Asian film festival means to break down barriers

FOR ITS fifth year, the Asia Society Philippines’ Asia on Screen film festival is aiming to break down barriers to promote unity by presenting 10 independent films from all over the region, said the society’s executive director during the festival’s launch.

“What better medium to express and permeate ideas of tolerance, a positive quality of mind and hopeful spirit than film — more specifically independent film, and more appropriately during these divisive times,” Suyin Liu Lee, executive director of Asia Society Philippines, said during her opening remarks at the launch of the film festival on Feb. 15 at the Greenbelt 3 Cinemas, Makati City.

Running from Feb. 22-25, Asia on Screen, which carries the theme “Breaking Barriers,” was to open last night with Apprentice (2016) by Boo Junfeng. The film, which was screened at the Un Certain Regard section of the Cannes Film Festival, explores the often debated yet taboo issue of capital punishment as seen through the eyes of an executioner.

“At a more visceral level, it has forced me to examine the complexity of the issues surrounding capital punishment — issues we have conveniently put out of sight and out of mind,” said Mr. Junfeng in his director’s statement included in the festival’s press release.

From the Philippines, the festival will screen Women of the Weeping River (2016) by Sheron Dayoc. The film, which bagged six trophies at the 2017 Gawad Urian Awards including those for Best Director and Best Picture, offers a close glimpse of the different discords and cultures of Mindanao through the perspectives of two women.

Also from the Philippines is Mga Rebeldeng May Kaso (2015) by Raymond Red which follows a group of young indie filmmakers during the politically charged, rapidly changing time of the People Power Revolution in 1986.

Laos is represented by Anysay Keola’s Above it All (2015), the country’s first gay film which paints a picture of the attitudes surrounding homosexuality in Laos’ Hmong minority.

How to Win at Checkers (Every Time) is a 2015 Thai film, directed by Josh Kim, which tells the story of an orphaned young boy as he grows up in contemporary Thailand.

From Indonesia comes Emma (Mother), a 2016 Riri Riza film which tackles the traditions of Indonesia as seen through the eyes of a mother struggling to find peace amidst her husband’s polygamy.

In a similar vein, Lipstick Under My Burkha from India — a 2016 film directed by Alankrita Shrivastava — follows three brave hopeful Indian women who desire to break free from the chains of their conservative society.

Korea’s The Wailing (2016), a horror film directed by Hong-Jin Na, is about a police officer trying to catch a man behind the mysterious murders in his village.

Malaysia’s You Mean the World to Me (2017) is a semi-autobiographical film by Saw Teong Hin which aims to capture the depths of love for family even through — and especially during — difficult times.

Finally, Vietnam’s Jackpot (2015) by Justin Nguyen narrates the plight of a poor lottery saleswoman who discovers that one of her customers bought the winning ticket.

Asia on Screen, which runs from Feb. 22-25, will be screened at Greenbelt 3’s Cinema 3 at P150 per film. Tickets can be purchased at the cinema’s box office or at www.sureseats.com. For more information and for the full film schedule, visit https://asiasociety.org/philippines/events/asia-screen-2018 or its corresponding Facebook page. — Z. B. Chua