Category: News


This year’s Cannes Film Festival has an interesting asian selection, with several attracting genre films, and as usual, the Cannes-regular directors presenting their unexpected films. Many surprises here, but no real unknown asian directors promoted (just few cult names *finally* considered).

# IN COMPETITION

 

Cannes 2011: The Asian Lineup
Naomi Kawase’s Hanezu no Tsuki (1h31)

Depicts the evolution through time of the ancient capital of Japan, Nara (also Kawase’s hometown). The city has been once the political, economical & cultural center of the country (unesco). According to Thierry Frémaux (Cannes festival director), the film is said to deal with ecological and philosophical questions, that should be more relevant than ever in the post-3.11 Japan.
// Stills gallery

Cannes 2011: The Asian Lineup
Takashi Miike’s Ichimei (Hara-kiri: Death of a samurai) (2h06)

It was presented as the 3D remake of Masaki Kobayashi classic Harakiri, this was awarded at Cannes 1963. If it means anything, Miike’s version is using the novel as the source. Nevertheless, Harakiri is mainly an intense & talkative tragedy resulting on short but incredible fights (believe the original US poster on that point), nothing as bloody as in 13 Assassins. Starring Hikari Mitsushima (Love Exposure) & Koji Yakusho (13 Assassins), and score composed by Ryuichi Sakamoto!

While the project announcement provoked many reactions, it seems though, that seeing the remake of such a classic (watch this) being in competition for the Palme d’Or doesn’t surprise (yet?)… Miike is going to Cannes, that’s all that matters?
// Official website

# UN CERTAIN REGARD

 

Cannes 2011: The Asian Lineup
Hong Sang-soo’s The day he arrives (1h19)

Not so much details on this one. Is it safe to assume that like most of Hong Sang-soo films, it could be about a director/professor/film critic connecting/drinking with some (old) friends, with some sort of film-within a film construction.

Cannes 2011: The Asian Lineup
Eric Khoo’s Tatsumi (1h34)

An animated film inspired by “A Drifting Life”, an autobiographical work of Yoshihiro Tatsumi. A japanese artist, best known as the creator of the gekiga style. Which is a more mature and adult approach to manga. It must be said that before directing films, Eric Khoo draw comics for The Sunday Times. Still, it’s his first venture into animation.
// Khoo about the project

Cannes 2011: The Asian Lineup
Kim Ki-duk’s Arirang (1h40)

Said to be a simple movie where the korean director explains what happened to him these past 3 years. To say precisely why suddenly he stopped making films. Knowing his sudden “disappearance” generated a number of rumors about his possible death, or illness. In other words, this should be a very personal film.

Cannes 2011: The Asian Lineup
Na Hong-jin’s Yellow Sea (2h20)

The new thriller from young acclaimed director of The Chaser. You can directly watch the trailer with more details. For your information, the film will come out on english-subtitled DVD/BR sometimes during the festival. Also, the version to be screen at Cannes might very well be the director’s cut (140min), as the korean theatrical cut is 156min long.

# MIDNIGHT & SPECIAL SCREENINGS

 

Cannes 2011: The Asian Lineup
Peter Chan’s Wu Xia (2h)

Along with Miike’s film, that’s the other unexpected guest! Peter Chan’s attempt to reboot the chinese sword-fighing film, through the story of a detective hunting down a former-assassin. Starring Donnie Yen and Takeshi Kaneshiro.

Cannes 2011: The Asian Lineup
Rithy Panh’s Master of the Forges of Hell (1h45)

The new documentary from the director of “S21: The Khmer Rouge Death Machine”. In more or less the same vein, Panh went interviewing an ex-warden of a Khmer Rouge jail, who was only recently judged. The man talks freely about his experience and his beliefs.
// More details

# PARALLEL SECTION: CRITICS’ WEEK

 

Cannes 2011: The Asian Lineup
Zou Peng’s Sauna on Moon (1h35)

A socially oriented docu-film coming from China, with a little touch of weirdness? About the boss of a sauna, trying to construct a “pornographic kindgom” in Guangdong, “the fore front of China’s reform and opening-up”. By the director of A North Chinese Girl, whose main influences are Imamura & Jia Zhangke!

# PARALLEL SECTION: DIRECTOR’S FORTNIGHT

 

Cannes 2011: The Asian Lineup
Sion Sono’s Guilty of Romance (2h23)

And another cult japanese director finally coming to Cannes… Sion Sono is one of the most interesting director in Japan. Guilty of Romance is said to be “a dramatic account of three women and their lives, seen through the looking glass of sex, words, madness, death and family. Bombarding the audience with graphic images and assaulting the emotions with classical music, this is a movie that provokes all your senses”. The version to be screened is the director’s cut (143min vs 149min). Will it help Sion Sono to attract wider attention?

Expect more news from Sono during Cannes, 2 new projects will be unveiled: the samurai flick Blood of Wolves (co-directed with Tak Sakaguchi), and “a self-remake project of his internationally acclaimed work” (seems to be Suicide Club)
// More details & Press release

# FILM MARKET

 

As for the Cannes Film Market, several worthwhile project will be there; Tsui Hark’s Flying Swords of Dragon Gate, Jang Hun’s war film The Front Line, the first commercial project from “Anti Gas Skin’s directors… And more surprises to come!

source: http://wildgrounds.com/index.php/2011/04/19/cannes-2011-the-asian-lineup/

“ONE FANTASTICALLY HYPNOTIC MOVIE. I Saw the Devil cements KIM Jee-woon’s place among the (young) modern masters. It may be the most hypnotic serial killer story since The Silence of the Lambs, and it’s CERTAINLY ONE OF THE BEST THRILLERS I’VE SEEN IN A FEW YEARS.”
— Scott Weinberg, Fearnet


“An unflinching gaze into the heart of pure evil and a perverse genre entertainment par excellence. It takes the serial-killer thriller as far into the realm of pulse-pounding mayhem as it has ever gone. Fans of hardcore Asian action and horror will simply eat it up.”
— Rob Nelson, Variety
“9.5 out of 10. A hugely entertaining thriller. This is filmmaking on a whole new level. A masterpiece.”
— Jacob Hall, CHUD
“9 out of 10. Nothing short of staggering. A cool, confident, and sometimes stunningly beautiful film.”
— Jeremy Kirk, Firstshowing.net
“ABSOLUTELY ASTOUNDING. Shockingly violent and stunningly accomplished, it transcends the police procedural, pushing the boundaries of extreme Asian cinema in ways that will surprise and thrill fans of the genre.”
— Mr. Disgusting, BloodyDisgusting.com
“Damned if it isn’t riveting from the word ‘go’.”
— Noel Murray, The Onion

Synopsis: I SAW THE DEVIL is a shockingly violent and stunningly accomplished tale of murder and revenge from Korean genre master KIM Jee-woon (The Good, The Bad, The Weird and A Tale of Two Sisters). Oldboy’s CHOI Min-sik plays Kyung-chul, a dangerous psychopath who kills for pleasure. The embodiment of pure evil, he has committed horrifying and senselessly cruel serial murders on defenseless victims, successfully eluding capture by the police.

On a freezing, snowy night, his latest victim is the beautiful Ju-yeon, daughter of a retired police chief and pregnant fiancee of elite special agent Dae-hoon (The Good, The Bad, The Weird’s LEE Byung-hyun). Obsessed with revenge, Dae-hoon decides to track down the murderer, even if doing so means becoming a monster himself. And when he finds Kyung-chul, turning him in to the authorities is the last thing on his mind.

The lines between good and evil fall away in this diabolically twisted game of cat and mouse. Pushing the concept of revenge to its most extreme limits, KIM Jee-woon brilliantly transcends the police procedural and serial killer genres in surprising and thrilling new ways.

‘A Good Husband’ is in Los Angeles one more week! Please do not miss a chance to meet A Good Husband.

“This movie upholds the rich humanist tradition of Japanese cinema.” – Kevin Thomas, LA Times

“It is a great joy and excitement to have my film ‘ A Good Husband’ open in the United States. When the film opened in Japan, the audience shed their tears after finding out the speical secret the couple, who has been married for 10 years, shares in the story. Make sure to find out what this special secret is at the theater. You will be surprised. I am sure that this film brings comedy and mystery to American audience. I am looking forward to seeing you on the screen.” – Director Isao Yukisada

Movie review: ‘A Good Husband’

The cast is a formidable ensemble, with Toyokawa, as a man grappling with regret and longing, and the veteran Ishibashi, expressing Bunta’s inner strength.

Isao Yukisada’s bittersweet love story “A Good Husband” upholds the rich humanist tradition of Japanese cinema. Adapted for the screen by Chihiro Ito from Mayumi Nakatani’s novel, it employs a daring sleight of hand in its storytelling and allows some acclaimed actors to soar in complex roles.

Kitami (Etushi Toyokawa) is a gifted photographer who has fallen into a querulous relationship with his wife, Sakura (Hiroko Yakushimaru), who is desperate to have a child. Last year, Sakura persuaded Kitami to vacation in Okinawa over Christmas, but this year he flatly refuses to go.

We then meet aspiring actress Ranko (Asami Mizukawa), who will do anything to get Kitami to shoot the picture that will help make her a movie star; Kitami’s assistant, Makoto (Gaku Hamada), who tries to find him work; Bunta (Renji Ishibashi), a dignified sixtysomething transvestite and a devoted family retainer; and Nishida (Yu Shirota), one of Sakura’s students.

Time spent with these characters threatens to become tedious and digressive — until, in a surprising flashback, Yukisada reveals what happened in Okinawa the year before. The audience then sees Kitami and the people in his life from an entirely different perspective.

The cast becomes a formidable ensemble, with Toyokawa, as a man grappling with regret and longing, and the veteran Ishibashi, expressing Bunta’s inner strength, emerging as highly impressive and resourceful actors.

“A Good Husband.” No MPAA rating. In Japanese with English subtitles. Running time: 2 hours, 11 minutes. At the MPark 4, Los Angeles.

// //

A GOOD HUSBAND  by director Isao Yukisada will be screened at Mpark 4 first in the US.  For Valentine’s Day, FuzzyCalifornia presents  a surprisingly touching sweet love fantasy.

A GOOD HUSBAND is a story of a couple who has been married 10 years. The husband is no good cheat but his wife keeps on loving him. One day, out of the blue, an incident befalls them, and their everyday life for last 10 years changed and reveiled what they left behind them.

Director  Isao Yukisada, who made his youthful cinematic reputation with GO and CRYING OUT LOVE , IN THE CENTER OF THE WORLD, has directed a fantasy for adults. THe mricle that befalls this couple at the end will make you weep… He says, “This is my attmept to encourage more films teaturing people like us, in our 40s. I wanted to direct a film in which two great veteran actors could simply show off how great they are, also wanted to prove that adults know how to have fun, too.”

A GOOD HUSBAND is the first play by Mayumi Nakatani, whose works are staged internationally, to be adapted into a film. The leads are a couple in their 40s. Etsushi Toyokawa, who first achieved international accalim in LOVE LETTER and many other Shunji Iwai films, plays the husband, Shunsuke. As Toyokawa’s popularity at home and abroad soars, he has recently performed in SINKING OF JAPAN, HULA GIRLS, and 20th CENTURY BOYS. His wife, Sakura, is performed by Hiroko Yakushimaru, best known recently for her performance as the gentle mother in ALWAYS-SUNSET ON THIRD STREET. After making her riveting debut in PROOF OF THE WILD as a teenager, her brilliant lead performances in a string of Kadokawa idol films established her as an iconic actress still widely adored today.

Joining them is the powerful young actress, Asami Mizukawa, who starred in CHAMELEON by Junji Sakamoto and TV series NODAME CANTABILE, and GAKU HAMADA who starred in THE FOREIGN DUCK, THE NATIVE DUCK and FISH STORY, directed by Yoshihiro Nakamura. The Veteran actor Renji Ishibashi, who has played everything from a yakuza boss to a corporate raider, delivers a memorable perfomance as a drag queen.

The past year saw Taiwanese cinema continue to scale new heights as directors, both young and established, produced new works with polished production quality and fluid storytelling. Though lighthearted romance flicks starring pop idols made up the bulk of this year’s movies, a considerable amount of diversity was shown in the directors’ choices of subject matter.

The year started with Doze Niu’s (鈕承澤) Monga (艋舺), a gangster movie that looks at the underworld through rose-tinted glasses. Friendship, loyalty and the loss of innocence take precedence over violence in the story of five young friends. With box-office receipts reaching NT$258 million (US$8.8 million), the movie was this year’s third-highest grossing film in Taiwan, falling slightly behind Iron Man 2 (NT$260 million) and Inception (NT$288 million). Despite its uneven narrative, the film succeeded as a Made-in-Taiwan blockbuster because of effective publicity, the appeal of its pop star cast and its local subject matter.

Seven Days in Heaven (父後七日), on the other hand, was a surprise box-office success starring largely theatrical and nonprofessional actors. Directed by veteran television director Wang Yu-lin (王育麟) and novelist Essay Liu (劉梓潔), the absurd comedy focuses on traditional Taiwanese mourning rituals and examines death and how we cope with it. The culturally rooted production made it into the top five highest grossing Chinese-language movies of the year in Taiwan, with box-office receipts totaling more than NT$34 million, a success hard-earned through word of mouth rather than fancy marketing gimmicks.

Far from the Changhua countryside where Seven Days in Heaven takes place, Taipei is given a sweet, romantic treatment in Taiwanese American director Arvin Chen’s (陳駿霖) feature debut Au Revoir Taipei (一頁台北), a romantic comedy set mostly during the young protagonist’s final night in the capital.

In Taipei Exchanges (第36個故事), also set in the capital, television commercial director Hsiao Ya-chuan (蕭雅全) evokes a fairy-tale city, in which memory and relationships are more valuable than commerce, through the story of a young woman who opens a business. Both Seven Days and Taipei Exchanges are blessed with vivacious cinematography, opulent art direction and delightful soundtracks, but the directors should have paid more attention to the narrative if they had hoped to tell realistic stories that conveyed genuine emotions.

Made up of three shorts, Juliets (茱麗葉) demonstrates an admirable amount of creativity and imagination compared with the year’s other works of youthful romance, which are mostly dull and pallid. All three directors — up-and-coming filmmaker Hou Chi-jan (侯季然), documentary director Shen Ko-shang (沈可尚) and veteran commercial director Chen Yu-hsun (陳玉勳) — are each working on eagerly anticipated new feature films.

Stories of Taiwan’s foreign migrant workers are rarely presented to mainstream audiences. But in Malaysia-born director Ho Wi-ding’s (何蔚庭) feature debut Pinoy Sunday (台北星期天), the leading men are two Filipino workers who try to carry a discarded sofa across town, out of Taipei and back to their drab factory dormitory on the city’s fringe. The well-executed film lyrically renders discrimination and injustice inflicted on the workers with comic absurdity, establishing Ho as a new talent in Taiwanese cinema and a name to watch closely.

In his atmospheric and exquisitely crafted second feature, The Fourth Portrait (第四張畫), emerging auteur Chung Mong-hong (鍾孟宏) takes a poignant look at the issue of domestic violence through the tale of a boy haunted by loss. Weaving rich color, elegant composition and fluid camera work into expressive cinematography that gives the narrative a dreamlike feel, Chung once again achieved a distinguished style and unique aesthetic that none of his peers are able to match.

Not to be outdone, established directors also released new works deserving of kudos. For his fifth feature, Tears (眼淚), Cheng Wen-tang (鄭文堂) paints a dark, pensive portrait of a police officer living with a tortured past. Billed as the first part of a trilogy that addresses transitional justice, the film neatly focuses on its characters and carefully examines how an individual’s actions, though condoned by the state apparatus, can have devastating consequences for others.

Noted for creating cinematic worlds populated by social underdogs, gangsters and men trapped in vicious cycles of violence, veteran director Chang Tso-chi (張作驥) broke many of his filmmaking habits with When Love Comes (當愛來的時候), a melodramatic tale that follows an extended family’s road to reconciliation and understanding. The female characters take center stage, and Chang’s trademark fatalism mellows when toward the end of the film tragedy strikes and the women band together, offering each other solace and strength.

As for documentaries, the award-winning Let the Wind Carry Me (乘著光影旅行) delivered an intimate portrayal of cinematographer Mark Lee (李屏賓) as a loving son and an accomplished artist. Directed by Taiwan’s Chiang Hsiu-chiung (姜秀瓊) and Kwan Pun-leung (關本良) from Hong Kong, the film can be seen as a valuable record of the words and wisdoms of Lee, as well as other greats in Taiwanese cinema, such as Hou Hsiao-hsien (侯孝賢). Meanwhile, 28-year-old filmmaker Su Che-hsien (蘇哲賢) carried on the country’s tradition of narrative-driven, crowd-pleasing documentaries with Hip-Hop Storm (街舞狂潮), a lively, playful take on Taipei’s street dancers.

Park Chan-wook: The South Korean director gets dialed in

Park Chan-wook tested the bounds of new technology by using an iPhone 4 to film “Paranmanjang” (“Ups and Downs”). The smart phone brought many changes to the set, including some surprises.

Park Chan-wook likes the way blood looks through the camera lens of his iPhone – that rich texture and shock-effect red.

But Park’s no techno-savvy killer. He’s an award-winning South Korean filmmaker whose graphic horror-and-humor style has been likened to Quentin Tarantino‘s. His latest project is remarkable not for its gore but for its camerawork that could prove a populist breakthrough in the highfalutin art of filmmaking.

Park’s 30-minute fantasy film, “Paranmanjang” (“Ups and Downs”), which will have its theatrical premiere in Seoul on Jan. 27, was shot entirely with the latest version of Apple Inc.‘s iconic smart phone, the iPhone 4.

For years, new technology such as digital cameras and off-the-shelf editing software has been turning filmmaking into a cheaper and easier venture. But few high-profile commercial directors have embraced mass-market hardware, gravitating instead toward bells and whistles like 3-D and other costly special effects.

But Park rolled the everyman’s dice. And he liked what he saw.

With the stodgy traditional cameras that often block a director from the actors replaced by the palm-sized mobile phone, Park said his eyes were opened to new possibilities in moviemaking.

“Everything seemed more alive, more real,” he said. “There was a certain coarseness, like making a documentary.”

With his goatee and slicked-back Michael Douglas mane of black hair, Park, 47, has a reputation for risk-taking in celluloid style and substance. His films employ lush cinematography to portray such disturbing images as petrified children, dentistry by hammer, and underwater surgery on an Achilles tendon.

Among his nation’s most acclaimed filmmakers, Park first achieved fame in 2000 with “Joint Security Area,” telling the tale of the Korean peninsula divided by war. Four years later, he won the Grand Prix at the Cannes Film Festival for “Old Boy,” the second installment of his so-called revenge trilogy and now a Korean cult classic. In 2009, his movie “Thirst” won the Jury Prize at Cannes.

Always on the hunt for new challenges, Park found a big one in the iPhone. The idea arose last fall just as he and his brother (and fellow director) Park Chan-kyong were set to begin filming a fantasy about a middle-aged fisherman who one day hauls a woman out of the water’s depths.

That’s when South Korea’s exclusive iPhone distributor offered to finance the $130,000 project if the pair agreed to use the device to make a theater-quality film.

Park’s initial plan was straightforward: He would use an average iPhone for the job, but add a series of more sophisticated cameras for the scope and close-ups he sought. And he would not use the device for any trick photography, such as attaching it to actors or miniature vehicles for point-of-view shots. “I wanted to use it just like I would any other camera,” he said.

But the five days of on-location shooting brought instant surprises. First off, the tiny smart phone looked oddly out of place attached to the huge dolly used to maneuver traditional cameras.

The device also introduced a new sense of freedom. “The actors said that using something almost invisible meant that they didn’t feel overwhelmed like they would by a regular camera,” Park said. “And for once, they said they could actually see the director,” who is usually huddled behind the oversized camera.

The iPhone even influenced camera angles. Park, usually meticulous with a normal single camera, was more freewheeling, employing as many as eight iPhones at once.

“We encouraged others to use their own iPhones during a shoot, people like the associate director, producer and even the actors’ manager,” Park said.

In the end, they had hours of extra footage. They compiled that, and some impromptu shots were used in the final version.

Even though his project used professional cameramen who were able to add sophisticated lenses to the iPhone, Park quickly came to what he considers a profound realization: With this device, anyone can make a professional-quality movie.

“People are familiar with the iPhone,” he said. “Many are obsessed with it. This is another way to use it.”

He hopes the smart phone will encourage the general public to play filmmaker. “Find a location, you don’t even need sophisticated lighting – just go out and make movies,” he said. “These days, if you can afford to feed yourself, you can afford to make a film.”

Through such Internet sites as YouTube, the results can be promoted by word of mouth. “The time is gone when you can only see films in theaters,” Park said. “It’s absolutely passed.”

Park is looking for an international distributor for “Paranmanjang,” which has already received positive reviews here. He may even use the device again for certain scenes or an entire low-budget project.

“But the technology changes so fast,” he said. “Who knows what’s going to be available next year?”

source: http://www.latimes.com/entertainment/news/la-et-korea-iphone-movie-20110115,0,3179181.story

Asian pix chase Rotterdam Tigers

BRUSSELS — Asia makes the running in the first competish announcement from the Rotterdam Film Festival, which unspools Jan. 26 to Feb. 6.

An initial lineup of seven films, all debut or sophomore features, was announced Tuesday. The complete lineup of around 15 pics follows early in 2011.

South Korea provides Park Jung-bum’s “The Journals of Musan,” which won the top prize at the Marrakech Film Festival, and Yoon Sung-hyun’s “Bleak Night.” Pics shared the New Currents Award at Pusan in October.

From India there is “The Image Threads” by Vipin Vijay, from Sri Lanka “Flying Fish” by Sanjeewa Pushpakumara and from Thailand Sivaroj Kongsakul’s “Eternity.” Vijay’s short “Video Game” won a prize at Rotterdam in 2007.

Iran provides “Rainy Seasons” by Majid Barzegar, while the sole European entry so far is “Headshots,” a German-Austrian co-production by Texas-born first-timer Lawrence Tooley.

The Tiger jury will include Sonic Youth guitarist Lee Ranaldo, who will perform during the short and feature film prize presentations.

Other panelists include Argentinian multi-hyphenate Lucrecia Martel, helmers Andrei Ujica and Wisit Sasanatieng, and former fest director Sandra den Hamer.

Sasanatieng’s superhero movie “The Red Eagle” and Ujica’s found-footage docu “The Autobiography of Nicolae Ceausescu” will screen during the fest.

Some 20 helmers who earned kudos in past Tiger competitions will be invited back to present new work in a one-off program, Return of the Tiger.

This will include Kelly Reichardt with “Meek’s Cutoff,” Hong Sang-Soo with “Oki’s Movie” and Patrick Keiller with “Robinson in Ruins”

Details were also unveiled of the Water Tiger Inn program, combining Chinese martial arts movies and a themed festival location. Selection will trace developments in the genre, from 1929 classic “Red Heroine” to 2010’s “Reign of Assassins” by Su Chao-pin and John Woo.

Source: http://www.variety.com/article/VR1118028989

L.A. Film Critics Assn. Names ‘Social Network’ Best Picture

Winners also include Colin Firth for ‘The King’s Speech’ and Kim Hye-ja for ‘Mother.’

The Los Angeles Film Critics Assn. has joined the growing chorus of support for The Social Network by naming it best picture of the year. The critics group, which met Sunday, also gave awards to the film’s screenplay by Aaron Sorkin.

It also gave its directing nod to Network’s David Fincher, only in that case the award ended in a tie, with the prize also going to Olivier Assayas for Carlos, his portrait of international terrorist Illich Ramirez Sanchez, which was the runner-up in the best picture category. [Related: Social Network named best picture by the N.Y. Films Critics Online and the Boston Society of Film Critics.]

Colin Firth took best actor honors for his tongue-tied monarch in The King’s Speech. (CarlosEdgar Ramirez was the runner-up.) Kim Hye-ja claimed best actress for her portrayal of a mother looking for her son’s killer in Mother, with Winter Bone’s Jennifer Lawrence named runner-up.

Jacki Weaver of the Australian crime tale Animal Kingdom has been named best supporting actress and Niels Arestrup of the French prison drama A Prophet has been named best supporting actor by the critics group.

Carlos did prevail as best foreign film, while Toy Story 3 was chosen best animated feature and Lixin Fan’s Last Train Home was singled out as best documentary.

A complete list of winners follows.

PICTURE: The Social Network

Runner-up: Carlos

DIRECTOR: Olivier Assayas, Carlos, and David Fincher, The Social Network (tie)

ACTOR: Colin Firth, The King’s Speech

Runner-up: Edgar Ramirez, Carlos

ACTRESS: Kim Hye-ja, Mother

Runner-up: Jennifer Lawrence, Winter’s Bone

MUSIC/SCORE: Alexandre Desplat, The Ghost Writer, and Trent Reznor and Atticus Ross, The Social Network (tie)

PRODUCTION DESIGN: Guy Hendrix Dyas, Inception

Runner-up: Eve Stewart, The King’s Speech

CINEMATOGRAPHY: Matthew Libatique, Black Swan

Runner-up: Roger Deakins, True Grit

SUPPORTING ACTRESS: Jacki Weaver, Animal Kingdom

Runner-up: Olivia Williams, The Ghost Writer

SUPPORTING ACTOR: Niels Arestrup, A Prophet

Runner-up: Geoffrey Rush, The King’s Speech

FOREIGN LANGUAGE FILM: Carlos

Runner-up: Mother

ANIMATION: Toy Story 3

Runner-up: The Illusionist

SCREENPLAY: Aaron Sorkin, The Social Network

Runner-up: David Seidler, The King’s Speech

DOCUMENTARY/NONFICTION FILM: Last Train Home

Runner-up: Exit Through the Gift Shop

NEW GENERATION: Lena Dunham, Tiny Furniture

DOUGLAS E. EDWARDS INDEPENDENT/EXPERIMENTAL FILM/VIDEO: Film Socialism

LEGACY OF CINEMA AWARDS: Serge Bromberg, Henri-Georges Clouzot’s Inferno, and the F.W. Murnau Foundation and Fernando Pena for the restoration of Metropolis

CAREER ACHIEVEMENT: Paul Mazursky

source: http://www.hollywoodreporter.com/news/la-film-critics-assn-names-59064

                                                   

 The Japanese premiere of the first live-action “GANTZ” movie was held in Tokyo on Monday. Before the screening, it was announced that the film’s U.S. premiere has been decided, with plans for distribution to approximately 300 theaters across the country.

The film, based on Hiroya Oku‘s popular manga of the same name, stars Kazunari Ninomiya and Kenichi Matsuyama. It is the first of two planned movies, which are scheduled for wide release in Japan on January 29 and April 23, respectively.

The U.S. will get a wide release of the film first, starting on January 20. Specific details about theaters and dates have not yet been announced.  Source: wwww.tokyograph.com/news/id-7077

%d bloggers like this: