‘Who’s Afraid of Nathan Law?’ Review: A Vivid if Bleak Update on the Hong Kong Pro-Democracy Front

Anthony Chen’s well-regarded Mainland China-set “The Breaking Ice” has found favor with multiple European and Asian buyers in the few days since its Sunday premiere as part of the Cannes Film Festival’s Un Certain Regard. The film narrates a love triangle story among China’s lost youth generation and is set in the middle of winter in Yanji, a town that is heavily populated by ethnic Koreans. It is headlined by a star-studded Chinese cast of Zhou Dongyu (“Better Days”), Liu Haoran (“Detective Chinatown” franchise) and Qu Chuxiao (“The Wandering Earth”). “The Breaking Ice” has been newly licensed to Challan for release in South Korea, Trigon-Film for Switzerland, One From the Heart for Greece, Tucker Film for Italy and Edko Films for Hong Kong.Rights sales are handled by Rediance, Mainland China’s leading indie sales company, which reports that addition territory deals are currently being negotiated.

Patrick Frater Asia Bureau Chief Magic Fair, a Miami-Paris based indie sales company and Hong Kong- and Paris-based All Rights Entertainment have launched rights sales on upcoming feature animation “Pigsy,” directed by Chiu Li-Wei (“Barkley”) during the Cannes Film Festival’s Marche du Film. The film is a reimagining of the classic Chinese tale “Journey to the West.” The story follows a self-absorbed and lazy pig on a journey to lasting happiness. Set in a distant future, the film sees Pigsy embark on a deceitful quest for a better life, only to find that true happiness may be closer than he thinks. The production has recently added Taiwanese stars Greg Han, Liu Kuan-Ting, Harlem Yu, Tuo Tsung-Hua, Chung Hsin-Ling, Ivy Shao, Waa Wei and K.R. Bros. The film is to be completed in time for release at Chinese New Year in early 2024. Production is by the Netherland’s studio Submarine (“Where is Anne Frank,” TV series “Undone” Season 2, “Apollo 10 ½ : A Space Age Childhood”) with Taiwan’s Greener Grass (“GrX”) and Studio2 (“Barkley,” “Get the Hell Out,” “The Tag-Along”).

In the early ’90s, Japan’s Takeshi “Beat” Kitano was on a roll, with a superb string of nuanced crime movies that stood in stark contrast to the good-vs.-evil bullet operas that were coming out of Hong Kong at the time. Kitano’s darkly funny cynicism (who else could have made Violent Cop?) made him stand out by miles, but it soon became his weakness, as became evident in the lean period after the success of Zatoichi in 2013. The experimental, semi-autobiographical trilogy that followed — Takeshis’, Glory to the Filmmaker and Achilles and the Tortoise — seemed to offer little more than self-sabotage, the work of a frustrated artist trying to take a blowtorch to his populist image without much thought for the future.

Lise Pedersen Award-winning US producer and distributor Karin Chien (“Robot Stories,” “Circumstance”), whose latest co-production, “Man in Black,” is one of two films by Chinese director Wang Bing running in Cannes’ official selection, shared her experience with the crowd during a masterclass at Cannes Docs, the Film Market section dedicated to documentary films. “Man in Black” premiered at a special screening in Cannes on May 22. Wang’s other film selected in this year’s edition is main competition title “Youth.” In the talk, moderated by Documentary Association of Europe co-founder Brigid O’Shea, Chien put on her distributor’s hat to talk about a job she said was “not pitched enough but [represented] some of the most meaningful work she [had] ever done.”

Chinese streamer Youku is teaming with Beijing-based producer-distributor Hishow Entertainment to produce high-end drama series My Dearest Stranger, starring Wang Luodan and Bosco Wong. 

Patrick Frater Asia Bureau Chief All Rights Entertainment, the Paris-, Hong Kong- and Los Angeles based international sales company, is launching sales at the Cannes Market (Marché du Film) for “The Proud Princess.” The picture is an animation film based on the fairy tale book “Punished Pride,” written by Bozena Nemcova. Directed by Borivoj Zeman and starring Alena Vranova and Vladimir Raz, a 1952 live-action adaptation of the book is one of the most-watched Czech films of all time. The new adaptation is directed by Radek Beran (“The Little Man”) and David Lisy (“Spy Cat”). Production is by Luminar Film with Animation is handled by PFX, the Prague-based studio behind “Diplodokus,” “The Websters” and “Marnie’s World,” and is to be completed in the third quarter of 2024. Czech theatrical distribution is set to be handled by CinemArt.

Lise Pedersen Newcomer Docs-by-the-Sea, the international documentary Labs and Forum for creative doc projects from Asia, will present and works-in-progress showcase for the first time at the Marché du Film’s Cannes Docs.  Featuring four films in late production stage, the showcase is highly necessary, argues its curator, Gugi Gumilang, the executive director of In-Docs, the non-profit org behind Docs by the Sea.   A member of last year’s Docs-in-Progress jury, he said this gave him a chance to see what people are looking for. “There’s a lack of Asian representation [in documentaries],” he tells Variety, adding: “It’s really tough for documentary filmmakers in Asia, few countries have film funds,” he said, citing Taiwan, Singapore, South Korea, the Philippines and, more recently, Hong Kong. “There are few dedicated festivals, the biggest being South Korea’s DMZ. Other international film festivals like Busan, Singapore and Jeonju cater for documentary film, but the competition is tough as they don’t just focus on Asian projects.”

Seoul-based sales agent Finecut has sold Hong Sangsoo’s In Our Day to France’s Capricci, Spain’s L’Atalante Cinema and Ama Films for Greece. 

The journey for Jin Wang in “American Born Chinese” couldn’t have begun at a more opportune time. The protagonist of Gene Luen Yang’s 2006 graphic novel — now a Disney’s eight-episode series from showrunner Kelvin Yu — springs forth when narratives with an Asian identity are stratospheric-high in demand and popularity.

Patrick Frater Asia Bureau Chief Wilfredo Manalang, who was one of the producers of last year’s Cannes’ Japanese hit “Plan 75,” has come on board Vietnamese film project “Don’t Cry, Butterfly.” Manalang (aka Will Fredo) and partners in his Philippines-based Fusee consortium will join as an executive producer. Written and to be directed by Duong Dieu Linh, “Don’t Cry, Butterfly” follows a Vietnamese housewife who finds out that her husband is cheating on her. Instead of confronting him, she uses voodoo on him so he falls back in love with her. Production of “Don’t Cry Butterfly” is by Tan Si En at Singapore-based Momo Film Co. The company was founded in 2018 by Tan and writer-director Kris Ong. In 2021, Beach House Pictures, part of Canada’s Blue Ant Media, acquired a majority stake in Momo.

Patrick Frater Asia Bureau Chief Amanda Nell Eu’s “Tiger Stripes,” which had its premiere this week in Cannes Film Festival’s Critics’ Week, is being celebrated as a punchy female-driven debut feature and as the first film by a Malaysian woman director in any section Cannes. The story focuses on a small group of 11 or 12-year-old girls. When one of the friends enters puberty she finds her body changing in unexpected ways. Relations with her friends and family start morphing too. Eu’s finished film straddles the metaphorical drama and body horror genres. “Tiger Stripes” is also a triumph for the now highly-developed global network of project markets, talent development programs, script and production workshops (often labelled as ‘labs’) and grant schemes. These are intended to encourage diversity and nurture film-making talent in countries where that is a rarity or where commercial films crowd out more experimental art-house titles.

Jessica Kiang It is somehow emblematic of modern China — at least of its seamier side, as frequently explored in director Wang Bing’s unsparing documentaries — that the street on which his long, oppressive new film “Youth (Spring)” takes place should be called “Happiness Road.” A collection of clothing manufacturing workshops, arranged like a mall around a rubble-strewn central thoroughfare 150 miles and a world away from Shanghai, this semi-derelict location is so poorly described by its name that one could suspect its planners of having a little joke. Except that here in Zhili City, irony — like leisure time, fresh air and natural light — is a luxury few can afford, least of all the teens and twentysomethings spending 15-hour workdays on site before retiring to equally rundown flophouse dormitories.

Patrick Frater Asia Bureau Chief Alibaba, China’s e-commerce and entertainment giant, announced net profits of $10.6 billion for its financial year to the end of March, a year-on-year increase of 39%. The rebound was achieved on revenues of $126 billion that were up by just 2%. Using the group’s preferred non-GAAP measure to exclude extraordinary items, net income rose by a smaller 4%, but weighed in at over $20 billion. The importance of the overall figures has been rendered moot by Alibaba’s end of March announcement that it plans to transform itself from an operating company into a holding company, by allowing each of its six divisions to go their own way.

Patrick Frater Asia Bureau Chief Net profits at Tencent Music Entertainment, China’s largest digital music operation, grew by 89% in the first quarter of the new year, hitting RMB1.15 billion ($167 million), even as revenue progressed by only 5% to RMB7.0 billion ($1.02 billion). The group, which is backed by Chinese tech and entertainment giant Tencent and has stock market listings on the New York Stock Exchange and in Hong Kong, controls large equity stakes in Spotify and (in a consortium with Tencent) Universal Music Group. Its own music operations divide loosely into two clusters: mass market music streaming, with paid-for and free tiers; and “social entertainment,” including karaoke and other derivative products.

The reduced round-trip air tickets are part of the Hong Kong Tourism Board's "Hello Hong Kong" campaign to welcome tourists back into the country after years of self-imposed travel restrictions due to COVID-19. 

Naman Ramachandran Emerging star from Hong Kong, Isabella Wei, headlines Silent D Pictures’ comedy-drama “High Wire.” The film follows the story of Go-wing, a British-Chinese takeaway girl who discovers her inner strength and artistic bravery when a circus comes to her small English town. As Go-wing navigates the challenges of her dual cultural identity, she finds herself at a crossroads and must decide between conforming to societal expectations or forging her own path towards her dreams. The film pays homage to the first and second generations of Chinese immigrants and their journey to adapt to life in England whilst facing issues of systemic racism and discrimination.

Todd Spangler NY Digital Editor Amazon Games is taking another shot at Middle-earth. The ecommerce giant announced a deal with Middle-earth Enterprises for Amazon Games to develop and publish a new massively multiplayer online (MMO) game based on J.R.R. Tolkien’s fantasy epic “The Lord of the Rings.” The upcoming game, as yet untitled, will be “an open-world MMO adventure in a persistent world set in Middle-earth, featuring the beloved stories of ‘The Hobbit’ and ‘The Lord of the Rings’ literary trilogy,” according to Amazon. The game is in early stages of production, with development led by Amazon Games Orange County, the studio behind Amazon Games’ open-world MMO game “New World.” Amazon Games will publish the game globally for PC and consoles, but it did not announce an expected launch date.

Patrick Frater Asia Bureau Chief The Hong Kong Disneyland theme park managed a 22% increase in visitor numbers in its most recent financial year allowing it to modestly reduce its annual losses. The park, which is jointly owned by the Hong Kong government and Walt Disney, with the government holding a narrow majority, reports a financial year to the end of September – and does so more than seven months in arrears. It has been loss-making for the past eight financial years and has made profits in only three years since its opening in 2005. The 2021-2022 financial year was again complicated by the city’s strict anti-COVID restrictions. It was fully closed for three and a half months (longer than the previous financial year) and operated under other social distancing and pandemic measures. Additionally, inbound tourism was heavily curtailed, especially from mainland China. That meant that during the reporting period, the park and hotels were largely visited by locals only.

reported Saturday that a buyer group that includes Sun Group, GSV and others is backing the bid. Russell, CEO of the automotive tech company Luminar, told the Wall Street Journal Friday he would be purchasing a majority share—82%—of Forbes, valuing the publication at close to $800 million. However, Axios media reporter and CNN analyst Sara Fischer says there’s more to the story. “This deal is made to look like it’s Austin Russell buying 82% of this asset but it’s not,” Fischer reported on Twitter.

Naman Ramachandran The late Oscar-winning thespian Christopher Plummer delivers his final performance in animated feature “Heroes of the Golden Masks,” also starring Patton Oswalt and Ron Perlman. Inspired by the ancient bronze masks of Sanxingdui discovered on the archaeological site of Guanghan in the Sichuan Province in the late 1980s, the film centers on Charlie, a wise-cracking, homeless, American orphan who is magically transported to the ancient Chinese kingdom of Sanxingdui, where a colorful team of superheroes need his help to defend the city from a brutal conqueror. Charlie joins the heroes and secretly schemes to steal the priceless golden masks that grant them their powers.