, who retains a relatively fast pace throughout the film, and Patrice Dubuc and Gaetan Gravel music, which suits the various scenes quite nicely. The combination of the editing and music allows the film to function as a music video, occasionally, which also helps the entertainment element.

Debargo Sanyal as Sid is the undisputed star of the film, as he highlights a multilayered character, who struggles to cope with all the changes his life is bringing, all the while retaining his dignity and, quite frequently, his coolness. The scenes where he acts as a true diva and the gradual warming up to the boy are the highlights of his performance. Jamie Mayes is quite convincing as the teenager who wants something better for himself, while Zena Darawall as Sid’s mother gives a wonderful performance, as she tries to conciliate her principles with her love for her son. The scene where she lashes out is one of the most memorable in the film.

“Venus” is an easy-to-watch movie that manages to get the message across through a very light and entertaining approach.

Thamrongrattanarit’s previous work, “Heart Attack” is one of my favorite films of the latest years, as the director managed to present the lives of the freelancers in the most analytical and realistic fashion, all the while retaining a comic feeling throughout the film. “Die Tomorrow” though, has little to do with that film, as it is a rather experimental production that focuses on death and the way people perceive and accept (?) it.

Die Tomorrow is screening at Art Film Fest Kosice 

Yasuko and Shizuka work for the same company and enjoy spending their evenings at a hostess club with friends. Secretly, Yasuko is not really interesting in men, and she finds herself falling for her co-worker. After Shizuka disappears, she becomes concerned for her friend, but when she seeks her out at her home she finds her badly beaten and in a moment of self-defense, having killed her boyfriend. Yasuko vows to protect her friend and slowly finds herself in the role of an accomplice to murder while struggling to build a relationship.

Fall Into the Blue is available from Pink Eiga

Yasuko starts working with her sister, who sells clothes in rural areas from her van. In order to hide Shizuka, she gets her to work with her and live with her and her sister. At first, Shizuka seems to fall for Yasuko, but as the romance continues it seems to be more circumstantial as Shizuka begins to stray towards the company of the men at the host club and also contemplates turning herself in. Yasuko begins to spiral into depression as she tries to keep her friend safe and have her romantic feelings validated.

“Fall Into the Blue” has the most success when it comes to the relationship building between Shizuka and Yasuko, creating an interesting dynamic between the characters in a few ways. Firstly, the performances themselves from Mayu Asada and Ayana Chigawa is top notch, as they are convincing in their roles, coping with the source material well and building a believable affair. The erotic scenes between the two actresses are also well shot and done in a tasteful manner that compliments the delicate situation they find themselves in. Yasuko’s descent, as she feels she is losing her partner is noteworthy in performance. Mayuko Sasaki as Yasuko’s sister also gives a great performance, especially as she gets more involved with her sister and her lover in the crime. For such a short run time, the film manages to pack a bit of an emotional punch while creating strong characters.

Visually the film is serviceable, and although it does a great job in the scenes with the two female leads, the rest of the film is a bit uninspiring. This may be in part because the characters outside of the couple, particularly in regards to the erotic scenes, hold little reason to generate interest. For a film with such a strong couple leading, it is unfortunate the runtime and the erotic quota was filled with, what feels like, pointless sex scenes. The soundtrack for the film is in pretty stark contrast to the movie itself, with the first scene between Yasuko and Shizuka feeling like it would be a better fit in a suspense movie. The soundtrack, short run time and use of men to fill in extra sex scenes deters from the overall production but does not hinder the film.

“Fall Into the Blue” boasts a solid script that allows for memorable performances from their female leads. However, a short run time padded with some unnecessary scenes makes the film fall a bit short of its potential. I have always touted the creative freedom and skill that goes into a Pink film production and although this production serves as a reminder of that, the movie also does become a bit frustrating as it also serves to remind that the restrictions in the genre can sometimes hurt the overall product. Given a bit more budget and a lack of dependency on the erotica, and if the film was able to generate a longer runtime, and just keep the erotic scenes between the two female leads the end product would have been more enjoyable. Still, the performances and the success of the script to tell an engaging story under the restrictions makes “Fall Into the Blue” an enjoyable outing.