Asian cinema may have missed the jackpot, the Palme d'Or, but was still a winner at this year's Cannes Film Festival, taking home honors and basking consistently in the limelight during the 12-day bonanza.
When it came down to the wire, politics nudged art off center-stage, giving Michael Moore's anti-Bush documentary Fahrenheit 9/11 top prize over the film all the critics were talking about -- Chinese movie 2046 by cult Hong Kong director Wong Kar-wai (
PHOTOS: AGENCIES
But Asians walked home with Best Actress, Best Actor, the runner-up Grand Prize and a shared special award for Thailand's first-ever bid at the Palme.
With Quentin "Kill Bill" Tarantino, the US director entranced by Asian film, heading this year's Cannes jury, it was hardly a surprise that movies from the East stole center-stage from movies from the West at the Riviera festival.
Films by established auteur darlings, such as US team Joel and Ethan Coen or Serbia's Emir Kusturica, went home empty-handed, and Brazil's Walter Salles, another hot tip for his road-movie on Ernesto "Che" Guevara, failed to win a mention.
But then, neither commercially-driven Hollywood nor artsy Europe appear to be producing as much novel and varied cinematic work as Asia
nowadays.
After almost missing its deadline for screening at Cannes, 2046 took Cannes by storm. It was the most-liked movie by a worldwide panel of critics listed in the film industry magazineScreen
International.
The same panel was cool about Thailand's debut Cannes film, Tropical Malady by Apichatpong Weerasethakul, though the jury, along with a few French critics, were over the moon about the two-part avant-garde tale featuring gay romance and a walk through the night jungle on the tracks of a mythical tiger.
"My film is so personal I'm not sure how well it will travel," Apichatpong told journalists. "But I hope this will encourage other Thai filmmakers."
On the acting front too, performers from Asia hogged the screen.
Maggie Cheung (
The 39-year-old Chinese actress, who has starred in several films by Wong Kar-wai, notably in the 2000 movie In The Mood For Love, made a name in the West in 1992 in New China Woman.
She recently starred in Hero, Zhang Yimou's (
Also in the limelight at Cannes was China's Zhang Ziyi (章子怡), the former Crouching Tiger, Hidden Dragon star listed as one of People magazine's 50 most beautiful women in 2002. She was breath-taking both as a blind warrior in the out-of-competition House of Flying Daggers and as one of the four women in 2046.
The much talked-about Flying Daggers is Chinese auteur Zhang Yimou's second foray into the popular epic martial arts after Hero of 2002. Also at Cannes and also liked was Johnnie To's action movie Breaking News.
Asian film, which is grabbing an ever-growing share of Cannes, festival after festival, this year accounted for six of the 18 films competing to win the coveted Palme d'Or trophy.
Japan and South Korea each had two movies in competition for the prize, and each scored prizes, bolstering hopes for their buoyant local industries.
South Korea is one of the few countries outside the US where domestic productions outnumber foreign films in box-office takings, and Old Boy by director Park Chan-wook, the Cannes runner-up that won the Grand Prize, has been one of the country's biggest hits.
The ultra-savage flick -- which includes the main character slicing his tongue off and eating a live octopus -- is about a man who is incarcerated and tortured in a hotel room but doesn't know why. It kept critics on the edge of their seats with its twisted narrative and graphic violence.
Tarantino especially was reported to have loved it.
Japanese films dazzled too. A quiet human drama about four small children deserted by their mother and left to fend for themselves -- Nobody Knows by Hirokazu Koreeda -- was listed as one of the favorites at the end of the fest and its teenage star Yagira Yuuya was named Best Actor.
"It was the fruit of a whole year of work with these children," said Koreeda on accepting the award on behalf of the boy, now 14 years of age.
Virtually invisible on the screens this year was Bollywood, but India nevertheless turned out in force to sell its increasingly popular movies and growing festival scene.
Last week the government announced that by year’s end Taiwan will have the highest density of anti-ship missiles in the world. Its inventory could exceed 1,400, or enough for the opening two hours of an invasion from the People’s Republic of China (PRC). Snark aside, it sounds impressive. But an important piece is missing. Lost in all the “dialogues” and “debates” and “discussions” whose sole purpose is simply to dawdle and delay is what the Chinese Nationalist Party (KMT) alternative special defense budget proposal means for the defense of Taiwan. It is a betrayal of both Taiwan and the US. IT’S
March 16 to March 22 Hidden for decades behind junk-filled metal shacks, trees and overgrowth, a small domed structure bearing a Buddhist swastika resurfaced last June in a Taichung alley. It was soon identified as a remnant of the 122-year-old Gokokuzan Taichuu-ji (Taichung Temple, 護國山台中寺), which was thought to have been demolished in the 1980s. In addition, a stone stele dedicated to monk Hoshu Ono, who served as abbot from 1914 to 1930, was discovered in the detritus. The temple was established in 1903 as the local center for the Soto school
Paul Thomas Anderson’s “One Battle After Another” was crowned best picture at the 98th Academy Awards, handing Hollywood’s top honor to a comic, multi-generational American saga of political resistance. The ceremony Sunday, which also saw Michael B. Jordan win best actor and “Sinners” cinematographer Autumn Durald Arkapaw make Oscar history as the first female director of photography to win the award, was a long-in-coming coronation for Anderson, a San Fernando Valley native who made his first short at age 18 and has been one of America’s most lionized filmmakers for decades. Before Sunday, Anderson had never won an Oscar. But “One Battle
In Kaohsiung’s Indigenous People’s Park (原住民主題公園), the dance group Push Hands is training. All its members are from Taiwan’s indigenous community, but their vibe is closer to that of a modern, urban hip-hop posse. MIXING CULTURES “The name Push Hands comes from the idea of pushing away tradition to expand our culture,” says Ljakuon (洪濬嚴), the 44-year-old founder and main teacher of the dance group. This is what makes Push Hands unique: while retaining their Aboriginal roots, and even reconnecting with them, they are adamant about doing something modern. Ljakuon started the group 20 years ago, initially with the sole intention of doing hip-hop dancing.
RSS