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Victim(s)) 加害者，被害人 (Layla Zhuqing Ji 2020)
This debut feature by young Chinese director Layla Zhuqing Ji, shot in Malaysia apparently both to avoid mainland censorship and to save money, deals with bullying leading to murder and focuses on a boy and girl and their mothers. It's ambitious, but all over the place in tone, often like a horror movie or a comedy. Some gratuitous extended bullying scenes are very hard to watch. The plot is more complicated than it needs to be. It actually makes Naito Eisuke's Forgiven Children 許された子どもたち (also in the NYAFF this year) look like a great movie.
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IWeirDo 怪胎 ( Liao Ming-yi 2020)
A lovely and charming rom-com from Taiwan about 2 obsessive OCDers shot with iPhones. See it!
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WILD SPARROW 野雀之詩 (Shih Li 2019)
A pretty, wayward young woman becomes responsible for her young son when he comes to Taipei City from the remote countryside for school, and trouble comes. A beautiful picture with some fine acting and images that doesn't quite integrate its disparate story elements.
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SOUL / ROH (Emir Ezwan 2019)
A very low budget and very quiet Malaysian horror film (with wonderful music and cinematography but a rather slow pace) whose elemental and Islamic themes I'd have understood and appreciated better if I'd read the learned review in the Malay Mail before I watched it.
Last edited by Chris Knipp; 09-12-2020 at 03:15 PM.
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Last edited by Chris Knipp; 09-15-2020 at 09:31 PM.
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MY PRINCE EDWARD 金都 (Norris Wong 2019)
A sham marriage and a coming real marriage that might be sham; a boorish and childish and momma's boy Hong Kong boyfriend; a Mainlander who's hipper and more progressive - these provide material for this feisty, fun low budget comedy from Hong Kong about a young woman who must make decisions and take steps. Norris Wong is a screenwriter making her directorial debut, and a highly successful one.
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HEAVY CRAVING 大餓 (Hsieh Pei-ju 2019)
A generally good-natured, and sometimes surreal, first feature from Taiwan about acceptance of being an overweight person and other kinds of outsider. Familiar material, but much warned and enlivened by lead actress Tsai Jia-yin.
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