By Jack Barnes
The Film Society of Lincoln Center and Subway Cinema announced today the complete lineup for the 16th New York Asian Film Festival (NYAFF), which will take place from June 30 to July 13 at the Film Society and July 14 to 16 at the SVA Theatre. North America’s leading festival of popular Asian cinema will showcase 57 feature films, including 3 International Premieres, 21 North American Premieres, 4 U.S. Premieres, and 15 films making their New York City debuts. The festival will feature in-person appearances by more than 20 international filmmakers and celebrity guests from mainland China, Hong Kong, Taiwan, South Korea, Japan, and Southeast Asia.
This year, all three of NYAFF’s Gala screenings are brilliant reinventions of the thriller genre. The Opening Gala will be the International Premiere of Nattawut Poonpiriya’s Bad Genius, the first Southeast Asian film to open the festival, with the director and stars in attendance. In this exhilarating high-school thriller, straight-A students Lynn (Chutimon Chuengcharoensukying) and Bank (Chanon Santinatornkul) stage a heist that will undermine the U.S. university entrance system after they lose their own scholarships.The Centerpiece Gala of the festivalwill be the North American Premiere of Mikhail Red’s Birdshot, a continuation of the festival programmers’ efforts to champion films from Southeast Asia, and the Philippines in particular. The Closing Gala is the U.S. Premiere of Jung Byung-gil’s The Villainess, fresh from its Midnight screening in Cannes. The adrenaline-soaked action film stars Kim Ok-vin as a ruthless female assassin trained in China who starts a new life with South Korea’s Intelligence Agency.
New to NYAFF in 2017 is the Main Competition section, featuring seven diverse works by first or second-time directors that are all having their North American premieres at the festival. Competing are Bad Genius (Thailand), Birdshot (Philippines), A Double Life (Japan), The Gangster’s Daughter (Taiwan), Kfc (Vietnam), Jane (South Korea), and With Prisoners (Hong Kong). The competition jury will be announced at a later date, with winners revealed on the festival’s final night at Film Society of Lincoln Center on July 13.
“We were seeking a range of original films from young, first-time directors, films that represent the diversity of filmmaking from Asia, stories that say something both very local and specific to their countries of origin and something very universal: we hope we achieved at least some of this with our inaugural competition selection, which includes films from seven countries/cities in the region in a broad variety of genres,” NYAFF executive director Samuel Jamier said. “It’s important for us to champion new filmmaking from Asia, and the diversity of film made there at a time when other festivals in North America seem to be reducing the size of their Asian lineups.”
More now than ever, Hong Kong cinema is at the core of the festival’s programming: faithful to its Chinatown origins, this year’s edition celebrates the best filmmaking from the Special Administrative Region with a central Hong Kong Panorama section, commemorating the 20th anniversary of its establishment, with major support from the Hong Kong Economic and Trade Office in New York. Over the past two decades, Hong Kong cinema has continuously influenced and inspired many filmmakers in Asia and in the world. This year’s lineup proves the originality and excellence of its production is intact: from a powerful condemnation of life inside the territory’s juvenile detention centers (With Prisoners), to a wartime epic about resistance heroes during the Japanese occupation (Our Time Will Come), to a tale of corruption and redemption set in the underbelly of 1960s Hong Kong (Dealer/Healer), the films bear testimony to the city’s rich cinema history.
The core of the panorama will be a special (and first of its kind) focus on the exciting new generation of directors, titled Young Blood Hong Kong. As part of the 20th anniversary, the festival is looking to the future of Hong Kong cinema, rather than its past: these recent Hong Kong directors are working in various genres, tackling a range of social issues, and paying homage to the film traditions they grew up with, from tenement dramas to vampire comedies. Meanwhile, NYAFF continues to bring established, major filmmakers from the region: Lawrence Lau, who, along with Ann Hui, is one of Hong Kong’s best neorealist directors, will be introducing his star-studded crime action drama Dealer/Healer; the Panorama will spotlight the new generation from the region with guest filmmaker Wong Chun and screenwriter Florence Chan with Mad World, Derek Hui with This Is Not What I Expected, and Alan Lo with Zombiology: Enjoy Yourself Tonight. Other films by first-time Hong Kong directors in this year’s lineup are Derek Tsang’s Soul Mate, Yan Pak-wing and Chiu Sin-hang’s Vampire Cleanup Department, and Andrew Wong’s With Prisoners.
The 2017 lineup also includes five LGBTQ-themed films: two dramas with transsexual protagonists, Naoko Ogigami’s Close-Knit from Japan, and Cho Hyun-hoon’s drama Jane from South Korea; two coming-of-age high-school youth dramas, Ahn Jung-min’s Fantasy of the Girls from South Korea, and Leste Chen’s 2006 Eternal Summer from Taiwan, which merits a second look a decade on; and Lee Sang-il’s wild and violent mystery thriller Rage, featuring Go Ayano (NYAFF 2016 Rising Star Asia awardee) as a homeless stranger invited into the home of a semi-closeted salaryman (Satoshi Tsumabuki) as his live-in-lover.
Another highlight of this year’s festival are three films that celebrate Japan’s unique “Roman Porno” genre, each having their North American premieres: Aroused by Gymnopedies, Dawn of the Felines, and Wet Woman in the Wind. Nikkatsu, Japan’s oldest film studio, is celebrating 45 years since they birthed the softcore Roman Porno genre (roman derives from the French word for novel). Invented to save a dying industry, they gave carte blanche to directors with minimal rules: keep it under 80 minutes with a sex scene every ten. This allowed for wild stream of consciousness works of both the highest and lowest caliber. Now, Nikkatsu has enlisted top contemporary talent for the Roman Porno Reboot Project, taking the provocative, envelope-pushing format to a whole new level.
In addition to the festival’s screenings, the NYAFF awards a number of honorees each year, including this year’s recipients:
· The 2017 NYAFF Lifetime Achievement Award goes to veteran Hong Kong actor Tony Leung Ka-fai, who will attend a three-film tribute, including Johnnie To’s Election, Longman Leung & Sunny Luk’s Cold War 2 and Tsui’s Hark’s The Taking of Tiger Mountain 3D. In a career spanning 35 years, Leung has worked with the iconic directors Li Han-hsiang, Wong Kar-wai, Stanley Kwan, and Jean-Jacques Annaud, and starred opposite the screen legends Jackie Chan, Leslie Cheung, Maggie Cheung, Andy Lau, Jet Li, and Fan Bingbing. Leung was arguably the first Hong Kong star to become an international heartthrob, in Jean-Jacques Annaud’s The Lover.
· Our Star Asia Award recipient is Korean movie star Gang Dong-won, whose charisma and emotional investment in his performances gives his films a unique edge. His most iconic films include Lee Myung-se’s Duelist, Park Jin-pyo’s Voice of a Murderer, and Jang Hoon’s Secret Reunion. Last year, NYAFF presented two of his films, The Priests and A Violent Prosecutor, and in 2017, the festival will be joined by Gang to present a special screening of the magical fable Vanishing Time: A Boy Who Returned.
· The Screen International Rising Star Asia Award will be given to Thailand’s Chutimon “Aokbab” Chuengcharoensukying. The 21-year-old model, who is still a student at Bangkok’s Chulalongkorn University, found fame last year in Thank You for Sharing, an eight-minute, viral short about cyber-bullying. The NYAFF is opening with her feature debut, Bad Genius, in which she stars as a high-school student who masterminds an ambitious heist of the American university entrance exam system. It’s a demanding role, in which her quick-witted character must navigate a complex moral universe where parents and teachers don’t always know best.
Tickets go on sale June 15, with Film Society and Subway Cinema members receiving an early access period beginning June 13. Tickets are $14; $11 for students and seniors (62+); and $9 for Film Society members. See more and save with a 3+ film discount package and All Access Pass. Learn more at filmlinc.org.
Curated by executive director Samuel Jamier, deputy director Stephen Cremin, and programmers Claire Marty and David Wilentz.
The New York Asian Film Festival is co-presented by Subway Cinema and the Film Society of Lincoln Center and takes place from June 30 to July 13 at Film Society’s Walter Reade Theater (165 West 65th St), and July 14 to 16 at SVA Theatre (333 West 23 St).
FULL LINEUP (57):
Titles in bold are included in the Main Competition
Co-presented with Confucius Institute Headquarters and China Institute
– Battle of Memories (Leste Chen, 2017)
– Blood of Youth (Yang Shupeng, 2016)
– Duckweed (Han Han, 2017)
– Extraordinary Mission (Alan Mak & Anthony Pun, 2017)
– Someone to Talk to (Liu Yulin, 2016)
– Soul on a String (Zhang Yang, 2016)
HONG KONG PANORAMA (11):
Presented with the support of Hong Kong Economic and Trade Office in New York
– Cold War 2 (Longman Leung, Sunny Luk, 2016)
– Dealer/Healer (Lawrence Lau, 2017)
– Election (Johnnie To, 2005)
– Mad World (Wong Chun, 2016)
– Our Time Will Come (Ann Hui, 2017)
– Soul Mate (Derek Tsang, 2016)
– The Taking of Tiger Mountain (Tsui Hark, 2014)
– This Is Not What I Expected (Derek Hui, 2017)
– Vampire Cleanup Department (Yan Pak-wing, Chiu Sin-hang, 2017)
– With Prisoners(Andrew Wong, 2017)
– Zombiology: Enjoy Yourself Tonight (Alan Lo, 2017)
– Aroused by Gymnopedies (Isao Yukisada, 2016)
– Close-Knit (Naoko Ogigami, 2017)
– Dawn of the Felines (Kazuya Shiraishi, 2016)
– Destruction Babies (Tetsuya Mariko, 2016)
– A Double Life (Yoshiyuki Kishi, 2016)
– Happiness (Sabu, 2016)
– Japanese Girls Never Die (Daigo Matsui, 2016)
– The Long Excuse (Miwa Nishikawa, 2016)
– Love and Other Cults (Eiji Uchida, 2017)
– The Mole Song: Hong Kong Capriccio (Takashi Miike, 2016)
– Rage (Lee Sang-il, 2016)
– Suffering of Ninko (Norihiro Niwatsukino, 2016)
– Survival Family (Shinobu Yaguchi, 2017)
– Traces of Sin (Kei Ishikawa, 2016)
– Wet Woman in the Wind (Akihiro Shiota, 2016)
SOUTH KOREA (11):
Presented with the support of Korean Cultural Center New York
– Fabricated City (Park Kwang-hyun, 2017)
– Fantasy of the Girls (Ahn Jung-min, 2016)
– Jane (Cho Hyun-hoon, 2016)
– Ordinary Person (Kim Bong-han, 2017)
– A Quiet Dream (Zhang Lu, 2016)
– A Single Rider (Lee Joo-young, 2017)
– Split (Choi Kook-hee, 2016)
– The Tooth and the Nail (Jung Sik, Kim Whee, 2017)
– The Truth Beneath (Lee Kyoung-mi, 2016)
– Vanishing Time: A Boy Who Returned (Uhm Tae-hwa, 2016)
– The Villainess (Jung Byung-gil, 2017)
SOUTHEAST ASIA (6)
– Bad Genius(Nattawut Poonpiriya, Thailand, 2017)
– Birdshot (Mikhail Red, Philippines, 2016)
– Kfc (Le Binh Giang, Vietnam, 2017)
– Mrs. K (Ho Yuhang, Malaysia, 2016)
– Saving Sally (Avid Liongoren, Philippines, 2016)
– Town in a Lake (Jet Leyco, Philippines, 2015)
Presented with the support of the Taipei Cultural Center of TECO in New York
– Eternal Summer (Leste Chen, 2006)
– The Gangster’s Daughter (Chen Mei-juin, 2017)
– Godspeed (Chung Mong-hong, 2016)
– Mon Mon Mon Monsters (Giddens, 2017)
– The Road to Mandalay (Midi Z, 2016)
– The Village of No Return (Chen Yu-hsun, 2017)
– Bamseom Pirates Seoul Inferno (Jung Yoon-suk, 2017)
– Mrs. B., A North Korean Woman (Jero Yun, 2016)
NEW YORK ASIAN FILM FESTIVAL (NYAFF)
Now in its 16th year, the New York Asian Film Festival (NYAFF) is North America’s leading festival of popular Asian cinema, which The Village Voice has called “the best film festival in New York,” and The New York Times has called “one of the city’s most valuable events.” Launched in 2002 by Subway Cinema, the festival selects only the best, strangest, and most entertaining movies to screen for New York audiences, ranging from mainstream blockbusters and art-house eccentricities to genre and cult classics. It was the first North American film festival to champion the works of Johnnie To, Bong Joon-ho, Park Chan-wook, Takashi Miike, and other auteurs of contemporary Asian cinema. Since 2010, it has been produced in collaboration with the Film Society of Lincoln Center.
FILM SOCIETY OF LINCOLN CENTER
The Film Society of Lincoln Center is devoted to supporting the art and elevating the craft of cinema. The only branch of the world-renowned arts complex Lincoln Center to shine a light on the everlasting yet evolving importance of the moving image, this nonprofit organization was founded in 1969 to celebrate American and international film. Via year-round programming and discussions; its annual New York Film Festival; and its publications, including Film Comment, the U.S.’s premier magazine about films and film culture, the Film Society endeavors to make the discussion and appreciation of cinema accessible to a broader audience, as well as to ensure that it will remain an essential art form for years to come.
The Film Society receives generous, year-round support from The New York Times, Shutterstock, Variety, the National Endowment for the Arts, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. American Airlines is the Official Airline of the Film Society of Lincoln Center. For more information, visitand follow @filmlinc on Twitter.
ABOUT SUBWAY CINEMA
Subway Cinema is America’s leading 501(c)(3) nonprofit organization dedicated to the exhibition and appreciation of Asian popular film culture in all forms, building bridges between Asia and the West. With year-round festivals and programs, the organization aims to bring wide audience and critical attention to contemporary and classic Asian cinema in the U.S. In 2002, Subway Cinema launched its flagship event, the annual New York Asian Film Festival (NYAFF), which is North America’s leading festival of popular Asian cinema. Subway cinema’s other events and initiatives include Old School Kung Fu Fest (OSKFF).
Subway Cinema receives generous, year-round support from the Kenneth A. Cowin Foundation and sponsorships from the Hong Kong Economic and Trade Office in New York, Korean Cultural Center New York, Taipei Cultural Center of TECO in New York, China Institute, Manhattan Portage, Tsingtao Beer, Japan Foundation New York, Maven Wine, Bruce R. Watts, and thanks their media partners: Screen International, Asian Crush, China Film Insider, Chopsticks NY.
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