CinemAsia Announces Complete Programme for 2020

CinemAsia returns to Amsterdam from 4th to 8th March for its 13th edition bringing with it another fantastic selection of recent East Asian cinema. This year’s festival opens with the European premiere of Japanese indie Mrs Noisy, and closes with heartwarming Taiwanese drama Heavy Craving, both of which are directed by female filmmakers.

Bhutan

China

  • Balloon – Tibetan-language drama from Pema Tseden (Jinpa) following a sheep farming family facing a crisis thanks to the recently instituted One Child Policy. Review.
  • Saturday Fiction – Gong Li stars as an actress returning to Shanghai after a long absence to star in a play directed by an old flame but may have ulterior motives in the latest from Lou Ye.
  • The River in Me – documentary exploring traditional folksong in modern China
  • The Wild Goose Lake – Black Coal, Thin Ice’s Diao Yinan returns with another neo noir in which a smalltime mob boss tries to survive after he kills a policeman by mistake.

Hong Kong

  • Fagara – a young woman discovers the existence of two half-sisters, one from Taiwan and the other mainland China, following the death of her estranged father. Review.
  • Little Q – touching drama following the life of a guide dog who is assigned to a grumpy pastry chef. Review.
  • Suk Suk – voted the best HK film of 2019 by the Hong Kong Film Critics Society, Suk Suk follows two older men who meet by chance and fall in love after decades of keeping their true identities secret.

Indonesia

  • A Man Called Ahok – biopic of controversial political figure Basuki Tjahaja Purnama.
  • Bumi Manusia – period romance adapted from the novel by Pramoedya Ananta Toer in which a member of the Javanese royal family falls for a girl who is half-Dutch.
  • Gundala – superhero action from Joko Anwar
  • Homecoming – a couple get into an accident on the way to spend Eid with family bringing them into contact with the mysterious Santi.

Japan

  • Complicity – an undocumented man from China embraces his cover identity and takes a job in a soba restaurant but struggles to maintain his sense of self in Chikaura’s sensitive drama. Review.
  • Mrs Noisy – a writer struggling to come up with new material after winning a major award is distracted by a vendetta with her noisy neighbour.
  • Tezuka’s Barbara – Macoto Tezka adapts the manga by his famous father in which a novelist (Goro Inagaki) becomes obsessed with a woman he picks up off the street (Fumi Nikaido).

Korea

  • Exit – an unemployed rock climbing enthusiast finds himself in his element when his family is trapped by a mysterious white mist in a high rise restaurant he booked for his mother’s 70th birthday only because an old flame works there. Review.
  • Moonlit Winter – drama in which a teenage girl finds a love letter addressed to her recently divorced mother and determines to identify the sender, little knowing the secret her mother has been keeping.
  • Princess Aya – a princess with the power to turn into an animal marries an enemy prince to broker peace but finds herself beset by new threats in this charming animation.
  • Yellow Ribbon – Ju Hyun-sook’s documentary focussing on the aftermath of the Sewol ferry disaster.

Malaysia

  • Two Sisters – horror in which a young woman is discharged from a psychiatric hospital into the care of her novelist sister only to discover a new threat lurking in the family home.

Philippines

  • John Denver Trending – youth drama based on a true story in which a farm boy’s life is turned upside down when a video of him beating up a classmate goes viral.
  • Overseas – documentary following those training to become overseas domestic helpers.
  • Verdict – a woman suffering domestic abuse tries to get help after her drunken husband hurts their child but struggles to find justice in a patriarchal society.

Taiwan

  • Detention – Lonely high schooler Fang falls for guidance councillor Zhang who alone seems to understand her. She joins his secret study group to read banned books, but Zhang soon “disappears” while only Fang and another student seem to remember him in this gothic horror set during Taiwan’s repressive martial law period.
  • Heavy Craving – a lunch lady hoping to lose weight strikes up unexpected friendships with a deliveryman and a cross-dressing student. Review.

CinemAsia takes place in Amsterdam from 4th to 8th March, 2020. Full details for all the films can be found on the official website where tickets are already on sale, and you can keep up with all the latest news by following the festival on Facebook, Twitter, Instagram, and YouTube.

The Rescue (紧急救援, Dante Lam, 2020)

The rescue poster 3

It’s tempting to see Dante Lam’s latest foray into big budget mainland action as a continuation of his previous hits Operation Mekong and Operation Red Sea which paid tribute to the police and navy respectively, but it is also the latest in a series of films featuring China’s finest bravely battling against the odds to save the day. Like Tony Chan’s The Bravest which celebrated the selfless heroism of China’s firemen as they risked their lives to stop a potentially catastrophic fire in an oil refinery, The Rescue (紧急救援, Jǐnjí Jiùyuán) pays tribute to another undersung arm of the emergency services – China’s Coast Guard.

Our hero, Captain Gao Qian (Eddie Peng Yu-yen) of China Rescue And Salvage, is a devil-may-care hero who throws himself into danger without a second thought where lives are at stake. The motto of China Rescue And Salvage is “we risk our lives to give others hope”, but some feel that Gao Qian is too reckless with his and fear that he’s forgotten that you can’t save anyone if you get yourself killed playing at heroics. That’s something that’s temporarily brought home to him when the pilot of his helicopter is badly injured during a rescue on an oil rig engulfed by flames, leaving the inexperienced co-pilot to fill-in on his behalf. Gao Qian works his magic in the nick of time, but both of the pilots quit the team immediately afterwards, the pilot struck by the proximity of death and the co-pilot by his sense of inadequacy in feeling as if he failed to live up to the job.

Luckily the team soon get a new pilot – a lady, Yuling (Xin Zhilei), who clashes with Gao Qian in true disaster movie fashion in her desire for rational action and the kind of heroics that are strictly by the book. Against the odds, however, they make a good team, eventually bonding in mutual admiration for their complementary skills. Meanwhile, Gao Qian is also dealing with some home drama in that he’s just brought his young son Congcong (Zhang Jingyi), who had been staying with his grandmother, to live with him. Congcong seems to be suffering with some kind of illness, but is otherwise cheerful enough and hoping that his dad will get him a new mum, like, for example, the beautiful Yuling.

The death of his wife, his son’s illness, and the loss of colleagues he was forced to leave behind, haunt Gao Qian like a cosmic joke, as if he’s being “punished” for snatching so many other lives from the jaws of death. No matter how hard he tries, there are lives which cannot be saved – no helicopter can rescue you from terminal illness or debilitating disease. Nevertheless, he continues to do his best no matter the personal costs. “Everyone has their own battleground, mine is rescue” he tells a superior with determination after his priorities are questioned. In training, the coach reminds the rescuers that their enemy is nature. They push their bodies as far as they can go, willingly risking all to let others know that someone is always looking out for them and will come in their time of need. Faced with certain death, Gao Qian enters an eerily beautiful existential space born of liminality in which he is perhaps able to feel everything that is to be alive while his son, fighting his own battle, does something much the same.

The strangely poetic quality of life in extremis is directly contrasted with the hokey comedy of Gao Qian’s home life and the brotherly comradeship of the base which are both much more of the typical “New Year Movie” mould. Lam fares much better than Chan in heading off the obvious melodrama, though he too resorts to the obvious foreshadowing of a young man daring to get wedding photos taken while planning to risk his life for the greater good, while the quirky production design and wholesome warmth of Gao Qian’s home life as he attempts to make the world safe for his son offer a much needed escape from the anxiety of his disaster-fuelled existence. Unlike that of Red Sea, the world of The Rescue is a more open and hopeful one in which Gao Qian does his best to save everyone who needs saving no matter their nationality, feted far and wide as a hero even if he awkwardly embodies a magnanimous China as a world protector as he does so. Nevertheless, Lam once again manages to elevate his material beyond its propagandist aims, edging towards a more ambivalent contemplation of selfless nobility and the costs of courageous endurance.


In UK cinemas from 25th January courtesy of CMC Pictures. Unfortunately, the release of The Rescue has been postponed because of the Coronavirus outbreak in China. We will update you as soon as we hear of new release date!

Original trailer (English subtitles)