2011 San Diego Asian Film Festival (Intro)

The 2011 San Diego Asian Film Festival started on Thursday, October 20 with opening night screenings of Almost Perfect and Park Chan-wook’s cell phone movie Night Fishing and runs through October 28. I haven’t had the opportunity to make it down to the festival until today, but I plan on seeing some of the most notable entries all fast and furious like. If you’re in the San Diego area, here are  a few recommendations for Saturday, some must-sees if you will either based on hype or me having already seen them at other festivals.

Saturday, October 22
Ninja Kids!!! (12pm) – Takashi Miike delves into yet another genres/realm with this children’s fable about juvenile ninjas.
Aftershock (2pm) – One of China’s largest grossing blockbusters, I can’t help but want to see this theatrically.
The Day He Arrives (6pm) – Hong Sang-soo is one of the world’s great filmmakers, and his latest, which premiered in the Un Certain Regard program at this year’s Cannes Film Festival, is an impressive extension of his previous work.
Norwegian Wood (8pm) – Vietnamese filmmaker Tran Anh-Hung made one of my favorite films of the 1990s (Cyclo), so any chance to see a film by him on the big screen is a no-brainer.

– For more information on the 2011 SDAFF, click here.

AFI FEST 2010 (Updated, 11/18)

Here are links to my complete coverage of AFI FEST 2010 over at The House Next Door.

#1: Introduction, Certified Copy
#2: Aardvark, Rubber, The Human Resources Manager
#3: Hahaha, Okie’s Movie
#4: Blue Valentine
#5: Outrage, The Housemaid (2010), Littlerock
#6: Amigo
#7: Heartbeats
#8: 13 Assassins

– Thanks to Ed Gonzalez and Slant Magazine for making this coverage possible.

Woman is the Future of Man (Hong, 2004)

A great title, but one which is unequivocally and purposefully lost on Hong’s male characters, illuminating the director’s interest with contradictions in romance and emotion. But what, if anything, does Woman is the Future of Man have to say about these ideas concerning lost love, guilt, and in-action? I’m still not sure. Hong’s trio of lost souls are a young filmmaker returning from America named Hyeon-gon, an Art professor named Mun-ho and their mutual muse Seon-hwa, a lovely but under-appreciated bar hostess who seems intermittently lost in the background, suffocating under the childish nature of her male cohorts. Hong uses flashbacks to show how both men become involved with Seon-hwa, and why these initial moments of resonance have filtered down to the present day reunion. The various men of Woman is the Future of Man consistently lack understanding or appreciation for the opposite sex, causing hidden guilt and trauma’s Hong only glimpses at through drunken interludes filled with panic and fear. Nostalgia becomes the driving force for Hong’s characters, both men looming after those special moments shared with Seon-hwa and never quite realizing how she might have felt during them in the first place. This might be the greatest indicator of the sadness Hong achieves with this film, a gradual understanding of heartache and loss the characters themselves never realize exists. Hong has a reverence for stasis, at least a visual one, which nicely mimics his character’s perpetual emotional rut. However, do these characters really transcend the genre traits (jealous boyfriend, cheating girlfriend, unseen wife, reclaiming the past) Hong seems to be depending on for effect? Do they achieve relevance throughout since his minimalist style and meandering story give the viewer little guidance in accepting these male characters as anything but whiney babies? Hong seems to be a filmmaker who doesn’t care, which makes Woman is the Future of Man an oddity for art house cinema and ultimately a frustrating film in general. Hong’s quirky score is the final straw in dealing with these contradictions of form and function. In the final shot, Mun-ho stands aimlessly in the snow after a brief sexual experience with a student, waiting for a taxi cab to take him home, a Wes Anderson like score clogging the air. It’s as if the situation has washed over Mun-ho again, as with every man in this film, and we are left with characters unchanged, and sadly not affected enough by the proceedings.