13.00 Fake (Japan / 2016 / 109 min / Tatsuya Mori)

15.00 Peter Von Bagh (Finland / 2016 / 70 min / Tapio Piirainen)

16.30 Opening Ceremony

17.30 The End of the Special Time We Were Allowed ( Japan / 2013 / 151 min / Shingo Ota)

 

13.00 A World Not Ours (Lebanon, UK, Denmark & UAE / 2012 / 93 min / Mahdi Fleifel)

15.00 ดอกฟ้าในมือมาร Mysterious Object at Noon (Thailand / 2000 / 83 min / Apichatpong Weerasethakul)

17.00 Yellowing (Hong Kong / 2016 / 127 min / Chan Tze-woon)

 

13.00 Glitterling Hands (Korea / 2015 / 80 min/Bora Lee-Kil)

15.00 Artists in Wonderland (Japan/1999/93 min/Makoto Sato)

 

14.00 Lecture : The Art of Film Editing by Mary Stephen

17.00 Artists in Wonderland (Japan/1999/93 min/Makoto Sato)

19.00 Self and Others (Japan/2001/ 54 min/Makoto Sato)

 

17.00 Glitterling Hands (Korea / 2015 / 80 min/Bora Lee-Kil)

19.00 Fake (Japan / 2016 / 109 min / Tatsuya Mori)

THU 23 MARCH @ AUDITORIUM (5 FLR.), BACC

17.00 Helsinki, Forever (Finland/2008/75 min / Peter von Bagh)

18.30 Zen & Bones (Japan/2016/126 min / Takayuki Nakamura)

FRI 24 MARCH @ AUDITORIUM (5 FLR.), BACC

17.00 A World not Ours (Lebanon, UK, Denmark & UAE/2012/ 93 min /Mahdi Fleifel)

19.00 ต้นสะดือ The Navel Tree (Thailand/2017/75 min / Cherdpong Laoyont)

SAT 25 MARCH @ SRI SALAYA THEATER, FILM ARCHIVE

13.00 Cuts (Indonesia/2016/70 min/Chairun Nissa)

15.00 Voyage to Terengganu (Malaysia /2016/62 min/ Amir Muhammad, Badrul Hisham Ismail)

16.30 The Soil of Dreams (Philippines/2016/60 min/ Jeffrie Po)

18.00 Absent without Leave (Taiwan, Malaysia/2016/84 min / Lau Kek-Huat)

 

13.00 Letters From Panduranga (Vietnam/2015/35min/ Nguyen Trinh Thi)

14.00 Sunday Beauty Queen (Hong Kong, China, Philippines/2016/95 min

/BabyRuthVillarama)

16.00 หมอนรถไฟ Railway Sleeper (Thailand/2016/102 min/สมพจน์ ชิตเกษรพงศ์ Sompot Chidgasornpongse)

18.00 Closing Party

19.00  นิรันดร์ราตรี Phantom Of Illumination (Thailand/2017/ 68 min / วรรจธนภูมิ ลายสุวรรณชัย Wattanapume Laisuwanchai)

Japan/2000/53 min

Director : Makoto Sato Producer :   Kenzo Horikoshi Director of Cinematography :   Masaki Tamura Editor : Shigeo Miyagi Sound : Nobuyuki Kikuchi Music : Kyomaro

 

In 1983, photographer Gocho Shigeo met an early death at the young age of 36. The view we see reflected in Gocho’s photographic images has become more profound over time since his death and has struck a chord in people’s hearts. While focusing on Gocho’s collection of photographs Self and Others, the film also visits places associated with him, creating a collage with the manuscripts, letters, photographs and voice recordings remaining in an attempt to capture “one more gesture”—a theme pursued by Gocho through photographic expression.

This film is neither a critical biography nor a monograph on the photographer. Rather, we are offered a new perception. As if mesmerized, the photographs Gocho left behind captivate us in their gaze.

Director : Makoto Sato Producer :  Tetsujiro Yamagami, Koshiro Sho Director of Cinematography : Koshiro  Otsu Editor :Makoto  Sato Sound :Yukio Kubota Music :  Yosui Inoue

 

 

About seven artists with mental disabilities, reveals how appealing art can be born from unusual asocial values. Director Sato’s flexible style turns a difficult and serious theme into a genial and interesting piece. Focuses on three facilities for the mentally challenged, which encourage art production and workshops. Probes into the fundamentals, questioning what art is. A stimulating discourse for the filmmaker himself as well as the audience.

Japan/2016/111 min

Director : Tatsuya Mori Producer : Yoshiko Hashimoto Director of Cinematography : Tatsuya Mori, Yutaka Yamazaki Editor: Keita

 

Once celebrated as one of Japan’s leading composers despite being deaf, Mamoru Samuragochi’s name hit international news in February 2014 when a university lecturer named Takashi Niigaki revealed that he himself had been writing most of the so-called genius’s music over the past 18 years. Not only that, Niigaki claimed that Japan’s modern-day Beethoven was not deaf at all. In the wake of typical media pandemonium, director Mori approaches and befriends the supposed hoaxer and his wife who are in hiding. Over repeated visits to their home, the truth behind the fiasco is unveiled −Or is it?

Samuragochi’s dimly-lit living room becomes a theater of unfolding riddles, where issues of fraud and plagiarism, media ethics and consumer appetites, Japan’s ritualized spectacle of public apology and other tricky themes come on display. Eventually, the documentary leads us to question the truthfulness of the film itself, like a snake eating its tail.

 

Korea/2015/80 min

Director : Bora Lee-Kil Producer : Bora Lee-Kil Director of Cinematography : Bora Lee-Kil, Joon-yong Seong, Gi-hyun Jeon Editor : Bora Lee-Kil Sound : Yong-soo Pyo

 

Despite being deaf Sang-kuk never forgets to smile while he makes furniture for a living. Kyung-hee can’t hear either but with her natural beauty and outgoing personality, she enjoys her job at a sign language interpretation center. Between them they have hearing daughter Bora who is a film director and a son named Kwang-hee. When, after moving eight times since marriage, Sang-kuk wants to move one more time, Kyung-Hee opposes him. In filming the silent world of her parents, the director discovers new stories coming from herself and her younger brother, who both grew up moving back and forth between two worlds – one of silence and the other of sound.

 

Finland/2016/70 min

Director : Tapio Piirainen Producer : Liselott Forsman Director of Cinematography :  Aro Kaivanto Editor : Jorma Höri Sound : Timo Hintikka

 

 

Tapio Piirainen’s newly released documentary about Peter von Bagh may be the most comprehensive one about its subject so far. Abundant interview material and treasures from the archives guide us in retracing the journey from the yard of Peter’s first home – the Lapinlahti Mental Hospital, because of his father’s occupation – to the film screenings in the Oulu of his childhood, from the fan letter addressed to James Mason to the racy and eventful university years in Helsinki; to the shooting and the reception of his feature film The Count, plus his numerous careers as an author, a documentary director, a creator of radio programmes, the editor-in-chief of “Filmihullu” magazine, and the Artistic Director of the Midnight Sun Film Festival. Philosophical deliberations in the serene beauty of nature around his summer home in Sotkamo are juxtaposed to the hectic, irresistibly glowing throb of the magic of the seventh art at international film festivals in Bologna and South America.

The life of the great cinephile was filled with similar correlations where life and cinema journeyed hand in hand, eagerly engaged in a dialogue with each other.

Finland/2008/75 min

Director: Peter von Bagh Producer : Jouko Aaltonen, Illume Oy Director of Cinematography : Heikki Aho, Björn Soldan, Pekka Aine, Felix Forsman, Osmo Harkimo, Armas Hirvonen, Pirjo Honkasalo, Eino Kari, Veikko Laakso, Theodor Luts, Vittorio Mantovani, Kalle Peronkoski, Uno Pihlström, Marius Raichi, Timo Salminen, Sulo Tammilehto  and Esko Töyri Editor: Petteri Evilampi Sound: Ilmo Lintonen, Martti Turunen Music : George de Godzinsky, Tuure Ara, Otto Donner, Einar Englund, Väinö Haapalainen, Nils Lerche, Vilho Luolajan-Mikkola, Georg Malmstén, Ernst Pingoud

 

 

Helsinki forever is a montage film on the city of Helsinki by the award-winning Finnish film director and academic Peter von Bagh. The film draws a portrait of Helsinki and also acts as an essay on Finnish culture in a wider sense. It shows Helsinki as captured by leading Finnish feature film and documentary makers over a period of a hundred years.

Japan/2016/126 min

Director : Takayuki Nakamura Producer : Takayuki Nakamura, Kaizo Hayashi Director of Cinematography : Kensuke Nakazawa (JSC) Editor: Kazuhiro Shirao Sound: Masaya Kuranuki Music : Yusuke Nakamura & Eddie Ban, Yuichi Kishino, Comoesta Yaegashi, Junko Onishi, Tomoko Konno, Shingo Terasawa, Takeki Muto Ygal

 

 

At the age of 93, Zen priest Henry Mittwer should be living his remaining days in peace at his temple in Kyoto. But he has a great passion and dream to make a feature film. For years, he has continued pitching his project Red Shoes to movie studios and financiers. Apparently, the Buddhist search for enlightenment and nothingness does not interfere with this obsession of his.   Born in 1918 in Yokohama to an American father who ran United Artists’ Far East Office and a Japanese mother, a former geisha, Henry spent his childhood years in Japan. In 1940, he traveled to America by ship to search for his father who had left the family when Henry was nine. Soon World War II broke out and he was detained in segregation camps for Japanese and Japanese-Americans. After the war was over, he worked as an engineer but was taken by the spiritual and artistic traditions of Japan; Zen in particular. He returned to Japan in 1961 and eventually became a Buddhist priest in Kyoto. He is later joined by his wife Sachiko, with whom he had three children, two born in the wartime camps.

Thailand/2017/ 68 min

Director : วรรจธนภูมิ ลายสุวรรณชัย Wattanapume Laisuwanchai Producer : โสรยา นาคะสุวรรณ Soraya Nakasuwan,ดรสะรณ โกวิทวณิชชา Donsaron Kovitvanitcha Director of Cinematography :  วรรจธนภูมิ ลายสุวรรณชัย Wattanapume Laisuwanchai, กอบบุญ ฉัตรไกรเสรี Kobboon Chatrakrisaeree Editor : กมลธร เอกวัฒนกิจ Kamontorn Eakwattanakij, ภาคภูมิ นันตาลิตร Parkpoom Nuntalit, วรรจธนภูมิ ลายสุวรรณชัย Wattanapume Laisuwanchai Sound Mixer : เฉลิมรัฐ กวีวัฒนา Chalermrat Kaweewattana , Sound Design :  วิษณุ ลิขิตสถาพร Wissanu Likitsathaporn

 

 

30 years ago, Thailand had more than 140 standalone cinemas around Bangkok.  Now, with the arrival of digital cinema, the age of standalone cinema had ended. Rit had been projectionist for 25 years. The skill he has as an projectionist becomes useless. He can not start a new career because he has no other professional skill. Therefore, he continues to live in the cinema as a security guard to maintain the building.  Rit does nothing but drinks and reads Dhamma book. His conversation always gives a mix massage between truth and his interpretation of reality. For him, time passes slowly with nothing to live for. He decides to go back to his family to work in rubber plantation. His new occupation cannot bring back his passion for living.

 

Thailand/2000/83 min

Director : Apichatpong Weerasethakul Producer : Gridthiya Gaweewong Mingmongkol Sonakul Director of Cinematography :  Apichatpong Weerasethakul Prasong Klinborrom Editor : Mingmongkol Sonakul Apichatpong  Weerasethakul Sound : Teekadetch Watcharatanin Sirote Tulsook Paisit Phanpruksachat Adhinan Adulayasis

 

 

Mysterious Object at Noon is part fiction, part documentary, and part pseudo-documentary about several unrelated lives in Thailand.

The film crew set out on an expedition across Thailand, from the north to the south, documenting several lives along the way. In the process, each subject filmed is required to continue a story.

A next person in another city is asked to resume the story with total freedom of expression. The person can even come back to any point in the story, make changes, and continue the tale alternatively. The film emphasises a documentary approach that presents people with different professions rather than looking for a perfect and unbroken narrative of the fiction"s storyline.

After the journey from the south, the crew set back for Bangkok, where the collaborated story is shot in a fiction-drama style with non-professional actors.

Thailand/2016/102 min

Director : Sompot Chidgasornpongse Producer : Apichatpong Weerasethakul Director of Cinematography :  Sompot Chidgasornpongse Editor : Sompot Chidgasornpongse Sound : Akritchalerm Kalayanamitr, Chalermrat Kaweewattana

 

 

"Railway Sleepers" explores the close connection between Thai people and Thai railway, a celebration and record of what it is like to live in Thailand today. Through various activities and scenes inside and outside the moving vehicles, the film turns the train into the microcosm of life in Thailand during this changing time. With mundane talk, onboard walks, outward gazes, exchanged glances, sitting, and sleeping, the film takes the audience to experience a 2-day, 2-night trip from the north to the south. As the vehicle’s rhythm synchronizes with the mechanism of a movie camera, the long history of the Thai train is encapsulated in this moving entity, while we become passengers of light.

Japan/2013/151 min

Director : Shingo  Ota Co - Producer :  Yutaka Tsuchiya Director of Cinematography :  Kentaro Kishi Sound : Ryoma Hiraizumi Music : Ishiko Aoba

 

The director makes a promise with his musician friend, Masuda to succeed in making a teen movie. But before they can wrap production, Masuda commits suicide. In his will, he wrote that he wanted the director to finish the film. Left behind, the director returns to the images they recorded, reuniting the film’s staff and actors and playing the role of his friend himself to complete this film.  It leaps over the barriers that separate documentary and fiction, and blends elements of imagination with a journey of recollection of a life choked by self-destruction.

 

Lebanon, UK, Denmark, UAE/2012/93 min

Director : Mahdi Fleifel Producer : Mahdi Fleifel, Patrick Campbell Director of Cinematography : Mahdi Fleifel Editor: Michael Aaglund Sound: Zhe Wu Music : Five Missions More

 

A World Not Ours is an intimate, humorous, portrait of three generations of exile in the refugee camp of Ein el-Helweh, in southern Lebanon. Based on a wealth of personal recordings, family archives, and historical footage, the film is a sensitive, and illuminating study of belonging, friendship, and family.

Filmed over more than 20 years by multiple generations of the same family, A World Not Ours is more than just a family portrait; it is an attempt to record what is being forgotten, and mark what should not be erased from collective memory.

Hong Kong/2016/127 min

Director : Chan Tze Woon Producer : Cheung YAM Yin, CHAN Tze Woon   Director of Cinematography :  Chan Tze Woon Editor : Jean HU, Tze-Woon CHAN Sound :Jacklam HO

Music :Jacklam HO

 

When Umbrella Movement happened two years ago; when tens of thousands took on the streets of Hong Kong in fight of democracy, student leaders had become the heart of the civil disobedient movement and public attention. But Yellowing is not a documentary that celebrates stars and leaders, nor does it give a journalistic account of the movement. Rather it shed light on the nameless, ordinary young people and their most heartfelt emotions. Their frustration, timidity and sadness- all but to be channeled away in wits and determination. The film is composed of 20 memorandum, each recording a different aspect of the movement. Some being scenes of violence we saw in the news, but more of daily chores, that in the most realistic respect, made this seemingly unrealistic defiance possible. Where there is discord, may we bring harmony; and where there is despair, may we bring hope. With his camera, director Chan Tze-woon had recorded a reminder for his 2014 - the year when he was full of dreams and courage.

Director: Chairun Nissa Producer: Meiske Taurisia, Edwin Director of Cinematographer: Chairun Nissa, Camelia Editor:  Sastha Sunu Sound Designer: Wahyu Tri Purnomo

 

Indonesian law stipulates that all films must go through censorship before any public screening in Indonesia. The director and producer of Blind Pig Who Wants To Fly, 2008, submitted their film to the Censorship Board. After a long-winded and corrupt bureaucratic process, the Censorship Board’s final verdict for the film was “Rejected with (Notes for) Revisions”. The filmmakers requested a hearing with the Censorship Board committee, which was eventually unsuccessful in producing a clearer understanding of the Censorship Board’s reasons for rejection.

Director: Lau Kek-Huat Producer: Stefano Centini Director of Cinematographer: Lau Kek-Huat Editor:  Lau Kek-Huat Sound: Kuo Ren-Hao Sound Designer: Eddie Huang Music: Hung-Tao Lin

The story begins with a portrait hanging in a family home in Malaysia. The subject remained a family taboo until the director discovered it was his grandfather, his identity hidden because he was a member of the Malaysian Communist Party. The director sets out on a journey to discover the secret history of his country through the eyes of his grandfather.

Director: Baby Ruth Villarama Producer: Chuck Gutierrez Director of Cinematographer: Dexter Dela Peña Editor:  Chuck Gutierrez Sound Designer: Alex Tomboc Music: Emerzon Texon

 

 

Beneath Hong Kong"s glittering facade, Filipinas working as domestic helpers work in relative anonymity and for near slave wages. In a beauty pageant like no other in the world, five helpers give themselves makeovers for a day and gleefully reclaim their dignity.

 

Director: เชิดพงษ์ เหล่ายนตร์ / Cherdpong Laoyont Producer: เชิดพงษ์ เหล่ายนตร์ / Cherdpong Laoyont Director of Cinematographer: เชิดพงษ์ เหล่ายนตร์ / Cherdpong Laoyont Editor:  เชิดพงษ์ เหล่ายนตร์ / Cherdpong Laoyont Music: สุวิชาน พัฒนาไพรวัลย์ / Suwichan Phatthanaphraiwan

 

 

A documentary story that will brings the audience to a land far far away to familiarize them with the tribe of minority, named “Pgakayhor” or famous categorized as “Karen.”

The story is told through “Chi,” a young acclaimed Pgakayhor musician and various other Pgakayhor philosophers. They will lead us to understand their way of life and culture through Thailand. This story will journey along Thailand’s western side, which is enriched with mountain ranges and forest. The journey will magnifies the connection between the tribes, even if they’re located apart. “The Naval Tree” will focus on four main subjects revolving.

The Pgakayhor’s tradition of “Home is the forest and the forest is home.” The debate due to misunderstanding of why the Pgakayhor has to burn the forests. The negative influences from modern development, which changes the Pgakayhor’s livelihood.

Director: Amir Muhammad, Badrul Hisham Ismail Producer: Foo Fei Ling Director of Cinematographer: Saifuddin Musa, Iddin Shah Editor:  Razaisyam Rashid Music: Zulhezan

 

 

The laid-back, scenic and conservative Terengganu was the only one out of the 13 states of Malaysia that director Amir Muhammad had never been to. So he decided to go there for the first time in December 2015 and do a kind-of-travelogue about it. He quotes from a 1838 book by Munshi Abdullah (often referred to as the father of Malay journalism) which had some very scathing observations about the state and the men who live in it. These quotes are interspersed with conversations with some Terengganu men of today. C-directed by Badrul Hisham Ismail who is a Terengganu native.

Director: Jeffrie Po Producer: Jeffrie Po, Sine Tres Marias, Goethe-Institut Director of Cinematographer: Jeffrie Po, Mona Liza Azares, Dexter Tuling Editor:  Jeffrie Po Sound: Jeffrie Po, Mona Liza Azares Sound Designer: Jeffrie Po

 

 

The Soil of Dreams exploresthe long night of Typhoon Sendong (Typhoon Washi) victims, generally, and a band of quarry workers, particularly.

A man surfaces from the river and digs mud from the riverbank with his bare hands. He shoves clumps of mud and transfers them onto the riverbank, heavily gasping.

 

Director: Nguyen Trinh Thi  Producer: Nguyen Trinh Thi Director of Cinematographer: Jamie Maxtone-Graham Editor:  Nguyen Trinh Thi Sound: Nguyen Trinh Thi Sound Designer: Nguyen Trinh Thi

 

The essay film, made in the form of a letter exchange between a man and a woman, was inspired by the fact that the government of Vietnam plans to build the country’s first two nuclear power plants in Ninh Thuan (formerly known as Panduranga), right at the spiritual heart of the Cham indigenous people, threatening the survival of this ancient matriarchal Hindu culture that stretches back almost two thousand years.

At the border between documentary and fiction, the film shifts audience attention between foreground and background, between intimate portraits and distant landscapes, offering reflections around fieldwork, ethnography, art, and the role of the artist.