Wednesday, October 23
6:30 p.m. – Korean Studies Auditorium
A fisherman’s wounded spirit begins to give out as he loses his hold on his livelihood in this drama from the Philippines. Fredo (Cesar Montano) is a fisherman who has endured more than his share of hardship in life; his wife and child both perished in a boating accident, and today Fredo approaches each trip to the sea with the angry determination of a man out for revenge. Fredo commands a crew of young people from poor families as he takes his rattletrap ship into the ocean in search of fish that live along the reefs, snaring catch with an illegal netting system. Not all of Fredo’s youthful sailors are willing to put up with his abusive arrogance, however, and even his father Dado (Pen Medina) and close friend Botong (Jhong Hilario) have grown weary of Fredo’s tirades. Fredo’s body is beginning to betray him as well, and as he and his crew damage the sea’s reef beds in search of fish, no one is certain how much longer he will be able to continue. Muro-Ami was shot primarily at sea, and is distinguished by its fine photography and vivid portrayal of the fisherman’s life.
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October 13, 1:30 p.m., Korean Studies Auditorium Presented by CSEAS in partnership with the Hawaii International Film Festival
Politics and Government in Southeast Asia changed dramatically over the last twenty-five years, from the fall of Marcos and Suharto in the Philippines and Indonesia to the doi moi (restructuring) movement in Vietnam to the coups (and threatened counter-coups) in Thailand. Making movies in the region today is not the same as it was yesterday. As part of the Hawaii International Film Festival, the Center is bringing seven new Southeast Asian films to campus and is bringing to Hawaii seven filmmakers for a special discussion of politics and movies in the region.
DISCUSSANTS:
The Discussants will include Pimpaka Towira, the feature filmmaker from Thailand, whose political exposé cum documentary The Truth Be Told captured a portrait of idealism, integrity and activism against then-Prime Minister Thaksin. From Indonesia, Melissa Karim, scriptwriter of Chants of Lotus, an omnibus film made by four women directors, will discuss the movie in terms Indonesian women, teen sex, human trafficking, AIDS and rape – and talk of the film’s battle with censors. Also attending will be Gotot Prakosa, director of the Indonesian rock opera/concert film Kantana Takwa, about the explosive and politically-charged 1991 Iwan Fals concert. From the Philippines, award-winning directors Tara Illenberger and Ellen Ongkek-Marfil will discuss alternative and independent filmmaking in one of the most prolific filmmaking countries in Asia. Finally, Nguyen Thanh Van, director of A Little Heart, will talk of commercial filmmaking in Vietnam after doi moi. The moderator will be Christian Razukas, graduate student in Southeast Asian Studies and a former Film Programmer for HIFF.
Wednesday, November 9
6:30 p.m. – Korean Studies Auditorium
Indonesia, 2007 (117 minutes)
Director: Dimas Djayadiningrat Indonesian with English Subtitles
Just like the title implies, Quickie Express moves at full speed on the strength of its lightning-quick humor and crass irreverence. JoJo (played by Tora Sudiro, who bares a passing resemblance to gigolo acting legend Rob Schneider) has his life turned upside down when he joins an underground gigolo society. He undergoes rigorous and hilarious training alongside two eventual buddies, including a bizarre Bob Marley wannabe. The energetic trio’s shenanigans carry the film’s more enjoyable first half, powered by humor reminiscent of the Austin Powers series: crude, disgusting, and absurd, but never taking it too far. If you’re expecting a lot of penis related humor, you won’t be disappointed. One of these penis gags even help move the plot along. Even more reminiscent of Austin Powers is how the film consistently evokes this buoyant 70s vibe, filled with funk, flair, and fun. Unfortunately, the film derails a bit in the second half, introducing Jojo’s love interest(s) and a ridiculous amount of tangled drama. The film’s love triangle quickly evolves into more creative and unexpected shapes, which Jojo acknowledges and flippantly dismisses by saying “ah, f*ck it.” Despite the obligatory conflicts introduced, Quickie Express never loses sight of what it truly is: a crass black comedy that thankfully never takes itself too seriously, unlike certain other films in the gigolo comedy genre. Watch out Rob Schneider, the bar has been risen. – LAAPFF
Wednesday, October 1
6:30 p.m. – Korean Studies Auditorium
Based on the popular satirical website run by Colin and Yen Yen, this series of short comic vignettes strung together was filmed on mini-DV for fun and no money, and with an all-amateur cast. Likened to the bastard offspring of Kentucky Fried Movie and Chungking Express, Talking Cock: The Movie is a surrealist comedy that has somehow managed to slip out of the island republic of Singapore, known more for its restrictive laws than its sense of humor.
A young man tries to ‘dotcom’ his father’s illegal loan shark business; a banker loses his handphone, then his mind; a girl bites off more than she can chew when she starts a romance and a bunch of heavy metal rockers who have to become a silly boy band…PLUS the #1 Ah Beng University, Geylang’s top poet and how Singapore actually got its name! Based on the satirical website www.talkingcock.com, this 100% Singaporean comedy stars REAL Singaporeans doing all sorts of crazy, wu liao stuff!
“…if you’re Singaporean, this is one movie you don’t want to miss.” – Lycos Movies
“…TalkingCock The Movie has offered a concept of Singapore that is more expansive, subversive and riotous than the clean, peaceful and efficient country most of us are familiar with. … fresh, funny and fascinating. … worth the while simply because of its refreshing, no-holds-barred take on the foibles of Singaporeans.” – The Straits Times
“TalkingCock The Movie is Singapore’s most unpretentious feature film in the last three years. the film is an immensely enjoyable screwball comedy that is inspired in its silliness and laudable in its attempt to portray an authentic Singapore and idiosyncratic Singaporeans.”- I-S Magazine
“…an original and daring satirical comedy, poking good fun at Singaporeans, their obsessions, history and government.” – Nickelodeon, Far East Film 5, Centro Espressioni Cinematographiche, 2003
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