On May 24, the 25th Bucheon International Film Festival announced the 40 official selections from 29 countries for this year’s Naff project market. The selections consist of 19 projects for It Project, 11 projects for Project Spotlight: Korea, 6 projects for Work in Progress, 2 projects for Nordic Genre Invasion, 1 project for Blood Window, and 1 project for Fantastic 7. Selected projects are listed in the table below.
A total of 202 projects from 40 countries were submitted for consideration for this year’s Naff project market. This represents a year-on-year increase of 8 countries and 21 projects. The judges for this year included Kim Donghyeon, Kim Huiyeon, Ellen Y.D. Kim, Mo Eunyoung, and Eom Yonghun. “There were many new and original projects, each captivating in their own way, that were about personal inner conflict, social irregularities, or were complex projects that merged several genres at once,” explained judge Kim Huiyeon. “I’m looking forward to everyone overcoming these difficult pandemic times,...
A total of 202 projects from 40 countries were submitted for consideration for this year’s Naff project market. This represents a year-on-year increase of 8 countries and 21 projects. The judges for this year included Kim Donghyeon, Kim Huiyeon, Ellen Y.D. Kim, Mo Eunyoung, and Eom Yonghun. “There were many new and original projects, each captivating in their own way, that were about personal inner conflict, social irregularities, or were complex projects that merged several genres at once,” explained judge Kim Huiyeon. “I’m looking forward to everyone overcoming these difficult pandemic times,...
- 5/25/2021
- by Grace Han
- AsianMoviePulse
Key practitioners working across Southeast Asia and beyond unpacked the various processes and benefits that go into the creation of short films at the Singapore International Film Festival, part of the overarching Singapore Media Festival.
Filmmaker Kan Lume, whose 2012 short “Libertas” won the Netpac Award at the Tripoli Film Festival, described the process of how he was commissioned and executed projects from the German Embassy in Singapore, Asian Film Archive and National Gallery Singapore.
Sangchul Lee is the chief operating officer of C47 Investment, a primarily Korean outfit that is now also operating in Southeast Asia, having just launched a short film distribution grant for filmmakers in the region in partnership with Singapore’s Momo Film. C47 also commissions shorts.
“When there’s a talented filmmaker that we really want to work with and build a relationship maybe as an investment to that person and that person’s potential future project,...
Filmmaker Kan Lume, whose 2012 short “Libertas” won the Netpac Award at the Tripoli Film Festival, described the process of how he was commissioned and executed projects from the German Embassy in Singapore, Asian Film Archive and National Gallery Singapore.
Sangchul Lee is the chief operating officer of C47 Investment, a primarily Korean outfit that is now also operating in Southeast Asia, having just launched a short film distribution grant for filmmakers in the region in partnership with Singapore’s Momo Film. C47 also commissions shorts.
“When there’s a talented filmmaker that we really want to work with and build a relationship maybe as an investment to that person and that person’s potential future project,...
- 12/6/2020
- by Naman Ramachandran
- Variety Film + TV
A panel of experts discussed the state of production in the latest ScreenDaily Talks session.
Even as physical borders face travel restrictions, Asian film professionals are confident that co-productions can flourish in the region.
Liza Diño-Seguerra, chairman and chief executive officer of the Film Development Council of the Philippines (Fdcp), said, “Something I see now is the regional cooperation happening among Southeast Asian countries and among Asian countries and I hope that this continues.”
She was speaking on the latest ScreenDaily Talk today, sponsored by the Fdcp, which examined film production restarting in Asia during the pandemic, as well as...
Even as physical borders face travel restrictions, Asian film professionals are confident that co-productions can flourish in the region.
Liza Diño-Seguerra, chairman and chief executive officer of the Film Development Council of the Philippines (Fdcp), said, “Something I see now is the regional cooperation happening among Southeast Asian countries and among Asian countries and I hope that this continues.”
She was speaking on the latest ScreenDaily Talk today, sponsored by the Fdcp, which examined film production restarting in Asia during the pandemic, as well as...
- 10/26/2020
- by Wendy Mitchell
- ScreenDaily
The webinar takes place today at 9am UK time (6pm Busan time).
The latest in our ScreenDaily Talks live Q&a series will take place on Monday October 26 at 9am UK time (6pm Busan time) and will explore how filmmaking is safely restarting in Asia. This instalment of ScreenDaily Talks is sponsored by the Film Development Council of the Philippines.
Click here to register
Experts from across Asia will discuss safe shooting protocols in different territories, and also how producers are nimbly re-imagining location shooting and the refinancing of films. We also look ahead to the 2021 production pipeline, including trends...
The latest in our ScreenDaily Talks live Q&a series will take place on Monday October 26 at 9am UK time (6pm Busan time) and will explore how filmmaking is safely restarting in Asia. This instalment of ScreenDaily Talks is sponsored by the Film Development Council of the Philippines.
Click here to register
Experts from across Asia will discuss safe shooting protocols in different territories, and also how producers are nimbly re-imagining location shooting and the refinancing of films. We also look ahead to the 2021 production pipeline, including trends...
- 10/26/2020
- by Screen staff
- ScreenDaily
Exclusive: Gravitas Ventures has picked up U.S. distribution on Bradley Liew’s horror movie Motel Acacia after striking a deal with Berlin-based sales agent Picture Tree International.
The English-language film is a co-production between five Asian nations – Philippines, Malaysia, Singapore, Indonesia, Taiwan (with Slovenia). It follows a young Filipino man who is groomed by his tyrannical Caucasian father to take over Motel Acacia, which is tasked with exterminating immigrants by the government.
Liew also wrote the screenplay with Bianca Balbuena and the pair produced.
The movie premiered in Tokyo International Film Festival’s Asian Competition last year and is set for its European premiere at Brussels Fantastic Fest in April.
Gravitas has committed to giving it some theatrical play.
The English-language film is a co-production between five Asian nations – Philippines, Malaysia, Singapore, Indonesia, Taiwan (with Slovenia). It follows a young Filipino man who is groomed by his tyrannical Caucasian father to take over Motel Acacia, which is tasked with exterminating immigrants by the government.
Liew also wrote the screenplay with Bianca Balbuena and the pair produced.
The movie premiered in Tokyo International Film Festival’s Asian Competition last year and is set for its European premiere at Brussels Fantastic Fest in April.
Gravitas has committed to giving it some theatrical play.
- 2/21/2020
- by Tom Grater
- Deadline Film + TV
“Motel Acacia” takes place in America, but not any version of America that Americans will recognize. “Re-elect Roberts!” announces a garish campaign billboard bearing the face of a generic white politician. “We are great again!” Well, it’s easy to guess who that’s referring to and to extrapolate what alternate reality “Motel Acacia” has in mind. This is America as seen from abroad, America as a scary place where ugly white racists don’t just build walls to keep undocumented aliens out; they sacrifice oblivious immigrants to a menacing tree demon.
A what? Tree demons aren’t really a thing in the United States, but they’re a fertile part of Filipino folklore, and given that “Motel Acacia” is actually an Asian co-production from Philippines-based director Bradley Liew (“Singing in Graveyards”), that explains how such a monster would find its way into a movie set in the Northern U.
A what? Tree demons aren’t really a thing in the United States, but they’re a fertile part of Filipino folklore, and given that “Motel Acacia” is actually an Asian co-production from Philippines-based director Bradley Liew (“Singing in Graveyards”), that explains how such a monster would find its way into a movie set in the Northern U.
- 11/9/2019
- by Peter Debruge
- Variety Film + TV
After a rocky few years, cinema from the Philippines is once again bristling with energy and innovation. International interest is rising, and the Tokyo International Film Festival’s 2019 selection reflects some of that. The recent launch of two incentive schemes by the Philippines government may help the country’s production become more international.
The Tokyo festival this year includes a total of eight films and TV episodes from the Philippines across its different sections: “Mananita” in the main competition section; Brillante Mendoza’s “Mindanao” and Erik Matti’s erotic drama “Food Lore Series—Island of Dreams,” in the World Focus section; and Bradley Liew’s “Motel Acacia” in the Asian Focus category.
Philippines films also dominate Tokyo’s Crosscut Asia sidebar, which this year focuses on Southeast Asian fantasy and genre titles: Lav Diaz’ “The Halt,” Antoinette Jadaone’s “Six Degrees of Separation from Lilia Cuntapay,” Matti’s “The Entity...
The Tokyo festival this year includes a total of eight films and TV episodes from the Philippines across its different sections: “Mananita” in the main competition section; Brillante Mendoza’s “Mindanao” and Erik Matti’s erotic drama “Food Lore Series—Island of Dreams,” in the World Focus section; and Bradley Liew’s “Motel Acacia” in the Asian Focus category.
Philippines films also dominate Tokyo’s Crosscut Asia sidebar, which this year focuses on Southeast Asian fantasy and genre titles: Lav Diaz’ “The Halt,” Antoinette Jadaone’s “Six Degrees of Separation from Lilia Cuntapay,” Matti’s “The Entity...
- 10/28/2019
- by Patrick Frater
- Variety Film + TV
Leading independent producers from Asia and Europe showed the complicated routes taken in making indie films that are co-produced between the two regions.
They were gathered on Monday at Platform Busan, the Busan International Film Festival’s venue for sharing experiences.
Raymond Phathanavirangoon, a Bangkok-based producer and co-founder of the Seafic script lab, took the audience on the myriad paths taken by 2016 multi-country co-production “Apprentice,” by Singapore’s Boo Junfeng, that he co-wrote and co-produced.
The project was introduced in 2012 at the Rotterdam CineMart, then benefited from the Busan Asian Cinema Script Development Fund and Singapore’s Media Development Authority Development Fund before going to the Jerusalem Script Lab the same year. In 2013, the project received funding from Germany’s Film – und Medienstiftung Nrw and France’s Aide aux Cinemas du Monde.
In 2014, Germany’s Zdf Das Kleine Fernsehspiel did a pre-buy. The same year “Apprentice” received a Singapore Media Development Authority Production Grant.
They were gathered on Monday at Platform Busan, the Busan International Film Festival’s venue for sharing experiences.
Raymond Phathanavirangoon, a Bangkok-based producer and co-founder of the Seafic script lab, took the audience on the myriad paths taken by 2016 multi-country co-production “Apprentice,” by Singapore’s Boo Junfeng, that he co-wrote and co-produced.
The project was introduced in 2012 at the Rotterdam CineMart, then benefited from the Busan Asian Cinema Script Development Fund and Singapore’s Media Development Authority Development Fund before going to the Jerusalem Script Lab the same year. In 2013, the project received funding from Germany’s Film – und Medienstiftung Nrw and France’s Aide aux Cinemas du Monde.
In 2014, Germany’s Zdf Das Kleine Fernsehspiel did a pre-buy. The same year “Apprentice” received a Singapore Media Development Authority Production Grant.
- 10/7/2019
- by Naman Ramachandran
- Variety Film + TV
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