My Sydney Film Festival 2012 Schedule

Instead of bore-ing you with details as to why I don't blog enough, I'd like to share my schedule for this year's Sydney Film Festival. It seems like everyone has done one, so why not paint myself like a sheep and join in!

Sydney Film Festival means a bit more than watching movies all day and being completely immersed in festival-mode for over a week. To me it was arguably (between me and, myself) the starting point at which I began my love for film and desire to work at film festivals. My first SFF was in 2009, when I had just left a photomedia degree for film school. I thought volunteering at SFF would be a great way to watch lots of films and meet like-minded people. Watch lots of films, and meet like-minded people I did. I volunteered at a range of other film festivals after SFF that year, and also broadened my knowledge on film distribution through festivals. I also met Kieran who, in flowerless language, is my partner in crime to this very day. So SFF has been a bit of a significant event in my life, and it's always a pleasure (understatement) to be returning to it year after year since that very memorable year of 2009.

I was lucky enough to be able to book into more films than usual this year after receiving a flexipass gift from Kieran. We split it, of course, and still bought another afterwards. Unfortunately this year I am missing out on 3 full days of festival goodness due to travel.

There are some other films I wish I could fit in. To name a few, BULLY, MONSIEUR LAZHAR, POLISSE, THE KING OF PIGS and HOLY MOTORS.

Anyhow, here's my schedule for this year's Sydney Film Festival:

JUNE 6

Woody Allen: A Documentary

Tatsumi

JUNE 7

La Pirogue

JUNE 8

Moonrise Kingdom

JUNE 9

Beasts of the Southern Wild

Maori Boy Genius

The Imposter

JUNE 10-12

away 

JUNE 13

Headshot

JUNE 14

The World Before Her

Our Homeland

JUNE 15

For Ellen

JUNE 16

Postcards From The Zoo

Side By Side

The Last Dogs of Winter

JUNE 17

Undefeated

And to finish this post, I thought I'd share this memorable scene from Annie Hall. I sure hope I don't have to listen to anyone like that in the queues this year!

'What is the film that made you want to continue exploring Korean cinema?' (Part 2)

To continue on from my entry on how I discovered Korean cinema, I've decided to talk about another film that really changed the way I looked at Korean film and the different ideas in cinema. My previous entry highlighted my first Kim Ki-duk experience, and it was the beginning of what I am today.

I raved about 3-Iron (2004) and how much I loved it to Kieran not long after that. I had already, by then, heard about a few big names in the Korean film world. Bong Joon-ho, Kim something or rather, another Kim this and that, and then - Park Chan-wook. I heard much about Old Boy (2003) throughout film school, here and there in pockets throughout the interwebs and still did not rush to see it. It was kind of like the hype around Kill Bill (2003). It's awesome, It's epic, It's amazing. Or so I had heard. Kieran had a couple of Park's films in his gargantuam of a DVD collection, one of which was J.S.A.: Joing Security Area (2000), a film I had not heard about and had little interest to see at the time. The title alone was uninteresting - that and I had little concrete knowledge of the DMZ and the current situation between the North and South. I looked past all of this and decided to give it a go.

I'll be absolutely honest with you: I could not and did not get through the first 20 minutes of the film in my first viewing. It was all talk, no substance to me. I wasn't paying attention to the lengthy discussions between Lee Young-ae's character and Mr Tall Swiss man, who to me seemed like an excuse of a 'white' man in an Asian film. I fell asleep, and looked no further past the beginning. Kieran had told me what a great film it was, and I simply could not see it. And that was that.

Continue reading the rest of this article at the official KOFFIA blog here.

'What is the film that made you want to continue exploring Korean cinema?' (Part 1)

After writing a piece on genres in Korean Cinema for last year's Korean Film Blogathon, I decided to take part in the challenge again. This year I am writing a short series based around the question 'What is the film that made you want to continue exploring Korean cinema?' I felt it would be a good way to reflect on the last few years and where I am today, an assistant film programmer at Cinema On The Park and being heavily involved in the coordination of the first Korean Film Festival in Australia over the past 2 years.

This entry is also available on the KOFFIA Blog. I highly recommend that you have a read of some of the other great entries taking part in this year's blogathon.

Hope you enjoy the next few entries. Do come back in the next few days for my next entry.

Notes on the Malaysian film industry: diversity and multiculturalism

I've been back in Malaysia for just about a week now, and it's been a quiet one. As you may have already heard, this week people have been celebrating Chinese New Year across the globe, and like most Asian countries, everything in Malaysia is 'on hold' for the entire week. The public holiday only applies for two days, but it is pretty usual to have businesses close for the rest of the week, and employees of all races take the 'unspoken' kind of annual leave.

I'm always curious to find out more about the film industry in Malaysia - how it works, what sort of funding filmmakers can apply for, what sort of films succeed at the box office, etc. While I haven't quite got all the answers to those questions yet, I've noticed a large number of cinemas that release country specific films. For example, cinemas in the city or popular malls will screen most of the Hollywood blockbusters and big international titles. What interests me is the ratio of Hollywood titles are to Asian titles (be it Malay-produced, or from Asian countries such as Hong Kong, Taiwan, India or Japan).

Some of the films out in Malaysian cinemas. Top left, right: The Viral Factor (Cantonese), All's Well End's Well (Cantonese). Bottom: Nanban (Tamil)

In almost every cinema across the city (from larger mall-based ones to smaller), there is almost a 1:2 ratio of Asian titles to Hollywood ones. In some cinemas a little further outside the city, the ratio of Asian titles to Hollywood ones was almost 2:1.

The first thing this shows is how multicultural this country really is. Never-ending racial conflict aside, if there are cinemas that purely represent or favour the Asian communities over international/American titles, it really proves to you how the Malaysian film industry promotes diversity.

 A still from Sepet (2004), a Malaysian film written and directed by one of my favourite directors the late Yasmin Ahmad. The film is a modern-day, Malaysian Romeo and Juliet story with a twist on racial divisions in Malaysian society. This is one of my all-time favourites.

Understandably, Malaysia is a country where language can be a barrier for many different reasons, some geographical which may explain the different types of cinemas in Kuala Lumpur and outside of the city. A ratio like 2:1 in favour of Asian titles though, well, I think that speaks for itself.

If Australia is a multicultural country as it so often calls and bathes itself in, then why isn't there a similar level of treatment to diversity? In a country so full of Asian communities, why aren't there distributors helping to bring Asian-produced or Asian-relevant content to Australia to the same degree of crappy Australian-produced films? Why are Australian distributors turning a blind eye on Asian films, or Asian-Australian films when these are people who make up a good majority of communities across the country?

I do think that Australia needs to see more Asian films, or at least help to bring these films to communities with larger Asian/Asian-Australian population. I suppose that having said this, it is the reason why international film festivals such as Sydney Film Festival, Melbourne International Film Festival and even independent ones such as the Korean Film Festival in Australia are so fantastic in bringing films we would not have ever heard of, or will ever hear of again once the festival passes.

You would think that in a country that is so proud of it's multicultural approach and perspectives, people would at least practice what they preach.

Big Awards, little me

Our good old friend November has returned, which means we welcome warmer days, sleepless nights and mosquito battles for the next few months. It's painful, and I hate summer. The best part of November, apart from finishing my second-first year at university, is the Asia Pacific Screen Awards Ceremony held in the Gold Coast at the end of the month. Kieran received an invitation to attend, and like last year, we're heading up the coast for yet another 'fancy' night. In other words, it's just an excuse for me to dress up and be in the same room with some big names in the Asia Pacific Screen industry. 

Last year we shared canapes with the producer of Paju and the producer of Jang Hun's new film Frontline (there is an embarrassing photo of me showing just this on the APSA homepage). We're hoping it'll be just as exciting as that this time around, and maybe even better like finally finding the courage to talk to Lee Chang-dong's producer of Secret Sunshine and brother. True story.

The Discovery of I

I often wonder about the choices I have made that have brought me to this very moment of means that I exist within. Beyond the picture of me sitting here in the living room, finally finding the time to write a meaningful blog post after watching another disgustingly engrossing episode of The Slap. What did I do to be in where I am today, and more curiously important, why did I do the things I did?

I wonder if there was a part of me in the past that knew what my choices would bring me to in the future. Did I know that I would be wanting to work in the film distribution industry? Did I know that I would be going back to university again? Did I secretly know that someday I would go back to university, and therefore not worry about dropping out of the first degree?

A thought has been lingering with me for quite some time, and it questions just this. I was in Melbourne for the Korean Film Festival - working - on my own time and expenses. I wanted to be there for the festival. I spoke to an old friend who I worked with previously, and he was surprised to hear that I was there in Melbourne - working - let alone for the same film festival I volunteered at last year. "But why?" he asked me. He sounded surprised, and I was surprised he would ask. 

"Because I want to." I want to be here, and this festival is something I believe in. This is something I want to do. Why else would I be here?

"You should be doing what you want to do," he said. I assumed he meant "Why are you pursuing someone's else's dream?" This raised the issue of working with your partner, but that is for another blog entry. I was struck with this 'dilemma' upon hearing him say this. Did he think that I was doing this because my partner was too?

NO. I won't beat around the bush with my answer. 

I'm not here because my partner works here, I'm here because I want to be here. I'm here because I want to earn the 'Thank you' you so willingly praise me with day by day. I'm here because I believe in this work. I'm here because I work hard, and do a bloody good job at what I do. 

I've been asking myself this question over the last few days, and have wondered much about this. I don't want to be treated like someone's someone. I want to be treated like I am myself. I am my own person. But is my own person someone who has been shaped by another? Is this what everybody else thinks and sees in me and the things that I do?

Just a thought. I think part of the perks of being 22 is you are a malleable idea - still. You are free to work towards the person you want to be, and if you've made a wrong turn, well, there is still time to get yourself back onto the right track. The ideas that have shaped me, whether they are from studies or from being with someone for so long - I guess the point is to take them and make something of your own from it. I guess that's the right idea.

Less Time, More Films

It's amazing how quickly time is lost when you work full-time. As you can imagine, I have been very occupied with work. When I'm not at work, I'm resting, dealing with the trivial matters that encompass my life, or thinking of different ways to overcome my lactose intolerance. The Japanese Film Festival in Sydney began last Monday, which I've been attending almost everyday throughout the week. I've been losing sleep, eating badly (dinner has consisted of buttered toast for the past two nights now) and basically not giving myself the tender, love and care that I seem to need.

(photo from JFF Facebook page)

I have, however, been seeing a lot more films than the past two months put together! I took advantage of the perks that came with having a boyfriend who worked for a film festival by sitting with him while he watched the screeners. I saw almost half the films on at the currently running Japanese Film Festival, including A Lone Scalpel (closing night film), Flavor of Happiness, Confessions and Solanin (by far my favourite). We managed to see Josh Fox's documentary Gasland, Michael Rowe's Leap Year (also known as Año Bisiesto), a Christmas tale gone wrong in Rare Exports, Australian genre film The Loved Ones, and a couple of others. It has been quite a busy November.

Next week, Kieran and I head to the Gold Coast for the 4th annual Asia Pacific Screen Awards. I'm really looking forward to this event - it's the first major 'black tie' film-event I have been asked to attend - well, Kieran was invited, and I got to be his lucky 'plus one'. Nevertheless, it will be great to be amongst all sorts of important folk in the Asian film industry. I can't wait.

December will bring all kinds of crazy with Christmas and New Year's around the corner already. Time to empty my wallets, repent my sins and consider my 2011. Can't say I'm not excited!

I'll end this post with one of my favourite trailers - a sweded trailer of Be Kind Rewind. It's sweded with all the charm and greatness of Michel Gondry.

"Sleepskating" - New Short Film

As you know from the previous post, I took part in the Kino Kabaret challenge whereby you make a film in 32 hours (from thinking up idea to screening the next night). This is what we came up with in 8 hours. It's called "Sleepskating".

Back in the editing suite, the end of KOFFIA, and applying to AFTRS

I'm back in the editing suite, trying to make a final edit out of my thesis film in time for the Women's Film Festival's extended deadline this Friday. There are still a lot of things I want to change, for example, the poem's recording is inconsistent in quality throughout the film (due to my actor being away during post-production, and not being able to make good quality recordings). So right now, the priority is to lock the picture down, once and for all.

Otherwise, we just wrapped up the first Korean Film Festival in Australia last week. The festival went overwhelmingly well, especially for a first time festival. The team I worked with was possibly the best festival team I have ever worked with. It was such a pleasure to work with such a great team on an amazing and promising festival. If you missed out this year, watch out for a bigger, better Korean Film Festival in 2011.

Also, I don't think I ever mentioned my new job. Almost a month ago, I started working part-time at a new and upcoming digital subscription/semi-IPTV company (Foxtel's newest competitor) as a marketing assistant. It's been extremely interesting, to say the least. There is so much more to the operations behind a subscription television service and it's amazing how each product competes against others. I guess the notable point I should also bring up is that I'm no longer an intern. Excitement!

I'm also planning out my application for the Graduate Certificate in Screen Culture course at AFTRS, to start in 2011. I've decided that since I'm working and earning my own money, I could most likely afford a part-time postgraduate course much like the Grad Cert at AFTRS, if I save up. I thought about it, and a part-time post-grad simply sounds like a realistic option compared to going back to university for a three-year degree.

With that being said, I suppose all's well in my world for now.

KOFFIA Opening Night Montage

Whipped up a quick and short montage/teaser from the Korean Film Festival's opening night ceremony, last Friday the 1st. Did this is about an hour before today's first sessions. It's really quite rough and 'drafty', but passable, maybe. I also shot the footage.

PS. Come to our Closing Night ceremony, tomorrow, 5th October at Dendy Opera Quays. We're closing the festival with Im Sang-Soo's controversial remake of the 1960s Korean classic THE HOUSEMAID followed by Lee Hey-Jun's solo directorial debut CASTAWAY ON THE MOON. Come along as there'll be drinks, food and great company.

Post-Film School Life Begins

Apart from keeping my internship at Titan View, I've been 'busily' applying for jobs here and there from the comfort of my couch. It's been a while since I've been able to sit around with a whole day to waste wrapped in a duvet with my laptop. The other reason for this apart from having just graduated with my Diploma in Screen is to nurse myself better from this cold that has been around since last week. So it all works out in the end - I am bedridden from this illness, so what better way to spend the day than to apply for jobs! Hah, hah.

Kieran and I had booked our flights and tickets to this year's Melbourne International Film Festival, which runs from the 22nd of July to the 8th of August. It's the first film festival I have bought a mini pass to, and the first festival or event interstate which I am indeed traveling to attend. It's a pretty exciting thought, and is in itself one of the first steps in my post-film school life.

These are the films we are going to see:

• Beeswax (dir Andrew Bujalski, USA)
• Ha Ha Ha (dir Hong Sangsoo, received the Un Certain Regard Prize at Cannes this year, South Korea)
• Mai Mai Miracle (dir Sunao Katabuchi, Japan)
• Boy (dir Taika Waikiki, won the Best Fiction Feature Audience Awards at this year's Sydney Film Festival, NZ)
• Four Lions (dir Chris Morris, UK)
  
• Kanikosen (dir Sabu, Japan)
• A Time To Love (dir Embrahim Forouzesh, Iran)
• Karaoke (dir Chris Chong Chan Fui, Malaysia)
• The Juche Idea (dir Jim Finn, USA)
• Cell 211 (dir Daniel Monzon, Spain/France)
• The Well (dir Umesh Vinayak Kulkarni, India)
• Taqwacore: The Birth of Punk Islam (dir Omar Majeed, Canada)
• Small Soldiers (dir Joe Dante, USA)

I'm really looking forward to seeing Beeswax, Ha Ha Ha, a childhood 'classic' of mine Small Soldiers and the only Malaysian film featuring at this year's MIFF, Karaoke. We've planned the trip over 4 days, where we will watch 13 films. I have a feeling we will begin to turn nocturnal from sitting in the theatre all day long for the majority of our trip. After all, it could be fun being a movie owl.

That being said, now that I've spent all this money on the trip, I should really get cracking on finding that job if I want to keep living in this city.