Category: New York Asian Film Festival 2021

A Balance (由宇子の天秤, Yujiro Harumoto, 2020)

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“What’s moral isn’t always what’s best” according to the morally compromised heroine at the centre of Yujiro Harumoto’s A Balance (由宇子の天秤, Yuko no Tenbin). To Yuko (Kumi Takiuchi), a balance is what a documentarian should strike, not taking one side or another but shining a light on hidden truths. The irony is that in seeking to expose one truth she accidentally stumbles on another uncomfortably close to home and although her job is to highlight injustice finds herself making the decision to do the opposite concluding that in this case, and perhaps many others, keeping quiet may actually be what’s best for victims, victimisers, and everyone in-between. 

As the film opens, Yuko is shooting a potentially manipulative interview with the grieving father of a young woman, Hiromi, who took her own life after becoming the subject of scandal and rumour when it was revealed she may have been involved in an inappropriate “relationship” with a teacher. The teacher, Mr. Yano, eventually took his own life too leaving behind him a note proclaiming his innocence and explaining that death is the manner he has chosen for his resistance. Yuko is sympathetic to Mr. Hasebe (Yuya Matsuura), but also perhaps verging on the unethical in the depth of the questions she asks him of his daughter’s death. Soon enough a conflict emerges between the nature of the documentary Yuko would like to make which is more contemplative than polemical, and the “routine piece on bullying” the TV studio think they’ve commissioned. Consequently, we see the suits redacting problematic lines in Yuko’s scripts in editorial meetings, misrepresenting Mr. Hasebe’s words in removing his criticism of mass media which he blames for hounding Mr. Yano to his death and thereby depriving him of answers. 

Yuko remains determined to provide “a balance” in interviewing Yano’s surviving family members including his mother Toshiko (Mitsuko Oka) and sister Shiho (Misa Wada), but discovers them tyrannised by the treatment they’ve received at the hands of the media and a vindictive society. Toshiko near collapses towards the end of the interview when asked if there was anything the family could have done to prevent this tragedy happening, inviting Yuko to visit her at home whereupon she discovers her living in near total darkness, afraid to go out lest she be recognised and explaining that she has few possessions in case she has to move again in a hurry because someone has exposed her address online. This little old lady is living in terror because of something her son was accused of which later caused him to take his own life and even that did not end the torment for his family. 

Meanwhile, in an ironic touch, Yuko discovers that a young woman, Mei (Yumi Kawai), attending the cram school owned by her father where she also teaches part-time has become pregnant and claims her father, Mr. Kinoshita (Ken Mitsuishi), is responsible having accepted sex in lieu of her overdue fees. Yuko does not want to disbelieve her and confronts her father, holding up her iPhone as a record, who admits that what Mei has said is true. Yuko tells herself she’s doing what’s best for Mei, bonding with her as two women who lost their mothers young (as did Hiromi), understanding that she may not want to go to the authorities because of the lingering stigma of being involved such a scandal. But she also can’t deny that her actions are self-interested in that she doesn’t want her doc pulled or her career messed up by her father’s transgression, something which gets harder to ignore when she discovers Mei’s pregnancy may be high risk and requires immediate medical treatment from a proper hospital to ensure her safety. 

The lines become ever more blurred, Yuko developing a quasi-maternal relationship with the motherless Mei which is in its way perfectly genuine even as she pays their overdue gas bill and worries about her potentially abusive father (Masahiro Umeda), but is nevertheless coloured by her desire both to cover up this harmful secret and to atone for her father’s wrongdoing. For his part, Mr. Kinoshita wants to confess but as Yuko points out he’d be doing it to unburden himself which in effect would merely shift the burden onto others including Mei but also Yuko herself, her documentary team, the other students at the cram school, and in effect everyone else they’ve ever known. 

Yet can Yuko be an effective arbiter of the truth especially when, as it turns out, neither she nor anyone else is being entirely honest? Her job is to present information in such a way that conclusions can be drawn, but she is herself making decisions in selecting the information she presents and the manner in which she presents it. She may resent the interference of the studio, but in reality they aren’t doing anything she hasn’t already done even if they are acting less out of a sense of integrity than commercial concern. “Whatever we put together is the truth” as her exasperated producer (Yota Kawase) finally insists. It’s in this same conflict that she begins to lose her sense of balance, trying to help those victimised by an unforgiving society while attempting to protect herself from unwelcome consequences of social scandal aided and abetted by the industry in which she herself works. “Ask them who is the real victimiser” Toshiko asks of Yuko taking aim at the mass media who have shamed her into a life of total darkness, but all Yuko can in the end do is turn her camera back on herself in contemplation of her shattered integrity.  

A Balance screens Aug. 12 as part of this year’s New York Asian Film Festival.

Original trailer (English subtitles)

Raging Fire (怒火, Benny Chan, 2021)

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“If you had chased Coke that day, would our destinies have been reversed?” a cop turned villain asks of his righteous colleague, but his friend has no answer for him. The final film from director Benny Chan who sadly passed away last year after being diagnosed with cancer while filming, Raging Fire (怒火) pits a disgruntled police officer wronged by the system against an incorruptible detective but suggests that the real villain is an increasingly corrupt society in which the rich and powerful have a direct line to justice. 

As the film opens, noble officer Cheung (Donnie Yen) is racing towards some kind of altercation in a shipyard but later wakes up next to his much younger and very pregnant wife (Qin Lan). After a years long operation, his team is about to take out a petty criminal involved with a previous investigation which resulted in fellow officers getting sent to prison for excessive use of force. After refusing to to help a wealthy businessman make his son’s drunken car accident go away, Cheung is taken off the case while the raid turns out to have been a trap leaving eight of his friends dead and many more injured. Through his investigations, Cheung begins to realise that his former colleague Ngo (Nicholas Tse), recently released from prison, may be responsible for the deaths of his friends in pursuing a vigilante revenge against the police force he feels betrayed him. 

“This society doesn’t reward good men” Ngo later insists, though his total and relatively sudden transformation from earnest cop to bloodthirsty psychopathic killer seems something of a stretch. Cheung aside, the Hong Kong police force is depicted as infinitely corrupt and working at the behest of the rich and powerful to further agendas not always in the interests of justice. The case which caused so much trouble related to the kidnapping of a prominent financier and the secretary he was canoodling with at the time, the financier’s wife having obeyed the kidnappers’ instructions not to call the police by ringing a government contact instead which is why the operation is covert. Ngo and his team were told to do whatever it took to extract information from a suspect who later wound up dead but were hung out to dry by the superior officer who ordered it. Not unreasonably they see themselves as victims of a corrupt system but care little who might get in the way of their vicious bid for revenge. 

For his part, Chueng is also a thorn in the side of his colleagues because of his refusal to play along with the base level corruption all around him. Dragged to the meeting with the businessman by nervous colleague Beau (Patrick Tam), Cheung sips tea rather than the wine everyone else is drinking and eventually storms out making a point of paying for his exorbitantly priced beverage while refusing to be complicit with systemic corruption. So upright is he that he asks a passing driver if he has insurance before borrowing his car to chase down Ngo and when he himself is accused of breaking protocol the entire squad shows up to petition the disciplinary panel on his behalf. Ngo asks him if the situation would have been reversed had it been Cheung who had questioned the suspect that night, but of course it wouldn’t because Cheung would never have beaten a suspect to death in the first place. 

Chan places this debate front and centre by setting the final showdown in a church currently undergoing renovation, Ngo seemingly judged for his moral transgressions while Cheung meditates on the man he used to be in a bromance montage that laments the tragedy of Ngo’s fall from grace. The battle of wits between the two men, Ngo of course uniquely positioned to game the system he rails against, ends only in futility while the system which created him remains unchanged. Chan shoots with characteristic visual flare sending his compromised cops through a golden hellscape of the contemporary city veering between beautifully choreographed, high octane action sequences including a lengthy car chase through a highly populated area, and procedural thrills tinged with ambivalent social commentary in which justice itself has become commodified while police officers exceed their authority and bow to the rich and powerful. A throwback to classic Hong Kong action, Chan’s final film is a fitting finale for the career of a director taken far too soon. 

Raging Fire screened as part of this year’s New York Asian Film Festival and will be released in US cinemas on Aug, 13 courtesy of Well Go USA.

International trailer (English subtitles)

Time (殺出個黃昏, Ricky Ko, 2021)

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Youth is wasted on the young in Ricky Ko’s wistfully nostalgic ode to a bygone Hong Kong, Time (殺出個黃昏). Highlighting a series of very real social problems from the government’s failure to properly care for its old, to incurable loneliness, and the changing family dynamics of the modern society, Ko’s sometimes melancholy drama begins as a story about death but then finally becomes one about life granting its defeated heroes a second chance at a forgotten love in the formation of a new family. 

Ko opens, however, with a kitsch retro sequence filmed in the manner of ‘70s action movies in which a trio of assassins cooly eliminate their targets. Flashing forward to the present day, hitman Chau (Patrick Tse Yin) is unceremoniously let go from his job as a noodle chef. Unable to keep up with the breakneck pace of contemporary Hong Kong, he’s being replaced by a machine. A message on a radio show brings him back into contact with his old gang, fixer Fung (Petrina Fung Bo-Bo) now a nightclub singer and owner of at the Golden Phoenix cabaret bar catering for elderly romantics, and getaway driver Chung (Lam Suet) who has formed an unwise emotional attachment to a sex worker he dreams of marrying. Fung has found them a new job, but Chau immediately senses something different on his arrival. His target is a bedridden old lady who’s called the hit on herself because she can’t afford the bills for her medical treatment and has no real quality of life. 

Chau is so shocked he can’t go through with it, later seeing in a news report that the woman’s husband has been arrested in connection with her death. Her plight seems to have provoked a minor debate concerning lack of appropriate care for Hong Kong’s elderly. “Death is better than debt” is the way the woman’s husband characterised her choice, essentially affirming that there was no way for her to go on living in a society which has abandoned its elderly and infirm. Nevertheless, after that first case Chau takes on more requests for “euthanasia” from similarly afflicted people yet one of his most poignant is for a very wealthy man in good physical health who is simply lonely following the death of his wife. Though he had a large family, his children are far away with lives of their own and rarely visit. He chooses death in the hope of reuniting with his wife and escaping from the crushing loneliness of his existence. 

One particular assignment, however, brings Chau into contact with vulnerable teenager Tsz-Ying (Chung Suet-Ying) who has been abandoned by her parents following their divorce and is currently living alone. Despite himself, Chau ends up taking the girl in and acting as her “grandpa” while she insists on learning his knife technique and how to make noodles the old fashioned way. For his part, Chau finds himself at odds with the modern world, confused beyond belief about how to pay for a bus ticket and embarrassed when a younger woman does it for him by waving her phone at a box by the driver. He stands rather than sit in one of the priority seats reserved for elderly passengers unwilling to accept that he has become old. Yet living with Tsz-Ying he begins to emerge into the modern society, learning how to use a smartphone and regaining something of his youth even as he bests a few young whippersnappers who made the mistake of underestimating an old guy. 

While Chung, plagued by medical issues, quips that prison is “all inclusive” and you can get an appointment with your doctor any time you want, Fung has family issues of her own including a tense relationship with her snobbish daughter-in-law who’s determined to force her to sell her apartment and give up the club to get her grandson into an elite school. Despite their dark history as killers for hire, the trio are subject to the same problems faced by ordinary elderly people, witnessing lonely deaths and incurable pain coupled with a sense of futility which encourages them to think their lives are already over. Yet thanks to their involvement with Tsz-Ying they get a kind of second chance, building a new kind of family in intergenerational solidarity. Quirky and nostalgic, Ko’s aptly belated directorial debut feature may begin as a story about death and the inexorable march of time but finally makes the case for sidestepping the alienation of the modern society for a more wholesome sense of community and the eternal ability to start again no matter how old you are.

Time streams in the US Aug. 10 to 15 as part of this year’s New York Asian Film Festival.

Original trailer (English subtitles)

Fighter (파이터, Jéro Yun, 2020)

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“My name is Ree Jina. I am a “North Korean Refugee”. This is how South Koreans call us. My fight is not over yet. I will keep fighting until the end. Even if I fail I will rise again.” a young woman insists, finding a new sense of purpose in the boxing ring while attempting to adjust to her new life in the South. As the title implies, Jéro Yun’s indie drama Fighter (파이터) follows one woman’s attempt to fight her way through personal trauma and societal anxiety but is less boxing movie than gentle character study as the heroine gains the courage to begin moving on through reconnecting with the estranged mother who abandoned her to come to the South alone. 

After a spell in a readjustment centre, Jina (Lim Sung-mi) is guided to a well-appointed flat by a social worker whose off the cuff remark that apartments like these are out of reach for most South Koreans speaks of a latent resentment. Most of Jina’s rent is subsidised, but she still needs to cover a part of it plus maintenance fees and so she contacts a North Korean fixer who helps her get a job in a restaurant. Needing more money to bring her father, who has escaped the North but remains trapped in hiding in China, to the South she decides to take a second job working as a cleaner at a boxing gym. She’s only there to clean, but despite herself Jina is captivated by the unexpected sight of female boxers. Encouraged to step into the ring herself, she remains reluctant, exclaiming that she doesn’t have time to waste on “fighting”, but eventually decides to give it a go on being told there may be money it if you’re good enough to turn pro. 

One of the reasons Jina gives sympathetic sub coach Tae-su (Baek Seo-bin) for her reluctance to box is due to the discrimination she faces from South Koreans who have a stereotypical vision of Northerners as a heavily militarised people as if they were all enemy combatants. She reminds him that ordinary people live there too, like presumably her father whom she’s desperate to save before he gets picked up by the Chinese authorities and sent back. The social worker’s barbed comments meanwhile echo the impression of some that North Koreans have an unfair advantage in the South with better access to a higher standing of living thanks to being taken care of by the government, but this obviously ignores the societal difficulties they face from isolation and discrimination to trouble gaining employment, potential exploitation, and the persistent culture shock of living in a modern capitalist economy. Even the kind and supportive Tae-su can’t help making a minor joke at her expense as she struggles to understand his contemporary Konglish slang. After making a few friendly overtures, the social worker later turns up drunk at Jina’s flat and attempts to proposition her as if he thinks he’s entitled to her attention, both misogynistic and xenophobic, while having the gaul to blackmail her into paying his medical fees when she attempts to defend herself and get away from him. 

Life in the South is certainly not easy. But Jina is also battling a sense of abandonment and displacement born of her mother’s defection when she was only 12. Planning to ask for money to help her father, Jina finds herself conflicted on meeting her, feeling a further sense of betrayal on realising her mother married again to a moderately wealthy man and had another daughter living a comfortable life in Seoul while she and her father continued to suffer. Yet as the opening quotation implied, Jina’s salvation lies in finding forgiveness and rebuilding old relationships while allowing herself to build new ones. Anchored by a supportive mentor in her coach, Jina finds a new family at the boxing club who actively care for and support her. Tae-su claims boxing restored his sense of purpose in life and gave him the courage to go on living it, but it’s less the sport with its rigid discipline and clearly defined structure that gives her a sense of safety than the unconditional kindness of her new friends which stands in such stark contrast to the rejection she senses from so many others in the South. 

Playing with boxing movie tropes, Yun includes a series of training montages and introduces a fleeting rivalry with a mean girl at the gym, but gradually shifts away from genre norms towards the realms of the family drama as Jina begins to overcome her trauma though reconnecting with her mother. “In life there are times we need to cry”, Jina’s unexpectedly sympathetic coach tells her, giving her the space to be vulnerable even in this most defiantly defensive place as she attempts to process all that life is currently throwing at her, gaining a new determination to keep on fighting no matter who or what tries to knock her down. 

Fighter streams in the US Aug. 7 to 12 as part of this year’s New York Asian Film Festival.

Original trailer (English subtitles)

Anima (莫尔道嘎, Cao Jinling, 2020)

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“The trees are not yours. You can’t protect them” an adopted son is repeatedly told, except they are his to the extent that they belong to everyone and the consequences of not protecting them, as he will sadly discover, may prove catastrophic. Set mainly in the 1980s in the remote Inner Mongolian mountain region of Moerdaoga National Forest Park, Cao Jinling’s timely eco drama Anima (莫尔道嘎, Mòěrdàogá) asks what happens when you pull the pegs out of the earth and then take them to market, linking the ‘80s economic reforms with the advent of environmental destruction, but eventually finds a kind of serenity in the beauty of the natural world and man’s innate connection with it. 

Linzi (Wang Chuanjun), so named because he was found abandoned in the forest as a baby, recounts his tale as a letter to the son he has never met beginning with the moment of childhood trauma which forever altered his destiny and set him at odds with adoptive brother Tutu (Si Ligeng). Out playing one winter while the grownups hunted, Linzi fell into an ice cave and found himself face to face with a bear. Though he felt sure the bear would not harm him, it panicked on hearing his mother’s cries. Hoping to save his brother, Tutu shot the bear but their mother was also killed and, as bears are sacred to the indigenous Ewenki tribe, finds himself an outcast for this act of spiritual transgression. The three remaining family members move to the edge of the forest in order to evade the bear’s curse, eventually joining the local logging industry though Linzi finds himself conflicted in his love of nature while all around him are content to ride roughshod over its majesty. 

While Linzi remains a guardian of the forest living a traditional rural life, Tutu is modernity personified falling in with a gang of shady gangsters running an illegal logging and smuggling operation. While the smugglers might be thought of as the bad guys, the logging company are little better. Linzi’s boss expresses exasperation with his reluctance insisting that if they don’t cut the trees down the smugglers will while constantly banging on about his quotas. Obsessed with making money and fearful of an oppressive social order, no one is thinking very much about the long term consequences of deforestation even as Linzi tries to explain to them that it takes a long time to grow a tree and they’re in danger of running out. When the literal flood comes, it will have devastating consequences for all involved. 

Aside from their differing views on the tradition/modernity divide, the relationship between the brothers further declines when Linzi encounters a feisty widow living alone in the forest (Qi Xi), herself transgressively killing bears for reasons of revenge seeing as her late husband was eaten by one. Linzi shyly falls in love with her, but so does Tutu who finds it difficult to accept the idea that his awkward younger brother has got himself a wife. “I am cursed forever” Tutu dramatically cries after having committed a double transgression of killing another bear and presenting its pelt as a wedding present, and then attempting to rape the bride. So traumatised is he by a sense of spiritual corruption that Tutu no longer feels connected to nature, an exile from the natural world, and self-destructively embraces the worst aspects of modernity believing that he deserves no better. 

Yet even Linzi finds himself betraying his ideals in order to feed his family, falling victim to the “tree breath spell” after participating in the removal of a great old tree. People keep telling him that he doesn’t own the trees and therefore has no right to decide what is done with them, but like everyone else he’s a man of the forest continually displaced while his world is dismantled all around him. He tries to warn the loggers they’re going too far, but they don’t listen to him until it’s already too late. The authorities attempt to fix the problem with a program of “reforestation” but if the price of untempered capitalism is the destruction of the natural world it is nothing more than an act of intense self harm. Linzi attempts to hold back the tide, but is himself exiled from modern society, a sprite bound by the forest unable to leave its boundaries and condemned to watch over it for all eternity as if in penance but also in deep love for the wonders of the Earth which few are now privileged to see. 

Anima screens on Aug. 8 at Film at Lincoln Center – Walter Reade Theater as part of this year’s New York Asian Film Festival.

Original trailer (English subtitles)

Escape from Mogadishu (모가디슈, Ryoo Seung-wan, 2021)

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“You think we can accomplish more together?” the North Korean ambassador incredulously asks of the South, realising that if they’re to escape their desperate situation they will temporarily have to put ideology aside. Ryoo Seung-wan’s latest big budget action drama Escape from Mogadishu (모가디슈, Mogadishu) finds the diplomatic staff of a newly democratic South Korea ironically caught up in another nation’s much less peaceful revolution while perhaps confronted by the duplicities of their globalising ambitions even as they realise the North may already have the upper hand when it comes to cultivating relationships with authoritarian regimes. 

As the opening title cards explain, having successfully transitioned into democracy and fresh from its Olympic success the South Korea of 1991 was keen to claim its place on the global stage by joining the UN. Knowing that African votes are important in the process, the ambassador to Somalia, Han (Kim Yoon-seok), is determined to ensure he has that of President Barre in the bag before he finishes out his term. Unfortunately, his attempts are frustrated firstly by a lack of cultural knowledge in his home nation as witnessed by the inappropriate gifts they’ve prepared for the president which include expensive alcohol despite the fact Somalia is a muslim nation, and secondly by the North Koreans who seem to have cultivated a closer relationship with the ruling regime and are keen to ensure South Korea does not get its seat at the UN. 

Meanwhile, it becomes increasingly clear that there is unrest in the country with rebel forces intent on deposing the despotic regime of a military dictator and installing full democracy. The circumstances are in a sense ironic, the rebels and the ordinary citizens who later stage an uprising are only doing the same thing South Korea itself has recently done only they are of course doing it in a much less defensible way with widespread violence culminating in an entrenched civil war. The staff at the embassy therefore find themselves in a difficult position. “At home they turn innocent students into communist spies, think they can’t do that here?” a conflicted staff member advises uncertain as to what to do on realising they may unwittingly be harbouring a rebel soldier while diplomatically unable to declare a clear side. All they can think to do is play a tape from their welcome event describing themselves as friends of the Somalian people in the hope of deflecting rebels’ the anger. 

Nevertheless, the rebels have declared all foreign presences as their enemies for their tacit support of Barre’s regime. Han is certainly guilty of that in cosying up to the government in the hope of winning their vote, while the North Koreans fare little better despite being accused of secretly trafficking weapons to the rebel army while the rebels complain that foreign aid has only been used to facilitate Barre’s ongoing oppression. When the North Korean Embassy is destroyed and the Chinese have already left, the North Koreans are left with no choice other than the unthinkable, asking the South for help. The South, however, is conflicted. If they let them in they’re in danger of breaking the National Security Law and in any case they aren’t sure they can trust the North. “I hear they’re trained to kill with their bare hands” one of the ladies exclaims even doubting the children. But if they refuse to open the gate it means certain death for those who are, if not their fellow countrymen, then in a sense fellow Koreans. 

Based in historical fact, Ryoo’s high tension drama is in essence a division film which makes a strong case for the united Korean family even as the two sides remain somewhat distanced despite making the practical decision to trust each other in order to survive and escape. To do so they each have to make unpalatable political decisions, the South Koreans allowing others to believe the Northerners intend to defect in the hope of additional help from their own side and the wider diplomatic community. Given the opportunity to leave alone, Han nevertheless insists on making space for the North Koreans too unwilling to simply leave them behind. The North Koreans, meanwhile, reveal the reasons they could not defect even if they wanted to in that many of them have been forced to leave children behind in Pyongyang as hostages to ensure their continued obedience to the regime. Han may have gained a degree of enlightenment in realising there are sometimes “two truths” but there’s also an undeniable poignancy on realising that however much they’ve shared, the two men will never again be able to acknowledge each other in public, escaping Mogadishu but forever divided. Shooting in Morocco, Ryoo fully recreates the terror and desperation of being trapped in an unpredictable, rapidly devolving situation while allowing his divided Koreans to find a sense of commonality as they band together in order to escape someone else’s civil war.

Escape from Mogadishu opens this year’s New York Asian Film Festival on Aug. 6 and will thereafter screen at cinemas across the US courtesy of Well Go USA

International trailer (English subtitles)

New York Asian Film Festival Confirms Lineup For 2021 Hybrid Edition

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New York Asian Film Festival returns for 2021 in a new hybrid edition with physical screenings taking place at Lincoln Center & SVA Theatre while much of the programme will be available online in the US via Lincoln Center’s Virtual Cinema from Aug. 6 to 22. To mark its 20th anniversary, the festival will also be co-hosting a special outdoor screening of the Tsui Hark classic Dragon Inn AKA New Dragon Gate Inn on Aug.11.

China

  • Anima – a young man becomes an outcast after killing a bear to save his younger brother.
  • A Song for You – a nomad dreaming of becoming a folk singer encounters a young woman resembling the goddess of music who tells him he must record an album in this indie drama from Dukar Tserang.
  • The Old Town Girls – drama in which a teenage girl receives a visit from her estranged birth mother.
  • Rising Shaolin: the Protector – kung fu drama from Stanley Tong in which an innkeeper starts a scam fake robbing passersby so he can rescue them as a means of guiding them towards his inn.
  • Tough Out – documentary following a junior baseball team in Beijing

Hong Kong

  • All U Need is Love – all-star ensemble comedy from Vincent Kok in which a hotel is placed on a 14-day Covid quarantine.
  • Breakout Brothers – the political equilibrium of a prison is shaken by the arrival of a new prisoner
  • Hand Rolled Cigarette – A cynical former British soldier and a South Asian street thief find unexpected solidarity in Chan Kin-long’s gritty neo-noir. Review.
  • Keep Rolling – documentary focussing on the life and career of director Ann Hui. Review. 
  • Limbo – Morally compromised cops chase a serial killer in the rubbish-strewn junkyards of contemporary Hong Kong in Soi Cheang’s stylish noir. Review.
  • One Second Champion – A dejected single-father with a “useless” superpower finds a new lease of life in the boxing ring in Chiu Sin-hang’s plucky social drama. Review.
  • Shadows – Psychological noir starring Stephy Tang as a psychiatrist with a brain tumour which allows her to enter her patients’ traumatic memories.
  • The Story of Woo Viet – A Chinese-Vietnamese soldier’s dreams of finding love and freedom in the US are frustrated by the legacy of violence in Ann Hui’s fatalistic action drama. Review.
  • Time – an ageing hitman takes up a new career in euthanasia in Ricky Ko’s black comedy. 
  • The Way We Keep Dancing – A collective of artists finds itself torn between complicity and resistance in the face of rising gentrification in Adam Wong’s musical dance drama. Review.
  • Zero to Hero – biopic of gold medal winning-Paralympian So Wa Wai.

Japan

  • The Asian Angel – The lonely souls of Japan and Korea are brought together by angelic intervention in Yuya Ishii’s wistful drama. Review.
  • A Balance – a documentary film director discovers a hidden truth while investigating school violence
  • Blue – A trio of dejected boxers contemplate their place inside and outside of the ring in Keisuke Yoshida’s unconventional boxing drama. Review
  • The Fable: The Killer Who Doesn’t Kill – Junichi Okada returns as the hitman with a no kill mission in Kan Eguchi’s action comedy sequel. Review.
  • From Today, It’s My Turn!! – ’80s set adaptation of the high school fighting manga from Yuichi Fukuda
  • Hold Me Back – latest from Akiko Ohku in which a happily single 31-year-old woman’s peaceful life is disrupted by romance.
  • jigoku-no-hanazono: Office Royale – delinquent office lady comedy drama
  • Joint – A gangster in search of reform finds himself caught between old school organised crime and the shady new economy in Oudai Kojima’s noirish take on yakuza decline. Review.
  • Junk Head – new theatrical edit of the sci-fi horror stop motion animation.
  • Last of The Wolves – sequel to Kazuya Shiraishi’s Blood of Wolves set in 1991 in which a rogue cop attempts to keep the peace between yakuza gangs.
  • Ninja Girl – political satire from Yu Irie
  • Over the Town – An awkward young man chases love and romance on the streets of Shimokitazawa in Rikiya Imaizumi’s soulful ode to the ever changing district. Review.
  • Sensei, Would You Sit Beside Me? – a manga artist pens a story about adultery which causes her husband to wonder if she knows about his ongoing affair with her editor
  • Tonkatsu DJ Agetaro – The nerdy heir to a tonkatsu restaurant finds his heaven on the dance floor in a surprisingly wholesome turn from Ken Ninomiya. Review.
  • Under the Open Sky – A pure-hearted man of violence struggles to find his place in society after spending most of his life behind bars in Miwa Nishikawa’s impassioned character study. Review.
  • Zokki – omnibus movie inspired by Hiroyuki Ohashi’s manga directed by Naoto Takenaka, Takayaki Yamada, and Takumi Saitoh.

Kazakstan

  • Sweetie, You Won’t Believe It – after arguing with his wife a husband gets more than he bargained for while fishing with friends.

Korea

  • The Book of Fish – historical drama from Lee Joon-ik following exiled scholar Jeong Yak-jeon.
  • Escape from Mogadishu – drama from  Ryoo Seung-wan set during the Somalian Civil War in which the North Korean embassy is forced to ask for help from South Korea as they attempt to escape from the capital.
  • Fighter – a North Korean refugee pins her hopes on boxing to bring her father to the South
  • I Don’t Fire Myself – a young woman is determined to stick out a year with a subcontracting company
  • Midnight – thriller in which a deaf woman becomes a target for a killer after witnessing a murder.
  • The Prayer – a caregiving robot is conflicted witnessing a daughter’s exhaustion attempting to care for her mother who has been bedridden for the past decade.
  • Samjin Company English Class – three office ladies pin their hopes on TOEIC to get promoted but end up exposing an industrial scandal in Lee Jong-pil’s ’90s drama
  • Snowball – teenage friendship drama in which three high school girls run away together only for their relationship to descend into bullying and animosity on their return.
  • Ten Months – indie drama charting a game designer’s pregnancy
  • Three Sisters – Three middle-aged women rediscover their sisterly bond when forced to face their traumatic past in Lee Seung-won’s subtle condemnation of a relentlessly patriarchal society. Review.

Malaysia

  • Babi – controversial school violence drama directed by rapper Namewee
  • Barbarian Invasion – Tan Chui Mui directs and stars as an actress making a comeback after retiring to become a housewife and mother only to be told the film can only be made if her ex co-stars.
  • Nasi Lemak 1.0 – Namewee directs a “prequel” to Nasi Lemak 2.0 following 15th century explorer Admiral Cheng Ho

Myanmar

  • Money Has Four Legs – an aspiring film director struggling to complete a project considers robbing a bank.

The Philippines

  • Here And There – A pair of anxious youngsters find lockdown love, or something like it, in JP Habac’s sophisticated, zeitgeisty rom-com. Review.

Singapore

  • Tiong Bahru Social Club – An earnest young man experiences an existential crisis while living in the “happiest neighbourhood in the world” in Tan Bee Thiam’s whimsical satire. Review.

Taiwan

  • As We Like It – A romantic exile meanders through an internet free corner of Taipei in Chen Hung-i & Muni Wei’s all-female adaptation of the Shakespeare play. Review.
  • City Of Lost Things – animated drama in which 16-year-old leaf is swept away to the City of Lost Things where he befriends 30-year-old sentient plastic bag, Baggy.
  • A Leg – relationship drama in which a bereaved wife refuses to let go of the amputated leg of her late husband.
  • My Missing Valentine – A lovelorn woman finds herself forced to reckon with the forgotten past when she somehow misplaces Valentine’s Day in Chen Yu-hsun’s charmingly quirky rom-com. Review.
  • The Silent Forest – An idealistic student is caught between justice and complicity when he uncovers a culture of bullying and abuse at a school for deaf children in Ko Chen-nien’s hard-hitting drama. Review.

Thailand

  • The Con-Heartist – A scorned woman teams up with a fraudster to scam her ex only to fall for the conman in Mez Tharatorn’s crime caper rom-com. Review.

The 2021 New York Asian Film Festival runs at Lincoln Center, SVA Theatre, and online in the US Aug. 6 to 22 with tickets on sale from July 23. Full details for all the films as well as ticketing information will shortly be available via the official website while you can also keep up with all the latest festival news via the official Facebook Page and Twitter account.