MinJungKim.com

You Are My Sunshine:

A lovely and sweet Korean flick HIV romcom between a cowfarmer and a coffee bar prostitute. Um. Yeah. I know it sounds weird but it’s not the strangest film I’ve seen today. Of note, our cowfarmer owns 1 cow. Of note, our prostitute with the heart of gold has some serious issues.
Honestly, a remarkably sweet film that confronts the notion that we all have faults, baggage, and damage to a degree. But love — real love — recognizes, accepts, and moves beyond it all. The title song is played at appropriate moments throughout the film in piano, guitar, accordian, and flute. It’s sweet and makes you forgive the film directors for allowing a Korean knockoff of Cyndi Lauper’s SheBop be basterdized in the karaoke scene.

Highlight scenes include seeing the birthing of a calf, our hero breaking a speaker system to grab the hand of his beloved, how cutesy the two are on their honeymoon in the bathtub blowing bubbes at each other, and when Seok-Jun gives Eunha a piggy back ride as cherry blossoms fall around them.

3.5/5 Pigtails. Good but not stunning. Not for everyone but definitely very sweet.

I bawled a little durning this film but it wasn’t the water works I had the night before.

The official film description below

Simple, sweet-natured farmhand Seok-Jung (Hwang Jeong-Min) longs for a wife. He is certain that he has found her the instant he catches sight of lovely Eun-Ha (Jeon Do-Yeon). She is far more experienced and sophisticated than he is, a difference made starkly clear by her job at a sleazy café where she delivers intimacy and coffee to the guests at the aptly named Beast Motel. No one is more surprised than she is when his unquestioning devotion wins her over, and she falls for her impassioned suitor. Seok-Jung thinks he has found the perfect love, but Eun-Ha is a woman with a past that has resulted in an HIV infection, and her former life casts a shadow that threatens not just their marriage but also his place within his family and community. What begins as a daffy romantic comedy of opposites attracting gradually darkens and deepens as writer/director Park Jin-Pyo examines the steadfastness of unconditional love and the outside forces that seek to destroy it. It is a graceful transition into melodrama, made all the more poignant by Seok-Jung’s naiveté and Eun-Ha’s vulnerability. The intense chemistry between the two actors ensures that while the latter half of the film is nominally about AIDS and the high cost it extracts not just from its victims but from everyone close to them, it is far more a testament to the bond between lovers. A box office success in Korea, the film received seven nominations for Korea’s Blue Dragon Awards, winning for best director, best actor and best couple.

—Pam Grady

Presented in association with the Institute of East Asian Studies. North American Premiere

Neoneun nae unmyeong

New Directors
South Korea, 2005, 121 minutes

SHOWTIMES

Sun, Apr 23 / 8:30 / Kabuki / YOU23K
Wed, Apr 26 / 2:30 / Kabuki / YOU26K

CREDITS

dir Park Jin-Pyo

prod Eugene Lee, Oh Jeong-Wan

scr Park Jin-Pyo

cam Seong Seung-Taek

editor Mun In-Dae

mus Bang Jun-Seok

cast Jeon Do-Yeon, Hwang Jeong-Min, Na Mun-Hee, Ryu Seung-Su, Go Su-Hee

source CJ Entertainment, 26th Fl. Star Tower, 737 Yeoksam-dong, Kangnam-gu, 135-984 Seoul, South Korea FAX: 82-2-2112-6599 EMAIL: heejeon@cj.net

Next up

Executive Koala

Um. Mix Office Space with Memento with Scream with A little Who Killed Bobby and the Fugitive and Shawshank Redemption and an Inigo Montoya vibe of “you killed my father, prepare to die”.

And then add a Koala head.

Uh. Yeah. Did I mention that there was a musical number? And a totally awesome fetish for things Korean including Kimchi and hot Korean boys?
I swear to God, those Japanese must have some awesome awesome drugs to come up with this stuff.

I don’t honestly know how many pigtails to give this film. My head is still broken.

I think I give it a 3.5/5 pigtails.

Official description below.

Though accurate to its subject, the film’s title doesn’t quite express the full-bore craziness of Minoru Kawasaki’s followup to The Calamari Wrestler (2004). Moving from the interspecies grapplings of the wrestling ring to the even more brutal milieu of office politics, it is the story of Tamura, a hard-working employee of the Rubbles Pickles Company who is working on a merger with a South Korean kimchi producer. He is introduced in the film’s opening song as a “kind-hearted fence-sitter, unhurt by layoffs or demotion.” The fact that this dutiful drudge has a giant koala head and that his boss appears to be a large rabbit is little remarked upon. Though the office secretaries bemoan his hirsuteness, they still see him as a nifty catch. Tamura’s desirability is called into question, however, when detectives start suspecting that he might be responsible for the disappearance of his ex-wife and the death of his current girlfriend. Thinking he might suffer from a split personality, our titular hero strives to recover the buried memories of his spouse’s disappearance through analysis, though his shrink might actually mean him more harm than good. Another rogue element is Tamura’s colleague from the kimchi company, who is never seen without his flying squirrel, Momo. Borrowing a pinch of plot from The Manchurian Candidate, a modicum of musical absurdity from The Happiness of the Katakuris and some animal anthropomorphism from Sesame Street, Kawasaki adds his own peculiar sense of humor and martial arts action to come up with something entirely new and entirely unforgettable.

—Rod Armstrong
Koala Kacho

Spotlight: The Late Show
Japan, 2005, 85 minutes

SHOWTIMES

Fri, Apr 28 / 10:30 / Kabuki / EXEC28K
Tue, May 02 / 4:15 / Kabuki / EXEC02K

CREDITS

dir Minoru Kawasaki

prod Shuntaro Kanai

scr Minoru Kawasaki, Masakazu Migita

cam Yasutaka Nagano

cast Hironobu Nomura, Arthur Koroda, Hideki Saijo, Eiichi Kikuchi, Lee Ho, Ellirose

source The Klockworx Co, Ltd, MF Bldg, 4-F, 1-6-10 Ebisu Minami, Shibuya-ku, 150-0022 Tokyo, Japan FAX: 81-3-5720-7792. EMAIL: senden@klockworx.com

web http://www.koala-kacho.com/

If I can get motivated, I will watch Sa-Kwa tomorrow.
Jayzus. 4 Films from the film festival + my netflix documentary of Born in Brothels.

Jayzus.

This Film: Fascinating. Just totally fucking fascinating.

This documentary is both stark and intimate in revealling the creation, growth, corruption, and tragic end of of the Jim Jones cult known as the People’s Temple.

It’s amazing to me how a cult of personality can so enthrall people, overtake one’s will, and ultimately take the lives of so many people in a time & age of both bleak social/political climates and wild optimism re: a communistic & fully functionally lifestyle.

We’re first presented with the shiny rising of the People’s Temple via an early biography of the now infamous Jim Jones. Ferociously fascinated by religion and integration, Jones used to conduct funerals for neighborhood pets as a child and as a young and upcoming preacher clearly favored integration between African American communities into mainstream culture during a time on the cusp of segregation and revolution. Promoting physical & emotional discipline from drugs/avarice/sexual distraction, he appeared a posterchild of goodwill and social influence. Weighing heavy political influence and charismatic leadership with community and religious passion, it is easy to see why Jones was a force to be contended with and one that would be hard to resist.

This film features original photographs, footage, and interviews with several former members of the People’s Temple including a few who survived the Jonestown Massacre. All interviewed subjects lost family members from infants to mothers.

I give it a 5/5 pigtail rating though the subject matter may not seem very pig-taily.

Serious stuff but one definitley worth watching.

Official Writeup:

Documentaries
USA, 2006, 86 minutes

SHOWTIMES

Sat, Apr 29 / 6:15 / Kabuki / JONE29K
Sun, Apr 30 / 7:00 / Intersection / -2
Mon, May 01 / 7:00 / PFA / JONE01P
Tue, May 02 / 4:30 / Kabuki / JONE02K

CREDITS

dir Stanley Nelson

prod Stanley Nelson

cam Michael Chin

editor Lewis Erskine

mus Tom Phillips

source Firelight Media, 2600 Tenth Street, Ste. 636, 94710 Berkeley, CA 94710 FAX: 510-704-9201 EMAIL: marcia@firelightmedia.org

web http://www.firelightmedia.org

Veteran filmmaker Stanley Nelson traces the stunning rise and fall of Peoples Temple and its charismatic founder Jim Jones, who convinced hundreds of his followers in Jonestown, Guyana to participate in a mass “suicide” on November 18, 1978. The shocking tragedy made international headlines. More than 900 people, including more than 200 children, died in the utopian community they had tried to create in the jungles of Guyana in South America. Many of those who died were from the Bay Area as Jones held sway over a huge congregation in San Francisco from 1972 to 1977. Nelson interviews former members of Peoples Temple, including many whose family members perished in Jonestown. Initially, they felt they were part of an idealistic interracial community that could change the world. But they also reveal the fear, paranoia and beatings that were part of the traumatic experience. Jones became their father, friend, savior and god. The film includes remarkable archival footage of Jones discussing his childhood in Indiana and preaching in San Francisco, where he wielded considerable political clout due to his ability to get hundreds of his followers to appear at many local political events. There is also riveting footage of San Mateo Congressman Leo Ryan’s visit to Jonestown to investigate claims of people being held against their will and audiotape of Jones preaching, including his chilling exhortation to “die with dignity.” How was it possible for such an horrific event to take place? This disturbing portrait raises as many questions as it answers.

—Chuleenan Svetvilas

Princess Raccoon with Zang Ziyi

First off, this film is incorrectly named. It should be Princess Tanuki, not not Princess Raccoon.

Per the ever resourceful Wikipedia

Tanuki (Katakana: タヌキ; or Kanji: 狸) is often mistakenly translated as raccoon or badger, but is in fact a raccoon dog (Nyctereutes procyonoides), a canid species native to Japan and other Asian countries. Tanuki have been part of Japanese mythology since ancient times. The mythical tanuki is reputed to be mischievous and jolly, a master of disguise and shapeshifting, but somewhat gullible and absent-minded.

[edit]

Tanuki in folklore

The current humorous image of tanuki is thought to have been developed during the Kamakura era. The wild tanuki has unusually large testicles, a feature often comically exaggerated in artistic depictions of the creature. Tanuki may be shown with their testicles flung over their backs like a traveller’s pack, or using them as drums. Tanuki are also typically depicted as having large bellies. They may be shown drumming on their bellies instead of their testicles, especially in children’s art.

A common schoolyard song in Japan (the tune of which can be heard in the arcade game Ponpoko) makes rather explicit reference to the tanuki anatomy:

Tan Tan Tanuki no kintama wa

Kaze mo nai no ni

Bura bura bura

Roughly translated, it means “Tanuki’s testicles swing back and forth even when there is no wind blowing.”

OK, so now you got that knowledge under your belt, you’ll slowly be further and further annoyed by how this film proceeds. Or maybe that’s just me.

This film is an odd stew of fable, mythology, opera, greek mythology, shakespeare, and cinematics. While the costumes are gorgeous and the storyline playful and surreal, one can’t help but get caught up in the overwhelming state of ubermeta meta meta happening within the film which proves distracting and quite handicapping to the narrative and the visual splendor of the film.

First it’s a fable/fairytale. Then there’s guys in shakespeare garb singing in italian. Then there’s a Madama Butterfly “staging” vibe. Then there’s a cinematic (non tehater) component and visualizationthere. Then there’s some CGI. Then there’s singing in Japanese. Then there’s Zhang Ziyi singing in Chinese. And everyone understands each other. Then there’s a meddling huberous father who wants to kill his son who’s fairer than he (So very snow white). Then there’s some invocation of the Virgin Mary and images of a crucifix. Then there’s a Puck-like character who’se intention is to play mischief. Then there’s a Shakespeare esque fool character that tells the truth to the audience. Then the japanese grandparents are singing in a hiphop song. Then there’s a 70s style disco balad. Then there’s a calypso musical dance number. Then there’s a tap dance. Then there’s a shoowop number by the handmaidens of our Princess Tanuki. Then there’s a samurai fight scene. Then there’s a quest. Then there’s a golden frog. Then there’s some Buddhist chants. And then there’s a happy ending.
Confused? Yeah.

It’s like someone swallowed a Midsummer Nights Dream, Japanese fables, and Opera scores by Puccini, the complete library of musicals from 1940 to Ziggy Stardust, and then threw up in front of a video camera. The film is only redeemed by the fact that people at least look pretty and the music is reasonably decent.
I give it 2/5 pigtails. *Sigh* I shake my head in disappointment.

If you want to watch something *Good* about Tanukis, then watch Studio Ghibli’s full feature animation Pom Poko! That film gets 4.5/5 pigtails by comparison.
The official review

Operetta Tanuki Goten

World Cinema
Japan, 2005, 111 minutes

SHOWTIMES

Wed, Apr 26 / 9:30 / Kabuki / PRIN26K
Fri, Apr 28 / 2:30 / Castro / PRIN28C
Sun, Apr 30 / 8:00 / PFA / PRIN30P

CREDITS

dir Seijun Suzuki

prod Katashima Ikki, Satoru Ogura

scr Yoshio Urasawa

cam Yonezo Maeda

editor Nobuyuki Ito

mus Michiru Oshima, Ryomei Shirai

cast Ziyi Zhang, Joe Odagiri, Hiroko Yakushimaru, Yuki Saori, Mikijiro Hira

source Dentsu Tec Inc., 1-11-10, Tsukiji, 104-8411 Chuo-ku, Japan FAX: +81-3-5551-9475 EMAIL: movie@dentsutec.co.jp

t’s hard to believe we’ve had the pleasure of watching Seijun Suzuki movies for almost 50 years. What’s even more remarkable is that his films have remained as youthfully nutty as they were in the ’60s. His new musical Princess Raccoon is a love story of sorts, between a man and an animal. But there’s no bestiality here—this animal is played by the stunning Ziyi Zhang, who is a tanuki, a raccoon-like creature that can change shape and impersonate just about anything, including a human (if you saw Isao Takahata’s Pom Poko at the 1995 SFIFF you’ll know all about tanukis). The object of her affection is Prince Amechiyo (Joe Odagiri, also starring in The House of Himiko, SFIFF 2006). Amechiyo’s father, Lord of Castle Grace, banishes Amechiyo to the wilderness when his in-house witch informs him that Amechiyo is soon to be better looking than his father. There the comely Princess Raccoon discovers him and whisks him back to her castle. This being a Suzuki movie, don’t go looking for much more plot—Japan’s premier trickster would rather rescue us from such mundanities. Instead, glory in the spectacular production design and cheerful wackiness of this anything-goes pop opera, replete with singing frogs, a dancing ska band (skabuki?), a plethora of multi-mythical characters and images ranging from the whimsical to the profound. It’s all terrific fun, especially if you just pretend those subtitles are bouncing-ball sing-along lyrics and join in.

—Tod Booth

Presented in association with the Center for Asian American Media and the Japan Society of Northern California. Sponsored by Dolby.

Jayzus Christ.  What’s the matter with you peoples!

I’m stunned on a number of levels that I, (yes me) cannot articulate.

What’s more embarrassing than crying so hard in a theater that your contacts pop out?

Sitting in a private cube to watch a film in the press office and sobbing quietly to yourself while watching a film on a flatscreen monitor with headphones on and wiping your face as you sniffle and shake in a puddle of utter sappy embarrassment.

Yeah. That’d be me stubbling through Jtown wiping my face and looking towards my feet because I’m too embarrassed to face anyone with the shameless bawling that I’ve just experienced. I was planning on watching Zhang Zi Yi in Princess Racoon this evening but my dignity was too decimated to handle staying in the theater any longer.
Damn you Andy Lau.

All About Love

Ok.. indulge me with this odd introduction.
But you know those Korean pop music videos? Where there is a hunky sulky dude character who wears a slick white suit or a slick black suit and has a styling watch etc, falls in love with someone, there’s rain (or snow) some sort of tragic circumstance, and then someone either dies or has to give up their eyeballs or something. And even though you know it’s painfully cheesy, you still wind up crying your eyes out and trying to do anything you can to find out how you can loop the same music video over and over again because you kinda dig being wrapped up in so much melodramatic whimsy.

Ok. So yeah. Imagine that being an entire HK love movie with 2, count em, 2 characters played by the Mr. Hunky Andy Lau.

Suspend your disbelief a moment and imagine that you are suspended as a translucent ghost watching Dr. Ko (played by Andy Lau of Infernal Affairs, House of Flying Daggers, etc) as he travels between present and past and becomes lovelorn and desperate to redeem the love that he neglected for his wife Zi Qing (Charlene Choi … remember her in the Vampire Affect? No? Or how about the ultra cutesy packaging as one of the HK acting/action fighting chick twins?) who expires in a sudden car accident after their 108th rescheduled dinner together. The heart of Dr. Ko’s wife, premised with a scan of an aritcle re: organs retaining some memory despite transplants (and mind you, go along with the suspension of disbelief and ignore the fact that this idea has been used in countless horror films and even a Simpson’s episode re: an evil toupee) is transplanted into the heart of another woman,Sam, (Charlie Young) with a terminal condition and a husband Derek Hui, also neglectful, that looks uncannily like Dr. Ko.

Without telling you too much to spoil the joy (and sobbing) of the film, I’ll say that the imagery, direction and editing of the film are flawless in conveying univeral human themes on love, estrangement, guilt, obsession, abandonment, a desperate need for redemption, forgiveness, and ultimately letting things go. Water and magic are seamlessly drawn through the length of the film as is the desire to continue in the wildly extravagent and romantic possibilities that are only possible when you throw yourself completely and passionately into love.

I give it a sobbing nose sniffly faced 5/5 pigtails.

This film will surely be available at your local Intl or Asian film festival and major distribution soon. Bring Kleenex. And if you can, someone you love.

Ok.

So with Al Franken’s film “God Spoke” there’s a few givens that one will expect out of the film.

You expect it to be snarky. You expect it to have criticism of the Right. You even concede that of course, it will be very biased. But hopefully you’re tolerant of that.
You do *not* expect it to be as humanizing and warm in portraying Franken center stage as a very decent human being that you’d want over for dimsum or coffee cake on a sunday afternoon. After all, we’ve only known him to be the ultimate in self-effacing sarcasm. I mean, who else would have Al Gore on SNL speak self-affirmations in the mirror after losing the presidential election in 2000.
In his own words, Franken does not speak of his style of political criticism as attacks or propaganda. He calls it Jujitsu. Using documented conservative statements and retorting them with truth and insight. One particularly brilliant example presented by Franken was Fox News’ slant re: the danger/fatalities in Iraq vs. California of the same geographic size.

Fox stated that at 1.7 fatalities a day, Iraq could not be considered as dangerous as the state of California at nearly 7 fatalities a day. Totally ommitted from this mathematical diversion was the appropriate %s based on population. Der. Like they always say, you can always lie with statistics.

Highlight points being when Ann Coulter announced that if she could be anyone in history she’d be Mcarthy except she’d *not* do the “real deal” to which Franken retorted…he’d be Hitler then, to *not* do the whole holocast thing…but he’d keep the volkswagon. Franken clearly owns a black belt in poking holes at faulty logic. One that could serve him well if he’s serious about running for Senate in 2008 as announced in the film.
Some personal things that I loved about the film? How absolutely adorable, shamelessly affectionate, and *real* both Franken and his wife Frannie were. We see them in their pj’s. We see their quips and considerations for each other. We see a real relationship between a celeb and their spouse and it makes the possibility all too amazing that perhaps even politicians could have these relationships with their own wives. (Cuz you know that whole Bill & Hillary thing made you feel creepy about people actually loving their political partners).

Super glad I saw this film. 4/5 pigtails. It’d get a higher rating if we were able to see some more interviews with people who *don’t* necessarilly like Franken. In that respect this film was not quite fair & balanced. But no one’s really surprised by that, I expect.

Updated info on Franken & Air America on their blog here.

The official shpiel care of SFIFF

Love him or loathe him, the sharp-tongued liberal pundit Al Franken is on a mission. Since the 2003 publication of his bestselling book Lies and the Lying Liars Who Tell Them: A Fair and Balanced Look at the Right, he has been fixated on discrediting the right-wing media’s alleged propensity for fomenting misinformation in its reportage and on exposing the Bush administration for its own acts of distortion. Dismissed as a “vile smear merchant” by arch nemesis Bill O’Reilly of Fox News, the bespectacled political satirist will stop at nothing to enrich the country’s media diet by relentlessly, as Franken says, “taking what they say and using it against them.” In this unflinching probe into the daily working life of the former Saturday Night Live writer and principal voice of Air America Radio, filmmakers Chris Hegedus and Nick Doob apply their classic, unobtrusive style in tracking the obstreperous Franken over the course of two years. Partners with renowned documentarian D.A. Pennebaker (The War Room, 1994) for over 30 years, Hegedus and Doob’s direct cinema strategies provide a candid, engrossing portrait of freedom of speech as exercised by one of the nation’s more colorful political insiders, interspersing existing TV footage of Franken in action with frank, behind-the-scenes glimpses into the pundit’s personal life. Whether he’s hobnobbing with Henry Kissinger at a swanky gathering of Republican bigwigs, engaging in an onstage contretemps with conservative vixen Ann Coulter or pondering a 2008 senate run, Franken is never anything less than unstoppable.

—Andy Bailey

SHOWTIMES

Fri, Apr 21 / 7:00 / PFA / ALFR21P
Sat, Apr 22 / 6:00 / Castro / ALFR22C
Tue, Apr 25 / 3:30 / Kabuki / ALFR25K

CREDITS

dir Nick Doob, Chris Hegedus

prod Rebecca Marshall, Frazer Pennebaker, D.A. Pennebaker

cam Nick Doob, Chris Hegedus

editor Nick Doob, Chris Hegedus

source Pennebaker Hegedus Films, 262 West 91st Street, New York, 10024 FAX: 212-496-8195 EMAIL: penneheg@aol.com

web http://www.phfilms.com

Sometimes I hate living in this city.

By pure virtue of the idiocy of our city’s beuracrats.

Crap.

Read Jane’s breakdown of what went on today.

Demand CHANGE!

And remember this travesty when you’re voting.

Damn it all.

Last night I saw this lovely film House of Himiko during the SFIFF.

There was surely a reason why the theater was packed! Catering to Japanese culture fanatics as well as the GLBT community, this film touches on great points of humanism, acceptance, affection, and the delicate balance of relationships between a number of ebullient characters within a seaside gay retirement community.

Old.Japanese.Queens.

Now if that doesn’t make your mind explode to some degree with the image, then have it explode with cherry blossom fireworks further when you see the delicate unpacking narative that explores the delicacies of love, devotion, desire, and affection as you move further and further into the lives and intricacies of all the ebullient characters there.

There’s Ruby, the pink haired and balding queen who insists on being reincarnated as a ballerina in his next life and delights over the phrase Picky Piki Piki!, the incantation of magic used by an Anime character in delightful rainbow garb.

Haruhiko, the dreamy lover of our central character Himiko, and his conflict between his own youth and desire, and his affection and devotion to his lover who is dying.

There’s of course Himiko, our aging queen who’s dying from cancer, the former owner of a trendy nigthclub who decided in his winter years to create this respite of a seaside home for himself and his friends. He’s in struggles to resolve his relationship with…

Saori, his daughter from a marriage years ago. Saori is embittered, dispassionate, and frustrated by being drawn into this foreign community of acceptance and warmth in a lifestyle that she’s rejected her entire life because of the abandonent that she and her mother experienced.

Brilliant supporting roles include a closet queen/former bank branch manager, a retired school teacher, a former yakuza tattooed gentleman, and a cheerfully self aware young caretaker named “Chubby”.

Picky, piki, piki. This film is magic.

4/5 Pigtails. It’s a bit slow moving at the beginning and I wish there was just a touch more backstory on all the characters and how they got to Le Maison Himiko.
*****

SFIFF Description

How a culture deals with its aging population and how it relates to its gay community are two measures of its humanity. The latest film from Isshin Inudo, who specializes in offbeat comedy, asks how Japan’s aging homosexuals will fare, and the answer is, with the same outsider resilience that got them through life thus far. The House of Himiko is a beautiful seaside rest home for gay men, founded by the former proprietor of a legendary Ginza transvestite bar. Moving slowly through his domain, the stone-faced aging beauty in flowing kimono faces death from cancer. A devoted young assistant, Haruhiko, tricks Himiko’s long-estranged daughter Saori into working at the home, which is populated by everyone from gentlemen chess players who spent a lifetime hiding their sexuality to cross-dressers whose burden of female identity has driven them “flaming.” Inudo’s smart visual sense makes the film’s finer moments resonate beyond quirky comedy—as when the residents, taking in the reality of losing one of their own, are suffused in a totally yellow light; or when they all gather on the balcony to blissfully watch tattooed young men bathing in the waves. We catch on much quicker than Saori—sullen in her abandonment-induced homophobia—to the realization that the feelings at play here run much deeper than the desire to wear (or not to wear) a dress. It is about the desire to love, and to die, as one chooses. Popular young stars Joe Odagiri as the searching Haruhiko and Kou Shibasaki as the emotionally crippled Saori play beautifully against type.

Mezon do Himiko

World Cinema
Japan, 2005, 111 minutes

SHOWTIMES

Thu, Apr 27 / 5:45 / Castro / HOUH27C

CREDITS

dir Isshin Inudo

prod Osamu Kubota, Shinji Ogawa

scr Aya Watanabe

cam Takahiro Tsutai

editor Hirohide Abe

mus Haruomi Hosono

cast Kou Shibasaki, Joe Odagiri, Min Tanaka, Hidetoshi Nishijima

source Asmik Ace Entertainment, 6-1-24 Roppongi, Minato-ku, 106-8553 Tokyo, Japan FAX: 81-3-5413-2841 EMAIL: intl@asmik-ace.co.jp

web http://himiko-movie.com/

I’ve just come out of my 2nd movie for the SFIFF and wooo… what a goodie.

In Bed

IMHO: A stunning film that is a study of pieces, intimacy at all levels, the lies we tell others, and those that we tell ourselves. The confessions of truth that are hard to swallow, and what the concept of intimacy means on so many different levels.

The opening scene is about 5 mintues of pure audio porn followed by some very close up shots of some seriously intense bumping and grinding. We see only the briefest of parts of the two actors.

Post amazingly “how could you be faking that” and “Omg I feel dirty watching this” and “why am I watching this movie alone and in a theater full of old people film nut strangers” and “i should really cross my legs a bit…woo… it’s getting warm here…” we’re presented with our first piece of dialogue.

“So.. um… what’s your name again?”

From there we see a visual resonance on the themes of emotional intimacy and truth as we slowly get larger and fuller pictures of our two protagonists.

The entire film is a couple in a cheesy motel. A rendezvous of fate or escape, a little bit of both. Stunning performances and direction. I’m looking forward to seeing what else the director Matias Biza has in store.

Sadly, this afternoon’s shwo was the last showing of this film for this particular film festival, but if I were you, I’d put it on a watch list for Netflix or your local world/international/latinamerican film fests. Really good shit.

I give it 4.5/5 pigtails.

Director Credits & Whatnot
En la cama

New Directors
Chile/Germany, 2005, 85 minutes

SHOWTIMES

Sat, Apr 22 / 9:15 / Castro / INBE22C
Mon, Apr 24 / 3:15 / Kabuki / INBE24K

CREDITS

dir Matías Bize

prod Adrián Solar, Christoph Meyer-Wiel

scr Julio Rojas

cam Gabriel Diaz, Cristián Castro

editor Paula Talloni

mus Diego Fontecilla

cast Blanca Lewin, Gonzalo Valenzuela

source IntraMovies, Via E. Manfredi 15, 00197 Rome, Italy FAX: +39-06-807-61-56 EMAIL: mail@intramovies.com

Part Richard Linklater, part Samuel Beckett, In Bed takes a slice of life—a round-the-clock tryst in a motel—and turns it into a contemplation of life, love and sex. The entire film takes place in a Santiago motel room that has been begging for a remodel since the disco era. Not that you will notice any of that with two hot young Latin stars—Gonzalo Valenzuela as Bruno and Chilean TV star Blanca Lewin as Daniela—naked in the foreground. They met just a few hours ago in a café and are getting acquainted very quickly. At first a closeup, blurring montage of naked bodies, In Bed begins to follow a natural rhythm as it transforms into a relationship drama between couplings. After the first few orgasms Bruno lets on that he is leaving the country. Then Daniela lets on that she is in a relationship. Ah, how naïve of us to think that life could ever be so simple, as even a spontaneous roll in the hay proves to be a drama of conflicting emotions. Talking about his choice of “location,” director Bize says, “In bed is where you love, where you dream and where you betray.” The little deceptions, the passion, the fear of commitment, the beauty and the loneliness of young love are all laid bare in this abstract universe contained within a few hours in a motel room.—Miguel Pendás

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Yes… it’s that time of year again.

Originally uploaded by minjungkim.

* It’s ok to not lie about one’s age
* It’s still ok to lie about one’s weight
* It’s ok to admit that you can’t do shots anymore
* It’s not ok to punish yourself anymore than your body already does when you wind up actually doing the shots
* It’s ok to be sentimental about memories, relationships, and cherished tokens of precious times in the past
* It’s not ok to let these things weigh you down so much that you can’t walk forward with your head high towards the future
* It’s ok to admit that you can’t dress like a teenager anymore
* It’s not ok to toss away that hot black dress because you’ve still got your charm to make you lovely
* It’s ok to pout if you’re feeling like it
* It’s not ok to fear laugh lines growing around in delicate places on your face
* It’s ok to still not understand everything, anything, and yourself
* It’s not ok to not keep on trying to understand everything,anything and yourself
* It’s ok to occasionally use the double negative in a statement
* It’s not ok to let negativity determine the bounderies on your life
* It’s ok to feel logical regarding situations, opportunities, and risk
* It’s not ok to relinquish hopes and dreams and wild wishes
* It’s ok to think about children as something you might have some day
* It’s not ok to feel urgent or guilty about not having them sooner than you’re damn well ready to
* It’s ok to date children
* It’s not ok if you didn’t realize that was a joke because really, I stopped dating 21 year olds about 2 years ago. Hah.
* It’s ok to not know the answers to everything
* It’s not ok when you stop asking questions
* It’s ok to be 32 year’s old

* Nah. Actually, it’s pretty damn good.

And oh yeah, some of the stuff I’ve seen so far on the Choose Your Own Dating Adventure for Min Jung is pretty funny. Go at it folks.

So ok, there are some pieces of media which add significant vallue by being seen on the big screen. Movies that benefit from being bigger. In stereo. In Imax grandeur even.

CockByte, the screening of RedVsBlue is not one of these films.

Translation: They’re paying us enough to get stoned on a regular basis. That really can’t be all that bad.

Statement: “No, we don’t use any box mods”
Translation: Because we’d get our asses handed to us by the regular empire

Audience Question: “So the writing…how is it dialogue driven?”
Statements: “Uh.. yeah.. it’s really dialogue driven.”
Translation: Say wah?

Audience Question: “So what’s the writing process you go through”
Statements: “Uh…” “Uh… we usually outline the season and try to hit these milestones and get closer to a milestone that shows the progress that we make for these milestones…”
Translation: Oh shit. We better look responsible or something.

Statements: “Oh, RedVsBlue will never end because there’s going to be dumb people forever so we can make dumb content forever.”
Translation: I don’t give a shit if we’ve already jumped the shark.

Statement:”Actually, no. We’re not that good at the game.”
Translation: Mobile dexterity is llike totally hard when you’re drunk.

Andy Lau, big time movie star, just waved at me outside of the press office.

OMG OMG OMG!

If you haven’t seen him in brilliant films like Infernal Affairs, then totally do your best to see this film during the festival this week.

Teardrops trickling down divine cheekbones, supermodels flaunting couture on the catwalk, petal-perfect flower arrangements, lemon-yellow sunsets, rainswept walks through cemeteries and decadently high-thread-count sheets . . . that’s what love is all about in this deliriously melodramatic Hong Kong hit. Not to mention slow-motion car crashes, artfully shattered champagne flutes, goateed doppelgangers, plush hospital suites and cell phones that ring to the tune of “Greensleeves.” Surface is depth in an antiseptic world of computer-generated effects, and whereas love once meant never having to say you’re sorry, here it means stalking the transplant recipient of your dead wife’s heart. When good doctor Ko’s adorable wife Zi-Qing perishes in an auto accident, he becomes obsessed with Sam, now in possession of Zi-Qing’s ticker. Complicating matters further, Sam’s estranged husband, Derek, is the spitting image of Ko, and apparently women with weak hearts are easily duped by look-alike lotharios—especially when both are played by Andy Lau. Ignore the creepy implications of this bizarre love rectangle—in which women cling more tightly to their laptops than to their lovers, and the deceased live on in flashbacks while exclaiming, “The TV is broken; I’ve lost my purpose in life!”—and enjoy an over-the-top romance replete with doomed lovers dancing in a winter wonderland to Pachabel’s “Canon.” Reminiscent of 21 Grams in plot but spinning off in its own peculiar world of flagrantly unbelievable coincidences, second chances and the whims of fate, All About Love proves that the heart is resilient above all things.

—Steven Jenkins

From what my little slightly hung over head can recall, I had a fabulous time and I love all my friends and you are all literally amazingly awesome and I heart you all big time!

Is for you to write something funny for me here.

I just wanted to let you know that, in case you thought otherwise, I’m really not a fat and gullible russian man with erectile disfunction. Seriously.