Where is the Lie (2023) NYAFF 2023

WHERE IS THE LIE is a really good film.  A look at love in the modern age it’s a based on a true story film where a woman named Jazen breaks up with her boyfriend. Turning to a dating app she meets the perfect guy who ends up ghosting her. However what is going on is something else entirely.

I don’t know all of the details of the actual events, and I don’t really care because what is on screen in WHERE IS THE LIE is really good. A look at life and dating in todays world it shines a light into a lot of places that we may not be contemplating, such as catfishing games set up by people with too much time on their hands. It’s the sort of thing that makes me glad I’m too old for those sort of games.

I really liked WHERE IS THE LIE. The  cast headed up by EJ Jallorina is super. We really like pretty much everyone and they pull us into all the mystery of what is going on. I was hooked early and when it was done I wanted to go back and take another ride.

One of the things that I loved was that this film which is very much tied into technology and apps actually manages to use the cinema screen to replicate what we the characters are seeing on their phones and devices.  This may not sound like much but more and more in films we are flashed visuals that are supposed to be a phone or tablet or computer screen, by the more often then not the filmmakers don’t manage to make it movie friendly. Yes  we are seeing what the characters are doing but its not cinematic. Its intrusive with lot of stuff we don’t need. Here director Quark Henares designs the shots  so that we both get a sense of what is on the screens the characters are looking at but we also get something that works cinematically. That may sound like a small thing but it’s not, because too often the technology shots simply don’t blend into the film as a whole.

This is a super film. I had a good time. It mad me laugh and it made me think about love, and the madness of these times and the crazy things people do.

I want to say more but I don’t want to give anything away. There are a couple of turns I didn’t see coming  and I don’t want to spoil anything.

This is a gem.

All U Need Is Love (2021) NYAFF 2021

 

I have not been going into New York’s Chinatown as much as I used to with the result that my knowledge of Chinese and Hong Kong cinema of the last several years has diminished. Where I was way ahead of anything playing New York Asian I am now painfully clueless. I also miss the grand films that Hong Kong Studios would periodically turn out where a dozen or more stars would wander through some contrived comedy  and be silly. These films usually came out New Years and were not to be taken seriously. As a result they were a lot of mindless fun.

It is with a desire to see one of those films that I put on ALL U NEED IS LOVE an all star look at the Covid quarantine. The film is playing NYAFF and after seeing 12 very serious films of various quality I wanted something light. I got something light and laugh out loud funny.

The film is essentially a PSA stretched to 90 minutes. The point is to get some kind of information to the masses about the disease, which results in some serious bits, however mostly this is a just a very funny tale of people being locked up in a hotel for the duration.

Mixing action and comedy the film is almost certain to put a smile on your face. Watching the film at lunch I was laughing so hard at times I almost choked to death.  The humor is mostly low brow and almost always hits its target. The action is also extremely well done. There are times where bits are played straight for wow factor responses and times it results in laughs. I was delighted by both.

This is absolutely not high art but it is damn fun.

Its so good that I’m annoyed that the film isn’t playing with an audience since the film would be a blast live.

Recommended.

NYAFF Capsules: BASEBALL GIRL and BENEATH THE SHADOW

BASEBALL GIRL
Lee Joo-young plays a young woman who refuses to give up on her dream of becoming a professional baseball team. Fighting through chauvinism she refuses to give up her dream.

Solid and some what by the numbers sports tale is lifted up several notches by the  work of Lee Joo-young who disappears into her roll so much that she drags us along despite having a good idea how this is going to play out. It is her work makes this a must see.

BENEATH THE SHADOW
Pretentious art house film concerns two work friends who develop a close bond, when one of them goes missing it throws the other into a tizzy.

Dripping with meaning and symbolism at every turn this wildly over long film struggles to say something in light of the 311 disaster. I wouldn't have minded so much but the film is trying way too hard to be about something deep. Honestly director Otomo Keishi should have relaxes a little since his previous films, even the Rurouni Kenshin films (of which he's scheduled to make 2 more) said more  by trying less hard

VICTIM(S) (2020) NYAFF 2020

Rich student  kills a poorer student. We then watch as events spiral out and the true number of the victims is revealed.

One of  at least two similar films playing NYAFF this year (The other is FORGIVEN CHILDREN) is, on it's own terms a good film. It reveals how the stupid acts of some people have unexpected consequences that no one can live with. If you can take it on it's own terms and want a heavy drama this film is for you.

Unfortunately for long time attendees of NYAFF the film suffers from not only being similar to another film this year, but also to at least one film from almost every other year from the 5 or 6 years. As much as I love NYAFF one of the most frustrating things about the fest is it's drift into what feels like cookie cutter programming.If you've been to the fest you know you will get at least one of these films every year just as you know you will get one travelogue like film from an unexpected country and several other things. While the films are never bad, more often then not they feel like they were picked via ticky box rather than because they were outstanding. VICTIM(S) is good but not outstanding.

Apologies to the festival, but it's true.

NYAFF Capsules: IWIERDO, BEASTS CLAWING AT STRAWS and GERAN

I WEIRDO
Two germaphobes with OCD collide in this surprisingly charming romantic comedy that goes...elsewhere.

Not high on my list of NYAFF films to see, I watched it in a mood where I challenged myself to try something I wouldn't have otherwise watched. I was delighted I did because the mix of compelling characters and humor won me over. Aside from the fact that there were several instances where I had to deal with white subtitles on white backgrounds I really have nothing bad to say about the film.

BEASTS CLAWING AT STRAWS
A satchel of money is found by a cleaner. Seeing at a means to a better life he doesn't know that the money will end up being the object of desire that will leave a trail of broken lives and dead bodies.

Well made, well acted film suffers from the inescapable sense that the film is riffing on so many other better films. The NYAFF promotional material mentions PULP FICTION and NO COUNTRY FOR OLD MEN but the truth is there are a dozen or more other films  that could be named as well.  As good as it is it never truly finds it's own unique groove  and so just seems like a relay of greatest hits.

Good enough to be worth a look but it will probably not be one you're talking about at years end.

(I will be reviewing this once I can see this again and move away from the comments that gave too much away)

GERAN
When the younger brother decides to side with the people seeking the family home his siblings have to fight to get the deed to the land back.

Good but by the numbers action film gets bump up by it's use of local color to make the film stand out from the rest of the pack.

If I sound less than enthusiastic about the film it is purely because I am scratching my head as to why the film won the Daniel Kraft Award for action excellence at this year's NYAFF. While the action sequences aren't bad there is nothing exceptional about them... on the other hand the festival's shift away from genre and action films only leaves them with limited choices.

NYAFF SHort Takes: THE GANGS,THE OSCARS AND THE WALKING DEAD; FORGIVEN CHILDREN and SOUL

THE GANGS,THE OSCARS AND THE WALKING DEAD
Aspiring filmmaker who never has anything go right for him is working for a gangster manage to interest him in the idea of making a movie. He goes for it on the condition his girlfriend stars in it... but things go even more wrong.

Wickedly funny comedy mashes together allsorts of sub genres into a laugh producing mix. To be certain not every joke lands but enough of them do that you won't care. Best of all the engery is such you won't ever think of looking away

Recommended

FORGIVEN CHILDREN
A bunch of teens out messing around  bully a friend daring him to bring out his crossbow...and things go horribly wrong.

Gut wrenching drama shines a light on among other things the aftermath of tragedies and how the pain and suffering never seem to end. A wonderfully made film is often a heartbreaking tale where everyone left alive is left damaged.

SOUL
Dark folktale concerns a terrible warning given by a mysterious girl and terrible things that follow.

Lyric horror film is a bit more style then substance but even so manages some stunning images and frightening moments. I often felt like I was a head of the script but I couldn't look away lest I miss something terrible.

They Say That Nothing Stays The Same (2019) NYAFF 2020

What the hell is this film doing at NYAFF? The question is not one because it’s bad, rather something this meaty and artistic should have been on the main slate of the New York Film Festival. No matter it is playing in New York and it is a must see.

The film concerns two boatmen at the turn of the 20th century. As they wait for a bridge to take away their livelihood they ferry people across a river. When one of them stumbles on the unconscious body of a woman in the river things begins to change.

Stunningly beautiful needs to be seen as big as possible. This is one of the most visually impressive films I’ve seen all year. Every frame is a perfect picture that actually helps to drive the film forward. Nothing is wasted, nothing extraneous, every image is part of the story. The low res screener provided to critics out of fear of piracy was close to an abomination but at the same time the cinematography by Christopher Doyle is so stunning that even covered in shit you could tell you were looking at gold.

I don’t know where else to go, the music is glorious. The performances are beyond compare. This is a deeply thoughtful deeply moving art film. Actually it is more akin to a novel then a film in that you can feel the hand of the storyteller spinning his web just off screen. Because it is such an absolutely compelling tale you really won’t care

If the film has any real flaw it is the pacing which will bother some people. Things don’t really begin to start until about a half an hour into the film. It’s a very deliberate choice since it sets up the place where the film happens. We get to understand the people and the place before moving forward and as a result the film resonates deeper… on the other hand some people need a faster pace, and in that case this film is not for you.

Hands down one of the top three films at NYAFF and a must see for any movie lover worth their salt.

DANCING MARY (2020) NYAFF 2020

Sabu comes through yet again with one the few films I’ve seen at this year’s NYAFF that is truly great. As the NYAFF people swallow their tongues at my saying that, understand that while they have programmed a lot of good films, but the ones that make you go wow, that make you fall in love and want to take them home to mama have been missing (then again the great ones may be playing only on the app which with me technologically backward can’t use)

This time out Sabu returns to two sorts of stories that he is really good at portraying, notions of Karma and destiny (look at his early body of work) and romances (look at Chasuke's Journey). However this time out he mixes things up with horror, comedy, gangster films and a few other things as well. The result is a film that delighted the hell out of me and explains why Sabu is one of my favorite directors working in the world.

Mixing Romance and philosophy with horror comedy yakuza films and a touch of samurai, Dancing Mary is about a haunted dance hall that everyone is afraid to tear down. The ghost won’t let anyone work on demolishing the place and psychics who try to get to the bottom of it end up in the hospital. A low level guy in the construction company is tasked with sorting it out before his bosses have the yakuza destroy the building for them. Finding the right psychic he discovers Mary refuses to leave because she is waiting for her lost love. The pair then has to run down the missing lover if they want to put Mary to rest.

This film is a joy. From start to finish, top to bottom this film just delights with each turn. Sabu, a master of the mash up does what he does, which is tell his story, his way with out worrying if it’s crossing genres. Having spoken with the director on several occasions he has made it clear genre doesn’t matter, the story does. He tells the story and lets it go where and how it has to. As with most of his films this always results in something magical and glorious.

Frankly films like this are the reason I love the movies. Film directors and artists like Sabu are the reason that I still hold out hope for mankind, because through their work they show the true nature of the human condition.

Highly recommended, this is one of favorite films of 2020

Brief thoughts on ABRACADABRA (2020) Fantasia 2020

In a world of magic a magician makes a young boy disappear and then can't bring him back...

Hands down one of the most magical movies of the year. A stunning celebration of life, stories and the movies. This is a film that is a must see for anyone who loves the movies or story telling.

I don't want to say too much but I have to say that this is kind of like if Fellini made Tarsem Singh's THE FALL. Its a magical mix of reality and fiction that simply delights as it moves us deeply.(Some people have compared it to Wes Anderson as well, and I can happily throw that into the mix too- though truthfully ABRACADABRA is ultimately it's own wonderful dish)

And that dear friends is all I will say other than this is a must see.

Think of this as exactly the sort of wondrous films that made long time NYAFF attendees fall in love with the festival all those years ago.

NYAFF Capsules: ROM and GONE WITH THE LIGHT

I received access to the NYAFF library of films just as the festival was starting so I am wildly behind. In order to speed things up some of the reviews are going to be a bit shorter than the normal NYAFF reviews.

ROM
In Vietnam a homeless orphan who can see lucky numbers  acts a lottery runner for people. If his pick comes in  he gets a few dollars payment. kid sees lucky numbers. A show don occurs when a new kid muscles into his territory.

Good film is more of interest for the fact this is taking place in Vietnam, a place we haven't really seen in films before, than the story. The story, which the promotional material compares to SLUMDOG MILLIONAIRE is also similar to other stories we've seen over the years. On the other hand the images of Ho Chi Minh city are bursting with life, and most of the secondary characters are wonderfully unlike anything we've seen in most Western films.  I want to see the film again for the people and the scenery more than the story.

GONE WITH THE LIGHT
Dong Run-nian's GONE WITH THE LIGHT is a must see at NYAFF.

The plot of the film has people across the globe disappearing in a flash of light. No one knows why they are gone but speculation is rampant with some feeling that those who left were loved more than others or were in love.  The speculation as to why begins to make people crazy.

Needing a much longer review than I am capable of turning out right now GONE WITH THE LIGHT is a magnificent piece that manages to be a film that makes you think and feel and carry it with you past the ending. The great cast, headed by Huang Bo, who gives an Oscar worthy performance, manages to blend all everything together so that we don't think about what type of film we are seeing and we only concentrate on the human drama happening before us.

This is one you need to experience.

UNLEASHED (2019) NYAFF 2020

If you are looking for a throw back to the original days of the New York Asian Film Festival when wild and crazy was the norm and action was in every other film then this year's one throwback film seems to be the comic infused UNLEASHED.  Compared to the heavy dramas, comedies and other good for you explorations of far off lands this martial arts film is positively heathen.

Fok Kit teached martial arts by day and fights for cash at night. Just as love, in the form of an actress needing to learn to fight comes along, his master's school is threatened with shut down by a raiding of the rent and bad guys who want Fok Kit to fight their guy for big money.

While most assuredly we have been there before any number of times the sheer joy in the telling and the great cast sell this film from the first frame to the last. As the NYAFF write up says this is a popcorn film from top to bottom and in a festival full of social issues, killer kids, heavy tragedy and feel good dramas it's nice to have at least one film that just wants to entertain and not make point about anything.

A true old school crowd pleaser UNLEASHED is recommended

More NYAFF coverage is coming

This is a heads up to let you know that I have finally been in contact with the NYAFF offices and I now have access to the screening library for the festival. I will be posting as I see things and can write them up.

I have seen ROM and GONE WITH THE LIGHT (this is really good) so look for reviews soon.

Beauty Water (2020) NYAFF 2020

Yaeji is a heavy weight young woman which in South Korean society is the source of ridicule. Hoping to become beautiful and thus get ahead in life she attempts to use Beauty Water, a product which promises to make her exactly what she wished. Unfortunately it has horrible side effects.

Unpleasant and unnerving animated film is a trip into the body horror sub-genre that David Cronenberg used to mine so successfully. This is a chilling look at the things people will do to become loved. It’s a sad tale that not only horrifies us with what happens but makes us realize that just because we get what we want or what we think will make everything alright, things will not be better if we have other hidden problems.

Beauty Water is a stunner. It’s a neat poisoned confection that turns your stomach.

Recommended to those like who like their horror disturbing

The Unseen Films NYAFF 2020 Post

With NYAFF starting today I wanted to get Unseen Films’ coverage up so you at least had a little bit of guidance regarding the fest.

Our coverage this year is going to be sparse, consisting only of the a few films we saw through means outside of the festival. The reasons for this is due to a couple of factors, including the fact that the app the festival is using to screen the films is not something that is workable for my tech set up (you must use a cellphone or tablet).

Below you can find links to the films we covered either through the graciousness of the distributor or because the films played at this years Fantasia Fest. There is also notes on two films that we will be having reviews of in the next few days.
CHASING DREAM
MY PRINCE EDWARD
A WITNESS OUT OF THE BLUE
DETENTION

I will have a review up of the really good thriller LEGALLY DECLARED DEAD as soon as the Fantasia embargo lifts.

I will be running a review of BEAUTY WATER soon. I have a banked review from Fantasia. The feature version of the film was pulled from that festival and replaced by 20 minute short.  Since the feature is supposed to still be playing NYAFF I've repurposed the review.

ADDENDUM:
Having  connected with the NYAFF offices I can finally say that there will be more coverage of the festival coming.

Nightcap 8/16/20 - Thoughts On Upcoming Fest, Bones Of Fairie Is Back In Print, and Bootleg Batman

This is one of a number of a number of bootleg Batman films made in the Philippines in the 1960's. This one mashes up things with spy films
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And so the universe shifts and with the revelation of the New York Asian Film Virtual Festival’s slate of films came the announcement that they are going to be available only if you use a tablet or mobile device. You will not be able to access the fest via a laptop or home computer. The festival will be able to streamed to smart TVs. The move is being done in order to reduce piracy, a move that is understandable (many films are locked depending upon where you are in the world as well).

I've had a couple of conversations concerning this move. Some of the people were okay with it  and some were not, since they, like myself, don't like to watch subtitled films on their phones and don't have a TV where you can cast the image. There were also some jokes about the app required being of Chinese origin and wondering if it will mine our data and become a target of the President much like Tic Tok.

Joking aside the discussions resulted in some interesting conversations concerning the future of film festivals and technology.  Is it going to be app based? How will this affect the audiences? Will every fest end up with their own app? In an age where people want to simplify is this going to turn people off? How much piracy is there that they have to worry? The conversations were interesting and inconclusive. I'm toying with the idea of a piece on changing tech and virtual fests based on the talks.

I don't know how the need for the app will affect coverage of the fest here at Unseen. I'm probably not going to use it because I don't have a tablet or castable TV. I have reached out to the fest concerning press access and I'm waiting to hear back. I do know that there will be some coverage since several films are crossing over from other festivals such as Fantasia, and I have reached out to some distributors concerning their films.

And of course I may be borrowing my niece's iPad.
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Speaking of Fantasia, the fest starts Thursday and runs to the beginning of September. Because the festival is virtual they are allowing reviews to run early which means you may have noticed that we have already started posting them. More are coming and a curtain raiser, with a few recommendations, will appear tomorrow afternoon.
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I've applied to cover the New York Film Fest.  The fest  has announced its main slate.

Since it is virtual they have altered it's running time- starting ten days earlier on September 17 (normally it the last week of September) and running until October 11.

I am not certain how it's going to go- will it be live streaming or on demand?

I'm curious how it will all play out.

I'm also curious how the need to go virtual altered the slate selections. (again there is another potential piece in that)
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Right now I am now stalled with little desire to do anything film wise. Bouncing between fests and new releases I have been having very mixed results with what has been coming my way. I have a couple of films to watch but they are not priority since they are needed weeks off. I also have some others possibly coming but they are in the wind

I've also been discussing the general state festival programming in the time of Covid, which has been odd. The discussion largely has been to the effect of how has it changed what we are seeing at the virtual fests? Would things have been different if there was no lockdown?

The question was raised since the mix of films for some fests is odd or not as exciting in previous years. The talk of what might have been or could have been is kind of sad, largely because there is no way to know what was offered and pulled back (several programmers have told me they lost films when things went virtual) or what is even out there waiting for release since until a festival happens many films are completely off people's radar.

Mostly things have been turning maudlin in that what we all end up agreeing to is that we all miss the actual social aspect of film going and being able to talk about a film right after we see it. Now everyone is seeing it on their own schedule and then waiting for other people to catch up to talk about it which is not as much fun
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Janni Lee Simner's Bones of Fairie  Trilogy is back in paperback. Buy it here

Seriously it's a great read and something you should get if you love fantasy. I had it since it was first published and it is something I have recommended to many over the years.
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I rewatched SHERLOCK HOLMES A GAME OF SHADOWS and find it has improved with age. Yea some of the humor is wonky and yes the slow motion is dated, but the emotion and the seriousness is excellent. I liked it more now.
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James Wong is getting a star on Hollywood Blvd, what he needs is an Oscar. He's made more movie than anyone and never been bad. Give him a Life Achievement Oscar
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This week is going to be very heavy with reviews owing not only Fantasia but also a large number of new releases.

Who said the Covid Crisis has slowed new releases?

THE NEW YORK ASIAN FILM FOUNDATION, FILM AT LINCOLN CENTER, and SMART CINEMA USA ANNOUNCE THE 19th NEW YORK ASIAN FILM FESTIVAL

New York, NY (August 10, 2020) – The 19th edition will be a special virtual edition from August 28 to September 12, 2020.

Whether online or offline, the festival continues to highlight women both behind and in front of the camera, and features a specific FOCUS on women filmmakers: WOMEN TRANSFORMING FILM, starting with:

The OPENING FILM - the North American Premiere of The Girl and the Gun (Babae at Baril), directed by Rae Red, led by a superb performance by actress Janine Gutierrez, and produced by Iana Celest Bernardez (in a first-time producing role) and Bianca Balbuena.

The Festival’s programming team went the extra mile to spotlight female talent. There is much more to Asian cinema than the male-dominated films shown at Cannes and the Oscars. NYAFF is proud to spotlight an exciting lineup of titles directed and led by women:

Heavy Craving from Taiwan, Lucky Chan-sil and Kim Ji-young, Born 1982 from South Korea, My Prince Edward from Hong Kong, and Victim(s) from Malaysia, among others.

The CENTERPIECE film marks both a departure from genre as well as the festival’s embrace of an ever-expanding range of films: They Say Nothing Stays the Same by Odagiri Joe, one of Japan’s best-known actors, who makes a remarkable feature debut behind the camera. Odagiri is joined by a no less remarkable cast and crew: cinematographer Christopher Doyle; veteran actor Emoto Akira, who leads a star cast including Nagase Masatoshi, Asano Tadanobu and Aoi Yu, plus a rare appearance by musician Hosono Haruomi; Oscar-winning costume designer Wada Emi; and a fabulous score courtesy of Armenian jazz pianist Tigran Hamasyan.

A generous share of the program is devoted to new filmmakers, including striking directorial debuts and sophomore efforts. Integral to NYAFF’s mission is showcasing the Asian cinema vanguard that emerges largely from new talent and fresh voices. This edition reflects today’s particularly kinetic innovations, much informed by social media and the hyper information highway. An impressive cross-section of work highlights new ideas in storytelling and tackles social mores and personal demons, including Philippines’ John Denver Trending, Korea’s Beauty Water and Taiwan’s Detention and IWeirDo, just to name a few.

In regional terms, South Korea is front and center in this year’s selection. Faithful to tradition, the Festival presents a balance of arthouse and genre titles with an emphasis on outstanding storytelling and accessibility: Secret Zoo, Hitman Agent Jun, Moving On.

As the boundaries between what is strictly film and TV blur, NYAFF has found, in its tireless search for exciting, new content, an extraordinary example of the convergence of both formats in SF8, a series of eight stand-alone 52-minute science fiction films that will make their International Premiere at this first virtual edition. Each film is directed by prominent Korean filmmakers, and the knowledgeable viewer will recognize the names of Min Kyu-dong, Jang cheol-su, Noh Deok.

The series, first shown on Korea’s version of Netflix, Wavve, has been praised locally and has drawn comparisons with Black Mirror.

The Festival continues to champion the work of new directors and filmmakers that have not yet received international recognition with its “Uncaged” Competition section, which includes five films by first and second-time directors: (IWeirDo, Moving On, Legally Declared Dead, Victim(s) and They Say Nothing Stays the Same.)

The Hong Kong Panorama, the point of origin of the Festival, has a specific emphasis on Cantonese-language stories and the new generation of filmmakers at a turning point in the history of the Special Administrative Region.The selection features the following: the World Premiere of Hell Bank Presents: Running Ghost, the North American premieres of Memories to Choke on, Drinks to Wash Them Down; The Grand Grandmaster, Legally Declared Dead, Unleashed, the East Coast premiere of the previously mentioned My Prince Edward, and Witness Out of the Blue, one of the few and best representatives of a genre that put Hong Kong cinema on the map: the crime thriller.

Keeping continuity with the festival’s roots, this year’s edition also features Chasing Dream, the latest by Johnnie To, Hong Kong cinema’s l’enfant terrible turned patron saint. NYAFF is notable as the first festival and institution to bring the wild cinematic stylings of To and his team to the US with the groundbreaking series, "Expect the Unexpected: Contemporary Urban Cinema from Milkyway Image Productions" back in 2000.

This year’s selection of films from Japan proves as eclectic as ever with a fascinating diversity of styles and themes, by emerging and established creators. There is salient cinematic sophistication in the resonant work of returning filmmakers: Naito Eisuke’s cause-for-alarm cautionary tale Forgiven Children; Otomo Keishi’s hypnotically enigmatic Beneath the Shadow. On the other end of the spectrum is the hilariously uncomfortable cringe-com Beloved Wife; and rounding things out are Sabu’s supernatural dramedy Dancing Mary, Mariko Tetsuya’s shocking manga adaptation Miyamoto, and more.

At a time when Hollywood and the new East Asian superpower go both head to head and hand in hand, the China selection continues to show a wide-ranging selection of titles that reflects the versatility of the mainland’s filmmaking, and puts the spotlight on new directors: Fresh off the massive success of last year’s White Snake, the programming slate includes a brand new title that shows the sudden rise of the Chinese animation sector with recent hit Mr. Miao, Li Lingxiao’s epic directorial debut. Produced by the team behind box office champion Ne Zha, the film, released in China on July 31, has drawn praise and comparisons with Studio Ghibli's productions. Also on the menu is an original take on the scifi genre: Gone with the Light, a strikingly original feature debut by Dong Runnian, who has made a name for himself as the scriptwriter of Mr Six and Crazy Alien. The film, powered by the performances of star actor Huang Bo and an all-star female cast (Bai Baihe, Song Chunli, Wen Qi , Huang Lu), artfully marries an empowering drama with genre tropes. In addition to highlighting new talent, the Chinese selection includes Sixth-Generation director Wang Rui’s most recent work by (and one of its best to date): Mongolian-language drama Chaogtu with Sarula.

“Since the very first day of our launch, our goal is to always promote and screen the latest quality Asian films to international audiences. So it is our great pleasure to work with NYAFF, one of the most prominent Asian film festivals in the world, for their 19th edition, following our successful partnerships with Shanghai International Film Festival and Bucheon International Fantastic Film Festival. As a technology and data driven platform, we have created a unique, cutting-edge, virtual “Almighty Cinema” ecosystem to accommodate all the various demands from international festivals, distributors as well as traditional exhibitors.” said Jack Gao, founding partner and CEO of Smart Cinema.

“We are honored that NYAFF selected Smart Cinema USA to be their partner as they continue to showcase the best films from all over Asia during this global pandemic. Smart Cinema has become the premiere virtual cinema destination for movies in Asia and we are committed to replicating that success in North America.” said Doris Pfardrescher, President & CEO of Well Go USA and Board Member, Smart Cinema USA.

“At a time when the work of festivals might seem like a rearguard battle, I’m glad to take a leap into the unknown, and search east, not only for the films, but for new ways of exhibiting those films“, said Samuel Jamier, executive director and president of the New York Asian Film Festival & Foundation.




FULL LINEUP (51 films; program still subject to change)

Titles in bold are included in the Main Competition.







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