Imagine(d) Kinships - Platoon Cultural Development

s
Imagine(d) Kinship
N
A
I
S
A
M
L
I
FFESTIVAL
N
I
L
R
BE OBER
T
K
O
6
2
1
1
0
30 2
Veranstaltet von:
s
Imagine(d) Kinship
korientation e.V. zu Gast im Haus der Kulturen der Welt mit dem
ASIAN FILM FESTIVAL BERLIN. Eine Veranstaltung im Rahmen des
Programmes "Floating Food". "Floating Food" wird unterstützt von
der Stiftung Deutsche Klassenlotterie Berlin und vom Hauptstadtkulturfonds.
Partner:
Sponsoren:
Medienpartner:
Mit freundlicher Unterstützung von:
Koreanisches Kulturzentrum
Kulturabteilung der Botschaft der Republik Korea
KINSHIPS
)
D
(
E
IN
G
A
IM
al Berlin —
iv
t
s
e
F
m
il
F
n
ia
3rd As
October 26–30, 2011
HAUS DER KULTUREN DER WELT / KOREANISCHES KULTURZENTRUM
The ASIAN WOMEN’S FILM FESTIVAL changed its name to ASIAN FILM FESTIVAL BERLIN in order to
broaden the spectrum of films presented. We aim at showing images that raise questions and incite
discussions on the many facets of identity formation. The film selection focuses on works from East Asia
(Korea, Japan, China, Hong Kong, Taiwan) and South East Asia (Malaysia, Singapore, the Philippines,
Indonesia, Thailand, Vietnam). Films from the Asian Diaspora constitute a further integral part of the
festival program. The festival is held bi-annually.
Globalization entails social transformation and the shifting of idea(l)s of nationality, kinship and gender
roles. The impact of recent economic developments on family life has become very tangible both in
Asia and in Europe. Paradigms for identification are changing, and individuals find themselves often
unable or unwilling to stick to formerly assigned places, relations, functions, and desires within society
and family. Addressing not only the movement of particular bodies across national borders, but also
the migration of identity concepts as they are negotiated in current film images from Asia, the festival
aims to highlight the precariousness of everyday life in the era of globalization.
How do hegemonic structures persist in conditioning and determining the individual subject while
simultaneously allowing for the invention of new forms of living? For this year’s edition the focus is set
on IMAGINE(D) KINSHIPS.
Our opening film “Bi Dung So!” (Vietnam) tells a family history that bears the traces of migration, love
affairs and the meaning of daily meals from the perspective of three generations. It is followed by
“Musan Ilgi” (Korea), a filmic take on the (separated) nation as one imagined family. “Pinoy Sunday”
(Taiwan/Philippines) follows the Kafkaesque search of two migrant workers for family and home in
Taipeh. “Baby Arabia” (Thailand) documents the space of belonging, that a band and the Malay-Arabic
music that it plays are able to create for both its members and audiences. “Saigon Electric” (Vietnam)
features street dance as well as the notion of community and friendship as kinship. “Holy Island”
(Japan) documents the resistance of a fishing community against the construction of a nuclear power
station and the family structures the elderly inhabitants have invented after the young generation has
left. “Book of Miri” (Denmark/Korea) and “In the Matter of Cha Jung Hee” (USA/Korea) both address
transnational Korean adoption from an autobiographical perspective. “When Love Comes” (Taiwan)
evolves around a pregnant teenager who slowly learns about the complicated past of her family. “All
About Love” (Hong Kong) is an intricate comedy about desire, responsibility, and the negotiation of
social convention. “We Are Alive” (Hong Kong) records media workshops at juvenile reform institutions
in Hong Kong, Macao and Sapporo. “USB” (Japan) involves a medical student who participates in
nuclear radiation experiments to pay for his study fees. When his girlfriend becomes pregnant, he
takes a dramatic step. The closing film “Banga Banga” (Korea) is a humorous approach to the stories of
South East Asian migrant workers in South Korea's factory regime.
Two “Selections of Short Films” focus on “Imagine(d) Kinships” and “Food”, including works from the
Asian Diaspora, Indonesia, Thailand, Hong Kong, Singapore, Korea and Taiwan. Our BLACK BOX Program
presents another selection of shorts with the same thematic focus as installations on MONITORS in the
foyer of the House of the Cultures of the World and the Korean Culture Center.
The AFFB provides a platform for filmmakers, producers, scholars and festival- and community
organizers from Asia and the Asian Diaspora to share visions, projects and transnational networks.
This year a film lecture and discussion on “Gender and Kinship in Hong Kong Independent Cinema,”
held in cooperation with the Goethe-Institut Hong Kong and the China Studies Institute, FU Berlin, will
further link film, theory and politics.
1
Performance: Artists Nabi Nara and Katherine Oggier Chanda will stage her interactive performance
“Forest” in the Korean Culture Center at the closing reception.
And last but not least - join our Festival Party (29.09.) with DJ Hunee, DJ Daniel Wang and DJ Zhao
at legendary HBC Club Berlin!
We are very honoured to have the following international guests:
HANABUSA Aya (Director “Holy Island”, Japan)
PHAN Dang Di (Director “Bi Dung So!”, Vietnam)
Kong RHITDEE (Director “Baby Arabia”, Thailand)
Mai Anocha SUWICHAKORNPONG (Director “Lunch”, Thailand)
Denise Tse-Shang TANG (Film scholar and sociologist, Hong Kong)
Nattapong TIENDEE, Janya WONGSURAWAT, John WONGSURAWAT (Media Activists, "Jor Kaw Teun",
Thailand)
Jessey Tsui-Shan TSANG (Director “The Life and Times of Ho Chung Village”, Hong Kong)
YAU Ching (Director and film scholar, “We Are Alive”, Hong Kong)
We wish to thank everybody who generously supported us and made this festival possible.
We wish you a delightful festival!
Sun-ju Choi, Kimiko Suda, Feng-Mei Heberer, Arnika Fuhrmann, Rei Watanabe & Jee-Un Kim
tion
korientation e.V. Introdu
the
having been a partner for
e,
tim
st
fir
e
th
for
.
e.V
rientation
2008 by first- and
L BERLIN is hosted by ko
which was founded in
on
ati
nis
ga
or
t
The ASIAN FILM FESTIVA
ofi
pr
nof German. korientation is a no
e many faceted realities
th
g
sin
es
pr
ex
for
rm
previous festival in 2009
atic and
tfo
an-Asians to offer a pla
ity, but to state the them
rm
nt
Ge
ide
n
ic
tio
hn
era
et
en
ize
-g
as
nd
ph
co
se
to em
an-Asians” is not meant
Asians. The term “Germ
bers.
em
m
organisation and its
political position of the
d migration
debates on integration an
al
tic
oli
-p
cio
so
c
bli
pu
ly slowly
ing
tion, racism and the on
nded in reaction to ongo
ina
fou
m
s
cri
wa
dis
on
th
ati
wi
nis
rs
ga
be
or
e
em
rman
Th
riences of its founding m
inorities as a part of Ge
m
pe
s
ex
ou
ay
igi
yd
rel
,
er
ev
ral
e
ltu
th
cu
d
ic,
an
issues
arding ethn
diversity within
mainstream society reg
nt levels for the existing
ere
diff
on
ss
ne
are
evolving acceptance of
aw
n
se Germans to raise and strengthe
nerations. It seeks to rai
ge
t
an
igr
m
stpo
eir
th
society. korientation aim
as
ciety we live in.
n communities as well
cipate in shaping the so
rti
pa
d
the migrant German-Asia
an
t
ou
k
ea
sp
to
ide the means
Asian visibility and prov
a strongly projectssional backgrounds, so
ofe
pr
e
ers
div
th
wi
rs
tes. The main
made up of voluntee
t social topics and deba
an
ev
rel
th
wi
al
de
The korientation team is
cts
subjective
rred. The specific proje
ions, diversity and the
efe
sit
pr
po
is
ral
ch
ltu
oa
pr
-cu
ns
ap
d
tra
,
ate
emic
ion
rel
d to migration, integrat
d media programs, acad
ate
an
rel
ral
es
ltu
cu
em
e
th
lud
on
t
inc
se
s
is
itie
focus
e activ
tlet and means of
and later generations. Th
to provide a public ou
s,
ion
rat
leb
ce
environments of second
d
an
ts
organization of even
publications as well as
.
nd community borders
exchange that go beyo
German
velopment of a diverse
de
e
th
e
nc
va
ad
ll
wi
actions
st the ASIAN FILM
variety of participatory
pleasure and honor to ho
a
is
It
c.
bli
pu
e
korientation hopes this
th
te
ea
d sociopolitical
stereotypes that perm
tation of Asian visual an
en
res
rep
e
th
of
on
society, and help break
ati
ific
contribute to the divers
FESTIVAL BERLIN and to
culture in Germany.
2
Mittwoch, 26.10.201
Donnerstag, 27.10.201
Freitag, 28.10.2011
Samstag, 29.10.2011
Sonntag,30.10.2011
BLACK BOX II: Koreanisches Kurzfilm-Programm auf Monitoren zu FOOD und KINSHIP im 1. Stock des Kulturzentrums über den gesamten Festivalzeitraum
ganztägig
ganztägig BLACK BOX I: Kurzfilm-Programm auf Monitoren zu FOOD und KINSHIP im Foyer des HKW über den gesamten Festivalzeitraum
17:30 Kurzfilm Shallow News In Depth
Nattapong TIENDEE
Janya WONGSURAWAT
John WONGSURAWAT Thailand 2011/12 Min
Q&A in Anwesenheit der
Medienaktivisten
Baby Arabia / Panu AREE,
Kaweenipon KETPRASIT, Kong
RITHDEE / Thailand 2010 /
74 Min
Q&A in Anwesenheit des
Regisseurs Kong RITHDEE
14:00 14:00 Film Lecture + Discussion
„Gender, Kinship and Sexuality in Hong Kong Independent
Cinema“ in Kooperation
mit dem Goethe-Institut
Hongkong und der Sinologie,
FU Berlin
Kurzfilm Belonging
LIN Ming-Ying
Taiwan 2009
18 Min
Pinoy Sunday
HO Wi-Ding
Taiwan/Philippines 2010
85 Min
16:00 16:00 Einführungsvortrag „Adoption
und Medien“
Anja MICHAELSEN
Kurzfilm Book of Miri
Katrine PHILP
Dänemark 2009
28 Min
In the Matter of Cha Jung Hee
Deann BORSHAY LIEM
USA/Südkorea 2010
64 Min
We are Alive
YAU Ching
Hong Kong 2010
101 Min
Q&A in Anwesenheit der
Regisseurin
18:00 18:15 Kurzfilm Flower Fish
TZU Yung Yu
Taiwan 2006
6 Min
USB
OKU Shutaro
Japan 2009
95 Min
When Love Comes
CHANG Tso-chi
Taiwan 2010
107 Min
19:00 20:00
20:15
20:00 ERÖFFNUNGSFILM Bi Dung so!
PHAN Dang Di Vietnam 2010
90 Min
Q&A in Anwesenheit des
Regisseurs
The Journals of Musan
(Musan Ilgi)
PARK Jung-Bum Südkorea
2011
127 Min
Saigon Electric
Stephane GAUGER
Vietnam/USA 2011
108 Min
All About Love
Ann HUI
Hong Kong 2010
105 Min
He’s on Duty (Banga Banga)
YUK Sang-hyo
Südkorea 2010
110 Min
22:00 21:30 22:00 22:00 22:00
Holy Island
Aya HANABUSA
Japan 2010
105 Min
Q&A in Anwesenheit der
Regisseurin
Kurzfilm-Programm
IMAGINE(D) KINSHIPS
in Anwesenheit der Regisseurin Jessey TSANG
Abschlussempfang mit
Performance
20:00
Eröffnungsempfang mit
Performance von Nabi Nara
Kurzfilm-Programm FOOD
ab 22:00
FESTIVAL PARTY @ HBC Berlin
mit DJs Hunee, Daniel Wang,
Zhao
3
s
Imagine(d) Kinship
ASIAN
M
L
I
F
FESTIVAL
LBIENR
B26EOR
KTO
4
30 2 0 1 1
A Perfect Red Snapper Dish / NA Hong-Jin / Korea 2005
All About Love / Ann HUI / Hong Kong 2010
Baby Arabia / Panu AREE, Kaweenipon KETPRASIT, Kong RITHDEE / Thailand 2010
He’s On Duty - Banga Banga / YUK Sang-Hyo / Korea 2010
Be My Guest / KIM Do-Kyung / Korea 2009
Belonging / LIN Ming-Ying / Taiwan 2009
Bi Dung So / PHAN Dang Di / Vietnam 2010
Book of Miri / Katrine PHILP / Denmark 2009
Bored with Dick / Chaisiri JIWARANGSAN / Thailand 2011
Broken Vase / Edward GUNAWAN / Indonesia 2010
Chinese Take Away / Ana YEN / Australia 2004
Don’t Forget Me / Manatsak DOKMAI / Thailand 2003
Essence de Femme / Chama LEKPLA / Thailand 2011
Flower Fish / YU Tzu-Yung / Taiwan 2010
Grandpa’s Wet Dream / AMEMIYA Chihiro / Japan, USA 2011
Haunt me, Recite it Again / Melissa RAMOZ / Philippines 2011
Holy Island / HANABUSA Aya / Japan 2010
I’m in the Mood for Love / Jason KARMAN / Canada 2010
In the Matter of Cha Jung Hee / Deann BORSHAY LIEM / USA, Korea 2010
Jor Kaw Teun(Shallow News In Depth) / Janya WONGSURAWAT, Winyu WONGSURAWAT / Thailand 2011
Karaoke King / Carine CHAI / Australia 2005
Kimchi - Work in Progress / Susan LEE-CHUN / USA 2007
Kitchen Quartett / Nicole Midori WOODFORD / Singapore 2009
Lost Child / Tanwarin SUKKHAPISIT / Thailand 2006
Lunch / Mai Anocha SUWICHAKORNPONG / Thailand 2011
Journals of Musan (Musan Ilgi) / PARK Jung-Bum / Korea 2010
My Father / Pimpaka TOWIRA / Thailand 2010
Pinoy Sunday / HO Wi Ding / Taiwan 2009
Saigon Electric / Stephane GAUGER / Vietnam 2011
Sunday Menue / Liesl NGUYEN / Germany 2010
The Life and Times of Ho Chung Village / Jessey TSANG Tsui-Shan / Hong Kong 2009
USB / OKU Shutaro / Japan 2009
Wald / Nabi Nara / Germany 2011
We Are Alive / YAU Ching / Hong Kong 2010
When Love Comes / CHANG Tso-chi / Taiwan 2010
5
26.10.201120:00 Uhr
Bi, Don´t be Afraid
which had its premiere
in Cannes, is the first
feature film in which
Phan Đăng Di worked as
both screenwriter and
director. After graduating from the Hanoi University of Cinema and
Theatre, Di started his
career with the vision
to create a New Wave in
Vietnamese Cinema. His
previous short films were
screend at the Vietnam
National Short Film Festival and at the Venice
International Film Festival. Besides his work
as scriptwriter, director
and producer he teaches
Vietnamese Cinema History and Screenwriting
at the Hanoi National
University.
6
Bi, Don´t be Afraid!
Phan Dang Di
Vietnam 2010
100min
"The director will be present"
An intense family story evolving in the gloomy heat of a summer. As in most big cities,
every family member follows his or her own aims and desires, on the surface it seems
to be merely the daily meals binding them all together. The small son takes expeditions
into the local ice block factory, the father escapes for a massage, the young aunt develops a crush on a student, and the grand father is mind travelling to another country
from which he returned due to sickness. In a quiet but intense way, each character and
its relationships to other family members gets stronger in colours and shape as the story
develops, sometimes in a surprising way.
Eine Familiengeschichte erzählt in der glühenden Hitze eines Sommers. Jeder geht
seiner eigenen Wege und die gemeinsamen Mahlzeiten scheinen zunächst die einzige
Verbindung zwischen allen Protagonisten zu sein. Der Sohn erforscht die Eisblock-Fabrik,
die Tante entwickelt Schmetterlinge im Bauch, während der Vater eine Masseuse aufsucht
und der Großvater seinen Tagträumen aus der Vergangenheit nachhängt. Leise und
eindringlich bekommen die Charaktere und ihre Beziehungen untereinander zunehmend
stärkere Farben und Formen.
27.10.2011
20:00 Uhr
The Journals of Musan
PARK Jungbum
Korea 2010
127min
Seung-chul defected from Musan, North Korea and lives in Seoul in with his friend Kyungchul. While his friend has quickly adopted to the capitalist logic in the South, Seungchul struggles with his life; he posts flyers, gets beaten up by street gangs and works in
a cheap karaoke bar. No matter how hard Seung-chul tries he keeps falling out of place.
Meanwhile, his friend Kyung-chul sends money to North Korea through an uncle in China
for North Korean defectors and makes big profits. Despite their different approaches to
adapt Seung-chul and Kyung-chul both arrive at dead-end paths. What’s all the more
disconcerting is that their friendship breaks apart as they must compete with each other
for survival…
Seung-chul, Flüchtling aus Nordkorea, lebt mit seinem Freund Kyung-chul in einem
kleinen Apartment in Seoul. Während sich sein Freund schnell im kapitalistischen
System zurechtfindet, kämpft Seung-chul mit seinem Leben. So sehr sich Seung-chul um
Normalität bemüht, er fällt stets aus dem Rahmen. Indes übersendet Kyung-chul über
einen Onkel in China Geld nach Nordkorea an seine nordkoreanischen Bekannten und
macht damit großen Profit. Obgleich sich ihre Anpassungsmethoden unterscheiden, landen
letztlich beide in der Sackgasse. Alarmierender ist jedoch, dass im erbarmungslosen
Kampf ums Überleben ihre Freundschaft auseinanderzubrechen droht.
Born in 1976, in Seoul,
PARK Jungbum graduated from Yonsei University and Dongkook University Film School. He
served as First Assistant
Director on LEE Changdong’s film Poetry. The
Journals of Musan is his
debut film and he won
both the New Currents
Award and the FIPRESCI
Award at the Pusan International Film Festival
2010.
7
od
o
F
S
T
R
O
H
S
:
lm
fi
Kurz
Lunch
Mai Anocha SUWICHAKORNPONG
Thailand 2011
30min
“The director will be present”
“Breakfast, Lunch, Dinner [is] a three-part
film by three female directors from Hong
Kong, Thailand and Singapore. We present
different aspects of love through three meals,
and I chose lunch. I find it the most interesting because lunch feels more like an interval
of your day than a proper meal. You have to
hurry through it. It’s a perfect representation
of fleeting love.”
Breakfast, Lunch, Dinner ist ein dreiteiliger
Film von drei Regisseurinnen aus Hong Kong,
Thailand und Singapur. Der Film präsentiert
drei unterschiedliche Aspekte von drei
Mahlzeiten. Die Regisseurin Mai Anocha
SUWICHAKORNPONG wählte das Mittagessen,
da es sich eher wie ein kurzes Innehalten im
Alltag als eine richtige Mahlzeit anfühlt. Es
eignet sich also perfekt, um eine flüchtige
Liebesaffäre zu symbolisieren.
Born in Thailand in 1976, Anocha SUWICHAKORNPONG
(“Mai”), graduated from an MFA film program at Columbia
University, New York. Anocha’s first feature Mundane History
(Jao Nok Krajok, 2010) received the Hubert Bals Fund from
International Film Festival Rotterdam and has won six international film awards.
Kim Do Kyoung graduated from the ChungAng University (CAU) with a MFA. Her works
include The First Day of Snow and Be My
Guest. Currently, she is working as a producer.
Jason KARMAN is a Vancouver filmmaker,
born in Indonesia and raised in Western Canada. His works often incorporate themes of
love and redemption. While loving drama,
Jason is currently exploring song and dance
as alternative ways to convey narrative. He
is a British Columbia Arts Council Grant recipient and has won awards in Vancouver and
Montreal.
8
Be My Guest
Kim Do Kyoung
Korea 2010
5min
An elderly man has lost his memory and
shares only the reminiscence of good
food.
Ein alter Mann erkennt seine Familie
nicht mehr, doch das Essen bleibt ihnen
als verbindende Erinnerung.
I'm in the Mood for Love
Jason KARMAN
Canada 2010
7min
What better way is there to transmit a message, express one's love, and deal with the
loss of a beloved one – than in singing songs?
Telegram worker John meets his still beloved
ex-boyfriend while having hot pot with his
new date.
Wie kann man schöner eine Nachricht
überliefern und seine Liebe bekunden,
wie kann man besser über Liebesverluste
hinwegkommen
–
als
im
Gesang?
Telegrammüberbringer John trifft auf seinen
noch immer geliebten Ex-Freund, während
dieser mit seiner neuen Liebschaft Feuertopf
verspeist.
30.10.2011
14:00 Uhr
Karaoke King
Carine CHAI
Australien
10min
Kitchen Quartett
Nicole Midori WOODFORD
Singapore 2009
21min
Wally Foo is sick of the restaurant where he
works and dreams of being a singer. But MeiLan, his wife, who owns the restaurant would
not let him go to the Regional Karaoke Championships. Yet, Wally is prepared and ready to
fulfill his dream.
A patronizing food critic unknowingly affects
a promising female chef through his review.
Forced to question her culinary career, she
reexamines her relationship with her hawker
mum while the withdrawn young son of the
critic uses food as a means of connection with
his father.
Wally Foo hat genug von der Küchenarbeit
und träumt von einer Sängerkarriere. Doch
Mein-Lan, seine Frau, der das Restaurant
gehört, denkt nicht daran, ihn zum regionalen
Karaoke-Wettbewerb gehen zu lassen. Doch
Wally ist entschlossen und bereit für seinen
großen Auftritt.
Ein arroganter Restaurant-Kritiker verletzt
durch
seine
Besprechung
unwissend
eine ambitionierte Köchin. Sie sieht sich
gezwungen, ihre Karriere in Frage zu stellen
und die Beziehung mit ihrer Mutter, die einen
Imbissstand betreibt, zu überdenken.
Carine CHAI was born in Malaysia and moved to Australia
with her family when she was still a child. A received both a
law degree and arts degree before studying film and television. Her short Karaoke King was the winner of best independent short film at the 2006 Queensland New Filmmakers
Awards. A Perfect Red Snapper Dish
NA Hong-jin
Korea 2005
10min
How to prepare a perfect red snapper dish.
See and learn!
Wie bereitet man einen perfekten roten
Schnapper vor. Einfach zuschauen und lernen!
NA Hong Jin is an internationally renowned director who
made numerous films. His last film “The Yellow Sea” was
screened in the “Un Certain Regard” section at the Cannes
Film Festival 2011.
Melding her love for photography and music
with an unceasing observation of human interactions, Nicole Midori WOODFORD makes
films that reflect her fascination with parallel narratives and the spaces in-between.
9
28.10.201117:30 Uhr
John WONGSURAWAT is 26
years old, television show
host, founder and anchor
personality of Jor Kaw Teun
on www.ihere.tv the leading internet-tv of Thailand.
After accumulating experience and ideas for some
time, John decided to seek
a certain freedom from the
strictly controlled mainstream media in a new, imperfect yet exciting and less
rigid medium, the internet.
Janya WONGSURAWAT is
the co-founder of www.
ihere.tv and Producer/Director of Jor Kaw Teun (Shallow News in Depth). After
many years of experience in
the mainstream media and
the stroke of good luck of
having a brother who was
already a famous tv personality, Janya decided to put
her long ignored ideas on
the internet with this show
hosted by her brother John
and later included her husband Nattapong as John’s
sidekick.
Nattapong TIENDEE is the
website-programmer, marketing director, author and
the personality of “Por Mor”
(Shaman) of Jor Kaw Teun.
Nattapong started his public
personality - related career
by becoming a famous blogger writing satirical comedy.
He has published 3 books
from his blogs.
10
Jor Kaw Teun (Shallow News In Depth)
Nattapong TIENDEE, Janya WONGSURAWAT, John WONGSURAWAT
Thailand 2011
12min
The Shallow News In Depth is an online phenomenon current events - related show,
which has attracted more than 40 million views since its inception in early 2010. Shallow
News In Depth commentaries, which rarely exceed 18 minutes per episode, mostly take
aim at current political events and social trends covered in the local press in Thailand.
Because it is presented online, the production is able to avoid many of the stifling controls of state censorship. The show's unorthodox irreverence and wit have made it a hit
with a broad audience spectrum. It has been welcomed as a vital new creative voice.
Shallow News In Depth ist eine Online-Show, die sich mit aktuellen Ereignissen
auseinandersetzt. Seit ihrer Gründung in 2010 hat sie mehr als 40 Millionen Seitenaufrufe
gehabt. Die Beiträge sind in der Regel nicht länger als 18min und beschäftigen sich mit
politischen und sozialen Trends in Thailand. Als Online-Format entgeht die Produktion dem
Großteil der staatlichen Zensurkontrolle und ist in seiner unorthodoxen Respektlosigkeit
herzlich von einer breiten Öffentlichkeit aufgenommen worden.
28.10.2011
17:30 Uhr
Baby Arabia
Panu Aree, KAWEENIPON KETPRASIT, Kong RITHDEE
Thailand 2010
74min
“One of the film directors will be present”
BABY ARABIA follows one of the oldest Thai-Muslim bands specializing in the genre of Arab-Malay music, the bouncy ethnic cross-pollination of Arabian melodies, Malay throbs,
Thai luk-thung kicks, and a bit of Latin tempo. We meet Geh, founder of the band who
taught himself to play the accordion 35 year ago. Joining Geh is guitarist Umar (a former
Koran teacher with a knack for Egyptian numbers). Fronting their band is Jamilah, a
husky-voiced, humble diva who teaches the Koran during the day and sings Arabic songs
at night while wondering if the world of melody can be both faith-bound and joyously
secular. Though some Islamic scholars question their brand of worldly merry-making,
claiming that it's against the law of the religion, the humanizing power of music and irresistible exuberance of their songs provide a definitive counter-argument.
Baby Arabia dokumentiert die musikalischen Auftritte einer Thai-Muslim Band und vor
allem den Lebensalltag der Sängerin Jamilah, die tagsüber in einer Koran-Schule das
Singen von Sutren unterrichtet und abends populären arabischen Songs mit ihren eigenen
Interpretationen und ihrer rauchigen Stimme besonderen Glanz verleiht. Die Welten von
religiöser und Unterhaltungsmusik, von Thai, Malay und Arabischer Kultur verschmelzen
und ebenso die von Band und Familie.
Kong RITHDEE has been a
writer, columnist, and film
critic for the Bangkok Post,
Thailand’s leading Englishlanguage newspaper, for
thirteen years. As a film
critic of international renown, Kong is also a regular
contributor to international
journals, magazines, and
film festival catalogues. He
further serves on the juries
of many film festivals such
as Vancouver 2007 and Hong
Kong 2008.
Panu AREE graduated from
the Film and Photography
Department of Thammasat
University in 1995. He began his career as a sound
recordist for Thai film productions in 1995. In addition, Panu directs both
feature and short films, one
of which was chosen for the
Yamagata Documentary Film
Festival.
Kaweenipon
KETPRASIT
graduated from the Department of Mass Communications,
Ramkamhaeng
University. He founded S.
Screenhead in 2001. He
was the editor of the feature films Three Friends by
director Aditya Assarat and
True Mom by Mingmongkol
Sonakul.
11
28.10.201120:00 Uhr
Saigon Electric
Stephane GAUGER
USA/Vietnam 2011
109min
Born in Saigon, Vietnam
and raised in Orange County, California, Stephane
GAUGER has worked in the
camera and lighting departments on independent films
in the U.S. and Southeast
Asia. His feature directing
debut Owl And The Sparrow
premiered at the Rotterdam
Film Festival 2007 and has
gone on to win over fifteen
awards at international festivals.
12
The culture of Hip Hop has long been translated into different national and commercial
music cultures and lost most of its original political urgency. In the case of Vietnam however, we find an urban youth vibrantly engaging with Hip Hop to express and negotiate
its precarious situation between tradition and modernity. For Saigon Electric, Gauger
cooperated with the actual hip hop community to not only find a stunning underground
talent in Vietnam, but to give the teenagers a voice and present to speak of their daily
lives, struggles and dreams.
Mai is a traditional ribbon dancer from the countryside and arrives to the big city of
Saigon in hopes of being admitted to the national dance academy. Here, she meets the
rebellious Kim, a hip hop dancer from a local crew, and enters into a world of newly
defined moves, aspirations and battles. Rivalry and romance between the different crew
members soon begin to blossom, aggravated by the threat of a transnational market system to replace their community training center with a profit-making hotel.
Hip Hop hat seit langem Eingang in diverse kommerzielle und nationale Musikkulturen
erfahren und dabei seine ursprüngliche politische Prägnanz verloren. In Vietnam
hingegen findet sich eine urbane Jugend, die ihrer prekären Situation zwischen Tradition
und Moderne durch Hip Hop Ausdruck verleiht und verarbeitet. Filmemacher Gauger hat
für Saigon Electric mit der lokalen Hip Hop Community zusammengearbeitet, um nicht
nur das unglaubliche Untergrundtalent Vietnams zu finden, sondern den Jugendlichen
ebenso die Hauptstimme in der Artikulation ihrer Probleme und Träume zu überlassen.
Die traditionell gelernte Tänzerin Mai kommt mit großen Erwartungen ins großstädtische
Saigon: Sie will auf die nationale Tanzakademie. Hier trifft sie auf die rebellische Kim,
Hip Hop Tänzerin einer lokalen Crew, und betritt eine Welt neu definierter Bewegungen,
Wünsche und Kämpfe. Rivalität und Romanze lassen da nicht lange auf sich warten
und verstärken sich angesichts des drohenden Abrisses des Gemeindezentrums, das als
Trainingsstätte der Jugendlichen fungiert.
28.10.2011
22:00 Uhr
Holy Island
Aya HANABUSA
Japan 2010
105min
"The director will be present"
In her debut, the young director Aya HANABUSA documents the protest of a fishing
community on a small island in the southwest of Japan against the construction of a nuclear power station in poetic images. The protest movement mostly consists of elderly
women and men, since the young generation has already left the island. More than two
decades of resistance has changed the relationship between community members into
one of kinship. Local politicians and business people on the mainland push hard for the
construction of the station for purely economic reasons, but the stamina of the fishing
families in defending both their surrounding nature and their livelihoods proves stronger
in the end.
In poetischen und ruhigen Bildern wird der Widerstand einer Fischergemeinde auf einer
kleinen Insel im Südwesten Japans gegen den Bau eines Atomkraftwerks dokumentiert.
Auf dem der Insel gegenüber-liegenden Festland sehen viele lokale PolitikvertreterInnen
und Teile der Bevölkerung den Bau des AKWs als ökonomisch gewinnbringend für die
Region an – die Anti-AKW-Bewegung, mehrheitlich angeführt von Frauen über 60, gibt
jedoch, basierend auf den engen Alltagsbeziehungen in der Gemeinde, nicht auf.
Born in Tokyo in 1974, Aya
HANABUSA graduated from
Jiyugakuen University in
1994. She worked for Seiichi
MOTOHASHI, a photographer
and a documentary film director, in producing and distributing films. After working as a producer of a film,
“Namii to Utaeba (Singing
with Nami)” in 2006, she directed this film for the first
time.
13
29.10.201116:00 Uhr
In the Matter of Cha Jung Hee
Deann BORSHAY LIEM
USA/Korea 2010
63min
Book of Miri
Katrine PHILP
Denmark 2009
28min
Her passport said she was Cha Jung Hee when she
came to the US in 1966. Told to keep her true identity a secret from her new American family, she forgot she was ever anyone else. 40 years later Liem
returns to Korea to find the girl whose place she
took in America. Traversing the landscapes of memory, amnesia and identity, this film probes the ethics of international adoptions and reveals the cost
of living a lie. Part mystery, part personal odyssey,
it raises fundamental questions about who we are…
and who we could be but for the hands of fate.
Miri lives on her own in a Swedish suburb. She
works as a librarian. Every day she writes a personal blog. She takes photographs and shares her
thoughts with the world surrounding her. Book of
Miri is a film about searching for identity, about
double life and dreams.
Als Cha Jung Hee, unter falschem Namen, kommt
die Filmemacherin 1966 im Alter von acht Jahren
nach Kalifornien. 40 Jahre später reist sie nach
Korea, um die Umstände des Identitätstauschs zu
klären. Auf der Suche nach der ‚richtigen’ Cha Jung
Hee bekommt sie eine Vorstellung davon, wie ihr
Leben aussehen könnte, wäre sie nicht adoptiert
worden. Mit kritischem Blick auf die Praktiken
internationaler Adoption stellt der Film zugleich
die Frage, wie sicher wir sein können, zu wissen,
wer wir sind.
Miri lebt in einem schwedischen Vorort, arbeitet
als Bibliothekarin und schreibt täglich in ihrem
Blog. Ein Film über die Suche nach Identität, über
ein doppeltes Leben und Träume.
Introduction by:
Anja MICHAELSEN is a scholar of Cultural and Media Studies
who has written about the logics of transnational adoption.
She is a research associate at the Ruhr University Bochum’s
Institute for Media Studies.
In 1966, Deann BORSHAY LIEM was adopted by an
American family and sent from Korea to her new home.
Growing up in California, the memory of her birth family was nearly obliterated until recurring dreams led
her to discover the truth: her Korean mother was very
much alive. LIEM’s first film, First Person Plural (2000),
was nominated for an Emmy. LIEM is the former director of the Center for Asian American Media, where she
supervised the development, distribution and broadcast of new films for public television and worked with
Congress to support minority representation in public
media.
14
Katrine PHILP, born in 1978, is a former dancer and
choreographer. She studied documentary directing at
the National Film School of Denmark and film production at the Danish Design School.
29.10.2011
18:00 Uhr
Flower Fish
Tzu-Yung YU
Taiwan 2006
6min
When Love Comes
CHANG Tso-Chi
Taiwan 2010
107min
A metaphorical story about the search for inner acceptance centered upon the antagonistic relationship between a woman and her fish.
A complicated family drama about competition
and mutual support between three women of
three different generations in a restaurant-owner
household. The teenage daughter focuses on her
first love relationship until she finds out that she is
pregnant and was dumped by her boyfriend. During her struggle with social conventions regarding
motherhood, all members of the family have to
face suppressed memories of their past but also
gain new perspectives on the meaning of their kinship in daily life.
Eine metaphorische Geschichte über die Suche nach
Selbstakzeptanz anhand einer antagonistischen
Beziehung zwischen einer Frau und ihrem Goldfisch.
Ein komplexes Familiendrama über Konkurrenz
und Zusammenhalt zwischen drei Frauen in einem
Haushalt. Die Tochter konzentriert sich auf ihre
erste Liebesbeziehung, bis sie bemerkt, dass
sie ungewollt schwanger geworden ist. In der
Auseinandersetzung mit den sozialen Konventionen
und dem Thema Mutterschaft eröffnen sich für
alle Familienmitglieder neue Perspektiven auf das
Zusammenleben.
Tzu-Yung YU is an animator interested in Chinese
art, culture and painting. She started to make animation as an MFA student at Tainan National University in Taiwan. “Flower Fish” was her graduate
film. She is a continuing to develop her style, which
is centered on female psychology and experimental
narative.
CHANG Tso-Chi started his film career as assistant director for YU Kan-Ping, YIM Ho, TSUI Hark and HOU
Hsiao-Hsien. His feature films Ah Chung (1999), Darkness and Light (1999) and Best of Times (2002) have
won several international awards. Soul Of A Demon
(2008) was selected for the Panorama section at Berlin
International Film Festival and his latest work When
Love Comes for Gala Presentation at Busan International Film Festival in 2010.
15
29.10.201120:15 Uhr
All About Love
Ann HUI was born in North
China, to a Japanese mother
and Chinese father in 1947.
She emigrated to Hong Kong
with her family as a child.
She studied literature at the
University of Hong Kong and
film at the London International Film School. After
her return she worked as TV
producer for documentaries
and as assistant for King Hu,
master of Chinese Martial
Arts, before she made her
debut as film director with
The Secret in 1979. As one
of the most innovative representatives of the Hong
Kong New Wave, she has
to date directed more than
twenty feature films, winning numerous awards for
herself and the leading actors in her films.
16
Ann HUI
Hong Kong 2010
105min
With its humorous take on motherhood, sexuality, and discrimination, this latest feature
of veteran Hong Kong filmmaker Ann HUI skillfully deconstructs received notions of kinship and family. “All About Love” tells the story of four adults whose lives intersect in
an intricate story about desire, responsibility, and the negotiation of social convention.
While All About Love is structured as a romantic comedy, its critically acclaimed New
Wave director is known for expertly balancing social and political issues with commercial
cinematic appeal. Presented from a unique Hong Kong perspective, the film nevertheless
addresses issues that are of global urgency.
Mit einer humorvollen Annährung an die Themen Mutterschaft, Sexualität
Diskriminierung dekonstruiert Ann Hui normative Vorstellungen von Familie
Verwandtschaft. Vier Mitglieder der Hongkonger Mittelklasse kommen nicht umhin
mit der Verwicklung von Begehren, Verantwortungsgefühl und der Verhandlung
sozialen Konventionen auseinanderzusetzen.
und
und
sich
von
SHORTS Imagine
(d) Kinships
Grandpa's Wet Dream
Chihiro AMEMIYA
Japan 2010
16min
In Grandpa's Wet Dream, a 75-year-old Japanese opens up his secret to the camera of
having been acting in adult videos for 15 years
without telling his family. Feeling that he does
not have too many years left, Shigeo Tokuda
has to negotiate his deep-seated senses of
morals, shame, and guilt with his strong urge
for individual freedom and creativity.
Der 75-jährige Shigeo Tokuda offenbart in
Grandpa’s Wet Dream seit 15 Jahren in der
Pornoindustrie zu arbeiten – eine Tatsache,
die er bisher vor seiner Familie geheim
gehalten hat. Mit zunehmendem Alter und
dem Gefühl dem Lebensende immer näher
zu rücken, muss Tokuda seine tief sitzenden
Gefühle für Moral, Scham und Schuld mit dem
starken Bedürfnis nach individueller Freiheit
und Kreativität vereinbaren.
Chihiro AMEMIYA graduated Media Arts Production from The City College of New York. Her
short doc Grandpa’s Wet Dream was shown
amongst others at Sundance. Chihiro participated in Tribeca All Access Program 2010 at the
Tribeca Film Institute and was a Women’s International Leadership Program Fellow 2009-2010
at the International House of New York.
Broken Vase
Edward GUNAWAN
Indonesia 2011
16min
A poetic transgender drama-edy about deception and revelation and the possibility
to let go of one's anxiety for a mutual trust.
Catherine is having a garage sale before she
moves to Hawaii with her fiancé Paul. Initially
assumed to be just another customer, Susan
turns out to be the ex of Catherine's fiancé,
and she has come to the house to pick up her
belongings. As Catherine gets acquainted with
Susan, she must not only confront her fiancé's
secret past and resolve her misgivings about
their relationship, but learn to trust in the
person she loves and appears to be different
than assumed.
Eine
poetische
Transgender-Drama-edy
über Täuschung und Enthüllung und die
Möglichkeit, seine Verlustängste durch
gegenseitiges Vertrauen zu überwinden. Auf
ihrem Garagenausverkauf trifft Catherine,
kurz bevor sie mit ihrem Verlobten Paul ins
paradiesische Hawaii übersiedeln will, auf
Susan. Diese entpuppt sich schließlich als Ex
von Catherines Verlobtem und ist gekommen,
um ihre Sachen abzuholen. Peu à peu
kommen die beiden sich näher, wobei nicht
nur eine neue Vergangenheit Pauls enthüllt
wird, sondern Catherine auch lernen muss,
demjenigen Vertrauen entgegenzubringen,
den man liebt und doch nicht vollends kennt.
An award-winning writer-filmmaker, Edward
GUNAWAN graduated with a B.A. in Political Science and Communications and an M.B.A. in Marketing and Entrepreneurship before founding
Add Word Productions, an independent company
that presents works for the stage and screen.
17
29.10.201122:00 Uhr
My Father
Pimpaka TOWIRA
Thailand 2010
23min
The Life and Times of Ho Chung Village
Jessey TSANG Tsui Shan
Hong Kong 2009
14min
"The director will be present"
In a rural Thai village, the father of a small
family is forced to quit his job as a train station janitor because of his protest letter to the
authorities. As the family is struggling to make
ends meet, he refuses to keep his mouth shut
in order to just get on with their daily lives.
Instead, he decides to head off to Bangkok in
search of justice and joins the mass rally. After
the 19 May 2010 incident in the capital, Father
returns to his quiet hometown not only as a
loser, but also with a deep wound in his heart
from his failures.
The Life and Times of Ho Chung Village collects old
photos of families from Ho Chung Village. The pictures from the past travel through time, allowing
the viewer to experience the flow of memories as
time moves from right to left, finally settling before their eyes.
Anhand einer fließenden Collage von alten Fotos
der Familien des Dorfes Ho Chung, lädt Jessey
TSANG Tsui Shan zu einer Reise durch Zeit, Wandel
und Erinnerungen ein.
Einem Familienvater und Mitarbeiter einer
dörflichen Bahnstation wird mit Entlassung
gedroht, nachdem er einen Beschwerdebrief
geschrieben hat. Er lässt sich jedoch nicht den
Mund verbieten, und fährt nach Bangkok, in der
Hoffnung dort Gerechtigkeit zu finden. Dort
schließt er sich den Massendemonstrationen
an, kehrt nach den Vorfällen des 19. Mais
jedoch als gebrochener Mann in sein Dorf
zurück.
Jessey Tsang Tsui-Shan majored in Sound Design
from the Hong Kong Academy of Performing Arts in
2001. She later earned a Master in Media Design
from the City University of Hong Kong. Her feature
debut Lovers on the Road (2008) and other works
were screened e.g. in Italy, Germany and Poland.
Her second feature film Big Blue Lake is going to be
launched in Nov 2011.
Tanwarin SUKKHAPISIT is a graduate from Khon Kaen University. Her short
films have been awarded and shown widely in international festivals. Tanwarin’s debut feature film “Insects in the Backyard” premiered at the Vancouver International Film Festival 2010.
Recognized as the first female Thai director to be noticed by international
viewers and critics, Pimpaka TOWIRA has been a pioneer on the Thai independent film scene since the early ‘90s. Her prize winning work has
included Mae Nak (1997), a deconstruction of a popular ghost legend, the
feature One Night Husband (2003), and the documentary The Truth Be Told:
The Cases Against Supinya Klangnarong (2007).
18
Lost Child
Tanwarin SUKKHAPISIT
Thailand 2006
21min
A child in search of an elusive mother, engages an unwilling kathoey (MTF) auntie to help
her search. Slowly new forms of pleasure and
attachment emerge.
Ein Mädchen sucht seine Mutter und beauftragt
eine widerwillige „Tante“, kathoey (MTF),
ihr dabei zu helfen. Allmählich entsteht
eine unbekannte Vertrautheit zwischen dem
ungleichen Paar.
30.10.2011
14:00 Uhr
Pinoy Sunday
Wi Ding HO
Taiwan/Philippines 2010
85min
On their only day off, Filipino migrant workers Manuel and Dado discover a couch left
behind on a Taipei sidewalk. In a life where
everything is arranged and all possessions belong to the factory they work for, the couch
is the chance to own something of their own.
Imagining the end of their work day comfortably seated in the red piece of furniture, the
two protagonists begin highly motivated to
carry the heavy piece of furniture across the
city of Taipei to their dormitory – pressed by
the government-mandated curfew to make it
back in time. Pinoy Sunday is a highly ironic
and humorous and at times subtly melancholic depiction of the daily struggles migrant
workers have to face in their life abroad: the
constant pressure of potential deportation
and the disconnection from beloved ones. In
search of compensation, replacement, and
sometimes break ups for an intimate life in
the 'new home,' Manuel and Dado capture our
hearts immediately.
An ihrem einzigen freien Tag finden die
philippinischen Migrantenarbeiter Manuel und
Dado eine einsame Couch am Straßenrande
Taipeis. In einem Leben, in dem alles durch
die Fabrik, in der sie arbeiten, geregelt ist
und Eigentum eine Rarität, wird die Couch zur
Möglichkeit endlich selbst etwas zu besitzen.
Die beiden Protagonisten stellen sich bereits
den gemütlichen Feierabend auf dem roten
HO Wi Ding was born and raised in Malaysia before he attended film school at New York University. These days, he lives in Taipei. His first
feature film Pinoy Sunday garnered a pair of
awards at the Taipei International Film Festival
and also won Wi Ding a Best New Director Award
from the prestigious Golden Horse Film Festival
in Taiwan. More recently, he was among 20 veteran and upcoming filmmakers of Taiwan to be
invited by HOU Hsiao-Hsien to each make a segment of an omnibus film to celebrate Taiwan’s
100th Anniversary of National Day.
weichen Möbelstück vor und beginnen
es hoch motiviert durch die halbe Stadt
zurück zu ihrem Wohnheim zu tragen – mit
der staatlich verhängten Sperrstunde im
Rücken. Pinoy Sunday ist eine zugleich
ironische wie humorvolle und bisweilen
ebenso melancholische Erzählung über
die Schwierigkeiten des Alltags von
Migrantenarbeiten: mit der ständigen Gefahr
abgeschoben zu werden und abgeschnitten
von den geliebten Menschen daheim zu leben.
Auf der Suche nach Kompensation, Ersatz und
manchmal auch nach Möglichkeiten eines
Intimlebens im 'neuen Zuhause', erobern
Manuel und Dado unsere Herzen im Sturm.
Belonging
Ming-Ying Lin
Taiwan 2009
18min
A young Vietnamese woman married in Taiwan
to a local man in order to financially support
her family. One day she meets a Vietnamese
migrant worker and their passionate affair
enables her to forget about her stressful life
each time they meet. At the same time she
faces a painful dilemma between her desire
to leave her Taiwanese husband and her responsibility to her family in Vietnam and her
son.
May, eine junge Vietnamesin heiratet einen
Mann in Taiwan, um ihre Famile finanziell
unterstützen. zu können. Eines Tages begegnet
sie einem vietnamesischen Arbeitsmigranten
und sie stürzen sich in eine Affäre die sie
einerseits von ihrem stressigen Alltag ablenkt
und andererseits in ein schmerzhaftes
Dilemma hineinzieht.
Ming Ying LIN works as filmmaker and freelance editor. She has an MA in
filmmaking from London Film School and a double BA in Humanities, Social Science and Communication from Yuan-Ze University Taiwan. Since
2005 she has successfully shot and edited eight short films.
19
30.10.201116:00 Uhr
We Are Alive
YAU Ching is one of Hong
Kong’s most accomplished
independent filmmakers and
video artists, a published
writer, scholar, and cultural
activist. Her work focuses
on issues of migration, sexuality, postcoloniality and
marginalized subjectivity.
Her work includes documentary, narrative, and experimental film, and weaves
between single-channel and
installation modes. Her film
and video work includes the
award-winning Ho Yuk (Let’s
Love Hong Kong, 2002), I’m
Starving (1998) and Flow
(1993). YAU Ching currently
holds the position of Associate Professor in the Department of Cultural Studies at
Lingnan University.
YAU Ching
Hong Kong 2010
101min
"The director will be present"
We Are Alive is a documentary filmed by teenagers in youth detention centers in Hong
Kong, Macau, and Japan. In these fast-paced narratives, the teenagers divulge their
dreams and fears in moving addresses to their future selves, to their peers in detention in the other countries, and to the viewers. The film references iconic scenes about
young people in correctional institutions from older Hong Kong cinema and intersperses
its narratives with pop music and performance. Through this rhythm of speech, action,
and sound “We Are Alive” is singularly able to render the vivacious spirit of the young
inhabitants of the correctional centers and prompts us to question the violence of the
increased disciplining of life both on the ‘inside’ and the ‘outside.’
We Are Alive ist ein Zusammenschnitt von einzelnen Beiträgen, die Jugendliche in
Workshops in Jugendknästen in Hong Kong, Macau und Sapporo selbst erstellt haben.
Ängste, Hoffnungen, Idole und Träume wurden im tristen Gefängnisalltag mit Hilfe der
Kamera aus den TeilnehmerInnen der Workshops herausgelockt. Dabei sind zutiefst
berührende Portraits entstanden.
20
30.10.2011
18:15 Uhr
USB
OKU Shutaro
Japan 2009
90min
Against the background of an accident in a nuclear power station close to his home
town, a young medicine student decides to participate in a medical nuclear radiation
experiment. The pay is high and he needs the money in order to pay back his debts to a
member of the local yakuza. After his father, a doctor, died, his life has become increasingly unstable – financially and emotionally. He gets involved with a young woman from
his university but fails to come up to her expectation of a committed relationship. When
she finds out, that she is pregnant, he takes a dramatic step.
OKU Shutaro was born
1975 in Tokyo and works
as film director and visual
planner. He was “specially
mentioned” at the Seoul
Film Festival with his debut
KAI-ON (2002). Since then
he has e.g. produced Labor
Cop, Japanese Naked Tribe,
and Aka-sen. He has been
invited by various international film festivals after his
work Cain’s Descendant was
screened at the Berlinale in
2007. In between his theatrical releases he directed
Tenshochi, a documentary
focusing on three Japanese theatre directors. As
a stage visual planner, OKU
Shutaro has e.g. directed
Elizabeth for Toho Musicals
and Casablanca for Takarazuka.
Nachdem im nahegelegenen Atomkraftwerk ein Unfall passiert ist, entscheidet sich
ein junger Medizinstudent an einem medizinischen Strahlenexperiment teilzunehmen,
um mit dem Honorar seine Schulden abzubezahlen. Nach dem Tod seines Vaters ist
er finanziell und emotional ins Schleudern gekommen. Auch in der Affäre mit einer
Kommilitonin findet er keine Erfüllung. Als diese schwanger wird, entscheidet er sich zu
einem drastischen Schritt.
21
30.10.201120:00 Uhr
urzentrum
Koreanisches Kult
Banga Banga - He is on Duty
YOOK Sang-hyo
Korea 2010
110min
YOOK Sang-hyo received
numerous awards for his
films. His previous movie
“Hi! Dharma 2: Showdown in
Seoul“ (2004) was a national
blockbuster.
‘Impersonating a Bhutanese to get a job?’ Boasting his natural southeast Asian features,
BANG Tae-sik never fails to humiliate himself. In order to get a job, he changes into
‘Banga’, the Bhutanese migrant worker. Banga, the master of transformation, starts to
conquer the globalized Korea which turns out to be the beginning of his chaotic yet rewarding struggle to find a job. Korea, once a poor country whose citizens went overseas
in search of jobs, has itself become a wealthy country for immigrants from Southeast
Asia. Based on this fact, YOOK Sang-hyo, creates an hilarious yet affectionate story,
without deliberately trying to be moralistic. This lighthearted comedy approaches serious social issues in a delightful way which nonetheless makes us aware of the rapid
transformation of the society.
Vorgeben, ein Bhutanese zu sein, um einen Job zu bekommen? Bang Tae-sik brüstet
sich damit, südasiatisch auszusehen. Um eine Einstellung zu finden, taucht er in die
Identität eines Buthanesen – ‚Banga‘ – ein. Als Meister der Verstellung und Verkleidung
beginnt sein Eroberungszug des globalisierten Korea. Korea, einst ein armes Land, dessen
Bürger ins Ausland gingen, um Geld zu verdienen, hat sich zunehmend zu einem reichen
Land entwickelt, das zahlreiche Arbeitsmigranten aus Südost-Asien empfängt. Diese
unbeschwerte Komödie behandelt auf spielerische Weise ernste Themen und schafft
es, wichtige Fragen über die raschen gesellschaftlichen Entwicklungen zu stellen, ohne
moralisch oder belehrend zu sein.
22
BLACK BOX II Korea
nisches Kurzfilm-Pro
gramm
Wald
NABI NARA
Germany 2011
2min
Conceptual performance in a forest, in Bavaria, Germany. Covered by an Yukata that covers not only the body but also the entire face
the artist explores the possibility of seeing
without seeing, reinvestigating the perception of the human viewing.
Wald ist eine konzeptuelle Performance,
uraufgeführt im bayerischen Wald. Mit einem
Yukata bekleidet, das nicht nur den Körper,
sondern auch das Gesicht bedeckt, schöpft
die Künstlerin – ohne selbst zu sehen –
Möglichkeiten des Sehens aus.
NABI NARA studied Literature and Sculpture at the Hanyang University,
Seoul and University of Bonn. She has participated in numerous video projects and worked for various TV stations.
Kimchi - Work in Progress
Susan LEE-CHUN
USA 2011
14min.
Courtesy of Artist and David Castillo Gallery, Miami, FL
Two different set of hands (mother and daughter) labor through the process of making Kimchi. Gradually it becomes clear that it takes
far more than a recipe. The process of making
the pickled cabbage metaphorically portrays
the dilution of culture and language through
generations.
Zwei unterschiedliche Handpaare (Mutter und
Tochter) bereiten Kimchi vor. Erst nach und
nach wird ersichtlich, dass es sich um mehr
als ein Kimchi-Rezept handelt. Der gezeigte
Prozess des Kimchi-machens verdeutlicht
die generationsbedingte Auflösung und
Neuerfindung von Sprache und Kultur.
LEE-CHUN Susan obtained her MA from the School of the Art Institute of
Chicago. She has exhibited & performed widely in the U.S. and abroad.
Be My Guest
KIM Do Kyoung
Korea 2010
5min
A Perfect Red Snapper Dish
NA Hong-jin
Korea 2005
10min
An elderly man has lost his memory and shares
only the reminiscence of good food.
How to prepare a perfect red snapper dish.
See and learn!
Ein alter Mann erkennt seine Familie nicht
mehr, doch das Essen bleibt ihnen als
verbindende Erinnerung.
Wie bereitet man einen perfekten roten
Schnapper vor. Einfach zuschauen und lernen!
KIM Do Kyoung graduated from the Chung-Ang University (CAU) with a
MFA. Her works include The First Day of Snow and Be My Guest. Currently,
she is working as a producer.
NA Hong Jin is an internationally renowned director who made numerous
films. His last film “The Yellow Sea” was screened in the “Un Certain Regard” section at the Cannes Film Festival 2011
23
BLACK BOX I
Chinese Take Away
Anna YEN
Australia 2002
52min
Chinese Take Away, directed by Mitzi Goldman, is an adaptation of a physical theatre
show, uniquely blends poetic storytelling,
drama and archival footage. Performer /
writer, Anna YEN, in seeking to understand a
family tragedy, unravels episodes about her
grandmother, her mother and herself and tells
a deeply personal story about strength, loss
and transformation that resonates universally.
Chinese
Take
Away
der
Regisseurin
Mitzi Goldman, ist eine Adaption einer
Theateraufführung
und
kombiniert
poetisches Geschichtenerzählen, Drama und
Archivmaterial. Die Künstlerin und Autorin
Anna YEN erzählt eine höchst persönliche
und gleichzeitig universelle Geschichte über
Stärke, Verlust und Transformation.
Kimchi - Work in Progress
Susan LEE-CHUN
USA 2011
14min
Courtesy of Artist and David Castillo Gallery, Miami, FL
Two different set of hands (mother and
daughter) labor through the process of making
Kimchi. Gradually it becomes clear that it
takes far more than a recipe. The process of
making the pickled cabbage metaphorically
portrays the dilution of culture and language
through generations.
Zwei unterschiedliche Handpaare (Mutter und
Tochter) bereiten Kimchi vor. Erst nach und
nach wird ersichtlich, dass es sich um mehr
als ein Kimchi-Rezept handelt. Der gezeigte
Prozess des Kimchi-machens verdeutlicht
die generationsbedingte Auflösung und
Neuerfindung von Sprache und Kultur.
Sunday Menue
Liesl NGUYEN
Germany 2010
24min
Mitzi Goldman has written, produced, edited and directed documentaries
for over 20 years. Her credits include Snakes And Ladders, Things I Call
Mine, Many Homes, Many Names, Hatred, Ports Of Destiny, Parra, Chinese
Take Away, Bloodlines and End of the Rainbow.
LEE-CHUN Susan obtained her MA from the School of the Art Institute of
Chicago. She has exhibited & performed widely in the U.S. and abroad.
Born 1970 in Baltimore, USA, Liesl NGUYEN lives and works in Berlin as
a freelance film and video editor, translator and writer. As an artist she
has addressed issues of language, identity and the Vietnamese diaspora in
photo, video and installation works. Sunday Menue is her first narrative film
and diploma project for the HFF Konrad Wolf. Liesl NGUYEN is the artist
name of Alisa Anh KOTMAIR.
24
A teenage, Vietnamese-German girl faces generational and cross-cultural conflicts through
the ritualistic power of food in the suburbs
of Berlin, Germany. The film is inspired by a
short story by Vietnamese writer PHAM Thi
Hoai.
Ein
vietnamesisch-deutsches
TeenagerMädchen sieht sich in einem Vorort Berlins mit
kulturellen und generationellen Konflikten
konfrontiert, durch die sie die rituelle
Macht des Essens kennenlernt. Inspiriert
von der gleichnamigen Kurzgeschichte der
vietnamesischen Schriftstellerin PHAM Thi
Hoai.
HAUS DER KULTURE
N DER WELT
Don’t Forget Me
Manatsak DOKMAI
Thailand 2003
10min
Essence de Femme
Chama LEKPLA
Thailand 2011
16min
Combines archival footage of the October
6, 1976 massacre of pro-democratic student
protestors in Bangkok with an anthropological
account of an outing by the Siam Society to
visit the Yellow Banana Leaf Ghosts tribe.
What would it look like if humanity had no
gender? A kathoey noi (not quite MTF) would
show you how to cook international chicken
curry (slang for prostitute in Thai). People
would have sex with places, the locations they
inhabit. A girly boy and a girl play snooker and
then get dirty. These three scenarios propose
new modes of human sexuality (synopsis:
NGUYEN Tan Hoang).
Archivbilder des Massakers vom 06.10.1976
an Studenten, die an einer Demonstration
für Demokratie teilnahmen, werden mit
dem Soundtrack der Kommentare einer
anthropologischen Exkursion der Siam Society
zu den „Yellow Banana Leaf Ghosts Tribe“
unterlegt.
Was wäre, wenn die Menschheit kein
Geschlecht hätte? Ein kathoey noi (nicht ganz
MTF) würde ein internationales Chicken Curry
(Slang für Prostituierte in Thai) kochen. Leute
würden Sex mit Gebäuden haben, die sie
bewohnen. Ein Mädchen und Junge würden
Billard spielen und sich dabei beschmutzen.
Diese drei Szenarien schlagen neue Arten
menschlicher Sexualität vor (NGUYEN Tan
Hoang).
Bored With Dick
Chaisiri JIWARANGSAN
Thailand 2011
2min
As I was caught in the rain in Singapore,
I couldn’t go anywhere and was trapped.
In front of me were buildings shaped like
distorted penises. It was a funny hour standing
and staring at the disabled penises.
In einem Regenschauer in Singapur gefangen,
taten sich vor meinen Augen Gebäude auf,
die wie verdrehte Penisse aussahen. Es war
durchaus unterhaltsam, wie ich da stand und
auf diese deformierten Penisse starrte.
Manatsak DOKMAI is an award-winning short film director. His films address specific political and historical events or policy measures through experimental, ironic, approaches. Manatsak works at the Thai Film Archive in
2000 and, in addition, lectures on Thai cinema and works as a screenwriter.
Chama LEKPLA studied at the University of Bangkok, film department.
Essence de Femme is her first film. She works also as scriptwriter and programmer.
Chaisiri JIWARANGSAN is a young photographer and filmmaker who incorporates travel experiences in his work. Expanding this technique to other
media, Chaisiri’s films focus on processes of transformation in people that
occur through financial necessity or social codes. Chaisiri has exhibited and
shown widely in Thailand and internationally.
25
FILMLECTURES&
DISCUSSION - 29
.10.2011
“Imagine(d) Kinships: Gender, Sexuality, and Kinship in Hong Kong Independent Film”
in cooperation with the Goethe-Institut Hong Kong and Institute for China Studies, East Asian Seminar,
Free University of Berlin
Saturday 29.10.2011, 2pm- 3:50pm, Haus der Kulturen der Welt
The Festival’s main intellectual event features two Hong Kong scholars and artists who have—both
individually and in conversation with each other—thought about the ways in which kinship can be lived
and imagined both in and beyond the space of the global city. Yau Ching and Denise Tse-Shang Tang
will present broad cinematic and scholarly visions of what queer, and feminist spaces can look like or
might still become. This panel presentation will include filmic examples from the work of Yau Ching as
well as that of other Hong Kong filmmakers.
Panelists:
Yau Ching is an independent filmmaker, author, and scholar of film and cultural studies. Her awardwinning film and video work includes Ho Yuk: Let’s Love Hong Kong, I’m Starving, Diasporama: Dead
Air, Video Letters and Flow. She is Associate Professor in the Department of Cultural Studies at Hong
Kong Lingnan University.
Denise Tse-Shang Tang is Assistant Professor in Sociology at the University of Hong Kong. Her research
interests include queer pedagogy, urban spaces, gender and sexualities, new media and visual culture.
She is former director of the Hong Kong Lesbian & Gay Film and Video Festival and author of Conditional
Spaces: Hong Kong Lesbian Desires and Everyday Life .
Arnika Fuhrmann is an interdisciplinary scholar of Thailand who is interested in the intersections of
cinema, sexuality, and policy. She is a research scholar in the University of Hong Kong’s Society of
Scholars in the Humanities.
Anja Michaelsen is a scholar of Gender and Media Studies who has written about the logics of
transnational adoption. She is a research associate at the University of Bochum’s Institute for Media
Studies.
Chair:
Kimiko Suda, Research Associate, Chinese Studies, East Asian Seminar, FU Berlin. She works on
questions of identity formation, representation, social and genderequality in Chinese Societies.
26
1
1
0
2
.
0
1
.
9
2
y
Festivalpart
Fee: 5 EUR after 10 pm
Venue: HBC near Alexanderplatz
www.hbc-berlin.de
HBC program starting from 20 h with live concerts
(Please check HBC Website for entry fee before 10 pm)
DJ Daniel Wang
Lived 10 years in downtown New York.
Since 2003 in Berlin.
Known for his very unique productions on the labels
Balihu, Environ and Ghostly Records in the US,
for his shows at Horse Meat Disco in London and Berlin,
his small but famed party nights NIGHT FLIGHT at SOJU BAR for Dance Music-Lovers
and for his uncountable crazy Disco nights from Rio de Janeiro to Oslo, Moskow
and Tokyo.
www.residentadvisor.net/dj/danielwang
DJ Hunee
Hunee has a strong appetite. In his teenage years, he applies his own colours
to what surrounds him: rap and soul music. After moving to Berlin years ago his
palette grows richer, and his appetite follows suit – he eats bumpin’ disco for
breakfast, heats up deep jackin’ music for lunch, slows it soulfully down for dinner
and plays sweet songs for digestion. Hunee is a good swimmer too – when he’s out
of the water, he makes delicious music for labels like Feel Music, W.T. Records,
Internasjonal, Retreat, Drumpoet Community and Permanent Vacation.
www.hunee.de
DJ Zhao
DJ Zhao brings the best contemporary and classic dance music together from all
five continents, with focus on Africa. With in depth selections spanning wildly
different times and places, DJ Zhao’s remix and mashup work directly connects
"East" and "West".
Born and Raised in Beijing, China, and active as DJ and sound curator in the US since
2000, Zhao has organized critically acclaimed events focusing on Improvisation
and Sound Art as well as Techno. After relocating to Berlin, Zhao started the Ngoma
collective.
http://www.differentwaters.blogspot.com/
Performance “Second Skin”
Artists Nabi Nara and Katherine Oggier Chanda
27
AFFB Fest
ival Team
Festival Director
Curator China, Hong Kong and Taiwan
Kimiko SUDA currently works as curator and researcher/lecturer in Berlin and Guangzhou. She has been
involved in the organization of festivals and conferences focused on gender, migration and politics of
identity and representation since 2001. In 2006 she co-organized the China Focus at the globale filmfestival
berlin and in 2007 joined the Asian Women´s Film Festival. From 2008 to 2010 she worked as project
manager for the China Programme of the German Heinrich Böll Foundation in Beijing. She received her
education in Sociology and Chinese Studies at the East Asian Seminar, Free University of Berlin and the
Beijing Film Academy.
Programme Director
Curator Korea and Vietnam
Sun-ju CHOI works as a filmmaker, screenwriter, curator and lecturer. She has directed shorts and
documentaries focusing on migration, integration and racism. In 2003, she collaborated with DOMiT (Center
for documentation of the migration from Turkey) as a research associate in the field of Korean migration in
Germany. She is a founding member of Kanak TV, an independent film project based in Cologne and Berlin.
She has received scholarships from the Art Center of Cologne, Cultural Ministry of Berlin and the Korea
Foundation. Sun-ju Choi co-edited the book Zuhause. Erzählungen von deutschen Koreanerinnen (2005). In
2007 she organized/curated the Asian Women's Film Festival. She is a founding member of Asia Unlimited
and korientation e.V..
Curator Hong Kong and Thailand
Arnika Fuhrmann is an interdisciplinary scholar of Thailand working at the intersections of the country’s
aesthetic and political modernities. After completing her Ph.D. in the Department of South Asian Languages
and Civilizations at the University of Chicago (2008), she took up a postdoctoral fellowship at the Berlin
Institute for Cultural Inquiry. In September 2010 she joined the University of Hong Kong’s Society of
Scholars in the Humanities as a research scholar. Her book project Ghostly Desires: Sexuality and Cinema
in Contemporary Thailand examines how Buddhist-coded anachronisms of haunting figure struggles over
sexuality in Thai cinema after 1997. Nguyen Tan Hoang and Dredge Kang are co-curators for the Thai
short films.
Curator Asian Diaspora
Feng-Mei HEBERER studied Film Studies and Comparative Literature in Berlin, Paris and Beijing. She has
organized and curated various film series and film festival programs, among others for the Asian Hot Shots
Film Festival in Berlin and the Asian Pacific Film Festival in Los Angeles. Feng-Mei is currently a PhD student
at the University of Southern California and focuses on works by Asian transnational filmmakers.
Curator Japan
Rei WATANABE studied Film Studies, Chinese and Japanese Studies in Berlin and Tokyo.
He currently lives and works as curator and translator in Berlin.
Curator Philippines
Lizza May David born in Quezon City, Philippines, studied Fine Arts and Visual Communication. She works
as artist, filmmaker, researcher and curator on the issues of memory, migration and media representation
in Germany and on the Philippines.
Legal Advisor, Finance Coordinator
Jee-Un KIM studied law and arts and media administration and works as lawyer in Berlin. She has been on
the Board of Directors of Schwarzenberg e.V. (Arts and Culture Association) and is a founding member of
korientation e.V.; she is a partner with BARTELS KIM WOLLENHAUPT law firm in Berlin.
28
Intern
Hyemin OH joined the AFFB team in Spring 2011. Currently she is in a Master programme Gender und
Diversity Competence at the Free University of Berlin. She received her BA in Sociology and Gender
Studies from the Ewha Women´s University in Seoul. Hyemin has worked as assistant director and done a
series of short films.
PR advisor, Coordination Media Partners
Meike Lena DANZ studied art history and German studies at Free University in Berlin. She was head
of media liason and public relations for the Schwarzenberg association and organized a multitude of
exhibitions and projects. Meike Lena is currently working as PR advisor for artists, galleries and cultural
organizations.
Press spokesperson
Alice Blezinger studied law and participated in a program with the Gesellschaft für Internationale
Zusammenarbeit (GIZ) in China and Cambodia. Alice is currently working as journalist in Berlin.
Vietnamesische Communities
Duy Piequé Nguyen
Webdesign: Alina Weszka
Festival Trailer: Claudia Schaefer (Dramaturgy), Nari Kim (Editor), Hyemin Oh (Assistant)
Festival Trailer Music: Patric Catani
29
31
Venues:
Screenings, Film Lecture + Discussion
Haus der Kulturen der Welt
John-Foster-Dulles-Allee 10
10557 Berlin
Telefon: 030 - 39 78 7175
www.hkw.de
How to get there:
S3, S5, S7, S9, S75 Hauptbahnhof
U55 Bundestag
Bus 100, Bus M 85 Haus der Kulturen der Welt
Tickets
Haus der Kulturen der Welt Ticket office
Tel: +49 - (0)30 – 39 78 7175
Ticket reservation: [email protected]
um
Koreanisches Kulturzentr ft der Republik Korea
ha
tsc
Bo
r
de
Kulturabteilung
3
Leipziger Platz
10117 Berlin
Telefon: 030 - 269 52-0
Fax: 030 - 269 52-134
-culture.org
http://germany.korean
How to get there
er Platz
U2 / S1, 2, 25, Potsdam
Platz
er
am
tsd
Bus 200 /M48 Po
til Oct. 28, 2011!
Registration necessary un alberlin.de
tiv
E-Mail: info@asianfilmfes tivalberlin.de
fes
film
an
asi
Webseite: www.
Ticket Prices
Standard: 5,00 EUR
Reduced: 3,00 EUR
ception on Oct. 30, 2011
Closing Screening and Re
Festivalparty on Oct. 29, 2011
HBC
Karl-Liebknecht-Straße 9
10178 Berlin
http://hbc-berlin.de
Anfahrt
S3, S5, S75, /U2, U5, U8 Alexanderplatz
Fee: 5 EUR
Press Accreditation (free of charge)
Contact:
Alice Blezinger, Press Spokeswoman
E-Mail: [email protected]
30
32
33
Acknowled
gements
Daisy Amornvivat, Royal Thai Consulate General, New York
Soo-Bin An, Koreanisches Kulturzentrum
Kirsten Asmus, Pressevertretung Taipeh
ASTA FU
Dong-Ha Choe, Fotograf
Sanchai Chotirosseranee, Thai Film Foundation
Vincent Chui, Ying E Chi, Hong Kong
Nuanvan Daraswasdi, Office of Contemporary Art and Culture
Gabriele Gauler, Goethe Institut Hongkong
Yasmin Güner, Culture Department, US Embassy
Sarun Haetanurak, Ministry of Foreign Affairs, Thailand
Annette Hulek, Haus der Kulturen der Welt
Doris Hegener, Haus der Kulturen der Welt
Justus Henke
Alice Ho, Goethe-Institut, Hong Kong
Dredge Kang
Felix Lee
Wimalin Meesiri, Thai Film Foundation Pulin Milintachinda, Royal Thai Embassy, Berlin
Duy Pieque Nguyen
Nguyen Tan Hoang
Eri Park
Sang-Ki Nico Park, Kyopo.com
Jan Ralske
Kerstin Reichert, Culture Department, US Embassy
Youngsook Rippel, Frauen AG, Stiftung Umverteilen
Rebecca Sumy Roth
Mariko SADA, Japanisches Kulturinstitut Köln, Japan Foundation
34
Claudia Schaefer
Lasse Sibbert, Royal Thai Embassy, Berlin
Norbert Spitz, Goethe-Institut Bangkok
Kullaya Sriwatanarotai, Goethe-Institut Bangkok
Tsai Wei Su
Tatsuya TAKAGI, Japanisches Kulturinstitut Köln, Japan Foundation
Pia Thilmann, Haus der Kulturen der Welt
Elizabeth Tomazic, Gold Coast International Film Festival
Chalida Uabumrungjit, Thai Film Foundation
Benjamin Wenzel
Luka Wong, Goethe-Institut, Hong Kong
Marcus Manh Cuong Vu
Pulin Milintachinda, Royal Thai Embassy, Berlin
35
s
Imagine(d) Kinship
36
Festival directors/Festivalleitung: Sun-ju Choi, Kimiko Suda
Editor/Redaktion: Sun-ju Choi, Arnika Fuhrmann, Feng-mei Heberer, Anja Michaelsen, Kimiko Suda
Coordination/Koordination: Jee-Un Kim, Kimiko Suda
Translation/Übersetzung: David Mark Wiseman
Editing/Lektorat: Meike Lena Danz
Advertisements/Anzeigen: Benjamin Wenzel
Layout/Gestaltung: Soo-Bin Ahn (Koreanisches Kulturzentrum)
Print/Druck: Pinguin
korientation e.V.
Oderberger Str. 31
10435 Berlin
Registergericht: AG Charlottenburg, Berlin
Registernummer: VR27525B
37
www.asianfilmfestivalberlin.de
www.korientation.de