Archives For film festival

Damn, I know very little about Sammi Cheng — I may have heard a song or two (maybe?) — but damn~ that’s hot. Super hot. Vampire Shane Hot. LOL

I don’t know how this didn’t come to me before this photo.

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After her collaboration with Bong Joon-ho, and that she so wanted to work with Wong Kar-wai — it only makes sense that she wouldn’t mind working with Ang Lee, after all~ he’s won two Oscars for director. He hasn’t actually made his actors win anything, even though Heath Ledger should’ve won for Brokeback Mountain as Best Actor instead of Supporting for Batman.

Kidman has a great selection of director’s on her filmography. One of the very few with really REALLY interesting choices [1].

ayumi ito tokyo film fest 2012

Uzaigaijin (who writes on SHINE! — you can usually find them on their site, but it’s down atm — u can also find them on Twitter) is passing her time at the Tokyo Film Fest and took pics of Ayumi Ito because she knows I’m like… her only fan. LOL But I’m not sharing most photos, coz ha-ha that will be my personal stash xD **evil laugh*

And Ayumi Ito knows when she’s to look at a camera~~~

That’s the longest title I’ve ever written. I think. Not sure, but pretty~

First, let’s start with Oscar talk. There are 10 animated shorts line-up for 3/5 spots at the Academy.

  • Coyote Falls
  • Day & Night
  • Let’s Pollute
  • Madagascar, carnet de voyage (Madagascar, A Journey Diary)
  • Sensology
  • The Cow Who Wanted to Be a Hamburger
  • The Gruffalo
  • The Lost Thing
  • Le Silence Sous l’Ecorce (The Silence Beneath the Bark)
  • Urs

Continue Reading…

If you remember, there was a negative (and the only) review for FLOWERS that I ran into. I didn’t look for more… because I was lazy, and I forgot. However, I ran into this info:

The 14th Sydney Japanese Film Festival is showing FLOWERS and Otouto.

As I rant that every film festival gets more up-to-date stuff than my local festivals… I also read a sweet quite glowing positive FLOWERS review, which resembles uzaigaijin‘s thoughts on FLOWERS.

But the single biggest thing that makes “Flowers” so remarkable is the authenticity of its feel from a cinematic viewpoint. It is an experience tailored to the psychology of moviegoers as a class. As such, it functions as a tribute not only to the growth of Japan as a society, but to the development of movie-making in general.

And I love that they mention that Yu-chan is one of the most talented and bankable actresses. (see Why Raiou Needs to Reach #1, which it didn’t)

Koizumi-san, at least, shares his vision of the 1930s in gorgeous antiquated tones as he beautifully captures Yu Aoi, one of Japan’s most talented and bankable actresses, in crisp black and white. Aoi-san comes across delightfully in vintage; the part well suits her subtle and subdued acting style. She flawlessly looks the part of the Yamato Nadeshiko, resplendent in various kimonos and decked out in traditional bridal regalia. One of the most memorable scenes in the film sees Aoi-san running through a sakura (cherry tree) grove in full bloom with mountains visible in the distance, a wide shot reminiscent of some old time silver screen epic.

You can read the full review over at the Japanese Film Festival blog.

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