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Sinophiles Rejoice! Another Hit! #JapanCuts2017 MY DAD AND MR ITO

Thanks, Tanimaru!


Remembering ONE MILLION YEN GIRL which was a wonderfully entertaining movie, I guess I was expecting a bit more screw ball antics with this movie. How surprised I was to see another well crafted picture that speaks so much about aging in Japan, family responsibilities and the complicated relationship between a very traditional Japanese father and his daughter. The cast all shine and even a cameo by a notorious aunt is delightful. Simply lensed and composed, we follow as the father haplessly moves from his son’s home to the daughter’s apartment that she shares with Mr. Ito. He is 54 and she is 34, so this kind of “living in sin” disturbs the father and prompts their early sparing. It all reaches a crescendo as the father seeking a place to call his own decides to return to the family house outside the city only to have a freak storm burn down a favorite persimmon tree (memory of his wife) and as a branch breaks off, the entire house itself. All ends as the father decides to join seniors in a home, and carrying a single bag, he heads for the train and his final stage of life. As he departs, Aya has the urge to pursue him and complete some unfinished business between father and daughter.

Lily Franky has to be complimented for his true and steady performance. He anchors the movie and, when he is not on screen, you feel it. Aya  felt a bit one note to me. Forever pouting or complaining, the smile on her face as she pursued her Dad revealed some aspects of her performance we wished we could have seen earlier.


July 23, 2017 Posted by | ART, BUSINESS, CULTURE, FILM, Uncategorized, We Recommend | , , , , , | Leave a comment

ilm/Festivals SUMMER LIGHTS is a HIT! #JapanCuts2017

Another Tanimaru RAVE!


The opening 20 minutes of just the first person account of the day the bomb was dropped on Hiroshima is gripping. Recounting the bombing and caring for her dying sister in the days that followed. The interview completed, in the park the director meets a young woman from Hiroshima. With the sounds of the summer insects accompanying them, she tells him more about the tragedy of Hiroshima. The film has a documentary feel as they walk the busy streets seeking a okonomiaki restaurant for lunch. She is persuasive as they navigate to find a place to eat but she is clearly leading the way with a passion for things that are old. Finding the right place, they are treated to a history lesson from the owner and it sets the woman into a new pensive mood. Suddenly she grabs his hand and they run to catch a train to the seaside. It is there while meeting a young boy and his granddad that she reveals her name – Takeda Michiko, the same name as the sister of the interviewee. They decide to join the granddad and grandson for dinner – somehow meeting his crew has been forgotten. Akihiro has joined an alternate reality on the day Obon is celebrated, the festival for the ancestors. It turns out that Michiko is a ghost – the sister who passed away. The fable ends as Akihiro explains it all to the little boy. 


Even though the dialogue is a bit stiff and on the nose at times, it is good to see that the film was included, even though the director was not Asian. Like DAGUERROTYPE, the creative work is showcased regardless of ethnicity or nationality. Kudos to “Japan Cuts” for pushing the envelope for the second time in the festival

July 23, 2017 Posted by | CULTURE, ENTREPRENEURS, FILM, Uncategorized, We Recommend | , , , , | Leave a comment

Film/Festivals -Review WEST NORTH WEST #JapanCuts2017

Another gifted review from Tanimaru

It starts with a typical and embarrassing scene at Immigration in Japan. A young Iranian woman clearly has issues that need to be dealt with. She later finds herself in a coffee shop and notices another woman crying alone at a table. The Iranian woman’s phone rings and it is clearly someone from home. Excited and distraught she speaks too loudly and customers leave. The woman crying in the corner comes to sit with her and their conversation becomes so loud more customers complain. They leave and the crying woman offers the Iranian woman a ride home – and she declines at first but later accepts. So begins WEST NORTH WEST.

The Iranian woman needs a friend, Kei becomes her friend, but Kei’s lover is jealous. The Iranian woman finds it hard to accept Kei’s lifestyle, so with her nameless bird she contemplates a life staying in Japan.
What makes the film so beautiful are the silences. the performers soak up the atmosphere in each scene and they are so present with each other. Behavior substitutes for dialogue. The cinematography enhances this wide masters, simple and subtle camera moves allowing life to happen in the frame. A simple Iranian meal with yogurt Iranian style prepared by Naima allows them to bond. Naima shares food and Kei returns the favor with applying makeup followed with a night where Kei works as a bartender. They dance in wild abandon, observed by Ai, Kei’s lover. Ai becomes ill and needs surgery and for the first time, Ai’s mother realizes that “Kei” is not a man. It is a disturbing encounter for Kei. When Ai is released from the hospital she silently confronts Naima, telling her to never see Kei again And then Ai seeks out Kei finding her where she swims, but Kei dismisses her. They later hook up but Kei is ready to break up. Ai warns Kei that Naima is “not like us” – but what does “us” mean? Baro tries to sing at the bar where Kei works and does poorly. Some customers insult her and this is too much for Kei who attacks one of the men. He retaliates brutally. Baro dresses her wounds prompting Kei to try to kiss her, but Naima declines.
So many scenes play out in real time including a ride on a Tokyo bus that was clearly captured without anyone knowing. Kei and Ai find their way back to each other and Naima graduates. Before Naima departs for Iran, they meet one last time at the bar. It is bittersweet – but they both have closure. This is a unique and wonderful film. Please have patience to fully enjoy it.




July 21, 2017 Posted by | ART, CULTURE, FILM, Uncategorized, We Recommend | , , , , , , | Leave a comment

FILM/ Festivals – Reviews #NYAFF2017

More from Tanimaru!


Tokyo Sky

Shinji and Mika are two young people trying to make their way in Tokyo. He is a day laborer blind in one eye and she is a girl from “inaka” the countryside with a dysfunctional past. One of Shinji’s friends dies while on the job and at his funeral Mika and Shinji begin a relationship – a relationship that is slow and careful as the world around them changes with death and people moving on. Both actors charm you as they manage the dog eat dog world of Tokyo. There is a street singer appearing throughout the film and they suppose another loser in Tokyo, but in the end, her face appears on the side of a van advertizing her first EP.

Aside from a couple of places where animation suddenly appears, the claustrophobia and busy world of Tokyo is accurately rendered. The narration is a bit on the nose in places and one might wonder if it is really necessary because the visuals do a very good job of telling the story of what it is like living for the city and trying to find love and companionship.
I have followed the work of Masatoshi Nagase since his first films with Argo Project more than 25 years ago. Nagase is a veteran now, a true leading man with the gravitas fitting Japan’s most famous actors. His sensitive performance in AHN still stays with me. Here in HAPPINESS he is guided by Sabu, whose film CHASUKE’S JOURNEY was a cinematic tour de force in last year’s NYAFF. Nagase plays a man who arrives in a small town with a happiness helmet and when the residents put it on, they see they most treasured memories. But there is a dark side, that will soon emerge for Nagase’s character and it is here where the film take a turn into a kind of madness. Nagase is stoic throughout. A carefully measured performance of depth. HAPPINESS is not happiness at a certain point in the film, but the journey leading to happiness, for the patient, is worth taking.
Aroused By Gymnopedes
Since this is a Nikkatsu film, it is easy to understand why just about every 10 minutes there is a sex scene, but what is so strange is the lack of a coherent story to wrap around the frequent trysts in the movie. Furuya is a has been director. Washed up, hasn’t made a film in about a decade and in the midst of a possible come back, his lead actress quits. Thus begins a series of wanderings as Furuya beds numerous women including his student and finally a nurse at the hospital where is wife lies in a coma. There is also a horny neighbor who tries to seduce him from the start. The music of Erik Satie seems to be the cue for the sex business to start with whomever is in close quarters to Furuya but this one trick pony runs out of steam pretty early in the film. The composition “Gymnopies” by Satie was played by Furuya’s wife and clearly it was her tool to arouse him – a tune that obviously continues to play in his head with every woman he encounters.
Dawn Of The Felines
DAWN OF THE FELINES is a romp. A look at the lives of young ladies in Tokyo trying to make ends meet via sex for sale agencies. Masako is the lead lady who has a on and off relationship with a client. There is another who is clearly a single mom trying to manage child care while she turns tricks and finally Rie, who is married but unknown to her husband is also having sex for money. The film is clever shooting on the streets of Tokyo in a wonderful guerilla style. The actors are not shy about showing the underbelly of sex life in Tokyo – a world that is pretty much out of the view for a foreigner. So with some laughs and sad moments, the reality of life in Tokyo is revealed. Don’t point a finger at these ladies – they know full well what they are doing.
Totally retro in design and execution, DEALER/HEALER is an homage to the early films of Chinese gangsters and the ladies who love them. “Cheater Hua” is the archetype of the gangster who is reformed and proceeds to get the members of his inner circle to do the same. My only criticism is the overly used soundtrack that is way to on the nose. This may also be a homage but in some ways it seems to take away from storytelling, but if you like this genre, DEALER/HEALER will please
Is an elegant thriller. A fine performance by Ken Watanabe. We have missed this subtile but powerful work in a small film. He reaffirms his status and stardom. The rest of the cast is also effective and committed. The intertwining stories don’t really connect, so re-reading the synopsis for RAGE – I wanted to have a frame for these comments. Each of the three stories is so compelling I keep wondering why “rage” became the title? There is clearly rage in the Okinawan story, even though it subverts geography to place a American GI drinking area next door to Naha’s main market – the real distance is at least a 30 minute drive and this is important because this is the inciting incident of the this story. I was moved, entertained and I was engaged in the firm and confident structure of the film but at the end I kind of wished that one of the stories had been the focus of the film.

July 14, 2017 Posted by | ART, avant-garde, CULTURE, FILM, Uncategorized, We Recommend | , , , , , , , | Leave a comment

Film / Festivals / Review SOMEONE TO TALK TO — #NYAFF2017

Another Excellent Revie from our own Tanimaru.


Right from the start, it is too good to be true, after viewing one couple who want to divorce, Angio and Lina proudly submit their papers for marriage. Fast forward 10 years and now with a daughter, they are falling apart. Angio’s sister plants the seed that Lina is cheating. Lush in visuals (you can almost taste the food of a restaurant) SOMEONE TO TALK TO pulls you into a world of infidelity, pursuit and murderous plans. The sense of China as mix of traditional and contemporary is both fascinating and tragic as the marriage falls apart and other adulterer goes back to his partner. Angio refuses to divorce Lina so she runs away with her lover, leaving her daughter and her life behind to be cared for by her sister in law and a new husband, as Angio travels north pretending to look for them. He meets an old high school friend, recently divorced, who shares with him – “Life is in the Future, not the past”. Angio leaves abruptly as his daughter falls ill. When she finally wakes up, he goes out to buy her wontons and at the station, meets Lina, still on the run. Considering first to kill them both, he abandons his plan now ready to divorce her and move into the future.

Everyone in the movie talks about wanting “someone to talk to”. Relationships have fallen apart because people do no communicate. SOMEONE TO TALK TO is sensitive and full of life – ordinary people seeking someone to talk to.

July 10, 2017 Posted by | CULTURE, FILM, Uncategorized, We Recommend | , , , , , , , , , | Leave a comment

Film/Festivals – NY Asian Film Festival Review — SOUL MATE

An EXCELLENT Recommendation foe tonight’s #FSLC/#SubwayCinema screening!



Derek Tsang’s SOUL MATE is a wonderful film. The performances by the lead actresses playing July and Ansen are marvelous and capture you right from the start. The screenplay is smart and loaded with excitement and twists to the very end. Above all, it is a film about the power of love and friendship that endures and endures. Don’t miss it!

July 7, 2017 Posted by | ART, CULTURE, FILM, Uncategorized, We Recommend | , , , , , , , | Leave a comment

#FSLC announces Scary Movies X, July 14-20 *nyc



The Film Society of Lincoln Center presents Scary Movies X, the eagerly awaited return of New York’s top horror festival, July 14-20.

Scary Movies X brings the genre’s best from around the globe to FSLC, featuring an exhilarating week of terrifying and gruesome shockers, a host of hair-raising premieres and rediscoveries, and guest appearances and giveaways.

Opening Night is the New York Premiere of Damien Leone’s aptly named Terrifier, the follow-up to his earlier All Hallow’s Eve, which finds creepy cult killer Art the Clown back on the prowl. The screening will be followed by the fest’s “Cake, Clowns & Corpses”–themed 10th birthday party. Scary Movies X closes with a double dose of dread: the New York premieres of Brandon Christensen’s Overlook Film Festival prizewinner Still/Born, serving up heaps of new mommy trauma; and Colin Minihan’s It Stains the Sands Red, an inventive zombie picture set in the blistering desert.

Other highlights include Damien Powers’s Killing Ground, a “straight-up, stripped-down suspenser” (Variety) about a camping trip gone wrong in the Australian bush; Caught, Jamie Patterson’s subtle, otherworldly home-invasion pic starring Mickey Sumner; Pavan Kirpalani’s Hindi head-trip Phobia; and Daniel Castro Zimbrón’s The Darkness, a highly atmospheric post-apocaylptic thriller lensed by Diego García (Neon Bull, Cemetery of Splendor).

Continuing the fest’s 10th anniversary celebrations are a quartet of delightfully nasty party-themed flicks from the 1970s and ’80s: Ed Hunt’s Bloody Birthday, George McCowan’s Frogs, J. Lee Thompson’s Happy Birthday to Me, and William Fruet’s Killer Party. And to top it all off, Scary Movies X presents an evening with comedy legend and horror maestro Bob Balaban in person, featuring screenings of his Parents and My Boyfriend’s Back, both films ripe for rediscovery.

Tickets for Scary Movies X go on sale June 29. Tickets are $14; $11 for students and seniors (62+); and $9 for Film Society members. See more and save with a 3+ film discount package or $125 All Access Pass. Learn more at

Programmed by Laura Kern and Rufus de Rham. Scary Movies X is sponsored by IFC Midnight.

All films screen digitally at the Walter Reade Theater unless otherwise noted.

Opening Night
Damien Leone, USA, 2016, 82m
Coulrophobics beware! It’s Halloween night and Art the Clown, the cold-blooded killer who also stalked Damien Leone’s previous short of the same name and his 2013 omnibus feature All Hallow’s Eve, is not wearing a creepy costume just for show. He’s as evil as he looks—seriously, the scariest clown to ever hit movie screens—and, after an evening of partying, two young women unluckily enter his sights. At first they’re mildly amused by his presence (the ditzier of the two even dares take a selfie with him), but soon they understand the true danger he presents, as he proceeds to terrorize them, as well as anyone else who crosses his path. Lean and oh so mean, Terrifier is grittier, and more jarringly depraved, than most horror movies these days, oozing ’80s slasher–style gore. New York Premiere
Friday, July 14, 7:30pm (Q&A with Damien Leone)

Closing Night
Brandon Christensen, Canada, 2017, 84m
Young couple Mary and Jack are about to become proud first-time parents to a set of twins. But something goes wrong in the delivery room and only one baby makes it out alive. Mary, feeling somewhat displaced, living in a new home and neighborhood, begins to exhibit paranoid tendencies—is she dealing with postpartum depression or are demons in fact trying to steal her newborn as she vigorously claims? Winner of a special jury prize for “scariest film” at the recent inaugural edition of the Overlook Film Festival and co-produced and -written by Colin Minihan, director of the other closing-night selection, It Stains the Sand Red, the film is indeed chockful of frights. And as everything continues to spiral further out of control, Still/Born stays grounded thanks to the intense, dedicated performance of Christie Burke as the mother who means business in keeping her baby safe no matter what forces are against her. New York Premiere
Thursday, July 20, 7:00pm

Closing Night
It Stains the Sands Red
Colin Minihan, USA, 2016, 92m
The solo feature directorial debut of Colin Minihan, one half of the Vicious Brothers (Grave Encounters, Extraterrestrial), makes his strongest impression yet with this engaging, visually striking film, set during apocalyptic times, about a woman, Molly (a fearless Brittany Allen), who finds herself stranded in the desert after her dumbass boyfriend is killed by a zombie. As she’s pursued by the threatening yet slow-moving creature, who relentlessly trails her close behind, the film becomes something of a character study of victims, both monster and human—a zombie humanized with a happy past, and a woman desensitized by a more troubled one. The mortals that pop up in the story, as per usual, are often just as bad as the monsters; Molly herself is flawed, a drug addict who has abandoned her young daughter, but who throughout a series of terrible incidents remains strong because hardship is nothing new for her. A Dark Sky Films release. New York Premiere
Thursday, July 20, 9:30pm (Q&A with Colin Minihan)

Better Watch Out
Chris Peckover, USA/Australia, 2016, 89m
Encompassing three great traditions of horror—the Christmas, home-invasion, and babysitting subgenres—Better Watch Out is a twisted and twisty mash-up of dark delights as filtered through the lens of an ’80s teen comedy. Cheeky 12-year-old Luke (Levi Miller) has long crushed on his super-cute, and of course already taken, babysitter Ashley (Olivia DeJonge) and decides that while under her watch on Christmas Eve he will finally make his move. But the big night is disrupted by the arrival of a menacing masked intruder, setting the scene for a chain reaction of progressively disturbing events. Virginia Madsen and Patrick Warburton appear as Luke’s parents, who, along with audiences, are in for a truly chilling holiday surprise. A Well Go USA release. New York Premiere
Tuesday, July 18, 7:00pm

Bloody Birthday
Ed Hunt, USA, 1981, 85m
“Just because you all have the same birthday doesn’t mean you’re special,” a teacher informs tight-knit trio Steven, Curtis, and Debbie as they turn 10. She’s right—it’s that their simultaneous births in 1970 Southern California occurred during a solar eclipse that makes their situation out of the ordinary. Apparently, Saturn, which is known to control the emotions, was blocked, leaving the astrologically ill-timed children cold-hearted. And, for some unexplained reason, a decade into their lives, the little maniacs set out to wreak some bloody havoc, sparing no one, not even their own families, in their murder spree, on which they put to use a wide array of weapons, including guns, ropes, cars, and arrows. With inspired direction, loads of nudity, and a moody score, this is pure ’80s trash cinema, and evil-kid horror, at its finest.
Saturday, July 15, 3:15pm

Jamie Patterson, UK, 2017, 85m
One afternoon, married journalists Julie and Andrew (Mickey Sumner and Ruben Crow) residing in the remote English countryside are paid a visit by an impeccably styled couple, whose odd manner of communication suggest there’s a disconnect, to say the least. Roles are reversed—the journalists become the interview subjects as they are questioned about their current research—and it begins to look like they may have stumbled upon something sinister. The behavior of the unwelcome guests (played perfectly by Cian Barry and April Pearson) becomes increasingly bizarre, and that Julie and Andrew have a tiny baby at home and a young son due back from school any moment only adds to the tension. Like its title, so succinct, even generic, until its meaning is put into clearer focus, Caught is a stellar example of what can be accomplished with little means but a whole lot of imagination, while also reminding us that it’s often the unknown that can be the most terrifying. North American Premiere
Sunday, July 16, 7:00pm

The Darkness / Las tinieblas
Daniel Castro Zimbrón, Mexico/France, 2016, 94m
After a mysterious apocalypse, Gustavo (Brontis Jodorowsky, who channels an intensity worthy of his family name) is left to care for his two sons, adult Marcos and teenage Argel, and his sickly young daughter, Luciana. The family has made their stand in a cabin in the woods, bathed in an eternal twilight and perpetually surrounded by toxic fog that may hide monsters. Gustavo keeps the children locked in the basement for their safety, but when early in the film he and Marcos venture outside to hunt for food, Marcos didn’t come back—and Argel is left to discover the secrets that his father and the woods are hiding. Claustrophobic, and exquisitely shot by Diego García (Neon Bull, Cemetery of Splendor), The Darkness transcends the horror tropes it gets its bones from, and becomes something beautiful, fantastical, and truly unnerving. New York Premiere
Sunday, July 16, 5:00pm

An Evening with Bob Balaban
Bob Balaban, Canada/USA, 1989, 35mm, 82m
As supremely black as a comedy can be, Bob Balaban’s brilliantly subversive feature directorial debut is deranged in all the right ways. Ten-year-old Michael, a socially awkward only child living in 1950s suburbia with his doting mom and emotionally abusive dad (Mary Beth Hurt and Randy Quaid, both great), is plagued by bizarre nightmares—which are about as terrifying as his reality: he suspects his picture-perfect parents to be cannibalistic, while not having a taste for meat himself. Recently relocated to a new town, Michael finds comfort in school through an equally oddball friend, who claims she’s from the moon, while figuring out how to survive his home life, and more specifically mealtime. You’ll never think of “leftovers” in the same way.
Monday, July 17, 7:00pm (Q&A with Bob Balaban)

My Boyfriend’s Back
Bob Balaban, USA, 1993, 35mm, 85m
At the start of this horror-comedy for the highest of lowbrow tastes—produced by Sean S. Cunningham, written by Dean Lorey (who went on to Arrested Development), and directed by the great comic actor Bob Balaban—geeky teen protagonist Johnny Dingle (Andrew Lowery) announces in voiceover: “This day was the beginning of the end of my life.” And, yes, after a severely botched attempt to play hero for Missy (Traci Lind), the girl he has forever lusted after, he gets shot by a masked robber at the deli where she works, but not before making his dying request that she go to the prom with him. When she says yes, he will do whatever it takes to make that a reality—decomposing body be damned!—much to the annoyance of Missy’s jock boyfriend (Matthew Fox) and his bullyish sidekick (Philip Seymour Hoffman), who nicknames Johnny “Dead Boy.” Unfairly maligned by many, this film is a delight due for a serious revisiting.
Monday, July 17, 9:30pm (Introduction by Bob Balaban)

George McCowan, USA, 1972, 35mm, 90m
It’s Jason Crockett’s birthday weekend and a group of family members have assembled on his Florida island plantation to celebrate. Environmentally unfriendly, the cranky, wheelchair-bound old man (Ray Milland) finds the growing masses of frogs inhabiting his space to be a menace and has no second thoughts about poisoning the waters to get rid of them. So when “nature” begins taking revenge, it’s easy to root against “man,” even if Crockett’s guests, as well as a photographer researching the area (played by a totally hunky Sam Elliott, in one of his first screen appearances), are unfairly caught in the path of destruction. Despite the film’s ludicrously misleading title—the killer creatures featured actually encompass a wide range from mainly toads to snakes, turtles, spiders, gators, and beyond—the gloriously campy B-movie provides a darn good creepy-crawly time.
Sunday, July 16, 1:00pm

Happy Birthday to Me
Lee Thompson, Canada, 1981, 35mm, 111m
Recovering from a highly traumatic event that took place around the time of her birthday many years past, pretty and popular Virginia (Melissa Sue Anderson) appears to have made some real progress. But as she approaches her 18th year, there’s a black-leather-gloved killer on the loose, knocking off her elite-private-school friends, which brings her stability into question. Giallo-like in its plot convolutions as well as its stark, shadowy visual style, this rare foray into strict horror by dark crime thriller master J. Lee Thompson is perhaps best known for its infamous shish-kebab murder scene, but the underappreciated slasher film has much more to offer, with a whole slew of show-stopping death set pieces and a stellar supporting cast, including Glenn Ford as Virginia’s doctor.
Saturday, July 15, 1:00pm

Killer Party
William Fruet, USA/Canada, 1986, 35mm, 91m
In 1986, a pair of April Fool’s Day–themed horror-comedies opened in theaters. The wider release of the two, April Fool’s Day, was a hit and remains a genre favorite, while the other was overlooked and lives in semi-obscurity. But today, Killer Party looks better than ever. It kicks off with a clever, awesomely cheesy pre-credits prologue that sums up the ’80s in just under 10 minutes, before shifting the focus to a group of friends eager to join a sorority, who prepare for a raging initiation party at a long-off-limits—for good reason!—frat house. Twenty-four hours of gags, hazing rituals, and demonic possessions ensue in this genuine treat of a slasher film—no surprise coming from William Fruet, the director responsible for The House by the Lake, Spasms, and Funeral Home.
Sunday, July 16, 3:00pm

Killing Ground
Damien Power, Australia, 2016, 89m
The story starts like so many others: a couple are en route to a campsite. But unlike most survival thrillers, instead of the standard idiotic chatter, the relaxation-seekers here actually engage in intelligent conversation—revealing right away that this isn’t going to be the usual ride. On arrival, they find an eerily empty tent pitched nearby, its presence casting a dark shadow over their lovely spot as well as a sense of mystery about the whereabouts of its inhabitants. And as the action progresses, with an intriguing turn of the cinematic clock we begin to go back and forth in time so it can be revealed what happened to the other family—made up of a mom, dad, teenage daughter, and little baby. Expertly constructed and strongly acted—the two sadistic villains are truly skin-crawling and their prey authentic and sympathetic—Damien Power’s feature debut is at times excruciatingly cruel, yet always positively stunning. An IFC Midnight release.
Saturday, July 15, 7:15pm (Q&A with Damien Power)

The Limehouse Golem
Juan Carlos Medina, UK, 2016, 105m
In Victorian London, Scotland Yard inspector John Kildare (a great Bill Nighy, in a role originally meant for Alan Rickman, to whom the film is dedicated) takes a special interest in the well-being of Lizzie Cree (Olivia Cooke), a young stage performer accused of murdering her husband. She seems an unlikely killer and he becomes obsessed with proving her innocence, all while the title “monster” is leaving behind a string of mutilated corpses à la Jack the Ripper—a case that may just be connected to Lizzie’s. This jam-packed, handsome, highly literate film—adapted from Peter Ackroyd’s 1994 novel Dan Leno & the Limehouse Golem and featuring real-life historical figures (such as Karl Marx, novelist George Gissing, and theater actor Dan Leno) woven into the fictional narrative—satisfies as a gothic murder mystery and an inside look into the lively world of the music halls so popular at the time, while also offering its fair share of bloodletting. An RLJ Entertainment release. U.S. Premiere
Saturday, July 15, 5:00pm

The Night of the Virgin / La noche del virgen
Roberto San Sebastián, Spain, 2016, 117m
Spanish with English subtitles
Every developing boy has sex on the brain and his “first time” is a momentous occasion. So when a sexy older woman at a New Year’s Eve party shows interest in Nico, an awkward and unfortunate-looking late bloomer at 20, the offer to go home with her is one he can’t refuse. That her name is Medea is only the first of many red flags, and it becomes rapidly clear that Nico would have been way better off holding on to his virginity a bit longer. The insanity that unfolds that evening in Medea’s cockroach-infested apartment is better witnessed than described, because nobody would believe the half of it. Audacious, inventive (featuring some spectacular practical effects), sometimes hilarious and jaw-droppingly disgusting, and always totally bonkers, the film has more on its mind than pure gross-out—though it succeeds in that too. In any case, we promise you have never seen anything like it… New York Premiere
Tuesday, July 18, 9:00pm

Jon Ford, UK, 2016, 105m
After his father passes away, Bernard (Russell Floyd) inherits a sprawling home in the French countryside—but on the condition that he and his wife Helen (Lisa Eichhorn) actually live there for a designated period of time. The retired urbanites decide that a more idyllic existence might do them some good, but sadly it’s not peace that awaits them, as a pack of barbaric local teens promptly begin tormenting them. With no one to turn to (the neighbors are all terrified and the cops corrupt) a war rages between the feral youth and the more civilized older folks as they’re pushed to their limits. Rough and raw (visually as well as thematically), the ultra-tense film is painfully cruel yet purely satisfying, and, with the introduction of some revelations about Bernard’s father, it also serves as an intriguing exploration of three generations of violence. New York Premiere
Sunday, July 16, 9:00pm

Pavan Kirpalani, India, 2016, 111m
Hindi with English subtitles
Mehak (Radhika Apte) is a talented, vivacious painter, but after a horrific attack she becomes afflicted with post-traumatic agoraphobia. Her condition overwhelms her sister Anusha’s hospitality and sympathy when it starts affecting her young nephew, and she soon finds herself living alone in an apartment lent to her by an old friend. She’s too afraid to even approach the door and unwilling to accept anyone’s offers for help, while strange neighbors and even stranger images begin to appear before her. And as the hallucinations become increasingly violent, she falls deeper and deeper into madness. Or is she in fact haunted? Are those severed fingers real? Phobia is the strongest Hindi horror outing in ages, anchored by a fiery performance by Apte, who absolutely rivets the screen. North American Premiere
Saturday, July 15, 9:30pm

The Film Society of Lincoln Center is devoted to supporting the art and elevating the craft of cinema. The only branch of the world-renowned arts complex Lincoln Center to shine a light on the everlasting yet evolving importance of the moving image, this nonprofit organization was founded in 1969 to celebrate American and international film. Via year-round programming and discussions; its annual New York Film Festival; and its publications, including Film Comment, the U.S.’s premier magazine about films and film culture, the Film Society endeavors to make the discussion and appreciation of cinema accessible to a broader audience, as well as to ensure that it will remain an essential art form for years to come.

The Film Society receives generous, year-round support from The New York Times, Shutterstock, Variety, the National Endowment for the Arts, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. American Airlines is the Official Airline of the Film Society of Lincoln Center. For more information, visit and follow @filmlinc on Twitter.

June 30, 2017 Posted by | avant-garde, CULTURE, FILM, HOLIDAY GUIDES, Uncategorized, We Recommend | , , , | Leave a comment

FILM/FESTIVALS — New York Asian Film Festival Returns 6/30 -7/16/17 *NYC

FSLC and Subway Cinema announce New York Asian Film Festival, June 30 – July 16



Jane © House in Seoul All Rights Reserved Courtesy of M-Line Distribution

The Film Society of Lincoln Center and Subway Cinema announced the complete lineup for the 16th New York Asian Film Festival (NYAFF), which will take place from June 30 to July 13 at the Film Society and July 14 to 16 at the SVA Theatre. North America’s leading festival of popular Asian cinema will showcase 56 feature films, including 3 International Premieres, 21 North American Premieres, 4 U.S. Premieres, and 15 films making their New York City debuts. The festival will feature in-person appearances by more than 20 international filmmakers and celebrity guests from mainland China, Hong Kong, Taiwan, South Korea, Japan, and Southeast Asia.


This year, all three of NYAFF’s Gala screenings are brilliant reinventions of the thriller genre. The Opening Gala will be the International Premiere of Nattawut Poonpiriya’s Bad Genius, the first Southeast Asian film to open the festival, with the director and stars in attendance. In this exhilarating high-school thriller, straight-A students Lynn (Chutimon Chuengcharoensukying) and Bank (Chanon Santinatornkul) stage a heist that will undermine the U.S. university entrance system after they lose their own scholarships. The Centerpiece Gala of the festival will be the North American Premiere of Mikhail Red’s Birdshot, a continuation of the festival programmers’ efforts to champion films from Southeast Asia, and the Philippines in particular. The Closing Gala is the U.S. Premiere of Jung Byung-gil’s The Villainess, fresh from its Midnight screening in Cannes. The adrenaline-soaked action film stars Kim Ok-vin as a ruthless female assassin trained in China who starts a new life with South Korea’s Intelligence Agency.

Bamseom Pirates Seoul Inferno © OPOT Pictures; Courtesy of M-Line Distribution

New to NYAFF in 2017 is the Main Competition section, featuring seven diverse works by first or second-time directors that are all having their North American premieres at the festival. Competing are Bad Genius (Thailand), Birdshot (Philippines), A Double Life (Japan), The Gangster’s Daughter (Taiwan), Kfc (Vietnam), Jane (South Korea), and With Prisoners (Hong Kong). The competition jury will be announced at a later date, with winners revealed on the festival’s final night at Film Society of Lincoln Center on July 13.

Mad World

“We were seeking a range of original films from first-time directors, films that represent the diversity of filmmaking from Asia, stories that say something both very local and specific to their countries of origin and something very universal: we hope we achieved at least some of this with our inaugural competition selection, which includes films from seven countries/cities in the region in a broad variety of genres,” NYAFF executive director Samuel Jamier said. “It’s important for us to champion new filmmaking from Asia, and the diversity of film made there at a time when other festivals in North America seem to be reducing the size of their Asian lineups.”

Vanishing Time © Showbox

More now than ever, Hong Kong cinema is at the core of the festival’s programming: faithful to its Chinatown origins, this year’s edition celebrates the best filmmaking from the Special Administrative Region with a central Hong Kong Panorama section, commemorating the 20th anniversary of its establishment, with major support from the Hong Kong Economic and Trade Office in New York. Over the past two decades, Hong Kong cinema has continuously influenced and inspired many filmmakers in Asia and in the world. This year’s lineup proves the originality and excellence of its production is intact: from a powerful condemnation of life inside the territory’s juvenile detention centers (With Prisoners), to a tale of corruption and redemption set in the underbelly of 1960s Hong Kong (Dealer/Healer), the films bear testimony to the city’s rich cinema history.

Dealer Healer © Sil-Metropole Organisation

The core of the panorama will be a special (and first of its kind) focus on the exciting new generation of directors, titled Young Blood Hong Kong. As part of the 20th anniversary, the festival is looking to the future of Hong Kong cinema, rather than its past: these recent Hong Kong directors are working in various genres, tackling a range of social issues, and paying homage to the film traditions they grew up with, from tenement dramas to vampire comedies. Meanwhile, NYAFF continues to bring established, major filmmakers from the region: Lawrence Lau, who, along with Ann Hui, is one of Hong Kong’s best neorealist directors, will be introducing his star-studded crime action drama Dealer/Healer; the Panorama will spotlight the new generation from the region with guest filmmaker Wong Chun and screenwriter Florence Chan with Mad World, Derek Hui with This Is Not What I Expected, and Alan Lo with Zombiology: Enjoy Yourself Tonight. Other films by first-time Hong Kong directors in this year’s lineup are Derek Tsang’s Soul Mate, Yan Pak-wing and Chiu Sin-hang’s Vampire Cleanup Department, and Andrew Wong’s With Prisoners.

Extraordinary Mission 4

The 2017 lineup also includes five LGBTQ-themed films: two dramas with transsexual protagonists, Naoko Ogigami’s Close-Knit from Japan, and Cho Hyun-hoon’s drama Jane from South Korea; two coming-of-age high-school youth dramas, Ahn Jung-min’s Fantasy of the Girls from South Korea, and Leste Chen’s 2006 Eternal Summer from Taiwan, which merits a second look a decade on; and Lee Sang-il’s wild and violent mystery thriller Rage, featuring Go Ayano (NYAFF 2016 Rising Star Asia awardee) as a homeless stranger invited into the home of a semi-closeted salaryman (Satoshi Tsumabuki) as his live-in-lover.

The Villainess - Courtesy of Well Go USA

Another highlight of this year’s festival are three films that celebrate Japan’s unique “Roman Porno” genre, each having their North American premieres: Aroused by Gymnopedies, Dawn of the Felines, and Wet Woman in the Wind. Nikkatsu, Japan’s oldest film studio, is celebrating 45 years since they birthed the softcore Roman Porno genre (roman derives from the French word for novel). Invented to save a dying industry, they gave carte blanche to directors with minimal rules: keep it under 80 minutes with a sex scene every ten. This allowed for wild stream of consciousness works of both the highest and lowest caliber. Now, Nikkatsu has enlisted top contemporary talent for the Roman Porno Reboot Project, with these three filmmakers taking the provocative, envelope-pushing format to a whole new level.

Bad Genius © GDH 559

In addition to the festival’s screenings, the NYAFF awards a number of honorees each year, including this year’s recipients:

  • The 2017 NYAFF Lifetime Achievement Award goes to veteran Hong Kong actor Tony Leung Ka-fai, who will attend a three-film tribute, including Johnnie To’s Election, Longman Leung & Sunny Luk’s Cold War 2 and Tsui’s Hark’s The Taking of Tiger Mountain 3D. In a career spanning 35 years, Leung has worked with the iconic directors Li Han-hsiang, Wong Kar-wai, Stanley Kwan, and Jean-Jacques Annaud, and starred opposite the screen legends Jackie Chan, Leslie Cheung, Maggie Cheung, Andy Lau, Jet Li, and Fan Bingbing. Leung was arguably the first Hong Kong star to become an international heartthrob, in Jean-Jacques Annaud’s The Lover.
  • Our Star Asia Award recipient is Korean movie star Gang Dong-won, whose charisma and emotional investment in his performances gives his films a unique edge. His most iconic films include Lee Myung-se’s Duelist, Park Jin-pyo’s Voice of a Murderer, and Jang Hoon’s Secret Reunion. Last year, NYAFF presented two of his films, The Priests and A Violent Prosecutor, and in 2017, the festival will be joined by Gang to present a special screening of the magical fable Vanishing Time: A Boy Who Returned.

A Quiet Dream ©

  • The Screen International Rising Star Asia Award will be given to Thailand’s Chutimon “Aokbab” Chuengcharoensukying. The 21-year-old model, who is still a student at Bangkok’s Chulalongkorn University, found fame last year in Thank You for Sharing, an eight-minute, viral short about cyber-bullying. The NYAFF is opening with her feature debut, Bad Genius, in which she stars as a high-school student who masterminds an ambitious heist of the American university entrance exam system. It’s a demanding role, in which her quick-witted character must navigate a complex moral universe where parents and teachers don’t always know best.

Tickets go on sale June 15, with Film Society and Subway Cinema members receiving an early access period beginning June 13. Tickets are $14; $11 for students and seniors (62+); and $9 for Film Society members. See more and save with a 3+ film discount package and All Access Pass. Learn more at

Curated by executive director Samuel Jamier, deputy director Stephen Cremin, and programmers Claire Marty and David Wilentz.

The New York Asian Film Festival is co-presented by Subway Cinema and the Film Society of Lincoln Center and takes place from June 30 to July 13 at Film Society’s Walter Reade Theater (165 West 65th St), and July 14 to 16 at SVA Theatre (333 West 23rd St).

Keep up to date with information at and  Subway Cinema can be followed on Facebook at and Twitter at

Titles in bold are included in the Main Competition

CHINA (6):
Co-presented with Confucius Institute Headquarters and China Institute
 Battle of Memories (Leste Chen, 2017)
 Blood of Youth (Yang Shupeng, 2016)
 Duckweed (Han Han, 2017)
 Extraordinary Mission (Alan Mak & Anthony Pun, 2017)
 Someone to Talk to (Liu Yulin, 2016)
 Soul on a String (Zhang Yang, 2016)

Presented with the support of Hong Kong Economic and Trade Office in New York
 Cold War 2 (Longman Leung, Sunny Luk, 2016)
 Dealer/Healer (Lawrence Lau, 2017)
 Election (Johnnie To, 2005)
 Mad World (Wong Chun, 2016)
 Soul Mate (Derek Tsang, 2016)
 The Taking of Tiger Mountain (Tsui Hark, 2014)
 This Is Not What I Expected (Derek Hui, 2017)
 Vampire Cleanup Department (Yan Pak-wing, Chiu Sin-hang, 2017)
 With Prisoners (Andrew Wong, 2017)
 Zombiology: Enjoy Yourself Tonight (Alan Lo, 2017)

JAPAN (15):
 Aroused by Gymnopedies (Isao Yukisada, 2016)
 Close-Knit (Naoko Ogigami, 2017)
 Dawn of the Felines (Kazuya Shiraishi, 2016)
 Destruction Babies (Tetsuya Mariko, 2016)
 A Double Life (Yoshiyuki Kishi, 2016)
 Happiness (Sabu, 2016)
 Japanese Girls Never Die (Daigo Matsui, 2016)
 The Long Excuse (Miwa Nishikawa, 2016)
 Love and Other Cults (Eiji Uchida, 2017)
 The Mole Song: Hong Kong Capriccio (Takashi Miike, 2016)
 Rage (Lee Sang-il, 2016)
 Suffering of Ninko (Norihiro Niwatsukino, 2016)
 Survival Family (Shinobu Yaguchi, 2017)
 Traces of Sin (Kei Ishikawa, 2016)
 Wet Woman in the Wind (Akihiro Shiota, 2016)

Presented with the support of Korean Cultural Center New York
 Fabricated City (Park Kwang-hyun, 2017)
 Fantasy of the Girls (Ahn Jung-min, 2016)
 Jane (Cho Hyun-hoon, 2016)
 Ordinary Person (Kim Bong-han, 2017)
 A Quiet Dream (Zhang Lu, 2016)
 A Single Rider (Lee Joo-young, 2017)
 Split (Choi Kook-hee, 2016)
 The Tooth and the Nail (Jung Sik, Kim Whee, 2017)
 The Truth Beneath (Lee Kyoung-mi, 2016)
 Vanishing Time: A Boy Who Returned (Uhm Tae-hwa, 2016)
 The Villainess (Jung Byung-gil, 2017)

 Bad Genius (Nattawut Poonpiriya, Thailand, 2017)
 Birdshot (Mikhail Red, Philippines, 2016)
 Kfc (Le Binh Giang, Vietnam, 2017)
 Mrs. K (Ho Yuhang, Malaysia, 2016)
 Saving Sally (Avid Liongoren, Philippines, 2016)
 Town in a Lake (Jet Leyco, Philippines, 2015)

Presented with the support of the Taipei Cultural Center of TECO in New York
 Eternal Summer (Leste Chen, 2006)
 The Gangster’s Daughter (Chen Mei-juin, 2017)
 Godspeed (Chung Mong-hong, 2016)
 Mon Mon Mon Monsters (Giddens, 2017)
 The Road to Mandalay (Midi Z, 2016)
 The Village of No Return (Chen Yu-hsun, 2017)

 Bamseom Pirates Seoul Inferno (Jung Yoon-suk, 2017)
 Mrs. B., A North Korean Woman (Jero Yun, 2016)


OFFICIAL POSTER:–YOkNIV_ZhTjdqNjRVMm9IU00/view?ts=5931c144


Now in its 16th year, the New York Asian Film Festival (NYAFF) is North America’s leading festival of popular Asian cinema, which The Village Voice has called “the best film festival in New York,” and The New York Times has called “one of the city’s most valuable events.” Launched in 2002 by Subway Cinema, the festival selects only the best, strangest, and most entertaining movies to screen for New York audiences, ranging from mainstream blockbusters and art-house eccentricities to genre and cult classics. It was the first North American film festival to champion the works of Johnnie To, Bong Joon-ho, Park Chan-wook, Takashi Miike, and other auteurs of contemporary Asian cinema. Since 2010, it has been produced in collaboration with the Film Society of Lincoln Center.

The Film Society of Lincoln Center is devoted to supporting the art and elevating the craft of cinema. The only branch of the world-renowned arts complex Lincoln Center to shine a light on the everlasting yet evolving importance of the moving image, this nonprofit organization was founded in 1969 to celebrate American and international film. Via year-round programming and discussions; its annual New York Film Festival; and its publications, including Film Comment, the U.S.’s premier magazine about films and film culture, the Film Society endeavors to make the discussion and appreciation of cinema accessible to a broader audience, as well as to ensure that it will remain an essential art form for years to come.

The Film Society receives generous, year-round support from The New York Times, Shutterstock, Variety, the National Endowment for the Arts, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. American Airlines is the Official Airline of the Film Society of Lincoln Center. For more information, visit and follow @filmlinc on Twitter.

Subway Cinema is America’s leading 501(c)(3) nonprofit organization dedicated to the exhibition and appreciation of Asian popular film culture in all forms, building bridges between Asia and the West. With year-round festivals and programs, the organization aims to bring wide audience and critical attention to contemporary and classic Asian cinema in the U.S. In 2002, Subway Cinema launched its flagship event, the annual New York Asian Film Festival (NYAFF), which is North America’s leading festival of popular Asian cinema. Subway cinema’s other events and initiatives include Old School Kung Fu Fest (OSKFF).

For more information, visit,, and follow @subwaycinema on Twitter (#nyaff16).

Subway Cinema receives generous, year-round support from the Kenneth A. Cowin Foundation and sponsorships from the Hong Kong Economic and Trade Office in New York, Korean Cultural Center New York, Taipei Cultural Center of TECO in New York, China Institute, Manhattan Portage, Tsingtao Beer, Japan Foundation New York, Maven Wine, Bruce R. Watts, and thanks their media partners: Screen International, Asian Crush, China Film Insider, Chopsticks NY

June 22, 2017 Posted by | ART, CULTURE, ENTREPRENEURS, FILM, LIFESTYLES, Uncategorized, We Recommend | , , , , , , , , , , , , , , , , , | Leave a comment

Film/Festivals – JAPAN CUTS: Festival of New Japanese Film July 13-23, 2017, at Japan Society *nyc

North America’s Largest Festival of New Japanese Cinema Announces First Confirmed

Highlights for 11th Annual Installment + ‘CUT ABOVE’ Awardee

JAPAN CUTS: Festival of New Japanese Film

July 13-23, 2017, at Japan Society

Poster art (l-r) for Over the Fence, ANTI-PORNO and Neko Atsume House, part of the 2017 JAPAN CUTS festival.

Presenting titles never before seen in New York and many screening for the first time in North America or even outside Japan, JAPAN CUTS: Festival of New Japanese Film presents the best new movies made in and around Japan and the filmmakers and performers who made them.



Set for July 13 to 23, the 2017 JAPAN CUTS festival will feature an exclusive premiere roster of nearly 30 films, ranging from big budget blockbusters to powerful shoestring indies, and includes spotlights on documentary cinema, experimental films, shorts and recent restorations of classic Japanese favorites. With the full schedule to be announced in early June, highlights confirmed to date include:

Over the Fence – East Coast Premiere: Critically-acclaimed drama by popular indie director Nobuhiro Yamashita (Linda Linda Linda), starring featured festival guest Joe Odagiri.

ANTI-PORNO – East Coast Premiere: Festival favorite Sion Sono’s subversive take on the Roman Porno genre, commissioned by famed Nikkatsu movie studio.

Neko Atsume House – North American Premiere: Family-friendly comedic drama adapted from Japan’s internationally beloved cat collecting app.

Daguerrotype – New York Premiere: Celebrated director Kiyoshi Kurosawa’s first French-language film, a Gothic horror fantasy with an all-European cast.

Resistance at Tule Lake: East Coast Premiere: Resonant documentary about incarcerated Japanese-Americans standing up for justice during WWII.

Also this year, the festival will award the 2017 CUT ABOVE Award for Outstanding Performance in Film to Joe Odagiri—a matinee idol, fashion icon and bone fide power brand in Japan, whose immense talent and diverse roles have been blazing Japanese screens for nearly two decades.

“Joe Odagiri is just one of many special guests who will attend this year among celebrated established filmmakers and some equally remarkable breakout talents,” says Aiko Masubuchi, Senior Film Programmer at Japan Society. “Following current trends in the industry, this year we’ll also focus on work that breaks the boundaries of social mores, national borders, and formal constraints through radical cultural phenomena, international co-productions, and avant-garde pieces expanding our definition of what Japanese cinema means today.”

In the run-up to this year’s festival, the JAPAN CUTS programming team served as jury of the 2017 Osaka Asian Film Festival’s Indie Forum section, awarding the 2nd annual JAPAN CUTS Award to Love and Goodbye and Hawaii directed by Shingo Matsumura on March 11, 2017. Additionally, the first JAPAN CUTS Audience Award winner Flying Colors from the festival’s 2016 10-year anniversary edition receives an encore screening on Friday, June 2, 7:00 pm as a “JAPAN CUTS Classic” in Japan Society Monthly Classics programming.

Emphasizing the diversity and vitality of one of the most exciting world cinemas, JAPAN CUTS gives cinephiles their first (and sometimes only) chance to discover the next waves of filmmaking from Japan. Founded in 2007, the festival presents the biggest Japanese blockbusters, raucous genre flicks, peerless independents, arthouse gems, radical documentaries and avant-garde forms, along with unique collaborative programs, workshops and panels put together with the cooperation of other international organizations. Special guest actors and filmmakers join the festivities for Q&As, award ceremonies, and the wild themed parties and receptions audiences have come to expect, with live music, food and libations.

Through its Film Program, Japan Society has introduced Japanese cinema to New York’s international audiences since the 1970s, presenting works by the era’s then new giants Shohei Imamura, Seijun Suzuki, and Hiroshi Teshigahara and others upon their first release, and groundbreaking retrospectives on now-canonical figures such as Kenji Mizoguchi and Yasujiro Ozu. Special guests such as Akira Kurosawa, Machiko Kyo, Toshiro Mifune, Robert De Niro, Francis Ford Coppola, and Hideko Takamine had already been part of Japan Society’s events before JAPAN CUTS launched.

Since JAPAN CUTS’ inception, the festival has attracted nearly 50,000 filmgoers and presented over 275 feature films, many never-before seen in the U.S. The first annual JAPAN CUTS was one of the most successful single events in the Society’s 2007-08 centennial celebration. The festival has premiered several films that have gone on to garner international acclaim, including: 0.5mm, 100 Yen Love, About Her Brother, Buy a Suit, Confessions, Death Note, Fish Story, Kamome Diner, Love Exposure, Milocrorze: A Love Story, The Mourning Forest, Ninja Kids!!!, Sawako Decides, Sukiyaki Western Django, Sway, Sketches of Kaitan City, The Tale of Iya, and United Red Army.

The Japan Society Film Program offers a diverse selection of Japanese films, from classics to contemporary independent productions, including retrospectives, thematic repertory film series, and U.S. premiere screenings. Its aim is to entertain, educate, and support activities in the Society’s arts and culture programs. More at

Founded in 1907, Japan Society is a multidisciplinary hub for global leaders, artists, scholars, educators, and English and Japanese-speaking audiences. At the Society, more than 100 events each year feature sophisticated, topically relevant presentations of Japanese art and culture and open, critical dialogue on issues of vital importance to the U.S., Japan and East Asia. An American nonprofit, nonpolitical organization, the Society cultivates a constructive, resonant and dynamic relationship between the people of the U.S. and Japan.

Japan Society is located at 333 East 47th Street between First and Second avenues (accessible by the 4/5/6 and 7 subway at Grand Central or the E and M subway at Lexington Avenue). For more information, call 212-832-1155 or visit

June 2, 2017 Posted by | ART, avant-garde, BUSINESS, CULTURE, ENTREPRENEURS, FILM, HOLIDAY GUIDES, LIFESTYLES, opportunity, Uncategorized, We Recommend | , , , , , , , , , | Leave a comment



African Voices Communications, Inc.



May 2017



Reel Sisters of the Diaspora Film Festival & Lecture Series is seeking films and web series directed, written or produced by women of color. Shorts, features, animation, works-in-progress, narratives, documentaries and experimental works are eligible. Filmmakers will have their original works viewed at the 20th Annual Reel Sisters Film Festival from October 21-22, 2017 at AMC’s Magic Johnson Theater in Harlem and Alamo Drafthouse Cinema in Brooklyn!

Submission information is available at visit Reel Sisters. Submit films on Film Freeway.

For information call : (347) 534-3304 or (212) 865-2982.

Entries must be submitted electronically on Film Freeway. Entry fee is $20 (Early Bird Deadline: May 5, 2017) or $25 (Deadline: MAY 31, 2017).

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May 30, 2017 Posted by | ART, avant-garde, BUSINESS, CULTURE, ENTREPRENEURS, FILM, Uncategorized | , , , , | Leave a comment

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