U.S./S. Korea | 91min | Narrative | Korean w/ES Director/Producer/Writer/Editor: Johnny Kwon Cinematographer: Dongjoo Lee Music: Freescha Cast: Sebin On, Heewoo Roh, Daegwan Shin,
Seungyong Sung
B-boy Seven (Sebin Oh) is in a bind. His power-move specialist
has defected to a rival group. He is struggling to get corporate
sponsorship for his group. His members are squabbling constantly
(quoting Plato and Socrates, no less). On top of that, his
father is stuck in North Korea and his brother is in mandatory
military service. What’s a b-boy supposed to do? For
starters, Seven has turned to watching ballet for inspiration.
But what really keeps him afloat is his love of breakdancing.
It’s not just a passion; it’s his whole life.
And there is one supreme goal that he’s set his eyes
on: the Battle of the Year tournament. Will Seven finally
find his inspiration? Will the new member Ostrich live up
to expectations? Most importantly, will they win the tournament?
Shot abroad in South Korea by a Korean American director,
the narrative film about b-boys is inspired by a true story
and takes off where a documentary like PLANET B-BOY leaves
off about globalization and the worldwide phenomenon of break-dancing
culture. The story is a more intimate look at these international
b-boys who have adopted this urban American style and have
made it their own. Inspired by a true story, ALWAYS BE BOYZ
boasts performances by a cast of non-professional actors that
are as natural and electric as their dance moves. Johnny Kwon’s
smashing debut takes the audience deep into Seoul as it explores
this fascinating b-boy subculture. Kwon's semi-improvised,
idiosyncratic style adds an acute sense of verisimilitude
to the narrative. By the end of the film, you can’t
help but cheer on the dancers and their every gravity-defying
move as they bid to win the tournament.
364 CRANES
U.S. 2007 | 15min | Narrative Director: Vincent Lin
After a car accident leaves his girlfriend in a coma, the
grieving lover vows to fold a paper crane everyday until she
comes home.
Nominated for AAIFF '08 Emerging
Director in Narrative Feature Award
Malaysia 2007 | 97 mins | Narrative | Malay & Mandarin
w/ES Director/Writer/Editor: Seng Tat Liew Producers: Nikki Tok, Yen San Michelle Lo Cinematographer: Albert Hue See Leong Cast: Wong Zi Jiang, Lim Ming Wei, Amira
Nasuha, James Lee
Two mischievous brothers and a lost puppy; a father who returns
home only late at night; a girl who pretends to be a boy.
These misfits populate the wryly observed FLOWER IN THE POCKET.
Ma Lih Ahh and Ma Lih Ohm are left to roam the streets after
school, delighting in small misadventures and befriending
bossy tomboy Ayu. Meanwhile, their father Sui has succumbed
to self-pity and isolation, fails to do right by his sons,
and loses himself among the broken mannequins he repairs for
a living. Complaining that his heart literally hurts, he is
helpless to stop the ever-growing chasm between himself and
his children.
FLOWER IN THE POCKET represents the emergent voice of Malaysian
New Wave. Director Seng Tat Liew brings to the screen
the intimate details of Malaysian everyday life, inviting
the audience into Lih Ahh and Lih Ohm’s world with a
deliberate, wide-eyed quirkiness. And yet the film is certainly
not naïve; the slapstick humor mingles fluidly with naughty
jokes. As the narrative progresses, however, what began as
boys’ horseplay eventually reveals darker truths. The
film’s wit and melancholy create a touching portrait
of a family doing all they can to stay afloat.
Nominated for AAIFF08 Emerging Director
in Narrative Feature Award
Singapore 2007 | 107 mins | Narrative | English; Cantonese,
Malay, Mandarin & Tamil w/ES Director/Writer/Co-Producer: Li Lin
Wee Producer: Fazila Z. Abideen Cinematographer: Jackie Ong Editors: Hwee-Ling Low, Simon Tan, Li San
Gek Cast: Kym Ng, Aaron Kao, Sonya Nair, Adrian
Pang
Constructed as sprawling mega-structures of glass and steel,
shopping malls represent the intersection of modernity and
wealth in Singapore. For some, shopping is more than a habit
of conspicuous consumption—it’s a way of life.
For Clara, a 40-year-old tai tai, or wife of leisure, the
mall is a second home. The upscale boutiques and department
stores—filled with designer labels and luxury goods—have
become her playground, the sales clerks her friends.
Less admiring of consumer culture, 23-year-old Aaron escapes
corporate limbo by hanging out with friends and passing judgment
on the misguided souls throwing away their money in the mall.
Yet he can no more deny the magnetic draw of the mall than
his attraction to his best friend’s younger sister,
for whom he skips out of work and lies to his family.
Across town in the middle-class district, an eight-year-old
girl wanders away from her parents, only to lose her way.
While waiting to be found, Renu amuses herself by terrorizing
security guards and pursuing a mysterious figure who may be
responsible for a bizarre crime. The adventure loses its charm
when it becomes apparent that no one is coming for her.
Amid their wandering, these lonely mall denizens occasionally
cross paths, but they struggle to form any real bonds. Through
their stories, we learn that where happiness cannot be bought,
pain forges experience and invites contemplation. Without
moralizing, first-time director Li Lin Wee weaves whimsical
daydreams with the fluorescent lighting of the real to deliver
a heart-felt ode to the paradoxical spirit of the mall.
U.S. 2008 | 76 mins | Narrative Director: Richard Wong Producers: Wong, Donald Young Writers/Cinematographers/Editors: Wong, H.P.
Mendoza Cast: Preston Conner, Theresa Navarro, Mousa
Kraish, Charlie Hernandez
Ken is running—running from a simple question posed
by his girlfriend Jessica. He dashes to the bathroom, only
to discover on his return that Jessica has mysteriously disappeared,
leaving no trace but her phone. It rings. An ominous voice
instructs Ken to follow specific instructions if he ever wants
to see Jessica again.
Ken searches desperately for signs of her. He hunts for a
series of keys hidden in locations she frequents. With each
discovery, he seems to inch closer to finding her, and realizes
the gulf that has grown between them. He learns he may not
even know what he’s running toward. Tensions escalate,
released through surprising elements—song, high-speed
chase through the streets of SF, martial arts fight—until
he comes to the final threshold.
An incredible showcase for the wide range of talent from director
Richard Wong and collaborator H.P. Mendoza (COLMA: THE MUSICAL,
AAIFF '06), their sophomore feature provokes an exploration
of what it is we search for, and more importantly, what we
fear. Is it commitment, loss, or life itself?
Wong and Mendoza pack a wallop in their subversive blend of
static film genres. Challenging the notion of a simple, entertaining
thriller, they transform it into a complex examination of
the infinite search for what we believe we’re missing.
AGAINST
THE GRAIN: AN ARTIST'S SURVIVAL GUIDE TO PERÚ
79 mins/DVD/$250
Winner of the AAIFF '08 Emerging
Director in Documentary Feature Award
U.S. 2008 | 64 mins | Documentary | English; Japanese &
Spanish w/ES Director/Producer/Writer/Cinematographer:
Ann Kaneko Editors: Bob Brooks, Michael Lim Music: Johnny Wilson
Spanning two decades of corrupt political regimes and economic
deterioration in Peru, Ann Kaneko’s AGAINST THE GRAIN:
AN ARTIST’S SURVIVAL GUIDE TO PERÚ unravels the
tangled web of displacement and oppression that agitates Peruvian
citizens. Kaneko focuses on those who fight for the freedom
of expression and the artists who put those expressions into
motion in the public sphere.
“Is freedom of expression a right or a privilege?”
Four visual artists raise this question as they struggle to
transform political unrest into an opportunity for change.
Claudio Jiménez Quispe flees his home in Ayacucho,
where he’s caught in the crossfire of the Maoist guerrilla
organization, the Shining Path, and the Peruvian government.
As a folk artist, he uses the template of retablos, a traditional
expression of faith, to chronicle the bloody civil war that
gave rise to radical opposition.
An active member of the underground punk scene in the 1980s,
Alfredo Márquez works with the art of mechanical reproduction.
His layers of bold colors and visual cues resonate with the
present climate of discontent and probe the possibilities
of the future.
Bombarded with images of riots and violence tearing through
the country, Eduardo Tokeshi feels alienated from his country.
His nationality is complicated as a son of a Japanese immigrant,
with jeering critics aligning him with the controversial former
President Alberto Fujimori. His works, informed by his observations
and personal experiences are a series of interpretive Peruvian
flags.
Natalia Iguíñiz explores the subversive potential
of the self-portrait and, in revealing the body in it’s
restricted and silenced state, she opens up a provocative
and often contentious dialogue on gender, race, and class
with the Catholic Church and socially conservative middle
class.
Kaneko’s portraits point to the role of the artist in
society and the opportunity to find creative solutions to
foster change.
UNDERPASS
U.S. 2007 | 15 mins | Narrative | English; Khmer & Spanish
w/ES Director: Rain Breaw
Saan’s family survived the Khmer Rouge and now has a
new life in San Diego. But when Ana, an undocumented immigrant,
joins the family, Saan becomes angry and expresses his aggression
on city property.
U.S. 2007 | 57 mins | Documentary | English Director/Producer/Writer/Cinematographer:
Michael Perlman Editors: Mary Perillo, Brian Gates Music: Joshua Meltzer
BEYOND FEAR is an inspirational story about Ngawang, a Buddhist
nun, and Bagdro, a Buddhist monk—who faced persecution.
Through their own words and archival footage, we learn of
their struggle to return Tibet to independence. Having led
freedom demonstrations at the ages of thirteen and twenty
respectively, they experienced the horrors of incarceration
for protesting against China’s occupation of their homeland.
With startling detail, Ngwang and Badgro recount the horrors
visited upon them. Having been arrested, imprisoned, and tortured
for their beliefs, they admit to being tempted by feelings
of hatred, vengeance, and anger. Instead, they sought refuge
in the teachings of the Dalai Lama and their Buddhist training,
discovering the healing power of forgiveness and ultimately
rediscovering man’s capacity for good, even in the face
of terrible adversity. It is through sheer will and persistent
positive inclination that Ngawang and Badgro are able to rise
above their negative impulses, even as they endured brutal
imprisonment, survived severe health complications, and witnessed
the suffering of loved ones. Today, they live as paradigms
of non-violent resistance and continue to fight against China’s
sustained human rights transgressions.
The film charts Nagawang and Bagdro’s ascendance in
the public eye following their emancipation and their subsequent
involvement with securing the release of other Tibetan political
prisoners. In addition to personal interviews with both Ngawang
and Badgro, interviews with other political activists, including
staff from Amnesty International, words by Richard Gere, and
excerpts from a number of the Dalai Lama’s speeches,
support the tale of societal turmoil and individual triumph.
4960
U.S. 2007 | 14 mins | Narrative | English, Croatian w/ES Director: Wing-Yee Wu
A Bosnian refugee living in Chicago awaits a message that
carries urgent news of his beloved.
Japan/The Netherlands 2008 | 63 mins |
Documentary | Japanese w/ES Director/Producer/Writer: Mirjam van
Veelen Cinematographer: Benito Strangio Editor: Katarina Turler Music: Robin de Raaff
On November 15, 1977, a young schoolgirl was snatched from
the coast of Japan and taken by ship to North Korea. Along
with several other Japanese citizens, she was kidnapped for
the purpose of teaching North Korean spies to speak fluent
Japanese. What became of her remains unknown.
Director Mirjam van Veelen’s film—part documentary,
part drama—investigates one of the most bizarre episodes
in recent Japanese memory. Traveling to the coastal town of
Niigata, the filmmaker revisits the site of thirteen-year-old
Megumi Yokota’s disappearance. Family and acquaintances,
some 30 years later, are still in disbelief. Although the
North Korean government alleges that she committed suicide,
the parents of Megumi are not convinced. They, in fact, believe
their daughter may very well still be alive.
Using a variety of documentary and feature techniques to lend
their case credibility, van Veelen attempts to shed light
on the strange circumstances surrounding the event. Dramatic
reenactments bring the shadowy figure of Megumi to life. Interviews
with her parents, brothers, and former headmaster convey not
only their unwavering love for the beloved Megumi, but also
their unshakable faith that truth will prevail. With the same
sense of hope shared by those who knew Megumi, the filmmaker
incorporates both dramatic elements and real-life clues to
suggest that her story is not over just yet.
DEFACE
U.S. 2007 | 20 mins | Narrative | Korean w/ES Director: John Arlotto
The death of his daughter fuels a man to rise against the
North Korean government, and inspires villagers to open their
eyes to their oppressive circumstances.
