**UPDATE** Here’s how you can purchase the Summer Afternoon DVD, which is only available in Taiwan. Just send an email to: .

Two girls and a guy on a road trip through the countryside. Two are lovers and one is a nuisance. As they say, two’s company and three’s a crowd, and that’s how trouble starts.

Ho Wi Ding, the Malaysian filmmaker based in Taiwan, first came to our attention by winning in Cannes 2006 with his short film, Respire, an affecting tone poem about the last days in the life of a young girl in a virus-infected, post-apocalyptic world. This year, he went to Cannes again with Summer Afternoon, the only Asian short film in the line-up.

And what a film it is.

More info after the break.

Continue Reading "Ho Wi Ding’s SUMMER AFTERNOON … A Shocking Road Trip. Catch It In Palm Springs."...

Something strange is afoot in Joko Anwar’s supernatural noir Kala , which takes place in an unnamed city in an unnamed nation. Eros is a detective who investigates the murder of a group of men killed by a mob operating freely under a new morality law.  Janus, a narcoleptic journalist, is pursued by mysterious men after surreptitiously recording a conversation involving the wife of the murdered man. These two people’s lives are further entangled after one of Janus’s friends is killed, and Eros is put on the case. As time progresses, it is revealed that these separate threads are all linked through both supernatural and human mechanisms.

Continue Reading "AFFD Review: KALA aka DEAD TIME"...

Hideo Nakata’s L: Change the World has had a healthy life on the festival circuit, and has recently been released on Region 3 DVD. L is a sequel to the popular Death Note series, which explains why the film might be a popular programming choice. On an overall level, however, it is somewhat difficult to see the appeal of L: Change the World to anyone beyond young people, and hardcore fans of the original films and the manga upon which it is based.

Continue Reading "AFFD Review: L: CHANGE THE WORLD"...

In Jungian psychology there is a term, scintilla, which alludes to a spark of light in the depths of dark water, which references a glimmer of consciousness shining forth from the darkest space or the darkest recesses of the unconscious. Renaissance images of the Christ Child born in the dark depths of a cave correspond to this image. Among Tibetan Buddhists there is also the meditative practice of learning how to generate light in darkness or—thought of alternately—creating opportunity out of adversity. This practice of engendering light in darkness stems from a pan-Shamanic substratum which links back to Siberian and Native American practices of similar intent. It is, as if to say, or as Jung referenced Heraclitus, enantiodromia—that great reversal—happens as much in the human psyche as it does in nature, because they are in gist one and the same. We know through aquatic biology that in the black depths of the sea there exist aquatic creatures who create light out of themselves. (As a smiling aside, I think of Dory in Finding Nemo who responds to a mesmerizing bit of light by saying: “I want to touch it.")

All of this is to say that Kiyoshi Kurosawa’s depiction of glowing jellyfish let loose in the canals of Tokyo in Akarui mirai (Bright Future, 2003) was for me a brilliant and thrilling testament of eternal hope. Even in apocalyptic obfuscation, there is always this speck of light, this bright future, wavering beneath the dark surface of things. The scene where Shin’ichirô (the father, Tatsuya Fuji), watches the multiplied glowing jellyfish floating out to sea even as the Tokyo skyline looms in the distance underscored for me this true play of light: artificial light contrasted against scintillic light.

Continue Reading "KIYOSHI KUROSAWA BLOGATHON—The Scintillating Jellyfish of BRIGHT FUTURE"...

This entry is a transcription (with interpretative commentary) taken from a video interview conducted in Toronto in 2003 included on the DVD release of Cure.

Kurosawa sourced his inspiration for Cure to nearly a decade ago while watching television reportage of a captured murderer. Neighbors were interviewed and they all commented upon how surprised they were by the murders, that the murderer had always been such a “normal” person and that they were at a loss to understand how he could have committed these horrific acts. The reporter explained that this dangerous murderer had been “hiding” within the persona of an ordinary, normal person, that he was “pretending” to be normal, but Kurosawa was skeptical of this interpretation. He thought: what if this dangerous murderer had actually been an ordinary, normal person who—somehow triggered—had become dangerous? What could trigger such a criminal potential within an individual?

Continue Reading "KIYOSHI KUROSAWA BLOGATHON—CURE: Confusion and Sophistication"...

Certain colleagues of mine suggest that I lack critical rigor for relying on the words of filmmakers to describe their own films.  One associate in particular—I name no names—actually said filmmakers could not be trusted to talk about their own movies!  As far as so-called objective criticism goes, that may hold true—I’m not convinced—but, then again, I don’t consider myself a film critic.  I’m a film enthusiast and I enjoy hearing what filmmakers say about their own films, whether they know what the heck they’re talking about or not.  That’s why the interview format has become one of my favorite ways of addressing a film.  I may lack critical rigor but I’m blessed with a gift for gab!

I’ve not had the opportunity to interview Kiyoshi Kurosawa, though I did get to meet him at the San Francisco International Film Festival some years back when he accompanied Doppelganger.  At that time I wasn’t writing about film and simply wanted him to autograph some DVD covers and—through the services of a friend who could speak Japanese—I achieved same.  Since then, I have doted on his every word.  Or at least those I could find.  This entry serves as a survey of interviews available online where Kurosawa—in his own words—discusses his films, his career, his concerns.

Continue Reading "KIYOSHI KUROSAWA BLOGATHON—In His Own Words…."...

Recently, I hosted the Kiyoshi Kurosawa “blogathon” at my site The Evening Class and now that it’s completed, I’m offering the contributions to the Twitch readership.  While reading an essay on Loft written by author Jerry White for his volume The Films of Kiyoshi Kurosawa: Master of Fear—which Girish Shambu so kindly forwarded to my attention—I was struck by a comment Kurosawa made regarding that poorly-received project: “I had to do something that was a horror film; but, at the same time, I wanted to destroy horror films.” (2007:201, emphasis added.) From the little I’ve read about Tokyo Sonata, which I’ll be catching at this year’s Toronto International Film Festival, it appears Kurosawa has achieved an ambition that has preoccupied him these last few years: to work past what his audiences have come to expect of him by escaping the stranglehold of J-Horror with which he has become restrictively associated. That being said, I felt The Evening Class blogathon should address Kurosawa’s career up to but not including Tokyo Sonata, which seems to indeed mark a significant departure from his existing oeuvre. So the Kurosawa blogathon proceeded in a retrospective mood with Tokyo Sonata signifying the advent of a separate phase of Kurosawa’s auteurism.

Kiyoshi Kurosawa hardly needs introduction. To that purpose, I refer readers to his general IMdb and Wikipedia profiles (with more online resources to follow). For starters, however, French critic Mathieu Ravier’s appreciative overview of Kurosawa’s career written for this year’s Sydney International Film Festival suffices nicely, drawing some fascinating comparisons with the films of Michael Haneke. “Like Haneke,” Ravier writes, “Kurosawa is able to charge even the most banal scene of domestic life with a sense of dread. Elaborate sound design and counter-intuitive framing conspire to create an atmosphere rich with possibility. From the smallest of disruptions, a tiny tear in the social fabric, everything can unravel.” Though not available online, Kent Jones’ recent career purview for the current issue of Cinema Scope likewise addresses the mature breadth of Kurosawa’s evolving oeuvre and is a strongly-recommended read.

Contributions to the Kiyoshi Kurosawa Blogathon follow after the break.

Continue Reading "KIYOSHI KUROSAWA BLOGATHON: CONTRIBUTIONS"...

It’s no secret we here at Twitch love up-and-coming director Adam Wingard’s low-low-budget shocker Pop Skull.  On the eve of the release of his freshman feature, Home Sick, in a feature-laden special edition courtesy of Synapse (the disc streets August 26th, 2008), I had the opportunity to speak with Wingard about his work thus far and what fans can look forward to from him in the future.

Continue Reading "Interview with HOME SICK, POP SKULL director Adam Wingard"...

With the box office success of The Host and D-War in Korea, its no wonder that the creature feature genre has become all the rage.  Case in point, Polygon Entertainment has already two monster film line-up in production.  There is Sector 7, a science fiction action/adventure blockbuster currently in development.  Its about a crew of an oil rig battling deep-sea monsters.  The other is Chaw, an action adventure/thriller about a small village being terrorized by a man-eating, mutant boar.  Its directed by Shin Jeong-won (Sisily 2km) and stars Eom Tae-woong, Jang Hang-seon, Yoon Je-moon, Jeong Yu-mi and Pak Hyeok-kwon.  At a budget of 5 million US, the film requires a team of visual effects artist to create a fully CG generated giant boar.  Here’s an excerpt from the press release:

Hans Uhlig, Polygon’s founder and CEO, “Although we were able to use a practical, full-scale model of the creature for some of the effects shots, the majority of these shots required computer-generated imagery. We assembled our own team of highly skilled and experienced artists who created a fully CG creature, and their work is truly amazing. Be prepared to see some really incredible, and frightening visual effects!”

Uhlig, who also served as 2nd Unit Director, added, “As the majority of the film takes place in a rural setting, we were able to shoot most of the principal photography right here in northern California.”

Our first look at the stills of Chaw is available at Cine21.com.  There is no money shots of the boar unfortunately but there is a shot of Jang Hang-seon finding a victim of the Boar attack.  Ouch.  Polygon Entertainment & Soo Jack Films has wrapped up principal photography last month.  The release date is sometime in December.

I am shocked. Shocked I tell you, that no one here has yet told everyone about the second wave of announced titles at this year’s Fantastic Fest in Austin, Texas. Giddy-up Buckaroos cause this lineup is going to kick you stronger than an ornery bronco! ... ... ... okay… .... stopping with the cowboy lingo now… So what else have they added to their already stellar roster of films this year?

Chilean Superheroes? Check.
Autistic Thai Chicks Kicking Ass? Yes please.
The Muscles from Brussels? You had me at ‘the’.
Naked Lesbian Wiccan Frolicking? If there is a better type of frolicking I haven’t heard of it.

Hot damn, there is so much good stuff going on at this year’s fest. And word is there is still MORE room to fill. TWITCH will be in Drafthouse if full effect this year. I think I am going to overload my senses on the first day alone. The official press release, including titles and descriptions, is below the fold.

Continue Reading "Second wave of Fantastic Fest 2008 titles announced!"...

Long known for producing serious art-film Poland seems determined to shake their staid image with production house Vision leading the charge.  The outfit was responsible for the first Polish slasher film, Pora Mroku, earlier this year and know their poised to release a full on psycho-sexual thriller titled Unmoved Mover or Nieruchomy Poruszyciel.  Written and directed by Łukasz Barczyk this film, much like Pora Mroku, showcases a pretty compelling fusion of technical skills and Eastern European formality with a desire to go toe to toe with the west.  The trailer is a bit hyperactive in the editing and music but there’s some very compelling stuff in there.  Check it below the break.

Continue Reading "Poland Goes Psycho-Sexual In NIERUCHOMY PORUSZYCIEL (UNMOVED MOVER)"...

Per usual, this Twitch-o-Meter will remain at the top of the site for 24 hours.  New stories will appear below.

The seemingly never-ending stream of remakes continues rushing down Hollywood’s pike in the coming weeks – Paul W. S. Anderson’s Death Race (eviscerated by Todd here) and Alexandre Aja’s Mirrors premier in August, while September brings another tragic Nic Cage hairpiece to screens in Bangkok Dangerous.  When a film is judged as suitable remake fodder, it’s likely there was something to the original – maybe a kernel of transcendent storytelling or an exciting spin on something shopworn – which marked it as special.  That something tends to be lost in translation, but every so often a remake gets things right, parlaying what made the original special into something intriguing in its own right.  This ToM will look at a few remakes which do just that – managing a fresh take on revered material.

Continue Reading "Remakes Done Right"...

Kicking off the “Streets of No Return” series with a screening of Delmer Daves’s Dark Passage (1947), PFA curator Steve Seid outlined in his introductory remarks that hopefully—along with the series’ objective of spotlighting the work of a lesser-known pulp writer like David Goodis—would be an attempt to gain a sense (over the length of the series) of the concept of filmic adaptation of literary works; to finesse what’s left behind when novels are adapted, or what is included to make them screenworthy; and to determine if justice has been done to the writings of David Goodis.

Succinctly profiling that Goodis began writing in the late ‘30s, with a brief irreconcilable stint in Hollywood in the late ‘40s, Goodis parted ways with Hollywood to return to “a decrepit life” in his hometown Philadelphia until his death in the ‘60s.  Even while he was alive, however, non-Hollywood film directors began adapting his books and Seid boasted that all but three of those adaptations would be included in the series.

Continue Reading "Streets of No Return: DARK PASSAGE—Introductory Remarks By Steve Seid and Barry Gifford"...

A behind-the-scenes video for Mathieu Kassovitz’s upcoming sci-fi film Babylon AD with Vin Diesel and Michelle Yeoh has appear online at the official French site.  The video features some shots of the director at work from the various location, a little parkour sequence, a trainer demonstrating how to attack with guns and some big explosions.  Heres the official synopsis:

In BABYLON A.D., Vin Diesel stars as a mercenary hired to deliver a package from the ravages of post-apocalyptic Eastern Europe to a destination in the teeming megalopolis of New York City. The “package” is a mysterious young woman with a secret.

The US release date is on August 29th.  You’ll find the video on our Twitch player below after the break. 

Continue Reading "Behind the Scenes Video for Mathieu Kassovitz’ BABYLON AD"...

With the countless stories yet to be committed to film, what is it that draws Korean filmmakers time and time again to the same worn-out formulas and conventions? This and sundry other cosmological reflections are what passed through my mind as I patiently endured the two-hour running time of Na Hong-jin’s The Chaser, the thriller that held domestic audiences in thrall and is slated for a remake by Warner Brothers. However, anyone anticipating anything approaching the level of storytelling found in the Infernal Affairs franchise will be sorely disappointed. Halfway through viewing this outrageously mediocre piece of filmmaking, I had to press the “pause” button to ascertain whether the film I was watching was indeed the one that received so much critical acclaim, was invited to the Cannes Film Festival, and went on to take the prize for Best Film at the 45th Grand Bell Awards. Readers interested in learning how I really felt about this picture, read below the break.

Continue Reading "[Korean DVD Review] The Chaser (추격자)"...