楼主#更多 发布于：2014-03-10 11:13
Asia's Most Notable Films of 2013
Before the New Year welcomes a host of fresh blockbusters, art-house
offerings and Oscar hopefuls, here's a final look at 2013's most notable Asian
'Drug War' (China)
JOHNNIE TO's VIOLENT crime drama about a morally ambiguous Chinese cop
(Sun Honglei) who uses questionable means to nab a Hong Kong drug dealer (Louis
Koo) is peppered with taboo subjects that often don't pass the watchful eyes of
mainland China censors. But the director won official approval and still
delivered a smart, darkly funny and discomforting thriller.
'The Grandmaster' (Hong Kong)
Wong Kar-wai's take on the life of martial-arts master Ip Man reveals that
kung fu is as much an intellectual
l pursuit as it is a sport of strength and physical superiority. Does it
matter whether you've seen the versions for Asia, Europe or the U.S.? No.
Contractually obligated or not, the auteur is welcome to re-edit his films as
often as he wants. Come to think of it, comparing the different versions could
make an ideal college course elective.
'Ilo Ilo' (Singapore)
Anthony Chen's Cannes-winning (Camera d'Or) debut feature follows the
lives of a Singaporean family and their Filipina domestic helper during the
Asian financial crisis of the late 1990s. The film may be, in the words of the
director, 'culturally specific, ' but Mr. Chen's contemplation on childhood
memories, attachments and heartache -- even a lock a hair unleashes a multitude
of emotion -- are universal themes.
'Like Father, Like Son' (Japan)
A personally ambitious, professionally successful man (Masaharu Fukuyama)
rejects his 6-year-old son after learning the boy was accidentally switched at
birth with another child. Director Hirokazu Koreeda's study of quiet emotional
abuse -- by way of an unsympathetic father -- is just one fragile piece of this
absorbing drama about two families trying to sort out their paths forward. This
won the Jury Prize at Cannes.
'The Missing Picture' (Cambodia)
Documentary filmmaker Rithy Panh brings striking detail to his childhood
memories of living under the Khmer Rouge regime. In the absence of a
photographic archive, he uses miniature clay figures to depict his family and
their friends in scenes of both domestic tranquility and extreme brutality. The
effect gives the film, which took top prize in the Un Certain Regard section at
Cannes, a heightened sense of immediacy to the horrific events witnessed by Mr.
'Moebius' (South Korea)
On the surface, this is a harrowing story of extreme family dysfunction
involving adultery, castration, but the dialogue-less film suggests director
Kim Ki-duk is exploring something beyond the sadomasochism. His real intent was
to question his own views on Korean culture and whether he could break some
taboos. The answer, he discovered, was that audiences mostly thought he had
crossed a line he shouldn't have, which probably means he'll continue to push
the conventional norms in his next film.
'The Rooftop' (Taiwan)
Jay Chou's musical -- a love story between a good-natured hooligan and a
proper young woman, and which he directed -- may look Baz Luhrmann-inspired
with its vivid set pieces, but the pop singer may just as well have been
invoking Francis Ford Coppola's ill-fated 1982 musical 'One From the Heart.'
This movie isn't for everyone, but its imaginative movie-studio recreation of a
seaside town and lively supporting cast made it a welcome summer treat for the
'Snowpiercer' (South Korea)
Director Bong Joon-ho's (mostly) English-language actioner about Earth's
last inhabitants struggling for survival aboard a train as it continuously
circles the snow-covered planet has a cast that rivals a Hollywood blockbuster:
Chris Evans, John Hurt, Tilda Swinton, Octavia Spencer and Ed Harris, plus Song
Kang-ho. It's fast-paced, philosophical and wickedly funny -- and far superior
to 'Elysium, ' the year's other thriller about class conflicts in a dystopian
'Stray Dogs' (Taiwan)
Fans of director Tsai Ming-liang found ample reason to embrace this film
-- which won the Grand Jury Prize at Venice -- about man and his two young
children living in ruin and with little chance of escaping to a better life.
Employing a minimal amount of dialogue and extreme long takes, Mr. Tsai asks
his audiences to experience the hopelessness of his destitute characters.
Family man Wei-chung (Richie Jen) is leading a seemingly happy and quiet
life in Taipei with his wife and their 6-year-old son. There's just one thing:
He's gay. Director Arvin Chen's comedy of errors about a mild-mannered
optical-shop manager coming out of the closet blends funny heartbreak with
moments of whimsy for a thoughtful tale of a middle-age man coming to terms
with adulthood and responsibility.