Director – Benny Chan – 2021 – Hong Kong – Cert.15 – 126m
A cop comes up against his former disillusioned protégé who is now the mastermind behind a criminal gang – in cinemas from Friday, November 12th
A big deal is about to go down. Uber-honest cop Cheung Sung-bong (Donnie Yen) heads a unit constantly in trouble with his superiors owing to his refusal to take pay offs and play their corruption game. They consequently repeatedly block him from accessing supplies and equipment he and his men need to properly do their job. This has gone on for years, with officers cracking under the inevitable strain from time to time. One such is his protégé Yau Kong-ngo (Nicholas Tse), booted off the force for beating a suspect to death. Cheung has kept in touch with him in the interim.
The night of the big deal, Cheung is denied his team’s required equipment and consequently arrives late to the scene of the incident. The absence of Cheung’s expertise on site causes a fellow police colleague to be killed along with various gang members. Unbeknownst to Cheung, the second gang involved in the deal – which double-crosses the first – is headed up by the disillusioned Yau.… Read the rest
Director – Kim Ki-young – 1971 – South Korea – Cert. 18 – 98m
A married couple’s housemaid seduces the husband, ensnaring him in a love triangle from which there is no escape – 4K Restoration played at the London East Asia Film Festival (LEAFF) (European Premiere) and screens again 6.30 at the ICA on Friday, November 5thbook here as part of a strand dedicated to actress Youn Yuh-jung(Best Supporting Actress, Minari) at the London Korean Film Festival (LKFF) which runs from Thursday, November 4th to Friday, November 19th
Kim Ki-young is probably better known for his breakthrough film The Housemaid (1960) than any other title. Not only did the film establish him as a maker of dark films about twisted relationships, it also inaugurated something of his trademark style. While a real watershed in Korean cinema generally and Kim’s career in particular, the material was something he felt he could do a lot more with: he remade it directly not once but twice as Woman Of Fire (1971) and Woman Of Fire ‘82 (1982). Where the highly effective original was shot in both black and white and the old 4:3 Academy format, the two remakes like many of his later films were both colour and scope, and made full use of both, giving them additional qualities lacking in the original.… Read the rest
An introduction to the films of Korea’s late and, lamentably, largely unknown director Kim Ki‑young – originally published in Manga Max, Number 8, July 1999. Reprinted here to coincide with London East Asia Film Festival (LEAFF)’s screening of Woman Of Fire (1971) on Friday, October 29th. If you missed it, the restoration screens again on Friday, November 5th as part of a strand dedicated to actress Youn Yuh-jung at London Korean Film Festival (LKFF) which runs from Thursday, November 4th to Friday, November 19th
It seems unthinkable that the world could have failed to recognise a director whose 2.35:1 widescreen visuals compare favourably with Seijun Suzuki and John Boorman and whose marriage of technique with subject matter is as terrifying as anything by Dario Argento or Alfred Hitchcock. Nevertheless, when 1997’s Pusan International Film Festival (PIFF) ran a retrospective season of films by Kim Ki-young (the first of a proposed series of annual events showcasing Korean directors) it quickly became clear to astonished audiences that the unthinkable had indeed happened. Sadly, on February 4th 1998 – within six months of his new-found international acclaim – Kim and his wife died in a fire in Korean capital Seoul.… Read the rest
A woman unexpectedly finds she’s both missed Valentine’s Day and become mysteriously sunburned – charming and hilarious comedy from the London East Asia Film Festival (LEAFF), on now
A woman enter a police station to report an incident. She went to bed and woke up, but and somehow skipped a day. Also, she is mysteriously sunburned. Does it really matter?, asks the somewhat baffled officer. From her demeanour, it clearly does.
Yang Hsaio-chi (Patty Lee Pei-yu) has always lived life that little bit ahead, that little bit faster than anybody else. One day, she runs into her dad as he’s on his way out to buy some tofu pudding, and she talks him into buying one for her too. It’s the last time she or any of her family see him. He just vanished.
Hsaio-chi works at a post office counter. She and her colleague are familiar with the different types of customer. There are the wife hunters, mothers who bring their sons in so they can eye up the marriage potential. There’s the weird guy who turns up like clockwork at about the same time every day to post a letter to the same P.O.… Read the rest
An urban street kid works as a lottery runner to survive while a slightly older boy attempts to steal his turf – from the London East Asia Film Festival (LEAFF), on now
Spending his nights alone in his slum rooftop shack under the stars shooting tin cans with a catapult, young teenager Ròm (Tran Ahn Khoa) must live by his wits. The tenants of his block, like all the city’s residents, are obsessed with the lottery, the only chance any of them have of getting out of poverty. He spends his days going around collecting bets, racing to place them with the bookies on time then racing back equally fast to deliver the results as soon as they’re announced.
If the numbers win, people collect their money and he’s a local hero. If they don’t his customers may beat him up. It’s a challenging and desperate lifestyle, right down at the bottom of the social pile, yet a part of him seems to thrive on it, almost like some indescribable, youthful affirmation of life.
In the course of trying to impress the local, pool playing gangster, older homeless teeenager Phúc (Nguyen Phuc Anh Tu) – who took his name from a Westerner he worked for some time back who used a simiar sounding word a lot – attempts to muscle in on Ròm’s customers and turf.… Read the rest
Director – Min Kyu-dong – 2020 – South Korea – Cert. 12a – 108m
Just how capable are caregiver androids of looking after their terminally ill patients? – thought-provoking science fiction from the London East Asia Film Festival (LEAFF), on now
In a vast, multi-storey building complex, end of life patients are attended by Caregivers, lifelike female androids programmed to perform all the necessary tasks of palliative care, their faces modelled after their purchaser. Manufactured by the German TRS Corporation, they come in a variety of models, including an entry-level type with only basic functions and a more advanced models which can cope better with patients’ needs.
One patient is surrounded by Christian friends of his wife loudly singing praise and worship songs, to the annoyance of those living in nearby units. Adherents of the Christian religion play quite a significant part in the narrative, with nun Sister Sabina (Ye Soo-jung) going round putting stickers wherever she can in these complexes inviting people to phone her if they want to pray.
They might well want to take up her offer. A lot of the patients’ relatives / carers could do with some sort of assistance. Mrs. Choi (Yum Hye-ran from Default, Choi Kook-hee, 2018; Memories Of Murder, Bong Joon Ho, 2003) has sold the family home to pay for a Caregiver (also Yum Hye-ran) for her dementia-stricken husband (Yoon Kyung-ho from Okja, Bong Joon Ho, 2017).… Read the rest
Director – Benny Chan – 1990 – Hong Kong – Cert.18 – 92m
When a biker and gang member on the lam from a jewel heist takes a well-to-do girl hostage then falls for her, their romance is doomed – from the London East Asia Film Festival (LEAFF), on now
Gang member Wah (Andy Lau) is the archetypal bad boy who, in the opening sequence, speeds through a narrow gap between two lorries and wilfully breaks a wing mirror on a stationary police vehicle as he rides past. Director Chan keeps up the mayhem with a sequence of two competing lorries on a makeshift racing circuit, each with a pretty girl standing on top – until one of them crashes into a stationery car sending the falling girl through its windscreen and scattering the onlookers as the police approach.
Ascendant gang member Trumpet seems to have it in for Wah and puts him on getaway car duty for a jewel heist. Wah must improvise when cops happen by chance to turn up outside the building while the crime is in progress and during the ensuing pursuit by car, in which he gets the robbers successfully away from the scene, and on foot, his only way of escaping the cops is to take an innocent bystander hostage.… Read the rest