10 Great Asian Documentaries Of The Last 10 years

10 great samples of the most ignored genre

Probably the lesser known category of Asian cinema, since, for a long time, not many of them were released outside the borders of their country of origin. Thankfully, during the last decade, the interest toward the Asian documentary has increased, with a number of them finding screenings in festivals all over the world, and many on digital media and streaming platforms, like Filmdoo. Companies like Icarus Films, Zakka Films have been the pioneers of this tendency, but other companies are also starting to deal with the particular genre.

Here are great samples

1. We Shall Overcome (Chie Mikami, 2015, Japan)

The Okinawa islands are located in Japan’s southwest. There was intense land warfare in Okinawa when the Allied Forces invaded at the end of WWII. Over 100,000 locals died in the Battle of Okinawa. After the war, Okinawa was under a different administration of the United States Military Forces than the mainland. As a result, many Okinawans had to surrender their land to the U.S. military bases. The Japanese Constitution was not applicable in Okinawa during this time. In 1972, control of Okinawa was given back to Japan. But the military bases and the impact of the oppression remained. And now, in 2015, there is a plan to build a new military base, complete with a port, an airfield, and an armory.

The documentary deals with the continuous and desperate struggles of the islands’ inhabitants to keep the U.S. military from building the base, disrupting one of the few virgin seas remaining in the world. The documentary focuses on three central figures of the movement, Hiroji, Takekiyo and Fumiko, examining their everyday life and through them, the history of the islands since WW2.

All three of the aforementioned individuals, are unique characters. Hiroji, a relentless leader of the movement, is every day in front of the US military base in Henoko, shouting messages, rallying the rest of the demonstrators and trying his best to obstruct the trucks transferring materials for the new base to the camp. Takekiyo has his whole family (wife and three children) dedicated to the cause, with them even having weekly rituals regarding their protesting. The scene where his older son gives a speech in front of the crowd regarding the cause, is one of the most touching in the film. The one who steals the show, though, is 85-years-old Fumiko, a survivor of the Okinawan war, who is at least as energetic and determined as the younger members of the movement. Chie Mikami focuses a large part of the documentary around her, as she tells her dramatic life story and explains the reasons she is still protesting. As many of the protesters use canoes to reach the place where the base is to be built, the government hired local anglers to patrol the area. The documentary also records Nakamura’s (one of those men) opinion on the subject.

Buy This Title

2. Mother, I’ve Pretty Much Forgotten Your Face (Michiro Endo, Japan, 2015)

Michiro Endo is a cult icon in Japan. Born in 1950, in Fukushima, he formed the former punk band “The Stalin” in 1980, a group with radical performances and methods of expression, which featured in Sogo Ishii’s “Burst City.” “The Stalin” were disbanded in 1985, and Michiro Endo started his solo career in 1993, giving, mostly, acoustic folk performances. In 2011, he begins the “Project FUKUSHIMA!” with various activities to support the restoration of the area after the Great East Japan Earthquake. The same year starts his Kanreki tour, to celebrate his 60th birthday. He films this tour from January 23 to September 16, and the footage becomes the backbone of “Mother, I’ve Pretty Much Forgotten Your Name.”

The film starts with a performance by “The Stalin” (Endo reunited them for this tour), that highlights the band’s, but mostly his, extremity. The concert involves him gasping repeatedly, rather explicit lyrics, a siren that he holds towards the audience, which has filled a kind of an underground club, a pig head, and, at the end, him throwing bloody intestines to the crowd. However, the film does not move in this direction at all, as it introduces the man behind the makeup, the loud voice, and the extremities. This tactic becomes rather evident in one of the recurring scenes that have him talking with a friend, who is also a poet, where he states that he is actually bothered by the fact that the people in the audience seem to enjoy having intestines throw at them, while his purpose was the exact opposite, to make them angry.

During his Kanreki tour, the Great East Japan Earthquake occurred, and being a Fukushima native, Endo was devastated, particularly because he could not communicate with his family, but continued performing. However, and despite the fact that he rarely visits his hometown, he started the “Project FUKUSHIMA!” to help the area.

Michiro Endo presents a succession of scenes, including ones where he speaks by himself, dialogues with a number of associates, particularly people who owned the venues he performed, but also other activists and musicians, and live performances recorded. Through this footage, he manages to analyze himself as much as possible, and in the process, presents a rather interesting individual – himself.

3. An Insignificant Man (Khushboo Ranka and Vinay Shukla, 2016, India)

The importance of this documentary becomes evident from the way it raised the funds for its production. As the makers of the film had a goal of $20.000, they decided to "plea" through their film site for financial support, in order to conclude it. The result was staggering, since 782 contributors (who are thanked in the beginning of the film) donated $120,000,  at the end of the campaign, making it the largest crowd funding campaign of its kind in India, hosted by the filmmakers on their own platform.

The documentary revolves around Arvind Kejriwal, and the rise of anti-corruption protests in India that led him to form the Aam Aadmi Party (Common Man's Party), with the help of Yogendra Yadav, an academic of politics. The documentary captures the day-to-day functioning of the Party between December 2012 and December 2013, ending with the New Delhi elections.

The presentation is quite detailed, as it describes the forming of the party, starting with the basics and ending with the 2013 elections, although at the end of the film, its current situation is also revealed. In that fashion, it begins with the first meetings between Kejriwal and the volunteers, and chronicles their door-to-door approach to their voters, their desperate efforts to change India starting with New Delhi, and their struggles against their well-established opponents. The Indian National Congress (INC), headed by the Sheila Dikshit who has been elected for 15 years in a row and the Bhartiya Janta Party, whose funding was exuberant in comparison with AAP and were not above using any method to blemish Kejriwal's campaign.

What is impressive though, and despite the obvious pro-AAP approach of the documentary (they asked from the other parties to participate but they declined) is that it does not shy away from portraying the negative aspects of the campaign. In that fashion, the friction between the volunteers and the leadership, and the eventual succumb to populism, as Kejriwal, in a desperate effort to reverse the curve against him a little before the election promised 700 liters of free water to each household daily, and that he would cut the electrical bills by 50% are also presented in detail. The latter, however, was eventually accomplished.

Continue to the next page

4. The Apology (Tiffany Hsiung, S.Korea, 2016) 

Winner of the Best Documentary award at the Busan International Film Festival, "The Apology" follows the personal journeys of three former “comfort women” who were among the 200,000 girls and young women kidnapped and forced into military sexual slavery by the Imperial Japanese Army during World War II. To bring "The Apology" to the screen, director Tiffany Hsiung enlisted an all female team (including Mary Stephens, editor of Lixin Fan's film "Last Train Home"). Hsiung drew on devastating personal experience, as well as six years spent documenting the lives of survivors of military sexual assault during WWII.

The result of these efforts is a truly heartfelt, and at the same time infuriating documentary, which looks upon the lives of these women with kindness and sensitivity, but at the same time, paints the Japanese government with the bleakest colors. In that fashion, the documentary shows, in equal measures, the current lives of the three women, all in their 80s or 90s, their stories, and their struggle in order for the Japanese government to acknowledge the war crimes against them and issue compensations. Their agony, as most of them are already dead or of very old age, to receive an apology before they die, is one of the most significant forces that drive them.

Grandma Gil, who lives in S. Korea, is part of a movement regarding the aforementioned issue, whose members have been demonstrating in front of the Japanese embassy every Wednesday, since 1992. She is also one of the most outspoken members, as she travels around the world, speaking on behalf of the 200,000 young girls across Asia, who were forced into prostitution by the Japanese Imperial Army. Her courage and lucidity, despite her age and her health issues, is truly inspiring. Furthermore, the reactions from the Japanese are shocking, although radically opposite. When she talks about her story in an all female school in Japan, there are a number of students who burst into tears, after hearing what she had to go through. On the other hand, during a demonstration of their organization in Japan, there are a number of right-wing protesters (and mere citizens) who call them "whores" that only care about money, in a truly shameful and infuriating attitude.

Grandma Cao lives in a remote village in rural China, and insists on living alone despite the pleas from her daughter, who is unaware of her mother's story. She refuses to talk about her trauma as a "comfort girl" but when she does to the documentarian, her story is truly devastating, particularly when she talks about the two times she had to give birth.

Grandma Adela in Roxas City has been keeping her story a secret for years, both from her husband and her children, due to the shame and social prejudice regarding women who have been raped,. This silence has traumatized her, although she has found support in a group of women who are also survivors. There are three very strong scenes in her segment. The one where she revisits the house that functioned as a "relief station", the one where she confesses the truth in her deceased husband's grave, asking his forgiveness for keeping it a secret, and the one where she does the same with her son.

Despite the overly dramatic essence of the documentary, the resolve and occasional feistiness of these women provides a number of scenes that produce smiles, lightening the mood of the feature on occasion. In that fashion, Tiffany Hsiung manages to give an entertainment aspect to the documentary, without detracting of the seriousness of the subject in any way.

Buy This Title

5. Bamseom Pirates Inferno (Jung Yoon-suk-I, 2017, S. Korea) 

"Bamseom Pirates" is a band consisting of bassist Jang Sung-geon (aged 29) and drummer Kwon Yong-man (aged 31). Their music is an extreme mixture of grindcore and punk, not to mention they frequently combine their music with the breaking of things. However, what set them apart and eventually garnered great attention towards the duo is their song titles and lyrics, with "All hail to Kim Jong-il" and "I like the commie" being distinct samples.

Jung Yoon-suk-I follows the group from 2010 onward, presenting their unique style while focusing on their characters and the reasons that compel them to do what they are doing. Their live shows are bound to produce some laughs, as they usually start with a number of comments that are hilarious, and since their lyrics are quite hard to understand due to their extreme vocals, they use PowerPoint presentations, which are, at least, equally funny. However, under all this humour lies a pointy critique of the state, and particularly the way the relations with North Korea affect the laws and the general mentality of the country. In this fashion, their songs are inspired of actual events and incidents, like the talks between the leaders of the two Koreas that ended up in offensive dialogue or the arrest of their friend and producer, Park Jung-geun, for -tweeting messages from the North Korean account "Uriminzok". This last episode also ends up in the biggest crisis of their career.

Jung Yoon-suk-I retains an impressive balance between their humour and their political and social ideas, as both are presented through a number of interviews and live performances usually associated with protests, such as against the Korea–US Free Trade Agreement, the construction of a naval base on Jeju Island and the 3/11 Fukushina Daiichi nuclear disaster. One of the most shocking sequences is the one when, during a concert in an anti-eviction demonstration in an underground facility construction, construction companies send paid rioters and armed thugs to break it up, while the police does not intervene. The Pirates, though, manage to joke even for this episode.

The various interviews with the duo are quite interesting, as their social and political thoughts are revealed, again in a combination of humour and seriousness. I could not help laughing when Jung Yoon-suk-I asks Kwon Yong-man about his lack of ambition and he replies, "My ambition is to create trashy music and make noise".

6. Mrs. B. A North Korean Woman (Jero Yun, 2016, S. Korea) 

Winner of the Best Film of the Documentary Competition in Moscow and Best International Documentary Film in Zurich Film, "Mrs B" is a very impressive documentary, shot in true guerilla style.

Jero Yun was conducting a research for North Korean refugees in China for his previous film, "Looking for North Koreans" and spent time with a network of smugglers working between North Korea, China, South Korea and the United States. That is where he met Mrs. B. (whose actual name is not mentioned in the film), who put him in contact with North Korean refugees living clandestinely in China, and eventually in her farm where she told him her story, thus becoming the focus of this film.

The documentary follows Mrs. B's everyday life in China, which is filled with details about the smuggling of people she contacts, to the "underground" trip she takes to S. Korea, to meet her N. Korean family. At the same time, through this trip, Jero Yun presents her life story, through her own words.

Watching this documentary, I was truly shocked with the easiness she explained all that has happened and is still happening in her life. This woman decided to leave N. Korea to go to China, and in her effort, she was sold to the family of her husband in China, where, to make ends meet, she started smuggling drugs, "renting" girls to karaoke parlors and eventually smuggling people, including her N. Korean family to China, and through there, to S. Korea. Mrs B. explains all this with every detail, with a terrifying pragmatism, as she states, "If you are an illegal immigrant, there aren't many things you can do to make money".

The fact that her life is placed between countries, worlds and families and swamped in illegality does not seem to deter her in any way. The only time she actually shows she is hurt is when her husband, accidentally, gives the wrong dog (of the two they own) to his cousin.

The setting changes much when the documentary is transferred to S. Korea, where the struggles of her family in the hands of the authorities, who consider them spies, are depicted, as is their relationship with her.

Buy This Title

Continue to the next page

7. Holy Island (Aya Hanabusa, 2010, Japan)

Iwaishima Island is part of Kaminoseki City in Yamaguchi Prefecture. On this island in the Seto Inland Sea, the 500 residents have been living by helping each other and sharing things, since that was what was necessary to live in such a harsh natural environment. In 1982, there surfaced a project for constructing a nuclear power plant in Tanoura, on the opposite shore about 3.5 kilometers from Iwaishima Island. The people here have opposed the project since then, saying, “We can only live as long as we have mountains and the sea. We cannot sell the sea during our generation.” "Holy Island" focuses on the struggle of these people and highlights their lives, and the reasons behind their resolve.

There are two, very important issues they have to face in their fight against the building of the plant. The first one is that the majority of the people living in the wider area are in favor of the construction, and even many in the island, in a disagreement that has actually split Iwaishima apart. The documentary actually starts with the city council where the protesters were outvoted. The second issue is that the majority of them are elderly, over 70 even, with the younger amongst them being around 50. This aspect puts their fight in jeopardy, both because it limits them in what they can do, and because the lack of younger people means that there would be no one to continue the fight in a few years. However, both of these aspects do not seem to make any difference regarding their resolve, in a behaviour that makes them seem heroic even, as they struggle against all odds, and at the same induces the film with a certain sense of sadness.

Aya Hanabusa focuses on both the aforementioned and their everyday lives, which is mostly spent in the sea for the fishermen, in the fields for the farmers and for some in the fish-processing plant, although all of them find time to spend with each other. Two scenes stand out, apart from the one in the city council. The one when they protest in the narrow streets of the island wearing headbands (they have even put one on a dog accompanying them) and the one when a new child is admitted to the local school in a very official ceremony, in order to join the only two other students there.

Another point of focus is Iwaishima Island itself, with Chizuna Okubo's cinematography capturing the beauties of the island, particularly in the fields and the sea, with an elaborate combination of artistry and realism. Tetsuo Shinomiya's editing keeps the film flowing, harmonically connecting the different kinds of footage, while Tomoko Saito's wonderful voice provides a narration that functions as the soundtrack of the documentary, among the quietness that permeates the island.

Buy This Title

8. The Cinema Travellers (Shirley Abraham and Amit Madhesiya, 2016, India) 

The documentary focuses on the lives of three people who are connected to touring cinemas. Two of them run their own touring talkies and a third is an engineer who fixes these projectors. It opens with the running of a projector and the touring company setting up their tents and such, for the night show. The show is held inside a large tent and the projector is inside a truck. The audience sits on the ground. After a delay which angers some of the audience, the movie starts and the audience watches it mesmerized. The portrait shots taken of the audience as they watch the movie captures this feeling brilliantly. These shots are used again in the end.

The touring talkie owners are struggling, due to falling attendance and one of them is reduced to showing semi pornographic movies during the late-night show to boost sales. The spotlight on the engineer offers a different perspective. He talks about the time there used to be long lines in front of his shop by people looking to get their projectors repaired. He offers an interesting perspective about machines, saying that if humans did not understand each other, they would not be able to build machines. He talks about the process of creativity. In the end, the owners are forced to adapt and they end up buying digital projectors and laptops to show their movies.

There are multiple points which ought to be highlighted about this documentary. First and foremost, it is the opening scene. The bright light caused by the wire burning, and then the glow lessening to reveal the projector running is brilliant. It hooks the audience in, instantly. By keeping the focus on three people, two of them touring talkies owners, the directors intends to offer different perspectives on the same situation. Mohammed, the owner of Sumadh Touring Talkies is young and has started from the bottom and is always trying to come up with innovative ways to boost sales. Whether it be the showing of a semi pornographic movie to boost sales or buying a digital system to get better image quality. Bapu, the owner of Akshay Touring Talkies does not want to give up his business. He is not earning much for it and reveals that it is much more than money for him. Though it may seem that the tide of technology will eventually sweep away their business, they still hold on, trying to survive.

9. Golden Slumbers (Davy Chou, 2011, Cambodia)

From the first film ever made in Cambodia in 1960, to the arrival of the Khmer Rouges in 1975, more than 400 movies were produced. After the change of the regime, the movies were banned, the theaters shut down, and most filmmakers and actors were killed, since they were considered enemies of the people. Only 30 films remain today, and a few of the directors who were able to flee the country. Davy Chou, grandson of Van Chann, a famous producer in the 60's and 70's, tries to bring back to life the cinema of the era, through testimonies of the few survivors.

These interviews, which include filmmakers, actors, producers and even film buffs, reconstruct an era long gone, since the only thing that remains of most of the films are the songs that played in them, and some footage. Van Chann's daughter eloquently states that 11 years of her father's filmmaking are now reduced to 12-15 photos, the only mementos left. Most of the old theatres in Pnom Penh have become restaurants, karaoke parlors, and even unofficial asylums for the poor. In that fashion, the documentary emits sadness and a sense of nostalgia for the era, which reaches the borders of the drama, when episodes of grenades thrown in theatres and the general treatment of the industry by the Khmer is revealed.

However, as the documentary progresses, some rays of hope start to appear on screen. Dy Sabeth, the first star of Cambodian cinema is still here, as is Van Chann, Ly Bun Yim, Yvon Hem, both filmmakers, and other members of the industry, who still remember, and are not willing to let people forget. And, as the two film buffs, and some random people from the aforementioned asylum start talking about these films, the fact that their legacy will remain, becomes a certainty. Davy Chou does his part, as, at one point of the film, a famous scene from one of those is restaged with the help of some random youths.

Furthermore, Chou does a very good job of combining the interviews with the minor footage that remains from the era, most of which are audio clips, with the help of Laurent Leveneur's accomplished editing. This elaborateness also applies to Thomas Favel's cinematography, whose framing is impressive at times, even highlighting some of the cinematic techniques used at the time

Watch This Title

10. Three Sisters (Wang Bing, 2013, China)

One of the most important documentary directors of his generation, Wang Bing takes another look at the unknown aspects of life in China, in a film that screened in festivals all over the world, winning a number of awards, including the Orizzonti Award at the 69th Venice International Film Festival, where it premiered.

The film focuses on the everyday lives of three sisters, 10-year-old Yingying, 6-year-old Zhenzhen and 4-year-old Fenfen, who live in Xiyangtang, a tiny and almost impoverished rural village in the high mountains of China's Yunnan province (3200 meters above sea level) along 80 other families. The three girls live alone most of the time, since their father is away working in a city, and their mother is out of the picture. Their exhausting lives has them doing grueling tasks for their grandfather or aunt, including herding sheep and pigs, mashing potatoes with their feet to feed the animals, picking dung from the fields, and attending some small fields. YingYing also has to take care of her sisters, and somewhere among all these to attend school and find time to study.

If those were not enough, their living conditions are awful. They sleep in wet beds, since the humidity does not allow them to dry (the village is constantly foggy, with very few sunny moments), with no heat or electricity, in rundown homes where the sun never shines and with a fire almost constantly lit, inside the house. Yingying has a cough that does not seem to go away, Zhenzhen has wounds in her feet from her rundown and constantly wet boots, and Fenfen is filled with lice.

The one who is the saddest, though, is Yingying, who has to care for so many things, including a number of backbreaking tasks, in a life filled with noes. No money, no electricity, no heat, no games, no family, since eventually her father takes her two sisters away in the city leaving her alone because he cannot afford the school tuition in the city, and in the bottom line, no break or hope.

Buy This Title



13 Assassins,1,1428,1,1987: When The Day Comes,1,2016,1,2017,3,2LDK,1,3-Iron,1,A Better Tomorrow 2018,2,A Bittersweet Life,1,A Company Man,1,A Day,1,A Dirty Carnival,1,A Feeling Greater Than Love,1,A few words about us,1,A Girl at my Door,1,A Lonely Cow Weeps at Dawm,1,A Love,1,A Man of Integrity,1,A Man Vanishes,1,A Simple Life,2,A Single Rider,1,A Special Lady,1,A Stone from Another Mountain to Polish Your Own Stone. Go Shibata,1,A Tale of Love,1,A Taxi Driver,1,A tiger in winter,1,A Whale of a Tale,1,Abdullah Mohammad Saad,3,About Elly,1,Above the Clouds,1,Adam J. Symchuk,21,Adam John,6,Adam Wong,1,Address Unknown,1,Aditya Vikram Sengupta,2,Adriana Rosati,42,Age of Innocence,1,Age of Shadows,1,Aihara Hiro,1,Akihiko Shiota,2,Akihiro Toda,1,Akio Fujimoto,1,Akira Ikeda,2,Akira Kurosawa,1,Akiyuki Shinbo,2,Alan Mak,1,Ale Amout,1,Alex Oost,1,Alexander Knoth,1,Alfed Cheung,1,Ali Asghar Vadayeh Kheiri,1,Along with the Gods: The Two Worlds,1,Ambiguous Places,2,Amir Masoud Aghababeian,1,Amir Muhammad,2,Amitabh Reza,1,Anand Singh,5,Andrew Loh,1,Andrew Thayne,9,Andy Lau,1,Andy Willis,1,Angels Wear White,1,Anime,3,Animesh Aich,1,Ann Hui,6,Anna Bliss,3,Anqi Ju,1,Anshul Chauhan,2,Anthony Pun,1,Antiporno,1,Anurag Basu,1,Anurag Kashyap,1,Anysay Keola,1,Apprentice,1,Aqerat,2,Arang,1,Ariyuki Shinbo,1,Armour of God,1,Arrow,4,Art Film Fest Kosice,2,Article Films,3,Asghar Farhadi,1,Asha Jaoar Majhe,2,Ashley Cheung,1,Asian Classics,43,Ask the Sexpert. India,1,Aya Hanabusa,1,Aya Itabe,1,Aynabaji,1,Baasansuren Nyamdavaa,1,Bad Poetry Tokyo,4,Badrul Hisham,1,Badrul Hisham Ismail,1,BAMY,2,Bangkok Nites,3,Bangladesh,9,Banjong Pisanthanakun,1,Banmei Takahashi,1,Battle of Memories,1,Battleship Island,1,Bauddhayan Mukherji,2,Before We Vanish,2,Behind the Camera,1,Belgium,1,Ben Stykuc,9,Bengal,2,Benny Chan,1,BFI,1,Bhutan,11,Big Tits Dragon,1,Billy Joe,2,Black,1,Blade of the Immortal,1,Bleeding Steel,1,Bloodrunner Zero,1,Bloody Muscle Builder in Hell,1,Bluebeard,1,Boat People,1,Bollywood,1,Boo Junfeng,1,Born Bone Born,1,Branded to Kill,2,Breathless,1,Brothers in Heaven,1,Bunny Drop,1,Burma,1,Burning Birds,2,Bystanders,1,Byun Sung-Hyun,2,Call Boy,1,Call of Heroes,1,Cambodia,4,Camera Japan,10,Cannes Film Festival,5,Chan Chi-Fat,1,Chang,2,Chang Tso-chi,1,Chang Zheng,1,Chen Hung-i,2,Chen Kaige,1,Chen Kuo-fu,1,Cheng Cheng Films,2,Cheung Yin-kei,1,Children Heaven,1,China,60,Chinese Policy Institute,6,Chinese Shadows,5,Chinese Visual Festival,1,Ching-lin Chan,1,Cho Keun-Hyun,1,Choi Jin-ho,1,Choi Jin-won,1,Choi Min-sik,1,Chris Berry,1,Chu Yuan,1,Chung Ji-young,1,Chung Mong-Hong,1,Chungking Express,1,CineAsia,2,City of Rock,1,Close Knit,1,Close-Knit,2,Cloudy,1,Coffeemates,1,Colette Balmain,9,Colour of the Game,1,Come Drink With Me,1,Competition,2,Confessions,1,Contact Info,1,Corey Yuen,1,Creative Visions: Hong Kong Cinema,1,Criminal City,1,Crocodile,1,Crosscurrent,2,Crows Zero,1,Cyrano Agency,1,Da Peng,1,Daguerreotype,1,Daigo Matsui,1,Daihachi Yoshida,1,Daisuke Gotô,2,Daisuke Miura,1,Daisuke Miyazaki,4,Danny and Oxide Pang,1,Dante Lam,1,David Chew,7,David Chew.,1,David Shin,1,Davy Chou,1,Dawn of the Felines,1,Dawn Wind in My Poncho,1,Ddongpari,1,Dead Friend,1,Dead Sushi,1,Deadly Outlaw: Rekka,1,Dechen Roden,1,Dechen Roder,1,Deepak Rauniyar,1,Derek Chiu,2,Derek Hui,1,Derek Tsang,1,Destruction Babies,1,Diary of June,1,Didi Saleh,1,Die Tomorrow,1,Digger,1,Ding Shen,1,Ding Sheng,2,Dismembered,1,Documentaries,19,Documentary,3,Doenjang,1,Don Anelli,31,Dong Yue,1,Double Life,1,Double Vision,1,Dr. Heo,1,drama,1,Duckweed,1,Duelist,1,Dust of Angels,1,East Winds Film Festival,1,Eddie Cahyono,1,Edmund Yeo,4,Educating Yuna,1,Eiji Uchida,2,Eliana,1,Emmanuel Horlaza,1,Enter the Warriors Gate,1,Eric Tsang,1,Erich Khoo,1,Erotic Diary of an Office Lady,1,Eternal Summer,1,Eureka,7,Evil and the Mask,1,Exploitation,36,Explosion,1,Fabricated City,1,Far East Film Festival,11,Fatal Countdown: Reset,2,Fathers,1,Faye Wong,1,Features,24,Feautures,1,FEFF20,1,Fel,8,Feng Xiaogang,1,Festivals,13,Filmddo,1,Filmdoo,21,Fire Lee,1,Fireworks,1,Fireworks Should We See It from the Side or the Bottom?,2,Five Flavors Festival,3,Five Flavours,27,Five Flavours Festival,20,Flying Fish,1,Forbidden Door,2,Forgetting Vietnam,1,Fove Flavours,1,France,2,Fraser Elliott,1,Free and Easy,1,From Vegas to Macau III,1,Fruit Chan,1,Fujian Blue,1,Fullmetal Alchemist,1,Fumihiko Sori,1,Funeral Parade of Roses,1,Funuke Show Some Love,1,Fuyuhiko Nishi,1,Gangs of Wasseypur,1,Gareth Evans,3,Geng Jun,1,Ghafara Harashta,1,Giddens Ko,1,Gillian Anderson,1,God Man Dog,1,God of War,1,Godspeed,2,Godzilla: Planet of the Monsters,1,Golden Cousin,2,Golden Horse Awards,1,Golden Slumbers,1,Good -Bye Silence,2,Gordon Chan,1,Goro Miyazaki,1,Guo Jian-yong,2,H. Tjut Djalil,1,Haibin Du,1,Han Han,1,Han Jie,1,Hanagatami,1,Hanging Garden,1,Hanuman,1,Hapkido,1,Happy Together,1,Hashiguchi Takaaki,1,Haunters,1,HBO,2,Heart Attack,1,Heiward Mak,1,Helldriver,1,Helsinki Cine Aasia Festival 2018,4,Hema Hema: Sing Me a Song While I Wait,1,Her Own Address,1,Herman Yau,3,Heung-Boo: The Revolutionist,1,Hidden Gems,64,Hideen Gems,1,Hideo Sakaki,1,High-Kick Girl,1,Hindi,1,Hiro Aihara,1,Hirobumi Watanabe,2,Hirokazu Koreeda,4,Hiroshi Ando,1,Hiroshi Shoji,1,Hiroshi Teshigahara,1,Hiroyuki Kawasaki,1,Hiroyuki Seshita,1,HKETO,1,Ho Yuhang,3,Holy Island,1,Honeygiver Among the Dogs,2,Hong Ki-Seon,1,Hong Kong,42,Hong Kong Godfather,1,Hong Sang-soo,1,Hongkong,1,Horror,4,Hou Hsiao-hsien,1,Hsu Hsiao-ming,1,Huang Fend,1,Huang Huang,1,Huang Hui-chen,1,HUANG Xi,1,Huang Ying-hsiung,1,Husband Killers,1,Hwang Dong-Hyuk,1,Hwang Jung-min,1,I Am A Hero,1,I Have Nothing to Say,2,I Saw the Devil,1,I Wish,1,I-Lin Liu,15,ICA,3,Icarus Films,6,IFFLA,3,IFFR,2,Im Kyeong-soo,1,Imran Firdaus,1,Imran Fridaus,1,In a Defiled World,3,In the Absence of the Sun,1,In this Corner of the World,3,India,6,Indonesia,19,Initiation Love,1,International Chinese Film Festival,1,International Film Festival Rotterdam,13,Interview,2,Interviews,61,Intimate Confessions of a Chinese Courtesan,1,Inugami,1,Inuyashiki,1,Ip Man: The Final Fight,1,Iran,8,Ishmael Bernal,1,Isora Iwakiri,1,J.P. Sniadecki,1,Jackie Chan,5,Jagat,1,Jagga Jasoos,1,James Mudge,1,Jang Chang-won,1,Jang Hoon,1,Jang Joon-hwan,1,Japan,210,Japan Cuts,15,Japan Film Festival Australia,1,Japan Filmfest Hamburg,2,Japan Foundation Touring Programme,3,Japan the Emperor and the Army,1,Japan. Reviews,1,Japanese Film Festival Australia,2,Jeong Jae-eun,1,Jeong Yun-Cheol,1,Jeonju International Film Festival,1,Jess Teong,1,Jesse V. Johnson,1,Jia Zhangke,2,Jimmy Henderson,2,Jin Xingzheng.,1,Jithin K Mohan,2,Joe Odagiri,2,Johnnie To,2,Johnny Ma,1,Joko Anwar,5,Jonathan Li,1,Jonathan Wilson,7,Jonathan Yi,1,Joo Ji-hong,1,Josh Parmer,1,Journey of the Tortoise,1,Joy of Man's Desiring,1,July Jung,1,Jun Ichikawa,1,Jun Li,1,Jun Tanaka,3,Jung Byung-gil,1,Jung Sik,1,Jung Yoon-suk,1,Junichi Kajioka,1,Junpei Mizusaki,1,Justice in Northwest,1,K-dramas,12,Kaasan Mom’s Life,1,Kam Ka-Wai,1,Kamila Andini,1,Kaneto Shindo,1,Kang Je-gyu,1,Kang Yoon-Sung,2,Kara Hui,1,Katsuya Tomita,3,Katsuyuki Motohiro,1,Kazuya Shiraishi,1,kdrama,1,Ke Guo,1,Keep Calm and Be a Superstar,1,Kei Chikaura,1,Kei Horie,1,Kei Ishikawa,1,Keishimi Oto,1,Ken and Kazu,1,Kengo Yagawa,1,Kenichi Ugaba,1,Kenichi Ugana,1,Kenichi Watanabe,1,Kentaro Hagiwara,1,Kesang P. Jigme,1,Kfc,1,Khavn,1,Khyentse Norbu,2,Kill me,1,Killing Beauty,1,Kim Bong-han,1,Kim Eun-hee,1,Kim Hong-seon,1,Kim Hong-Sun,1,Kim Hyun-seok,1,Kim Jee-woon,4,Kim Jin-Mook,1,Kim Jong-Kwan,1,Kim Joo-hwan,1,Kim Ki-duk,4,Kim Kih-hoon,1,Kim Min Su kII,1,Kim Min-suk,1,Kim Tae-kyeong,1,Kim Whee,1,Kim Yong-hwa,1,King Hu,1,Kingyo,2,Kirti Raj Singh,1,Kiss me,1,Kiyoshi Kurosawa,5,Kôbun Shizuno,1,Koji Fukada,1,Koji Wakamatsu,1,Komiya Masatetsu,1,Kon Ichikawa,2,Konrad Aderer,1,Korea,2,korean drama,1,Kotoko,1,Krzysztof Pietrzak,1,Kun-Yu Lai,12,Kwak Kyung-taek,2,Kyoko Miyake,1,Kyriacos Kyriacou,3,Labour of Love,1,Lady Snowblood,2,Lam Wingsum,1,Laos,3,Laughing Under the Clouds,1,Le Binh Giang,1,Le Bình Giang,2,Leandro E. Seta,1,Lebanon,1,Lee An-gyu,1,Lee Byeong-Hun,1,Lee Byung-Hun,1,Lee Chang-Hee,1,Lee Je-Yong,1,Lee Joo-young,1,Lee Jung-sun,1,Lee Kwang-kuk,1,Lee Myung-se,1,Lee Sa-rang,1,Lee Seo-goon,1,Legend of the Demon Cat,1,Leo Zhang,1,Leon Lai,1,Leste Chen,2,Leung Wing-Fai,1,Ley Lines,1,Lhaki Dolma,1,Li Cheuk-shing,1,Li Ruijun,1,Liang Ying,1,Life on the Line,2,Like Father,1,Like Son,1,Lim Sang-yoon,1,Lists,12,Little Big Soldier,1,Little Forest,1,Little Shop of Grotesque,1,Little Shop of Horrors,1,Liu Yang He,1,Liu Yang River,1,Live from Dhaka,2,Live Up To Your Name,1,Loi Bao,1,London Korean Film Festival,5,Los Angeles Indian Festival,3,Love,1,Love and Other Cults,1,Love Education,1,Lovely Man,1,Lovers Are Wet,1,Lowlife Love,1,Lucky Kuswandi,1,Lyberis,4,Mad Tiger,1,Mad World,3,Made in Hong Kong,1,Madman,2,Mahde Hasan,1,Mai Chan's Daily Life: The Movie,1,Majid Majidi,1,Makoto Shinkai,1,Malaysia,12,Mama,1,Mamoru Hosoda,1,Manny Araneta,2,March Comes in like a Lion,1,Maria Georgiou,24,Mark Gallagher,1,Marlina the Murderer in Four Acts,3,Mary Jirmanus Saba,1,Masaaki Yuasa,2,Masaharu Take,1,Masahiro Shinoda,1,Masakazu Sugita,1,Masaki Adachi,1,Masanori Tominaga,1,Masaru Konume,1,Masato Harada,2,Masato Ozawa,1,Masatoshi Kurakata,1,Matt Cooper,15,Matthew D. Johnson,1,Matthias Hoene,1,Maundy Thursday,1,Meghe Dhaka Tara,1,Memoir of a Murderer,1,Merantau,1,Mermaid,1,Miaoyan Zhang,1,Michael Haertlein,1,Michelle Hung Tsz-ching,2,Midi Z,1,Midnight Runners,1,Midori Impuls,4,Milk the Maid,1,Minamata: The Victims and Their World,1,Minoru Kunizawa,1,Miss Zombie,1,Miwa Nishikawa,1,Mohammad Rasoulof,1,Mohammad-Reza Lotfi,1,Mon Mon Mon Monsters,1,Mong-Hong Chung,2,Mongolia,2,Monika S-r,1,Moon Lovers,1,Moon So-ri,1,Mototsugu Watanabe,4,Mouly Surya,3,Mountains May Depart,2,Mourning Forest,1,Movie,1,Moving,1,Mr Long,1,Mr. Socrates,1,Mrs Fang,1,Mrs K,2,Mumon: The Land of Stealth,1,My Beloved Yak,1,My Dad and Mr Ito,1,My Heart is that Eternal Rose,1,My Hero Chihiro,1,Myanmar,1,Mystics in Bali,1,Nah Hyeon,1,Namiya,1,Nanachan,1,Naoko Ogigami,3,Naomi Kawase,3,Naosuke Kurosawa,1,Naoyuki Tomomatsu,3,Nawapol Thamrongrattanarit,2,Neko Atsume House,1,Nepal,1,Neuchâtel International Fantastic Film Festival,1,Never Ending Blue,1,New Neighbor,2,New World,1,New York Indian Film Festival,1,News,13,Nicholas Poly,4,Night Bus,1,Night is Short,1,Night is Short Walk on Girl,1,Night of the Felines,1,Nikola Cekic,1,Ninja Pussy Cat,1,Niwatsukino Norihiro,1,No. 1 Chung Ying Street,2,Noboru Iguchi,1,Noboru Tanaka,1,Nobuhiko Obayashi,2,Nobuhiro Yamashita,2,Nobuo Nakagawa,1,Nobuyuki Takeuchi,2,Noise,2,Non-fiction Diary,1,Norbu,1,Noriaki Tsuchimoto,1,Norman England,2,North Korea,1,Nurse Diary: Beast Afternoon,1,NYAFF,11,Nyamdavaa Baasansuren,1,NYIFF,1,Odd Obsession,1,Oh In-Chun,1,Old Boy,2,Old Stone,1,Old-School Kung-Fu Fest,3,Omar Rasya Joenoes,3,On The Line Festival,3,On the Run,1,One Cut of the Dead,1,One Man's China,1,Operation Red Sea,1,Ophilia,1,Ordinary Person,1,Orson McClellan Mochizuki,1,Osaka Asian Film Festival,9,Osamu Sato,1,Our Happy time,1,Our Time Will Come,1,Outrage Coda,1,Over the Fence,1,Oxide Pang,1,Pai Kau,2,Palatpol Mingpornpichit,2,Pale Flower,1,Panos,1,Panos Kotzathanasis,188,Park Chan-wook,2,Park Hee-joon,1,Park Hoon-Jung,3,Park In-je,1,Park Ki- hyung,1,Park Kwang-hyun,1,Parkpoom Wongpoom,1,Party Round the Globe,1,Passage of Life,1,Patrick Hofmeister,71,Patrick Tam,1,Pedro Morata,9,Peerachai Kerdsint,1,Pelden Dorji,1,Pema "Tintin" Tshering,1,Pema Tshering,1,Pen-Ek Ratanaruang,1,Peng Xiaolian,1,Pepe Diokno,1,Peque Gallaga,1,Perfect Blue,2,Peter Chan,1,Peter Chen,1,Phanumad Disattha,1,Philippines,2,Pieter - Jan Van Haecke,4,Pieter-Jan Van Haecke,7,Pink Eiga,15,PinkEiga.TV,6,pinku eiga,1,Poet on a Business Trip,1,Poolside Man,1,Press Release,2,Prophecy,1,Proshoon Rahmaan,2,Psychic,1,Pumpkin and Mayonnaise,1,Queen of Triads,1,Rabbit and Lizard,1,Radiance,1,Railway Sleepers,1,Rainy Dog,1,Raja Mukhriz,1,Randy Mckenzie,4,Rape Zombie: Lust of the Dead,1,Rape Zombie: Lust of the Dead 2,1,Ravine of Goodbye,1,Real,1,Realism,1,Red Persimmons,1,Rei Sakamoto,1,Reipu zonbi: Lust of the dead 3,1,Revenge: A love story,1,Review,3,Reviews,183,Reviews.,2,Reviews. Panos Kotzathanasis,1,Riri Riza,2,Ritwik Ghatak,1,River of Exploding Durians,2,Robin Weng,1,Roger Lee,2,Ronja,1,Rouge,1,Rouven Linnarz,1,Running on Karma,1,Russia,1,RV: Resurrected Victims,1,Ryoo Seung-wan,2,Ryu Kaneda,1,Ryuki,1,Ryutaro Ninomiya,2,S. Korea,65,S.Korea,1,Saayak Santra,3,Sabrina Baracetti,1,Sabu,3,Sade Sato,1,San Diego Asian Film Festival,4,Sanjeewa Pushpakumara,2,Sankha Ray,7,Satan's Slaves,3,Satoru Hirohara,1,Satoshi Kon,3,Say Yes,1,Sayandeep Bandyopadhyay,5,Scarlet Heart,1,Score,1,Sea Fog,1,Seijun Suzuki,3,Sekigahara,1,Serga Mathang,1,Sexy S.W.A.T. Team,1,Sha Po Lang,1,Shake Rattle and Roll,1,Shanjhey Kumar Perumal,1,Shaw Brothers,1,She Remembers He Forgets,2,She's the Boss,1,Shift,2,Shigeru Umebayashi,1,Shikhar Verma,3,Shikhar Verna,3,Shim Sung-Bo,1,Shinichi Fukazawa,1,Shinichiro Ueda,1,Shinji Iwai,1,Shinji Somai,2,Shinji Sômai,1,Shinjuku Swan,1,Shinjuku Triad Society,1,Shinobi no Kuni,2,Shinsuke Ogawa,1,Shinsuke Sato,2,Shinya Tsukamoto,3,Shôhei Imamura,1,Shoot for the Contents,1,Shorts,9,Shotaro Kobayashi,1,Shu Qi,1,Shuna Iijima,1,Shunji Iwai,1,Shutter,1,Siddiq Ahamed,1,Sidi Saleh,1,Signature,1,Silent Mist,1,Silver Spleen,2,Singapore,2,Singh Anand,1,Singing Chen,1,Sinophone,1,Sion Sono,6,Siti,1,Sixth Sense Hooker,1,Sleep Curse,1,Small Talk,1,Sogo Ishii,2,Soichi Umezawa,1,Solanin,1,Solitude,1,Solo,1,Sompot Chidgasompongse,2,Song Hae-sung,1,Song Kang-ho,1,Song of the Week,19,Sopawan Boonnimitra,1,Sopon Sakdapisit,1,Soul,1,Soul Mate,1,SoulMate,1,South Korea,20,Sri Lanka,3,Stanley Kwan,1,Steel Rain,1,Stephen Chow,1,Stephen Fung,2,Still the Water,1,Story in Taipei,1,Strange Circus,1,Studio Ghibli,1,StudioCanal,4,Subenja Pongkorn,2,Suffering of Ninko,1,Suicide Club,1,Sukita: The Shoot Must Go On,1,Summer Snow,1,Sun-ho Cho,1,Sunao Katabuchi,3,Sung-hong Kim,1,Sunk Into the Womb,1,Susumu Hirasawa,1,Sweating the Small Stuff,2,Sylvia Chang,1,Tadashi Nagayama,1,Tae Guk Gi,1,Tag,1,Taiwan,21,Takaaki Hashiguchi,1,Takahiro Miko,1,Takahisa Zeze,1,Takao Nakano,1,Takaomi Ogata,3,Takashi Miike,9,Take Care of My Cat,1,Takeshi Kaneshiro,1,Takeshi Kitano,1,Takuro Nakamura,2,Talop Wangchuk,1,Tatara Samurai,1,Tatsuhi Omori,1,Tatsumi,1,Tatsumi Kumashiro,1,Teddy Soeriaatmadja,1,Teppei Nakamura,1,Tetsuo the Iron Man,1,Tetsuya Mariko,1,Tetsuya Nakashima,1,Thailand,16,Thanatos Drunk,1,That's It,1,The Adventurers,2,The Bad,1,The Boy and the Beast,3,The boy from Ipanema,1,The Brink,1,The Chase,1,The Crawler in the Attic,1,The Crazy Family,1,The Day After,1,The Detective,1,The Discloser,1,The Dollhouse,1,The elephant and the sea,2,The Executioner,1,The Forest Whispers,1,The Forsaken Land,1,The Fortress,1,The Good,1,The Great Passage,1,The Hole,1,The Indian Film Festival of Los Angeles,1,The Inugami Family,1,The Iron Ministry,1,The Island That All Flow By,1,The Isthmus,1,The Kid from the Big Apple,1,The King of Pigs,1,The Last Executioner,1,The Last Painting,1,The Looming Storm,1,The Lowlife,1,The Magic Blade,1,The Man Without a Map,1,The Mayor,1,The Merciless,2,The Mermaid,1,The Muse,1,The Naked Island,1,The Name,1,The Night of the Earthquake,1,The Outlaws,1,The Prison,1,The Promise,1,The Raid,1,The Raid 2,1,The recipe,1,The Road Home,1,The Road to Mandalay,1,the Robber's Daughter,1,The Room,1,The Sacrament,1,The Salesman,1,The Seen and Unseen,1,The Shoot Must Go On,1,The Sleep Curse,1,The Snow King,1,The Sower,2,The Story of the Disappearance of Maryam,1,The Strange Saga of Hiroshi the Freeloading Sex Machine,1,The Suicide Chain,1,The Swindlers,1,The Table,1,The Third Murder,1,The Thousand Faces of Dunjia,1,The Tiger: An Old Hunter's Tale,1,The Tokyo Night Sky is Always the Densest Shade of Blue,1,The Tooth and the Nail,1,The Vanished,1,The Villainess,1,The Violin Player,1,The Way We Are,1,The Weird,1,Third WIndow,1,This Is Not What I Expected,1,Three Sisters,1,Three Times,1,Tôkaidô Yotsuya kaidan,1,Tokyo Ghoul,1,Tokyo Heaven,1,Tokyo Idols,1,Tokyo Vampire Hotel,1,Tolerance Film Festival,1,Tom Waller,2,Tony Leung,1,Tony Takitani,1,Toronto International Film Festival,1,Toshiaki Toyoda,2,Toshio Matsumoto,1,Toshiya Fujita,1,Toshiyuki Teruya,1,Traces of Sin,1,Trailers,76,Train to Busan,1,Tran Ham,1,Translated articles,1,Travellers and Magicians,1,Trinh T. Minh-Ha,3,Triple Threat,1,True Fiction,1,Tsai Ming-liang,2,Twenty Two,1,Twilight Dinner,1,Twitch: You Are My Toy,1,Typhoon Club,1,Udine,3,Unbowed,1,Uncovered,1,V.I.P.,1,Vaishali Sinha,1,Vampire Clay,1,Vampire Cleanup Department,1,Vannaphone Sitthirath,1,various,2,Vesoul International Film Festival,4,Victor Vu,1,Vietnam,5,Vikram Zushi,1,Vimukthi Jayasundara,1,Vincent Kok,1,Violated Angels,1,Visitor Q,1,Vital,1,Vitaly Mansky,1,Vivien Qu,1,Voyage to Terengganu,1,Wai Ka-fai,1,Walk on Girl,1,Walking Past the Future,1,Wang Bing,2,Wang Lung-wei,1,Wang Ming-tai,1,Warriors of the Dawn,2,We Make Antiques,1,Weeds on Fire,1,Wellgo USA,2,West North West,2,What a Man Wants,1,What Time Is It There?,1,Whispering Corridors,1,White Sun,1,Whore Angel,1,Wilson Yip,1,Wiman Rizkidarajat,1,Wine War,1,Without Memory,1,Wol-Ha: Very Bad Moon Rising,1,Woman of the Lake,1,Won Shin-Yeon,1,Wong Chun,1,Wong Jing,2,Wong Kar-wai,1,Woo Ming Jin,1,Wrath of Silence,1,Xaisongkham Induangchanthy,1,Xin Yukun,1,Ya-che Yang,1,Yamato (California),4,Yang Chao,2,Yang Ik-june,1,Yang Jong-hyeon,1,Yang Woo-seok,1,Yeon Sang-ho,2,Yes Madam,1,Yim Soon-rye,1,Yin Liang,1,Yiu-wai Chu,1,Yoo Ha,1,Yoon-chul chung,1,Yosep Anggi Noen,1,Yoshihiro Nakamura,2,Yoshihiro Nishimura,1,Yoshinari Nishikori,1,Yoshishige Yoshida,1,Yoshitaka Mori,1,Yoshiyuki Kishi,1,Yosuke Takeuchi,2,Yotsuya kaidan,1,You Losers!,1,Your Name,1,Youth,1,Yu Aoi,2,Yu Irie,1,Yuen Chor,1,Yuen Woo-ping,1,Yûji Tajiri,2,Yujiro Harumoto,1,Yuki Tanada,1,Yukihiko Tsutsumi,2,Yusaku Matsumoto,2,Yutaka Ikejima,3,Yuya Ishii,2,Zakka Films,2,Zen,1,Zhang Yimou,1,Zoo,1,Zuairijah Mou,1,Zuri Rinpoche. Bhutan. Five Flavours,1,
Asian Film Vault: 10 Great Asian Documentaries Of The Last 10 years
10 Great Asian Documentaries Of The Last 10 years
10 great samples of the most ignored genre
Asian Film Vault
Loaded All Posts Not found any posts VIEW ALL Readmore Reply Cancel reply Delete By Home PAGES POSTS View All RECOMMENDED FOR YOU LABEL ARCHIVE SEARCH ALL POSTS Not found any post match with your request Back Home Sunday Monday Tuesday Wednesday Thursday Friday Saturday Sun Mon Tue Wed Thu Fri Sat January February March April May June July August September October November December Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec just now 1 minute ago $$1$$ minutes ago 1 hour ago $$1$$ hours ago Yesterday $$1$$ days ago $$1$$ weeks ago more than 5 weeks ago Followers Follow THIS CONTENT IS PREMIUM Please share to unlock Copy All Code Select All Code All codes were copied to your clipboard Can not copy the codes / texts, please press [CTRL]+[C] (or CMD+C with Mac) to copy