Screened at the 65th Critics’ Week and featured in the Special Screenings section at this year’s Cannes Film Festival, Pierre Le Gall’s Flesh and Fuel is set within the often unseen world of European truck drivers. The film depicts the exhausting pace of life on the road and the emotional emptiness that can grow within…
79th Cannes Film Festival: “9 Temples to Heaven” Review
Thai cinema has always held a special place in Asian filmmaking, even if Western audiences overlooked it for many years. Early Thai films were often built around folklore, ghost stories, romance, and family drama, mixing spirituality with everyday life. During the 1970s and 1980s, Thai films were extremely popular in their domestic market, but internationally…
Tibetan Film Festival London Announces New Weekly Film Season with Kagyu Samye Dzong London
Tibet Film Festival London has announced a new Tibetan Film Season in partnership with Kagyu Samye Dzong London, bringing a month-long programme of screenings, discussions, and special guests to Bermondsey this spring. Running weekly from 21 May to 11 June, the series builds on the success of the festival’s 2025 edition, which ended with a…
“Perfect Crown” Review: A Coffee Table Drama
He’s everywhere. Perhaps not on quite as many shop windows and skincare advertisements in Seoul as Park Bo Gum, but pretty-faced actor Byeon Woo Seok is hardly avoidable in the metropolis. But can he live up to the powerhouse beside him in Perfect Crown? Multi-hyphenate and nation’s princess IU displays Seong Hui-ju as a strong-willed…
Empowering Models: Inside KMCAA’s Vision for Cultural Recognition – In Conversation with Chairwoman Lee Sun-jin
The Korea Model Culture and Arts Association is slowly changing how the modelling industry is understood in South Korea. Established as a non-profit organisation, its mission is to protect the rights of models, improve working conditions, and elevate their role within the wider cultural and artistic environment. The association positions models as cultural contributors who…
James An on “We Can Smile” and “Solitaire” – Exclusive Interview
James An is an artist who really understands the contradictions of modern life, especially how we present ourselves. His new release, We Can Smile, came from a moment of meeting fans in Hongdae (Seoul), which made him think about what’s real versus what’s performative. He doesn’t reject social media, but sees it clearly: even if…
28th Far East Film Festival: In Conversation with Giddens Ko (Director) and Kai Ko (Actor) of “Kung Fu”
The 2026 Far East Film Festival opened with a duo of films by directors who were accompanied by their long-time cinema muses; the first was Singaporean director Anthony Chen, who arrived in Udine with Yeo Yann Yann, the lead actress of the final film of his Growing Up trilogy, a drama, We Are All Strangers….
28th Far East Film Festival: In Conversation with Chung Ji-young, Director of “My Name”
Centered on the painful and long-silenced history of the Jeju April 3rd Incident, My Name becomes a way of looking back at what has been forgotten. In our interview with director Chung Ji-young, he talks about the emotional responsibility of dealing with a history that was suppressed for decades, and how he chose to approach…
28th Far East Film Festival: In Conversation with Herman Yau (Director) and Anson Kong (Actor) of “We’re Are Nothing At All”
Herman Yau’s filmmaking in We’re Nothing at All is driven by curiosity about how stories move between truth and structure. Fragments of a real case, a few mentions of a policeman and a gay couple found online, became, in his hands, a loose framework to build the story. Instead of making a film strictly based…
28th Far East Film Festival: “Ghost in the Cell” Review
In a prison in Indonesia, a mysterious ghost begins brutally killing inmates, arranging their mutilated bodies into elaborate art installations. Who is responsible, and who will be next? As fear spreads through the cell block, prisoners must now band together to stop the murders while trying to keep their heads on their shoulders. Such is…
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