The period and setting are not specified, but the film noir atmosphere and styles of clothing and transport strongly suggest the police-state Indonesia of Suharto’s heyday; this is that rarest of genre movies, a ghost story with a political subtext–complete with police brutality, vigilante mobs, bureaucratic stonewalling, governmental corruption and an increasingly cowed and repressed general public, not to mention a series of gruesome deaths.
Join us for a Halloween treat featuring a ghost story with vigilante mobs, bureaucratic stonewalling, and governmental corruption!
Three Marks of Existence willfully dwells on the topic of impermanence, suffering, and the non-self. M doesn’t understand it yet, but his search for that previously undiscovered inner self will be a like a wild rollercoaster ride that merges both an Anderson-esque style of indie comedy and a deeper, more figurative meaning to its comfortable lightheartedness on the path to enlightenment, so to say.
Utilizing all sorts of devices such as the flashback, the story-within-a-story, non-linear structure, suspense and action as readily as heavy drama or moments of hilarity, and even a montage (that didn’t quite do it for us), all of these are textured by Ellis and his co-writer Frank E. Flowers into a most impressive framework that can only come from an experienced storyteller. It’s drama, it’s crime, it’s a story of a family’s survival against the struggle of life and even though it lacks the blood, gore, zombies and the monsters of the Fantasia Film Festival
Metro Manila zeros in on an impoverished couple, barely surviving as rice farmers in Benguet Province, the northern region of the Philippines.
Wadjda—the first full-length feature film to be made entirely in Saudi Arabia, and the first feature from the female director Haifaa Al-Mansour—turns a little girl’s quest to earn the money for her own bicycle into a poignant fable about growing up female (and growing up, period) in a place where women’s autonomy is severely restricted.
Join us for a screening of the first full-length film to be made entirely in Saudi Arabia, and the first from a female director.
9 Naga (or 9 Dragons), a film subtitled at CSEAS, breaks away from the usual tale of young love we’ve been seeing in the past. Quite a change but more emotionally charged than usual. In fact, it’s heart-wrenching to the very end.
9 Daga introduces the audience to the slums of Indonesia and paints a bleak life on the harsh reality of its characters. (on 09/16)
BLOOD LETTER/SWORD OF THE ASSASSIN, from director Victor Vu, is an ambitious and sprawling stab at kiem hiep (Vietnamese sword fighting genre)