Asian Films in Cannes

Cannes 2017: S. Korea takes over

 
Once more, Asian Films have a significant presence in Cannes, with Naomi Kawase, Kiyoshi Kurosawa, Takashi Miike and Hong Sang-soo having become regulars. Slowly, but steadily however, S. Korea becomes the premier representative of Asian cinema, and this year's line-up is a distinct sample of the tendency. Here are the Asian films that will be present in 2017 in the festival.

The Day After (dir: Hong Sang-soo)


It is Areum's first day of work at a small publisher. Her boss Bongwan loved and recently broke up with the woman who previously worked there.  Today too, the married Bongwan leaves home in the dark morning and sets off to work. The memories of the woman who left weigh down on him.  That day Bongwan's wife finds a love note, bursts into the office, and mistakes Areum for the woman who left.

Okja (dir: Bong Joon-ho)


A young girl named Mija risks everything to prevent a powerful, multi-national company from kidnapping her best friend — a massive animal named Okja. Director Bong Joon-ho has called Okja "a very shy and introverted animal. It’s a unique animal that we’ve not seen before

Radiance (dir: Naomi Kawase)


The picture, budgeted at $2.3m (€2m), revolves around Misako, a passionate writer of film voiceovers for the visually impaired. At a film screening, she meets Masaya, an older photographer who is slowly losing his eyesight. His work provokes memories of her past. Together, they learn to see the radiant world that was previously invisible to her eyes.

Before We Vanish (dir: Kiyoshi Kurosawa)


The internationally acclaimed director of Tokyo Sonata and Journey to the Shore reinvents the alien movie as a unique and profoundly human tale of love and mystery.  Three aliens travel to Earth on a reconnaissance mission in preparation for a mass invasion. Having taken possession of human bodies, the visitors rob their hosts of the very essence of their being – all sense of good, evil, property, family, belonging – leaving psychological and spiritual devastation in their wake.

Blade of the Immortal (dir: Takashi Miike)

You can read all about the film here

The Merciless (dir: Byun Sung-hyun)


Jae-Ho (Sol Kyung-Gu) is a prisoner. He wields the most power among the inmates and makes rules for the inmates. Jae-Ho is also the #2 guy in a criminal gang outside of prison. He is ambitious enough to go after the #1 spot upon his release. One day, Jae-Ho meets new prisoner Hyun-Soo (Siwan). Hyun-Soo doesn't follow the rules of the prison and he doesn't submit to anyone.

The Villainess (dir: Jung Byung-gil)


Since she was a little girl, Sook-hee was brought up to become a deadly assassin. She gets a second chance in life when South Korea’s Intelligence Agency’s Chief Kwon recruits her to become a sleeper cell.  “Work for us for 10 years, you’ll gain freedom.” Her new identity is Chae Yeon-soo, 27 years old, theater actress. With a promise of complete freedom after serving the country for 10 years, Sook-hee begins a new life. For someone who lived a life of a killer, living a normal life is no easy task. But when 2 men appear in her life suddenly, she uncovers secrets of her past…

Claire’s Camera (dir: Hong Sang-soo)



On a business trip to the Cannes Film Festival, Manhee is accused of being dishonest, and fired. A teacher named Claire goes around taking photos with a Polaroid camera. She gets to know Manhee and sympathizes with her. Claire is like a person who can see Manhee's possible future or past selves, through the mysterious power of the beach tunnel. Through taking photos, Claire has acquired the ability to look slowly at things, and to transform objects. Now, Claire goes with Manhee to the café where she was fired. We look forward to seeing Claire's power at work.

A Man of Integrity (dir: Mohammad Rasoulof)


Reza (35), having distanced himself from the ur- ban quagmire, leads a simple life along with his wife and sole son, somewhere in a remote village in Northern Iran. He spends his days working in his gold fish farm. Nearby, a private company with close links to the government and local authori- ties, has taken control of nearly every aspect of the regional life. Its shareholders, accumulating wealth, power and economic rents, have been pushing local farmers and small owners to dilap- idate their belongings, farms and estates, to the benefit of the Company’s influential net- work and its monopoly. It is under their pressure that many villagers have them- selves become local rings of the larger network of corruption. (...)

24 Frames (dir: Abbas Kiarostami)

“I always wonder to what extent the artist aimes to depict the reality of a scene. Painters capture only one frame of reality and nothing before or after it. For the "24 Frames" I decided to use the photos I had taken through the years. I included 4’30” of what I imagined might have taken place before or after each image that I had captured.”
Abbas Kiarostami

Tokeru (dir: Aya Igashi)


An emotionally confused teenage girl has a daily ritual: secretly jumping into the river as a form of emotional release. As chance would have it, one day her ritual is discovered by her male cousin, visiting from Tokyo.

A Gentle Night (dir: Qiu Yang)


In a nameless small Chinese city, a regular mother tries to find her missing daughter, in this gentle night.

Heyvan (dir: Bahman Ark, Bahram Ark)


A man who wants to pass the border hunts a ram and decides to escape disguised as the animal.

Lunch Time (dir: Alireza Ghasemi)


A 16 year old girl has come to the hospital to identify the body of her mother. The people in charge at the hospital – due to her young age – won’t let her into the morgue and ask her to bring her guardian instead. However the girl insists that most of her family is in jail for criminal activities. Finally after her insistence they agree to let her into the morgue...

Towards the Sun (dir: Wang Yi-Ling)


This is a story about two social outcasts who help each other and make new goals in a road trip.

Walking Past the Future (dir: Li Ruijun)


For Yang Yaoting, a second generation migrant who works at a production line, hope is faint and the job is dehumanizing. Her parents came to this megacity 25 years ago from their agricultural background, hoping to leave behind a harsh reality for a land of dreams. But in a whirlwind that sweeps them off their feet, they realize that the ground they stand on is an illusion in the first place, and wonder if their dream is after all to be found with ploughs and sickles, underneath the very piece of land they left behind. They are harrowed to find, upon returning, that it has long forgotten them too. Feeling rootless, and in all her desperation to belong, Yaoting readies herself to sacrifice her life for the future of her family, just as they once sacrificed their future for her life…

Marlina the Murderer in Four Acts (dir: Mouly Surya)


In the deserted hills of an Indonesian island, Marlina, a young widow, is attacked, raped and robbed for her cattle. To defend herself, she kills several men of the gang. Seeking justice, she goes on a journey for empowerment and redemption. But the road is long, especially when the ghost of her headless victim begins to haunt her.

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Asian Film Vault: Asian Films in Cannes
Asian Films in Cannes
Cannes 2017: S. Korea takes over
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