By
Mark Flora
I,
Mark Flora, would like to apologize for such a late
coverage on the Spring Festival. I tried finishing
up the whole coverage, which included an interview
with HIFF Film and Education Coordinator Anderson
Le, but then I decided it would be best for the coverage
and interview to be two separate pieces. So I'll have
the interview up for the next update. Because of a
lucky e-mail I got from Francis Mawae, my Samurai
Journalist mentor JD Nguyen was able to get Francis
and myself to cover the film festival. Despite the
fact that Anderson Le was able to get "Press Vouchers"
for both Francis and I, the showings clashed with
my work schedule. I wanted to review these movies
in more depth for the site, but I missed at least
30-40 minutes of each and I don't think I would have
done a very good job on the films. So here is my young
17-year old phenom field reporter, Boy Wonder himself,
Francis Mawae and his experience at the Spring HIFF
in the grand Signature Dole Cannery Theater.
[Take
Care of My Cat]
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This film won the special mention award and NETPAC
award for Best Asian Film at the 2001 Pusan International
Film Festival. "Take Care of My Cat" was the opening
night film that screened in two theaters. Jeff Chung,
the General Manager of KBFD-TV (a Hawaii-based Korean
language TV station), along with the Executive Director
of HIFF, Chuck Boller, came out and rubbed elbows
with the audience as we stood outside. I took a picture
of the lines at about 8:00 p.m. and by 8:20 the lines
were VERY LONG. I couldn't leave my place to take
a picture from across the street because it would've
been way too difficult to push my way back. The film
was set to start at 8:45pm, but with the humongous
crowd, we were seated in the theater at 9:05pm. Chuck
Boller did an introduction before the movie began.
He thanked us for coming, and also thanked a couple
of VIP sponsors in the audience. I didn't hear him
thank Jeff Chung so he was probably seated in the
other theater. The most important thing he mentioned,
however, was that there would be a special highlight
on Korean films in the upcoming November HIFF, which
celebrates the 100th anniversary of Korean immigration
to the U.S. Yup, it's a good time to be a fan of Korean
pop-culture in Hawaii.
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The
film is a look at the relationship between five women
from Inchon. Hae-joo is a beautiful yet vain girl
who leaves Inchon to work at a company job in Seoul,
which she made possible by pulling a few strings.
Biryu and Ohnjo are twins that sit on the street and
sell beaded jewelry. Tae-hee volunteers her time for
her family's bath house business while also volunteering
part of her time helping out a mentally-challenged
teen. Ji-young is a poor, but gifted artist and wants
to study textiles abroad. All of these young women
possess a free-spirit like that of a cat.
Although the film is about these five women, I think
all young adults and teens can definitely relate to
it. This film is effective in realistically portraying
some of the situations young people face. I'm glad
director Jeong Jae-eun took a chance in not filling
the film with sex and violence. There was a nomadic
theme throughout. This film was shot in more than
70 different locations, and it really shows. We're
constantly traveling and trekking through Inchon and
Seoul with the characters. The constant change in
location and mood are analogous to the ever-changing
relationship between these girls and humans in general.
I recommend checking this out.
[Agitator]
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There
weren't a lot of people in line but while we moved
into the theater, it filled up really quickly. I noticed
there were more teens in attendance here than any
other film, with the exception of Princess Blade (what
hormone-driven adolescent wouldn't want to see gallons
of make-believe blood spilt?). The film started on
time at 8:45pm. This film will get your heart pounding
and pretty much keep it there, except for the Yakuza
meetings, which are less heart pounding and serve
to move the story along through dialogue. This film
just oozes badass style. Everything has a sense of
style from the tattoos, the women, the guns, the clothes,
to director Takashi Miike's technique. The story is
about loyalty and upholding the Yakuza code. There
are deceptions and coups that rock the worlds of both
the Shirane and Yokomizu gangs. Yoichi is a capo of
the Yokomizu and Kunihiko Kenzaki, the main character,
is his right-hand man. These men and their tight-knit
gang are the only true Yakuza around. You'll see stunning
depictions of true loyalty, friendship, and the code
of seniority displayed throughout. Now there were
some abstract scenes with Kunihiko's past girlfriend
which were cool, but which I didn't really understand.
There were also a couple of edited scenes (BBB: Big
Blurry Blob) one involving pornography and one involving
a very big knife, a chest, and some blood. You definitely
want to experience this film on the big screen.
[Princess
Blade]
I
arrived later than usual here, as people in the packed
theater were already seated. I sat next to an old
WWII Veteran. So, he started a conversation and mentioned
he was in the nearly all AJA 442nd Regimental Combat
Team. He mentioned that he was the radio operator
or something and called in air strikes and stuff.
Apparently he served three months with Senator Daniel
K. Inouye (who he said was related to him as well),
and was there during the charge up Po Valley in Italy.
It was nice talking to this elderly man and he said
at one point, and I quote, "War is terrible." You
can imagine how ironic it was to sit next to this
enlightened man while people got sliced, diced and
turned into human Swiss cheese onscreen.
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The
story leaves much to be desired. For example, the
plot involving Takashi's rebel activities are ineffective
and underwritten. And the dramatic acting in general
is sub-par. But you're not going to see it because
of the acting, are you? Hell no you're not! You're
probably there because of the kick ass choreography
by Donnie Yen, the scenery hinting at an Orwellian
future, and a little dose of lesbianism! There was
a certain scene (I won't give it away) where the Vet.
leaned in to tell me something. He said that it was
edited; in Japan they would have shown blood squirting
everywhere. Now, I don't know if he's talking about
the particular scene or if he means movies in general.
Although some aspects of the film lacked, there's
always hope for the sequel to get EVERYTHING right.
[Flower
Island]
Before
the film, Chuck Boller once again made an announcement
publicizing the Korean "Highlight", as well as thanking
those in attendance. This film won the FIPRESCI award
at the Pusan Film Festival. This film deals with the
lives of three spiritually damaged women in their
search for the mystical Flower Island in order to
cure their wounds and reach happiness. Director Song
Il-Gon's cinematography is always stunning throughout.
Be it edgy and brutal, or aesthetically beautiful,
it is always something to behold. And yes, it is pretty
raw at the beginning as the story is setting up these
sorrowful characters. But the course through life
is filled with ups and downs; and as they come full
circle on Flower Island, they've bloomed into something
more.
 |
The
general mood is melancholy, but there are a few funny
moments to be seen. Two scenes I particularly liked
were the hitchhiker/truck driver scene and the gay
band scene (I love off key musical numbers!). As road
movies are meant to be, this is a journey of discovery
and evolution. I wasn't moved to tears, though I definitely
felt some kind of impact. I'm sure that if I get a
second chance to view this film, I'll understand loads
more.
[Pistol
Opera]
This
film was freakin' funny. Everyone was laughing and
making fun of the movie. They had some kind of a problem
trying to find the correct lens to project the film
onto the screen. It first started off bleeding off
onto the ceiling, but after that, the most hilarious
thing happened. They "fixed" it but the problem was
that everything on screen was squashed. I swear to
God the "wheelchair chase scene" was the funniest
moment. This scene had full-body shots of the characters,
so they looked like freakish dwarfs. It was a hoot
for just about everyone there. Being that the movie
itself is really an exploration of art (as in color
and music) through the medium of film, it is impossible
for me to give an accurate summation of the film.
But we all had our laughs at the most minute things.
It was still a cool experience in a way.
 |
This
festival was smaller compared to the Fall HIFF so
there weren't many banners and posters displayed,
or extra activities to take part in, or as many movies,
but I had a great time. Just sitting there in the
theater with films that not everyone gets to see on
a giant screen in front of me is priceless. You can
expect an improvement in my writing skill, as well
as the quality of photos I'll take, in time for the
Fall HIFF. And that will definitely be worthwhile,
as the November HIFF is shaping up to be very exciting.
So, all in all it was a wonderful experience.
I want to thank:
Mom
Mark Flora
J.D. Nguyen
Kung Fu Cult Cinema
Anderson Le and HIFF staff
TheBus
Signature Dole Cannery 18 Theaters
And thank YOU Francis. Wasn't that amazing? Damn.
Well, you can expect a very thorough coverage of the
Fall HIFF, which, I would like to add, will include
over 100 movies with a new unique "SPOTLIGHT ON KOREA"
segment. With the overwhelming amount of wonderful
films sprouting out of Korea recently, the spotlight
should be an entertaining treat for anyone. Once again,
look for the following update where I will have Part
2 of our coverage on the Spring HIFF with our very
informative and nerve racking interview with Mr. Anderson
Le.
Background
Established in 1981, the Hawaii International Film
Festival (HIFF) is dedicated to advance understanding
and cultural exchange among the peoples of Asia, the
Pacific and North America through the medium of film.
From its beginning, the Festival's constant theme
has been "When Strangers Meet."
A Unique and international film event, HIFF has won
the praise of governments, filmmakers, scholars, educators,
programmers and film industry leaders throughout the
world. As the largest East-meets-West Festival in
the United States, HIFF is the primary source for
the discovery and exhibition of Asian and Pacific
feature films, documentaries and videos in the nation.
The Festival is an eagerly anticipated annual event
for residents of Hawaii, as well as visitors to the
state.
For Location and Schedule Information visit:
http://www.revacomm.com/hiff/popschedule.asp
For Ticket Purchasing Information visit:
http://www.revacomm.com/hiff/#ticketinfo
The Official Hawaii International Film Festival website:
http://www.hiff.org
