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Lao Tang Tou was born in Heilongjiang Province in 1930. His father, Tang Shirong, had saved the life of Zhao Shangzhi of the Northeast Anti-Japanese Allied Forces during the period of the Puppet Manchukuo, so he was very prestigious in the village. There are five brothers in the old Tang family, according to the family tree of “benevolence, righteousness, courtesy, wisdom, faith” in the order of elders and children, he walks five, his real name is Tang Xixin.Read More »
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Dan Mitsu stars as Kana, a female employee at a publishing company who strikes up a sexual relationship with a younger co-worker (Mayama Akihiro). He soon discovers that Kana’s fetishes extend to sadomasochistic tendencies, involving a mysterious man only known as “Sensei” (Itao Itsuji). This discovery will push his relationship with Kana to a new, dangerous level that he may not be ready for.
Be My Slave, an edgy erotic drama is based on a popular novel about the secret fetishes of urbanites.Read More »
Diane Wellington disappeared in South Dakota in 1938 at the age of 15. She has just be found.Read More »
Director Mohanad Yaqubi draws on recently-discovered and archival found footage to explore the tumultuous history of Palestine and Palestinian filmmaking in this timely and insightful documentary.Read More »
In their debut documentary Christine Molloy and Joe Lawlor take as their point of departure the compelling 18th Century figure, Ambrose O’Higgins – father of Bernardo O’Higgins, the first leader of Independent Chile – and attempt to retrace his remarkable journey from Ireland to Chile. Having long dreamt of making a biopic of O’Higgins, this wayward and wry documentary is the filmmakers’ attempt to realise this dream through a personal voyage into the idea of the cinematic location. However, as they speculate on the idea of place and what O’Higgins embodies, the filmmakers continually get sidetracked by a competing story of immigration and displacement. A story that began with a newspaper cutting from 1937, concerning an 11 month old baby who travelled unaccompanied, by ship, across the Atlantic from New York to Cobh. Gradually, and not without humour, these intertwining narratives uncover ideas about the transformative powers of travelling, as looked at through the peculiar prism of the Irish experience.Read More »
The bond between a father and a daughter is imperiled by matters that go unspoken and hurts that are slow to heal.Read More »
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There’s a scene in “Greener Grass,” written and directed by Jocelyn DeBoer and Dawn Luebbe (who also co-star), where four families in golf carts sit at a four-way intersection. Everyone gestures at everybody else: “You go,” “Oh, no, you go, I insist…” And so they sit at the intersection forever, smiles frozen on their faces, in a standoff of psychotic politeness. If you’re at a four-way intersection, someone has to go first, someone has to allow themselves to be waved on through. In “Greener Grass,” nobody dares.Read More »
Three decades after their separation, Irina and Nana remain mesmerized by memories of earlier days, but when Irina returns to the small community she left to reconcile with the past and their complex feelings.Read More »
The conceptual rigidity of Adamczewski’s film recalls the formal experiments of structural film in the 1970s. The care with which the film-maker handles her material has become rare in the digital age and for this reason deserves special attention. The tight cinematic framework into which Adamczewski forces the vigour of her research makes this film an extremely intense experience. It is the product of a generation determined to resist the right-wing movement in German society.Read More »