This month the Asian Film Archive presents a new slate of programmes! At Oldham Theatre, we will be hosting Singular Screens, an international film selection, curated for the Singapore International Festival of Arts 2020. Making its online debut on our Youtube channel will be Roxlee’s Juan Gapang (1986), digitised from the AFA collection.
For this edition of the digest, we are featuring Malaysia’s SeaShorts Film Festival and Switzerland’s Locarno Film Festival and the innovative approaches they are adopting to connect with audiences. Other highlights include, reviews of contemporary films such as Taghi Amirani’s Coup 53 (2019) and Hu Jie’s Spark (2013–19) alongside more long-form writings on filmmakers such as Takashi Miike, Uri Zohar and Mehrdad Oskoue.
Curated by the Asian Film Archive for the Singapore International Festival of Arts 2020, Singular Screens is a celebration of diverse, independent and singular cinematic visions from around the world.
Happening from 3 September – 3 October 2020, theatrical screenings will be held at Oldham Theatre and selected films will be available through Video on Demand (VOD).
A performance project and urban intervention by Roque Federizon Lee (better known as Roxlee), an icon of the Philippine underground cinema.
Digitised by the AFA in 2018 from the sole surviving Super 8mm print, the film is now freely available for viewing until 1 November 2020.
Established in 2017 to commemorate the 100th anniversary of Japanese animation, the website has a collection of more than 60 short films that date back to as early as 1917.
Now in its third year, SeaShorts is a programme of curated Southeast Asian short films, forums and masterclasses. Originally planned to take place in Ipoh, Malaysia, from 12- 20 September 2020, this year’s festival will be entirely online. Festival passes are priced at $10 USD each.
Launched to coincide with the 2020 edition of the Locarno Film Festival, this series contains highlights from the festival’s 2019 programme including Asian films such as The Tree House by Trương Minh Quý (Vietnam), Yara by Abbas Fahdel (Lebanon) and Dead Horse Nebula by Tarık Aktaş (Turkey).
For the 2020 edition, the festival conceived of a special awards section dedicated to support filmmakers whose productions came to a halt due to the pandemic.
MUBI presents this special double bill of two recent short films by an up-and-coming voice in Taiwanese avant-garde cinema.
A co-production by theatre companies, Pangdemonium, Singapore Repertory Theatre & WILD RICE, The Pitch is a new short film by director Ken Kwek that aims to shine a light on the complex challenges facing arts companies in Singapore during the COVID-19 pandemic.
A dossier on Ozu by video essay producers Filmscalpel.
Objectifs Short Film Incubator 2020: Public Programmes
As part of a new mentorship and development initiative by Objectifs for selected Southeast Asia filmmakers, there will be public lectures, screenings and discussions happening from 3 – 21 September 2020.
A review of a documentary about a group of dissident intellectuals in China in the 1950s and 1960s.
An article on a documentary that details the untold story of a CIA and MI6-led coup in 1953 in Iran that overthrew Prime Minister Mossadegh.
An interview with the acclaimed Japanese director on his most recent coming-of-age anime feature film.
A deep dive into the Japanese baseball drama I Will Buy You from 1956.
Queer Southeast Asian Films
An appraisal of renowned contemporary Iranian documentarian Mehrdad Oskouei.
Uri Zohar, the main figure of the influential 1960s New Sensibility film movement in Israel, is the subject of this accompanying piece to a retrospective series by MUBI in France that concludes in October 2020.
A treatise on Indian experimental filmmaker Amit Dutta, whose works are screening as part of a retrospective programme by MUBI in India in the summer and autumn of 2020.
A series of essays on the 2010s films of Takashi Miike, following an earlier series that focused on his films in the 2000s.
The prolific Asian-American character actor discusses family, his career, his foray into direction, and the racism of the film industry.
An ongoing online project that collects and shares interviews with film and video practitioners working in Southeast Asia. The project developed as an extension of the work of the Association for Southeast Asian Cinemas (ASEAC), a collective of academics, filmmakers, programmers, critics, archivists, students, and other film enthusiasts based in the region.
Jakarta-based film critic Eric Sasano’s compilation of scholarly works accompanied by abridged abstracts.
Published by Duke University Press and written by film academic Daisuke Miyao (The Aesthetics of Shadow: Lighting and Japanese Cinema), this book explores the influence of Japanese art on the development of early cinematic visual style, particularly the actualité films made by the Lumière brothers between 1895 and 1905.
Published by Columbia University Press, film historian and media theorist, Debashree Mukherjee presents an ambitious account of Indian cinema as a history of material practice, bringing new insights to studies of media, modernity, and the late colonial city.