Left-Handed Girl is one of those films that makes your heart ache and smile at the same time. In her stunning solo debut, Taiwanese filmmaker Shih-Ching Tsou tells the story of a family who, in the face of struggle, confront painful secrets yet ultimately rediscover what matters most: their love for one another. Following a…
Tag: BFI London Film Festival
69th BFI London Film Festival: “ChaO” Review
From the endlessly imaginative Japanese studio STUDIO 4°C comes ChaO, a stunning animated feature that marries slapstick comedy with sweet romance, all told through a burst of colour and hand-drawn beauty that feels almost radical in today’s digital-first era. Director Yasuhiro Aoki, making his feature debut, draws on decades of experience in character animation to…
BFI London Film Festival 2025: A Strong Year for Asian Cinema
The 2025 BFI London Film Festival has announced a particularly rich programme, one that emphasising its role as a global event for daring, ambitious as well as diverse cinema. Among the many highlights, Park Chan-wook’s No Other Choice is probably one of the year’s most anticipated Gala selections. The darkly comic thriller follows a desperate…
“My life had been leading me down a path designed to help me become the actor I am today.” – In Conversation with Jung Ryeo-won
Jung Ryeo-won never really thought of becoming an actress, but fate had other ideas. Korean-Australian Ryeo-won spent her teenage years in Australia, where she graduated from Griffith University with a major in International Business. One day, while visiting Korea, she was picked by a talent agent and relatively quickly became a part of a K-pop…
“I had such good help on this project. I feel incredibly blessed.” – In Conversation with Christine Ko, Director of “The Woman in the White Car”
Although there has been some visible progress over the past few years, female filmmakers still remain largely unseen either in front of the camera or behind it. While pushing through a world that is dominated by men, female filmmakers have shown that there are still countless stories to tell, stories that the opposite gender might…
66th BFI London Film Festival: “The Woman in the White Car” Review
In a small Korean town, a police officer, Kim Hyun-ju (Lee Jeong-eun: Parasite, Hommage), alongside her partner, are called to a hospital to check on two sisters with one being severely injured and unconscious. We quickly learn that one of the siblings is called Do-kyung (Jung Ryeowon: Castaway on the Moon, Wok of Love, Gate),…
“My Films Are Never About the Past but They Are About the Way the Past Is Connected to the Present.” – In Conversation with Sergei Loznitsa, Director of “Babi Yar. Context”
Sergei Loznitsa, a Ukrainian filmmaker, has always been a regular at the Cannes Film Festival. He might not have been a frequent guest at BFI London Film Festival, however, whenever he attends the event, you know you will always be in for a treat with his new work. Sergei has been making films since 1996…
In Conversation with Lyle Mitchell Corbine Jr., Director of “Wild Indian”
While the world is consumed by greed, hate and other unnecessary things, those who deserve attention are passing almost unnoticed, including Native Americans. They are often invisible, and so is their suffering. In the United States of America, one of the richest countries in the world, Native Americans have suffered, well, since the day colonists…
65th BFI London Film Festival: “Ride the Wave” Review
Premiering at the London Film Festival this year, Martyn Robertson’s Ride the Wave follows the life of a 14-year-old surfer, Ben Larg. Hailing from the Island of Tiree in Scotland, at such a young age Ben has already grown a strong love for water sports and a passion to make it in life as a…
65th BFI London Film Festival: “Titane” Review
So much of the discussion around Titane has centered on a handful of extreme moments, that it’s easy to have a false impression about Julia Ducournau’s much heralded sophomore feature from the outside. The film is being talked about in many quarters as a mere extension of the Cronenbergian body horror of her debut, pushing…
VIEW OF THE ARTS 