Yoon Ga-eun has long been recognised for her work in capturing the emotional world of young people with rare honesty. From her early short films Guest (2011) and Sprout (2013) to her acclaimed features The World of Us and The House of Us, she has consistently explored childhood and the often complicated journey toward adulthood….
Category: Film events and festivals
28th Far East Film Festival: “Blades of the Guardians” Review
In Blades of the Guardians, director Yuen Woo-ping returns to the wuxia tradition with a film that emphasises the physical and moral foundations of the genre. Known internationally for influencing the style of cinematic combat – just look at The Matrix trilogy and Crouching Tiger, Hidden Dragon – Yuen treats the film as a way…
28th Far East Film Festival: “The Blood of Wolves” Review
Yakuza films, as a genre, have evolved exponentially since they first emerged in the silent movie era of the Japanese film industry. Initially depicted as sympathetic Robin Hood-like characters who were forced to live their lives as outlaws, it wasn’t until the 1970s that the violent, brutish image of Yakuza as we know it came…
28th Far East Film Festival: KOCCA on Screen with Yoo Yeon-seok in Attendance
A new “letter” is being added to the story of the 28th Far East Film Festival: K. K stands for Korea, and also for KOCCA – the Korea Creative Content Agency. One of the key highlights of this year’s edition is a new collaboration between the Udine-based festival and KOCCA, the South Korean government organisation…
50th Hong Kong International Film Festival: “The Black Cannon Incident” Review
The Hong Kong International Film Festival has celebrated its 50th anniversary this year. This year’s special programme, “Revisiting Chinese Cinema: The Beginning of a New Journey,” features a curated selection of Chinese-language films for which HKIFF served as a gateway to international recognition for both the films and their filmmakers. The 1980s were a golden…
50th Hong Kong International Film Festival: “We Are Nothing At All” Review
Between 2023 and 2025, Herman Yau churned out seven China–Hong Kong co-productions and mainland Chinese films, including large-scale, action-packed blockbusters like the gritty customs thriller Customs Frontline (2024) and the trilogy capper The White Storm 3: Heaven or Hell (2023). These films demonstrate Yau’s capacity to produce commercially satisfying spectacles with remarkable speed and energy,…
50th Hong Kong International Film Festival: “We Are All Strangers” Review
Celebrating its Golden Jubilee, the Hong Kong International Film Festival 2026 opened with Anthony Chen’s We Are All Strangers. Spending over ten years, Chen wrapped up the “Growing Up” Trilogy after Ilo Ilo (2013) and Wet Season (2019), with these films determined to reflect on the revolving cityscape of Singapore alongside the growth of the…
28th Far East Film Festival: Wim Wenders to Present Lifetime Award to Koji Yakusho in Udine
It begins with a friendship – and then, a film that has moved audiences around the world. On 25 April, Wim Wenders will be in Udine to personally present the Golden Mulberry Lifetime Achievement Award to his friend and Perfect Days star, Koji Yakusho, on the stage of the Teatro Nuovo “Giovanni da Udine.” Shot…
To Be Seen, Yet Unheard: Mahesh Menon Explores Family and Identity in “A Letter for Tomorrow” – Exclusive Interview
When the Indian filmmaker Mahesh Menon brought his moving short A Letter for Tomorrow to this year’s BFI Flare: London LGBTQIA+ Film Festival, I was truly taken aback by how wonderful the film was. Drawing from his own upbringing in a matriarchal household, Menon explores the complexity within families – particularly how love is often…
Far East Film Festival 28 Unveils 76-Film Programme, Opening with Anthony Chen’s “We Are All Strangers”
What began in the spring of 1998 as a bold and somewhat puzzling experiment has grown into one of Europe’s most important showcases of Asian cinema. When the Centro Espressioni Cinematografiche (CEC) in Udine shifted its focus from Italian retrospectives to a programme dedicated to Hong Kong films, few could have predicted the outcome. Yet…
VIEW OF THE ARTS 