China’s Pingyao International Film Festival To Open With ‘Only The River Flows’, Close With World Premiere Of ‘Football On The Roof’

Shia LaBeouf is opening up in an interview about his career.

Chinese filmmaker Jia Zhangke is relieved that the festival he founded in the ancient walled city of Pingyao in China’s Shanxi province is back on track after a tricky few years during the pandemic. 

Mark Schilling Japan Correspondent French-Vietnamese director Tran Anh Hung spoke about the making of “The Taste of Things” (previously titled “The Pot-au-Feu”) the food-themed romantic drama that won him best director award at Cannes this year, at the master class held Tuesday at the Tokyo International Film Festival. Screening in TIFF’s Gala section, the film stars Juliette Binoche and Benoît Magimel as respectively a chef and gourmet.

There were two major new entries this weekend at the international box office, one local (Tamil thriller Leo: Bloody Sweet) and one from Hollywood. Starting with the latter, Martin Scorsese’s Killers of the Flower Moon from Apple, Paramount and Imperative Entertainment, had a big opening with $21M in 63 offshore markets and No. 1s in 24 of those, including France, Germany, Australia, Spain, Netherlands and Switzerland. The global bow, factoring in its strong domestic opening, was $44M; great for a period movie with a long running time and at a moment when talent could not promote it due to the actors strike.

Patrick Frater Asia Bureau Chief “Only the River Flows,” a pitch-black crime noir from auteur Wei Shujun, comfortably topped the mainland China box office on a quietish weekend. The film, ostensibly a murder mystery, but one concerned more with atmosphere than linear plotting, earned $12.6 million (RMB90.8 million) in its opening three days, according to data from consultancy Artisan Gateway, or close to a third of the market. The film had its premiere in Cannes where Variety gave it a rave review, calling it an “inventive riff on Asian-noir” and making comparisons with films by Park Chan-wook and Diao Yinan. “Only the River Flows” has since played at a succession of festivals ever since, including New Zealand, BFI London, Vancouver, Adelaide and last week’s Pingyao event in China. Falling to second place at the box office after three weeks on top was Zhang Yimou’s “Under the Light,” which earned $6.9 million for a four-weekend cumulative of $176 million. Chen Kaige’s war, propaganda film “The Volunteers: To the War” earned $5.3 million in third place.

Marcelo Cajueiro “A Batalha da Rua Maria Antonia,” directed by Vera Egito, nabbed the main Redentor prize for fiction film at the 2023 Rio de Janeiro International Film Fest which wrapped this year’s edition last weekend, consolidating its position as South America’s largest fest and world’s main showcase of Brazilian productions. The fest held the world premieres of 40 Brazilian features and four TV series.

Jaden Thompson Tonya Mantooth, CEO and artistic director of the San Diego International Film Festival, is keenly aware that film is a uniquely immersive medium with the power to connect people — even strangers. And that power will be evident at SDIFF’s 22nd edition, which will run in person Oct.18-22, with screenings at various venues in the San Diego area. The event will also feature panels, Q and A’s, filmmaker happy hours and more special programming.

Patrick Frater Asia Bureau Chief Amanda Nell Eu, director of breakout film “Tiger Stripes,” has disowned the censored version of the movie that launched in her native Malaysia on Thursday. “I do not stand behind the cut that will be shown in local cinemas […] the film that will be shown in local cinemas is not the film that we made, and it is not the film that won the Grand Prize of the Critics Week in Cannes,” said Eu in a statement (see below for full letter). The debut feature had received wide acclaim as the first Malaysian film in many years to play in Cannes, the first by a Malaysian woman director. It won a prize as best picture in Cannes Critics’ Week sidebar, will be the opening film of the Singapore International Film Festival and has been selected as Malaysia’s Oscar contender. Pitched somewhere between a coming-of-age drama and a body horror movie, the film tells the story of a 12-year-old who becomes the first among her friends to reach puberty.

Patrick Frater Asia Bureau Chief Two titles which debuted at Cannes this year were named as the major prize-winners at the seventh edition of the Pingyao International Film Festival in China. Wei Shujun’s black comedy-thriller “Only the River Flows” won the festival’s Fei Mu prize for best Chinese film.

Wei Shujun’s Only The River Flows was presented with Best Film in the Fei Mu Awards at this year’s Pingyao International Film Festival (PYIFF), while Inside The Yellow Cocoon Shell, directed by Vietnam’s Pham Thien An, won Best Film in the festival’s Roberto Rossellini Awards.

Ellise Shafer Daniel Kaluuya world premiered his feature directorial debut, “The Kitchen,” at the BFI London Film Festival on Sunday night, calling it “one of the best days of my life.” Kaluuya was on hand alongside his co-director Kibwe Tavares, producer Daniel Emmerson and several of the film’s actors, including “Top Boy” star Kane Robinson and newcomer Jedaiah Bannerman. Set in a dystopian London where all social housing has been banned, the film follows the residents of a community called the Kitchen who must fight to save their home. Speaking before the premiere, Kaluuya and Tavares explained that it’s taken nearly a decade to bring the Netflix film to the screen.

Lise Pedersen “Vive la paix, vive le cinéma!” Irène Jacob, the president of Lyon’s Lumière Institute which runs the Lumière Film Festival, chose to mark the opening of the event on Saturday night with a solemn message of peace, a week to the day after the outbreak of renewed conflict in the Middle East. “Tonight, we are really looking forward to this festival as a gesture of peace, because we do not forget what is going on in the world, the tragedies that move us, the wars all around us, the children and civilians in danger, the madness and the sadness of our divided world.

The Wrestler, directed by Bangladeshi-Canadian filmmaker Iqbal H. Chowdhury, and September 1923, from Japan’s Tatsuya Mori, picked up the New Currents Awards as Busan International Film Festival wrapped a busy 28th edition on October 13. 

Patrick Frater Asia Bureau Chief “Tiger Stripes,” the Malaysian coming-of-age, body horror film that debuted in Cannes’ Critics Week section has been set as the opening title for this year’s Singapore International Film Festival (Nov. 30 – Dec.

Three filmmakers assessing the impact of 2023’s dual strikes took a less-than-upbeat tone, citing uncertainty about the state of SAG-AFTRA negotiations with the AMPTP and the ongoing threat posed by artificial intelligence.

Naman Ramachandran After a three-year hiatus, the Jio MAMI Mumbai Film Festival is returning with a larger lineup and an expanded focus on South Asian cinema. The festival will feature 250 films including 40 world premieres, 45 Asia premieres and 70 South Asia Premieres.

Naman Ramachandran India’s Crawling Angel Films and Singapore’s Akanga Film Asia are teaming on Busan Asian Film School (AFiS) alumnus Aakash Chhabra’s feature directorial debut “I′ll Smile in September.” The film is selected at the Busan International Film Festival‘s Asian Project Market. Akanga’s credits include Cannes winner “Tiger Stripes,” Locarno winner “A Land Imagined” and its “Oasis of Now” is in competition in the festival’s New Currents strand.

Nick Vivarelli International Correspondent Egypt’s El Gouna Film Festival is back after a one-year hiatus with a rich mix of Arabic and international titles launching into the Middle East and plenty of promising projects from Arab countries set to be unveiled to prospective partners at its CineGouna industry side. The event launched in 2017 by Egyptian telecom billionaire Naguib Sawiris – whose brother Samih built the El Gouna resort in a swathe of desert near the tourist town of Hurghada 250 miles south of Cairo – was put on pause in 2022 ostensibly due to the country’s economic crisis following five editions during which fest co-founder Amr Mansi and chief Intishal Al Timimi had managed to rapidly put El Gouna on the international festival map while also making it a favourite with the local crowd.

Academy Awards. The film had its debut in the Critics’ Week section of the Cannes film festival in May and was directed by first-time feature filmmaker Amanda Nell Eu. The announcement was made on Thursday by Malaysia’s Communications and Digital Minister Fahmi Fadzil following selection by the National Film Development Corporation (FINAS). The film was a eight-way coproduction involving companies from Malaysia, Taiwan, Singapore, France, Germany, The Netherlands, Indonesia and Qatar, and emerged from a succession of labs, project markets and international funds. Since winning the Grand Prix at the Critics’ Week, “Tiger Stripes” has been a popular choice on the festival circuit, with stops so far at Neufchatel, The Hamptons, Sitges, London, Fantasia, Taipei and next week’s Pingyao events.Dir. Amanda Nell Eu. International sales: Films Boutique. All submissions and materials for the 2023 race must be received by the Academy of Motion Pictures Arts & Sciences by 5 p.m. on Oct. 2. And films must meet all the qualifying conditions between Dec. 1, 2022, and Oct. 31, 2023. A shortlist of 15 will be announced on Dec. 21. Final nominees will be announced on Jan. 23, 2024. The 96th Academy Awards is set to take place on March 10, 2024. Argentina, the South American country with the best Academy Awards history, has chosen as its Academy Awards submission “The Delinquents,” Rodrigo Moreno’s incorrigibly playful heist movie, which world premiered at Cannes Un Certain Regard, delighting critics.

Since NASA’s conception just over six decades ago, 600 astronauts have traveled to space, yet only 18 have been Black Americans. Hindered in equal parts by racial discrimination and the lack of educational and economic resources given to the Black community in the space administration’s formative years led to a significant racial disparity among those who aimed to reach for the stars.