Eastern Grace Launches Nine-Title Debut Slate at Shanghai Film Festival

Patrick Frater Asia Bureau Chief Authorities in Vietnam have banned commercial screenings of Greta Gerwig’s “Barbie.” The Warner Bros. film starring Margot Robbie and Ryan Gosling, one of the most anticipated movies of the summer, was set to have been released in the country on July 21. The film contains a scene that depicts a map with the “nine dash line,” a representation of China’s territorial claims in the South China Sea, which Vietnam says violates its sovereignty. Vi Kien Thanh, director general of the Vietnam Cinema Department under the Ministry of Culture, Sports, and Tourism, said on Monday that the ban was decided by the National Film Evaluation Council.

Patrick Frater Asia Bureau Chief Zhang Yimou, China’s most enduring filmmaker, is joining the worldwide shift by feature film directors into the streaming arena. Zhang, who directed “Full River Red,” the most successful film of 2023 in China, is to be involved with his first TV series. He will executive produce “The First Shot,” his representatives confirmed to Variety. The show is to be directed by Xing Lu and is backed by Tencent Video. It is currently in development, with a tentative air date in 2025. That’s because Zhang has a film directing project with an anticipated Chinese New Year release date, due to begin shooting this summer.

In exciting news for movie lovers and soccer enthusiasts alike, the Toronto International Film Festival (TIFF) has announced that Taika Waititi’s soccer comedy, “Next Goal Wins”, will have its world premiere at the 48th edition of the festival.

Patrick Frater Asia Bureau Chief Chinese mystery drama “Lost in the Stars” was the top-grossing film on the planet over the latest weekend – despite playing only a single territory. The film earned $70.7 million (RMB502 million) between Friday and Sunday in mainland China, according to data from consultancy Artisan Gateway. That put it far and away ahead of other Chinese new releases and Hollywood’s holdovers “Transformers: Rise of the Beasts” and “The Flash.” With the Dragon Boat Festival holiday occurring on Thursday, the film was given an unusual one-day advance on the normal releasing pattern in China. Including Thursday takings, the film made a total of $98.3 million (RMB968 million).

Patrick Frater Asia Bureau Chief Shanghai was the venue for the launch of Chinese streaming firm iQiyi’s latest venture into Virtual Reality. Its ‘Luoyang VR Project’ is a studio-based experience in which users are invited to experience up to 12 different entertainment zones in the ancient city of Luoyang in Henan province. Requiring headsets and using a physical space of some 300 square metres, the set-up stimulates the physical experience of high winds, waterfalls and explosions. IQiyi described the project as “the first attempt in the VR industry to integrate different elements from immersive theatre, VR, and original IP,” and said that it leverages “inside-out tracking” technology and other industry-leading, sensory-simulation techniques to build in cars, boats, carriages, and other props. “The upshot is a highly realistic environment that fully immerses the audience in the story,” the company said.

Patrick Frater Asia Bureau Chief The 28th edition of the Shanghai TV Festival wrapped up on Friday with its Magnolia Awards presented to a range of TV drama series, documentaries and animation programs. The drama awards were dominated by two shows “A Lifelong Journey” and “Bright Future.” “A Lifelong Journey,” adapted from a novel of the same name by Liang Xiaosheng, tells the story of three generations of one family in China’s Northeast as time moves from the late Cultural Revolution period through to the country’s reform and opening up. With a starry cast and broadcasters including CCTV-1 and Jiangsu Satellite TV, the show is reported to have attracted 310 million viewers at the beginning of 2022. In mainland China, it ran for 58 episodes, while in Hong Kong it played in 35 parts.

Patrick Frater Asia Bureau Chief The technical aspects of China’s embrace of smart broadcasting were given a thorough workout this week as part of the ongoing Shanghai Television Festival. Topics covered by keynote speakers included: future broadcasting planning; AI content generation’ big data construction; and the development of ultra-high definition broadcasting. Sun Suchuan, deputy Director-General of the Science and Technology Department of the National Radio & Television Authority explained that the national government has iterated a strategic development plan for the TV sector running until 2035 as well as medium- and long-term technological strategies.

Patrick Frater Asia Bureau Chief The members of the international juries that will decide the Magnolia prizes at the ongoing Shanghai Television Festival were Thursday made to do double duty as speakers in public masterclasses that were open to a generation of aspiring documentary and animation makers. David Stephan, jury president in the animation category, along with fellow judges Spencer Ooi and Jia Fou, spoke at length about getting their starts in the business and finding inspiration. “When I studied animation, I didn’t have a textbook available. I saw extremely limited things, so I did further research to make myself understand what I was doing in such a career,” said Jia.

Patrick Frater Asia Bureau Chief Hong Kong action film “The White Storm: Heaven or Hell” will have its North American premiere at the New York Asian Film Festival, where it is a late addition to the line-up. The festival runs July 14–30, 2023 at Film at Lincoln Center (FLC). Directed by Herman Yau, the film sees Louis Koo, Aaron Kwok and Sean Lau (aka Lau Ching-wan) appear together for the first time. It is set in the ‘Golden Triangle’ region famous for drugs production and trafficking. Kwok plays an undercover cop who infiltrates a drug cartel led by a notorious Thai drug lord (Lau). In classic heroic bloodshed fashion, the two develop a bond of brotherhood. The cop’s only hope of escaping the treacherous jungle region and his ambiguous morality is to somehow contact the superintendent of the Hong Kong Narcotics Bureau, who has solemnly sworn to demolish the cartel once and for all.

Patrick Frater Asia Bureau Chief Asia Satellite Telecommunications (AsiaSat), a leading operator of satellites, has moved into content distribution with the acquisition of Hong Kong- and U.K.-based TV distributor Lightning International. The diversification was described by AsiaSat as “a strategic move to expand the company’s services and extend its clients’ reach to global audiences through traditional and new distribution platforms including OTT and FAST.” AsiaSat is known to be acquiring 100% of Lightning International, but other deal terms were not disclosed.

Patrick Frater Asia Bureau Chief Warner Bros.’s “The Flash” and Disney/Pixar’s “Elemental” made theatrical debuts in China that were in line with their soft starts in North America and other international territories. “The Flash” captured the top spot in China with a $13.4 million (RMB94.8 million) opening weekend ($13.8 million including previews), according to data from consultancy Artisan Gateway. It deposed “Transformers: Rise of the Beasts” which opened a week earlier and which slipped to second place in its sophomore frame. “Transformers” took a 69% fall and recorded $12.4 million between Friday and Sunday in China. That produces a $61.7 million cumulative after ten days in Chinese theaters.

Patrick Frater Asia Bureau Chief “Barbarian Invasion” director Tan Chi Mui from Malaysia scored a top result from the SIFF Project Market. The market is a component event of the Shanghai International Film Festival, which wrapped up over the weekend. Tan’s “All About Yuyu” was named as the “recommended project for creativity” at the project market’s closing event. The project, which is already being structured as a Malaysia-China coproduction, is a story that combines contemporary wuxia (heroic martial arts) with youth elements. “I want to make a modern wuxia film to recapture the magical feeling I had when watching films during my childhood,” she told local media.

Patrick Frater Asia Bureau Chief After a golden age in the 1980s, Chinese filmmakers were quietly discouraged from dabbling in the sci-fi genre – it isn’t real science and authorities did not want youngsters to get confused. That stance changed during the last decade and the Shanghai International Film Festival has just hosted its first sci-fi week, comprising nearly a dozen film screenings and a trio of panel discussions featuring the new luminaries in the sector. Reasons for the revised position of China’s authorities are not hard to understand. Not only was Hollywood getting away with dominating a genre that was popular with Chinese audiences, China in the 21st century has become a global technology powerhouse. Its space program, in particular, is now among the most advanced, capable of a normalized rocket launch schedule, international co-operation and lunar and interplanetary missions.

Patrick Frater Asia Bureau Chief Japanese drama feature “Yoko” won the Golden Goblet best picture award at the Shanghai International Film Festival. The jury Grand Prix was awarded to Spain’s “Muyeres” with China’s Liu Jin winning the best director prize.The trio also collected additional prizes making them the only multiple winners in a ceremony that sprinkled its awards widely. “Yoko,” directed by Kumakiri Kazuyoshi, who earlier this year saw melodramatic “#Manhole” play in Berlin, takes the structure of a road-movie and is a journey of self-discovery of a woman who had been socially isolated in her apartment for many years. Portrayed by global star Rinko Kikuchi (”Babel,” “47 Ronin”), the woman is forced to confront the real world, and herself, when she takes a 658 kilometre cross-country journey to her father’s funeral. Without a cell phone or the money for public transport, she finds herself having to hitch hike. Kikuchi also earned the best actress award.

Patrick Frater Asia Bureau Chief “Sunday,” by Uzbekistan-based director Shokir Kholikov, was Thursday named best film in the Asian New Talent section of the 25th Shanghai International Film Festival. The Asian New Talent Awards are called Golden Goblet Awards, but are separate from the festival’s official competition section, and favor new and emerging talent. The main competition jury will hand out its Golden Goblets on Sunday. The best director prize in the Asian New Talent section was shared by two helmers: China’s Luo Dong won for “May.” So too did Kazakhstan’s Aisultan Seit for “Qash.” Luo previously attended the Shanghai festival’s project market ten years ago and has since completed one other film.

Nimona.” The official synopsis is as follows: When Ballister Boldheart (Riz Ahmed), a knight in a futuristic medieval world, is framed for a crime he didn’t commit, the only one who can help him prove his innocence is Nimona (Chloë Grace Moretz), a mischievous teen with a taste for mayhem — who also happens to be a shapeshifting creature Ballister has been trained to destroy. But with the entire kingdom out to get him, Nimona’s the best (or technically the only) sidekick Ballister can hope for.

Leo Barraclough International Features Editor Karlovy Vary Intl. Film Festival’s Eastern Promises industry platform has unveiled 27 film projects that will be showcased during its Works in Progress, Works in Development – Feature Launch and First Cut+ Works in Progress presentations. The most promising projects, selected by international juries, will receive awards with a total value of 115,000 EUR.  The showcasing of projects to industry professionals will take place in Karlovy Vary, during this year’s KVIFF Industry Days on July 3 (Works in Progress and Works in Development – Feature Launch) and July 4 (First Cut+ Works in Progress). For Works in Progress, 11 fiction and documentary feature films in the late stage of production or post-production from the countries of Central and Eastern Europe, the Balkans, the former Soviet Union, the Middle East and North Africa have been selected.

Patrick Frater Asia Bureau Chief Hungarian director and screenwriter Ildikó Enyedi brought some art-house royalty to the Shanghai International Film Festival this week with a masterclass that focused on her process and the struggle to maintain a unique voice. At one point in her on-stage discussion with Chinese director Zheng Dasheng, she called filmmaking “essentially a sole desperate cry, hoping to be heard by others.” Enyedi’s voice has certainly registered and been heard at Europe’s major film festivals. She won the Camera d’Or in Cannes in 1989 for best debut feature “My 20th Century,” saw her 1994 film “Magic Hunter” play in competition in Venice and she won the top prize Golden Bear in Berlin in 2017 with “On Body and Soul.”

Naman Ramachandran International Film Festival Rotterdam (IFFR) has appointed former BFI London Film Festival director Clare Stewart to the position of managing director, taking over from Marjan van der Haar. Stewart was most recently interim CEO at Sheffield DocFest and commences in the role at IFFR on June 21. IFFR has a dual leadership structure where the managing director and festival director oversee the commercial and creative elements of the organization respectively, working in partnership. Stewart previously consulted with the IFFR board of directors in 2021 in its first phase of re-evaluation prior to her joining DocFest, with a focus on the IFFR program structure and content strategy.

International Film Festival Rotterdam (IFFR) has appointed Clare Stewart to the post of Managing Director, taking over from outgoing Managing Director Marjan van der Haar.