Golden Horse Film Festival Sets Double Opening With ‘Snow in Midsummer’ and ‘Be With Me’

Leo Barraclough International Features Editor Bosnian director and screenwriter Danis Tanović, whose “No Man’s Land” won the Best Foreign Language Film Oscar, has been selected as the president of the Official Competition Jury at the 45th edition of the Cairo Film Festival. As well as the Oscar, “No Man’s Land” won best screenplay at Cannes in 2001.

Patrick Frater Asia Bureau Chief Blue Ant Media, the Canadian-owned group with operations spanning TV production, distribution and channels management, is creating a new Asia-Pacific base in Sydney, Australia. It has hired Jon Penn as its Asia-Pacific MD and Jason Soh as VP of distribution, based in Singapore.Penn is a veteran with ten years in Asia with BBC Studios and 11 years of experience at Fremantle. Latterly, he has been a partner at ACT Media Ventures and advised Blue Ant on its expansion in Australia. “The appointments signal the expansion of Blue Ant Media’s channel and program distribution business in Asia Pacific, combining the company’s channel distribution and content sales in the region into one unit.

Jenelle Riley Deputy Awards and Features Editor The 24th Annual Newport Beach Film Festival (NBFF) has unveiled its lineup for this year’s festival, taking place Oct. 12-19. It includes 91 films from 19 countries, including 14 world premieres.

Patrick Frater Asia Bureau Chief Yakusho Koji, the Japanese star who was named best actor at Cannes this year in Wim Wenders’ “Perfect Days,” is set as the subject of a seven-title showcase at the upcoming Golden Horse Film Festival in Taiwan. Among the septet are classic erotic film “Lost Paradise” from 1997, this year’s “Perfect Days” and 1996 film “Shall We Dance,” which was later remade in Hollywood. A former civil servant who first ventured into Taiga drama (long-running TV series broadcast by NHK), then played in several films by Kurosawa Akira, Yakusho became a major 1990s star in Asia as a result of “Shall We Dance?,” in which he portrayed a ball room dancer, and “Lost Paradise.” He also starred in Itami Juzo’s “Tampopo.” Directed by Morita Yoshimitsu, “Lost Paradise” is a tale of a man and a woman whose marriages no longer make them happy, but who rediscover desire in each other’s arms. Fatefully, however, their newfound joy means ever greater transgression of Japan’s strict morality laws. At the time of the release of “Lost Paradise,” the producers deliberately darkened the erotic scenes to make them less explicit and to achieve less restrictive release classifications.

Patrick Frater Asia Bureau Chief Identity, incomplete understanding and urban poverty are among the many themes touched upon in “Oasis of Now,” which is set to make its debut next month in the prestigious New Currents competition section of the Busan International Film Festival. The story revolves around a mother and a daughter who inhabit the invisible corners of an old apartment block in Kuala Lumpur. They meet in the stairwells, play furtive games and snatch moments of shared happiness, before slinking off to their separate homes.

There’s been a lot of jealous talk about nepotism in the film world lately, but who would really want to come into the movie world as a, what, fourth-generation Huston? There are likely swords already being sharpened for Jack Huston, the handsome, charming, 40-year-old nephew of Anjelica, grandson of Jack and great-grandson of Walter. But his directing debut, Day of the Fight, which premiered this week in the Venice Film Festival’s Horizons Extra section, is certainly worthy of the family name. It’s a little earnest, sometimes a bit too style-conscious, and Huston is inclined to put performance before story every time. But the emotional input really earns its payoff in a confident, imaginatively mounted calling card.

Brent Lang Executive Editor The Toronto International Film Festival kicked off its 48th edition with the North American premiere of “The Boy and the Heron,” the first feature from animation icon Hayao Miyazaki in a decade and the picture that is likely to serve as his cinematic swan song. The 82-year-old filmmaker isn’t doing any promotion for the film, so he wasn’t on hand at the Princess of Wales Theater on Thursday to look out at the adoring crowd of film lovers, who cheered every time his name or that of Studio Ghibli, his creative home, was invoked.

Patrick Frater Asia Bureau Chief Kim Jee-woon’s black comedy “Cobweb,” which debuted this year at Cannes, is set for a U.S. theatrical release in early 2024.

As if to come to the aid of her national cinema after the debacle that was Roman Polanski’s The Palace, Poland’s Agnieska Holland, soon to turn 75, restores some of her homeland’s cultural dignity with a devastating exposé that angrily, and quite brilliantly, questions its humanity and political integrity. At 144 minutes, and in black and white, it is not exactly a Trojan horse, and its moral rigor does not come with a spoonful of sugar. But Green Border earns every second of that running time, and with a focus and energy that belies its directors age. Awards-wise, this may prove to be the international feature to beat.

Patrick Frater Asia Bureau Chief The QCinema International Film Festival in the Philippines has beefed up its industry program by introducing a project market strand, QCinema Project Market (QPM). It acts as a networking and funding platform for Filipino and Southeast Asian projects in advanced development.

Roman Polanski’s Venice Film Festival feature The Palace received a 3 minute ovation tonight at its world premiere screening.

Patrick Frater Asia Bureau Chief Hong Kong-based, Mainland China-born auteur Yonfan has scandalized and enthralled Chinese-speaking parts of Asia in a career that has spanned fine-art photography, filmmaking and journalism. Further afield, he has become a regular on the Lido. His 1995 feature “Bugis Street,” which has been restored and is screening in the Venice Classics section, achieved notoriety at the time of its debut. It is set in the red-light area of Singapore, at a time shortly after the country had achieved independence and before it earned its buttoned-up, conservative reputation. Loosely structured, the film follows a 16-year-old woman (played by Hiep Thi Le), who’s an employee at the appropriately named Sin Sin Hotel.

Caleb Landry Jones hits the red carpet with longtime girlfriend Katya Zvereva for the premiere of Dogman during the 2023 Venice Film Festival on Thursday (August 31) in Italy.

The 80th Venice Film Festival officially kicked off Wednesday evening with the world premiere screening of Edoardo De Angelis’ Italian World War II submarine drama Comandante. Running in competition, the film took over the slot vacated by Luca Guadagnino’s tennis drama Challengers, which backed out of the spot amid the actors strike.

The Telluride Film Festival, a key part of the fall festival circuit launching awards season and perhaps some major Academy Award contenders, announced the wide-ranging lineup of films for its landmark 50th edition. The fest kicks off Thursday and runs through Labor Day and will feature world premieres of Oscar winners Alexander Payne’s The Holdovers (Focus Features), Emerald Fennell’s Saltburn (Amazon) and Free Solo filmmakers Elizabeth Chai Vasarhelyi and Jimmy Chin’s narrative feature Nyad (Netflix).

This year’s Taipei Golden Horse Film Festival will open with a double bill of Snow In Midsummer, directed by Malaysia’s Chong Keat-aun, and Be With Me, from Taiwanese filmmaker Hwarng Wern-ying.

EXCLUSIVE: The Love and Hope International Film Festival, based in Barcelona and backed by IMDB, Stage 32, FilmFreeway, and Final Draft, will open its upcoming edition with Guillotine by Iranian-American director Ray Izad-Mehr.

Patrick Frater Asia Bureau Chief The main competition section of the Busan International Film Festival is set to showcase two new features from Bangladeshi directors, the feature debut of Japanese documentary maker Mori Tatsuya and ruminations on Hong Kong by mainland Chinese director Choi Ji. The festival on Wednesday unveiled its New Currents competition section, reserved for films by directors making their first or second works of fiction, as well as its Jiseok section, a showcase for somewhat more established Asian auteurs. In addition to the Bangladesh duo, New Currents includes two films from Japan, two from Korea and one each from China, Thailand, Malaysia and India. From Bangladesh, Iqbal H. Chowdhury’s “The Wrestler” sees an old fisherman challenge a wrestling champion to combat, and in “The Stranger” Biplob Sarkar tells a coming-of-age, gender-identity tale. From Japan, Mori recounts the events of the Great Kanto earthquake in “September 1923,” while Yamamoto Akira delves into profound and shocking love in “After the Fever.” New Currents’ Korean contributions come from Lee Jong-su, whose “Heritage” tracks a man who opts out of military service and his supervisor, and Sohn Hyun-lok, whose “That Summer’s Lie” blurs truth and fiction in memories of a past romance. India’s Rajesh S.

Wim Wenders’ Tokyo-based Cannes Competition title Perfect Days has been set as the opening film of this year’s Tokyo Film Festival while Godzilla Minus One, written and directed by Takashi Yamazaki, will close proceedings.

Patrick Frater Asia Bureau Chief “Lost in Perfection,” the second film by journalist-turned-filmmaker Sung Hsin-yin (“On Happiness Road”), has set Oct. 27 as the date of its commercial release in Sung’s native Taiwan. Ahead of the Taiwan release, the film is expected to have its world premiere at a major festival.