Asian Films in the 25th Art Film Fest Kosice

A list with all the Asian films in this year's edition of Art Film Feest Kosice

Art Film Fest Kosice has been known to have a strong Asian element in its programme, particularly through the Eastern Promises section. This year, however, a number of the other sections of the festival have also included Asian films, raising the number of oriental productions to sixteen. S. Korea has the lion's share among the selection, although one can find films from Japan, India, China-Hong Kong, Philippines, Singapore-Thailand, and India. Here is a list of all the Asian films in the programme

The Wailing  (Na Hong-jin, 2016, S. Korea) 

A sleepy little town is shaken up by a violent murder. More follow, each victim showing the same signs: catatonia and an unidentifiable, pervasive skin infection. Could these frightful events be somehow connected to the mysterious foreigner recently seen in the mountains near town? The police are at their wits’ end… The Wailing is a major work of our time, fully deserving the high acclaim it drew at Cannes last year. Brilliantly directed and acted, joining multiple genres into a cohesive whole, the film’s themes offer a wide range of interpretations and statements on the world today. The theme of foreigneras- enemy, for example, someone who brings uncertainty and physical danger to a community, is equally applicable to Europe’s so-called refugee crisis. With regard to South Korea, The Wailing also offers a topical treatment of shamanism, or occultism, as well as a critique of the current regime. The film even serves as a commentary on last year’s scandal involving South Korea’s ex-president.

Sexy Durga (Sanal Kumar Sasidharan, 2017, India)

This unusual road movie follows two lovers on a journey through the South Indian province of Kerala. One night, Kabeer and Durga try to hitchhike to the railway station, meeting various odd characters along the way. The film was shot in an improvised fashion, and it is nearly, if not completely plotless. And that’s the point. It’s just one night’s journey from point A to point B, but then suddenly you’re in thrall to a narrative completely divorced from traditional storytelling, and you’ve joined a troupe of non-actors, who convincingly expand on various situations. All this against the backdrop of traditional rituals, depicted in interminably long, yet purposeful, captivating and beautiful shots, contrasting with modern India’s young metalheads. In this case, naturalism, formal authenticity and a distinctive approach to narrative make for an outstanding film. Earlier this year, Sexy Durga won the prestigious grand prize at the 2017 Rotterdam IFF.

Apocalypse Child (Mario Cornejo, 2015, Philippines) 

You can read all about the film here

A Quiet Dream (Zhang Lu, S.Korea, 2016)

A Quiet Dream is a beautiful, charming portrait of three young people, shot on black-and-white film. This indie comedy, or rather tragicomedy, is a faithful homage to Jim Jarmusch’s early work. A local gangster, an epileptic and a polite, introverted North Korean refugee wander around Susaek, a sad, grungy, desolate neighbourhood on the outskirts of Seoul. Every day they head to the same bar, run by the beautiful Jeri from China. And all three are in love with her. Various other characters enter the mix, who, while minor, are fascinating and watchable in their own right. Time slowly passes, and Jeri doesn’t choose among her three suitors. She doesn’t seem to prefer any one over the others. Maybe she doesn’t care for any of them; maybe she likes all three. The languorous mood, carousing and minor adventures lend authenticity to the delightful foursome, even as their situation begins to change towards the end.

Duckweed (Han Han, 2017, China) 

When Lang, freshly crowned champion of the national rally, crashes his car along with his estranged father, he is suddenly transported 24 years back to Shanghai circa 1998. He meets, of all people, his father, and joins his band of wannabe gangsters, a crew with a fondness for John Woo and Chow Yun Fat, an enterprising plan and a passion for doing the right thing. But the main question is, will father and son be reconciled? And what about the time-slip they’ve found themselves in? Is there any way back? Duckweed is a nostalgic look back at how brilliant it was to pretend to be cult-film heroes, with an invigorating tempo, unforced dialogue and apt one-liners. An eye for detail rounds things out – Duckweed is stylized to look like a film from around 2000, appealing to the growing nostalgia for the golden age of Hong Kong cinema among young Chinese and even in Hong Kong itself. Far from taking itself seriously, this treat is served up with a light, humorous touch. Starring Eddie Peng (The Last Women Standing, Unbeatable).

The Woman Who Left (Lav Diaz, 2016, Philippines)

In 1997, after 30 years in prison, Horácia returns to a completely unfamiliar world: her husband is dead, and while she is able to contact her daughter, her son is nowhere to be found. But what hasn’t changed, she soon finds out, is the power and privilege of the elites. Ironically, however, Horácia’s aristocratic ex-lover Rodrigo, who had her sent to jail, is now himself a prisoner in his own gilded cage: like his affluent friends, he won’t leave the house for fear of a rise in kidnappings of the wealthy. Horácia decides to make use of this hysteria to plot her revenge. Lone-wolf filmmaker Lav Diaz returns to Filipino history with an exhaustive, clinical accuracy, revealing the dark currents that continue to shape his country. The Woman Who Left is a penetrating study of the gaps between the rich and the poor, between the past and the present – in the subtlest of gestures, Diaz captures the entrenched histories of institutional privilege, complicity and arrogance that have contributed to the vast disparities in present-day Filipino society. Its cinematic virtuosity and thoughtfully articulated “quiet rage” make Diaz’s latest one of his best and most compassionate films.

Mad World (Chun Wong, 2016, Hong Kong)

You can read all about the film here

Pop Aye (Kristen Tan, 2017, Singapore, Thailand)

Despite his successful career and happy marriage, reputable architect Thana is going through a midlife crisis. On the streets of Bangkok one day, he comes across an elephant who reminds him of his childhood in his native village. The two lost souls set out on a slow-paced journey through the Thai countryside, having all sorts of bizarre encounters along the way. A vagrant at a filling station looking for his first love. A lonely karaoke singer longing for friendship. The series of banal situations doesn’t hold up the conspicuous twosome; if anything, it only serves to subconsciously goad them on their way. Pop Aye is an ode to ordinary acts of kindness in a cynical world of lost innocence and missed opportunities, punctuated by well-timed moments of absurdity. This lyrical road-movie dramedy is a moving, entertaining and visually stunning portrayal of the journey of a man and an elephant.

The Whispering Star (Sion Sono, 2015, Japan)

Sion Sono is known for his bizarre flights of fancy, radical audiovisual style and blending of various genres. But The Whispering Star finds the director working in a different mode, a side he shows very rarely and completely distinct from the bulk of his work. What’s more, in the words of Sono himself, this is one of his most personal stories, one he wrote over 25 years ago, replacing his signature unhinged savagery with gentle, understated humour and lyrical contemplation. Set in an unspecified post-apocalyptic age where the Earth is no more, The Whispering Star is the story of an android who personally delivers parcels to people scattered across the universe. Her journeys are depicted in gorgeous black-andwhite shots, highlighting the wealth of little details onscreen. Like many filmmakers before him, Sono utilizes the futuristic, sci-fi setting to remark on today’s world, warts and all; for example, parts of the film were shot in Fukushima Prefecture, struck by nuclear disaster in 2011.

The Net (Kim Ki-duk, 2016, S.Korea) 

When his motorboat breaks down, a poor North Korean fisherman unintentionally drifts into South Korean waters, where he is promptly arrested and interrogated as a potential enemy agent. Once he proves his identity, he is offered asylum, which he proudly refuses, recognizing that economic development is no guarantee of happiness. Upon his return home, a similarly torturous interrogation awaits him. To his deep distress, he realizes that he is mired in the ideological double bind of a country divided. “Through a fisherman who suffers going to South Korea and back to North Korea in a broken-down boat, we see how we are sacrificed by the divided Korean Peninsula. And how the division creates great sadness.” (Kim Ki-duk)

Train to Busan (Yeon Sang-ho, 2016, S. Korea)

A divorced workaholic yields to his daughter’s wishes and takes her on a train to Busan to see her mother. On the way to the station, they begin to notice brewing unrest – a flaming building in the distance, fire engines, police cars and ambulances blaring past. But it isn’t until they’re on the train and leaving the station that they learn the horrible truth: a zombie epidemic is sweeping the country. Thus begins a claustrophobic fight for survival. Train to Busan is a loose, live-action sequel to the animated Seoul Station (also featured in this year’s Eastern Promises section). Like its predecessor, this suspense-filled thrill ride allows the director to use the zombie-flick genre to draw attention to topical themes in contemporary Korea. The diverse set of passengers and the relations between them speak to problems of social inequality, while also levelling a critique of the establishment in a country where a person’s background remains a deciding factor in their social acceptance.

In This Corner of This World (Sunao Katabuchi, 2016, Japan) 

In This Corner of the World tells the story of a girl with the power to see beauty in the everyday, capture it with a pencil and paper, and transform events into adventures. Suzu Urano is growing up in 1930s Japan; her parents have arranged for her to marry a young clerk who works at the naval base in Kure, Hiroshima Prefecture. She loses herself in her own daydreams as easily as she does on the way home. This talent of hers sets the tone for this delicate, dreamlike film. WWII and its atomic bombs (or “new bombs”) have long been a fixture of Japanese cinema, spanning a wide range of genres and perspectives. But In This Corner of the World is less interested in the war itself than it is in its consequences, which it shows with a yearning for joy that verges on the obstinate. Most of all, it notices the lovely trivialities of civilian life: frugal wartime recipes, herons, white bunnies and the indefatigable will to live on. This fragile yet powerful gem of a film continues to resonate long after the closing credits.

Mrs K (Ho Yuhang, 2016, Hong Kong) 

2016 was an interesting year for Kara Wai (credited as Kara Hui in her older films) – her portrayal of a woman with Alzheimer’s disease who befriends young homeless man in the film Happiness (d. Andy Lo) earned her Best Actress at the Hong Kong Film Awards. In 1982, Wai was actually the first actress to ever receive the award. Mrs K, her second collaboration with Malaysian director Ho Yuhang, marks Wai’s return to her kung-fu and wu-xia roots. Mrs K enjoys her unhurried suburban life with her husband and daughter. Everything is hunky-dory, but Mrs K has a secret which someone has decided should be secret no longer. Good thing Mrs K is a woman. Why? Because women are professional survivors.

Vampire Cleanup Department (Chiu Sin-hang, 2017, Hong Kong)

Hiding in the shadows of Hong Kong is a secret organization that fights hordes of hopping vampires in this gleefully goofy Hong Kong horror comedy about a young man recruited to the team after he discovers he is immune to vampire attacks. Vampires have always been here. We just haven’t seen them, thanks to a secret city organization: VDC – the Vampire Cleanup Department. Their secret base is hidden in a remote trash collection point. The big green rubbish bins contain the defeated vampires. The street sweepers that work there are the vampire hunters. Tim is a typical Hong Kong teenager. He lives with his grandmother and plays with his iPhone all day. By some strange twist of fate, he is invited to become a new member of the VCD, where he is trained to fight vampires with his broom as one of the vampire hunters.

Yourself and Yours (Hong Sang-soo, 2016, S.Korea)

Hong Sang-soo, master of melancholy, booze-riddled melodramas, has more to say about love. In Yourself and Yours, a young man has fallen in love with an alcoholic who constantly struggles to stop drinking. Or so she proclaims. Is she serious? Or is it just another front? Is it really her at all, given that certain scenes appear quite suspect, fabricating “reality”? Hong draws inspiration from Buñuel’s That Obscure Object of Desire (1977), where one actress plays multiple characters. Or is it one character played by multiple actresses? The auteur obfuscates the plot and relativizes the apparent objective existence of his characters, whose behaviour is truly unpredictable. But this is by no means a complicated film. Quite the opposite; it is surprisingly funny, entertaining and wise, thanks in part to the precise simplicity with which Hong composes his scenes, reminiscent of Woody Allen’s film work. For Yourself and Yours, Hong was named Best Director at the San Sebastián IFF.

Seoul Station (Yeon Sang-ho, 2016, S. Korea) 

At a train station, an aging homeless man appears with a bloody wound on his neck. As he begins to lose consciousness, another homeless man tries to get help. But this proves nearly impossible in a city where it’s every man for himself. Thus begins a night of chaos, desperation and fear, where people transform into walking dead with a craving for the lives of passers-by. This year’s Eastern Promises presents an unorthodox (by Korean standards) introduction to the zombie subgenre. Part of its uniqueness is that one of the examples (Seoul Station) is animated and views the zombie scourge from its very epicentre, while the second, its loose live-action sequel Train to Busan, broadens its focus, depicting the spread of the epidemic around the country. The director of the two films uses the genre as an allegory for thorny societal problems in his home country. Seoul Station specifically serves as a metaphor for the alienation that grows out of a consumer society and institutional bureaucracy.



13 Assassins,1,2017,3,A Company Man,1,A few words about us,1,A Lonely Cow Weeps at Dawm,1,A Love,1,A Man Vanishes,1,A Simple Life,1,A Single Rider,1,A Stone from Another Mountain to Polish Your Own Stone. Go Shibata,1,A Tale of Love,1,A Whale of a Tale,1,About Elly,1,Adam J. Symchuk,20,Adam John,6,Aditya Vikram Sengupta,1,Adriana Rosati,4,Age of Innocence,1,Akihiko Shiota,1,Akira Kurosawa,1,Akiyuki Shinbo,1,Ale Amout,1,Alex Oost,1,Alexander Knoth,1,Ali Asghar Vadayeh Kheiri,1,Amir Masoud Aghababeian,1,Amitabh Reza,1,Anand Singh,2,Andrew Thayne,4,Andy Willis,1,Anime,1,Animesh Aich,1,Ann Hui,1,Anna Bliss,3,Anshul Chauhan,2,Anurag Basu,1,Aqerat,1,Arang,1,Ariyuki Shinbo,1,Armour of God,1,Arrow,2,Art Film Fest Kosice,1,Article Films,1,Asghar Farhadi,1,Asha Jaoar Majhe,1,Asian Classics,19,Aya Itabe,1,Aynabaji,1,Bad Poetry Tokyo,4,BAMY,1,Bangkok Nites,1,Bangladesh,3,Banjong Pisanthanakun,1,Banmei Takahashi,1,Before We Vanish,1,Behind the Camera,1,Belgium,1,Ben Stykuc,5,Bengal,1,Bhutan,1,Billy Joe,2,Black,1,Bloody Muscle Builder in Hell,1,Bollywood,1,Branded to Kill,2,Breathless,1,Burma,1,Burning Birds,2,Bystanders,1,Cambodia,2,Camera Japan,10,Children Heaven,1,China,6,Chinese Policy Institute,6,Chinese Visual Festival,1,Choi Jin-ho,1,Choi Jin-won,1,Chris Berry,1,Chu Yuan,1,Chungking Express,1,Close-Knit,1,Coffeemates,1,Colette Balmain,7,Competition,1,Confessions,1,Creative Visions: Hong Kong Cinema,1,Crocodile,1,Crows Zero,1,Cyrano Agency,1,Daguerreotype,1,Daigo Matsui,1,Daisuke Gotô,2,Daisuke Miyazaki,3,David Chew,3,David Chew.,1,David Shin,1,Ddongpari,1,Dead Friend,1,Dead Sushi,1,Deadly Outlaw: Rekka,1,Deepak Rauniyar,1,Destruction Babies,1,Diary of June,1,Digger,1,Ding Shen,1,Dismembered,1,Documentaries,6,Documentary,2,Doenjang,1,Don Anelli,18,Double Life,1,Dr. Heo,1,drama,1,Duelist,1,East Winds Film Festival,1,Edmund Yeo,3,Educating Yuna,1,Eiji Uchida,1,Emmanuel Horlaza,1,Erotic Diary of an Office Lady,1,Eureka,2,Exploitation,25,Fabricated City,1,Faye Wong,1,Features,18,Feautures,1,Fel,8,Festivals,5,Filmdoo,6,Fireworks,1,Fireworks Should We See It from the Side or the Bottom?,1,Five Flavors Festival,2,Five Flavours Festival,3,Flying Fish,1,Forgetting Vietnam,1,France,1,Fraser Elliott,1,Funeral Parade of Roses,1,Fuyuhiko Nishi,1,Gillian Anderson,1,Golden Horse Awards,1,Good -Bye Silence,1,Goro Miyazaki,1,Hanagatami,1,Hanuman,1,Hashiguchi Takaaki,1,Haunters,1,Helsinki Cine Aasia Festival 2018,1,Hidden Gems,34,Hideo Sakaki,1,High-Kick Girl,1,Hindi,1,Hirokazu Koreeda,3,Hiroshi Ando,1,Hiroshi Teshigahara,1,Hong Kong,4,Horror,2,I Wish,1,I-Lin Liu,8,ICA,3,Im Kyeong-soo,1,Imran Firdaus,1,In this Corner of the World,3,Indonesia,4,Interview,1,Interviews,23,Intimate Confessions of a Chinese Courtesan,1,Inugami,1,Iran,7,Ishmael Bernal,1,Isora Iwakiri,1,Jackie Chan,2,Jagga Jasoos,1,James Mudge,1,Japan,117,Japan Cuts,14,Japan Filmfest Hamburg,1,Japanese Film Festival Australia,1,Jeong Jae-eun,1,Jess Teong,1,Jimmy Henderson,2,Jithin K Mohan,1,Joe Odagiri,2,Johnnie To,1,Joko Anwar,1,Jonathan Wilson,6,Joo Ji-hong,1,Journey of the Tortoise,1,Jun Tanaka,1,Jung Yoon-suk,1,Junichi Kajioka,1,Junpei Mizusaki,1,K-dramas,12,Kaneto Shindo,1,Kang Je-gyu,1,Kang Yoon-Sung,1,Katsuya Tomita,1,kdrama,1,Kei Chikaura,1,Kei Ishikawa,1,Kengo Yagawa,1,Kenichi Ugana,1,Kill me,1,Killing Beauty,1,Kim Eun-hee,1,Kim Hong-seon,1,Kim Hyun-seok,1,Kim Jee-woon,1,Kim Ki-duk,1,Kim Kih-hoon,1,Kim Min Su kII,1,Kim Min-suk,1,Kim Tae-kyeong,1,Kingyo,2,Kirti Raj Singh,1,Kiss me,1,Kiyoshi Kurosawa,3,Koji Wakamatsu,1,Komiya Masatetsu,1,Kon Ichikawa,1,Konrad Aderer,1,Korea,1,korean drama,1,Krzysztof Pietrzak,1,Kun-Yu Lai,2,Kwak Kyung-taek,1,Kyoko Miyake,1,Kyriacos Kyriacou,2,Lady Snowblood,2,Laos,1,Lee Je-Yong,1,Lee Joo-young,1,Lee Jung-sun,1,Lee Myung-se,1,Lee Seo-goon,1,Leung Wing-Fai,1,Like Father,1,Like Son,1,Lim Sang-yoon,1,Lists,11,Little Big Soldier,1,Live Up To Your Name,1,Loi Bao,1,Los Angeles Indian Festival,1,Love,1,Lovers Are Wet,1,Lowlife Love,1,Lyberis,2,Madman,1,Mahde Hasan,1,Majid Majidi,1,Makoto Shinkai,1,Malaysia,5,Maria Georgiou,18,Mark Gallagher,1,Masaki Adachi,1,Masanori Tominaga,1,Masaru Konume,1,Masato Harada,1,Masatoshi Kurakata,1,Matt Cooper,9,Matthew D. Johnson,1,Maundy Thursday,1,Mermaid,1,Midi Z,1,Midori Impuls,3,Milk the Maid,1,Minoru Kunizawa,1,Miwa Nishikawa,1,Mohammad-Reza Lotfi,1,Mongolia,1,Moon Lovers,1,Mototsugu Watanabe,4,Movie,1,Mr. Socrates,1,My Dad and Mr Ito,1,My Hero Chihiro,1,Myanmar,1,Nanachan,1,Naoko Ogigami,1,Naomi Kawase,1,Naosuke Kurosawa,1,Naoyuki Tomomatsu,3,Neko Atsume House,1,Nepal,1,New Neighbor,2,News,1,Nicholas Poly,3,Nikola Cekic,1,Niwatsukino Norihiro,1,Noboru Iguchi,1,Nobuhiko Obayashi,2,Nobuhiro Yamashita,2,Nobuo Nakagawa,1,Nobuyuki Takeuchi,1,Noise,2,Non-fiction Diary,1,Norman England,2,Nurse Diary: Beast Afternoon,1,NYAFF,7,Nyamdavaa Baasansuren,1,Oh In-Chun,1,Old Boy,2,Omar Rasya Joenoes,3,On The Line Festival,2,Ophilia,1,Orson McClellan Mochizuki,1,Osaka Asian Film Festival,4,Osamu Sato,1,Our Happy time,1,Over the Fence,1,Pai Kau,1,Palatpol Mingpornpichit,1,Panos Kotzathanasis,57,Park Chan-wook,2,Park Ki- hyung,1,Park Kwang-hyun,1,Parkpoom Wongpoom,1,Pedro Morata,3,Peerachai Kerdsint,1,Pen-Ek Ratanaruang,1,Peng Xiaolian,1,Peque Gallaga,1,Philippines,1,Pieter - Jan Van Haecke,3,Pieter-Jan Van Haecke,7,Pink Eiga,14,PinkEiga.TV,6,pinku eiga,1,Psychic,1,Pumpkin and Mayonnaise,1,Rabbit and Lizard,1,Railway Sleepers,1,Raja Mukhriz,1,Randy Mckenzie,3,Rape Zombie: Lust of the Dead,1,Rape Zombie: Lust of the Dead 2,1,Red Persimmons,1,Rei Sakamoto,1,Reipu zonbi: Lust of the dead 3,1,Reviews,64,Reviews.,1,River of Exploding Durians,2,Roger Lee,1,Ronja,1,Ryu Kaneda,1,Ryuki,1,S. Korea,20,S.Korea,1,Saayak Santra,2,San Diego Asian Film Festival,3,Sanjeewa Pushpakumara,2,Sankha Ray,6,Satan's Slaves,1,Satoshi Kon,1,Say Yes,1,Sayandeep Bandyopadhyay,2,Scarlet Heart,1,Score,1,Sea Fog,1,Seijun Suzuki,3,Sexy S.W.A.T. Team,1,Shake Rattle and Roll,1,Shaw Brothers,1,She's the Boss,1,Shift,1,Shigeru Umebayashi,1,Shikhar Verma,3,Shikhar Verna,2,Shim Sung-Bo,1,Shinichi Fukazawa,1,Shinji Iwai,1,Shinji Sômai,1,Shinjuku Swan,1,Shinjuku Triad Society,1,Shinsuke Ogawa,1,Shinya Tsukamoto,2,Shôhei Imamura,1,Shoot for the Contents,1,Shorts,8,Shuna Iijima,1,Shutter,1,Siddiq Ahamed,1,Sidi Saleh,1,Signature,1,Sinophone,1,Sion Sono,4,Sixth Sense Hooker,1,Sogo Ishii,1,Soichi Umezawa,1,Sompot Chidgasompongse,2,Song Hae-sung,1,Song of the Week,19,Sopawan Boonnimitra,1,South Korea,15,Sri Lanka,2,Still the Water,1,Strange Circus,1,Studio Ghibli,1,StudioCanal,3,Subenja Pongkorn,1,Suffering of Ninko,1,Suicide Club,1,Sunao Katabuchi,3,Sung-hong Kim,1,Susumu Hirasawa,1,Tadashi Nagayama,1,Tae Guk Gi,1,Takaaki Hashiguchi,1,Takashi Miike,4,Take Care of My Cat,1,Takuro Nakamura,2,Tatsumi Kumashiro,1,Tetsuo the Iron Man,1,Tetsuya Mariko,1,Tetsuya Nakashima,1,Thailand,7,That's It,1,The Bad,1,The Boy and the Beast,2,The boy from Ipanema,1,The Crawler in the Attic,1,The Dollhouse,1,The elephant and the sea,2,The Executioner,1,The Forest Whispers,1,The Good,1,The Inugami Family,1,The Isthmus,1,The Kid from the Big Apple,1,The King of Pigs,1,The Man Without a Map,1,The Muse,1,The Naked Island,1,The Night of the Earthquake,1,The Outlaws,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 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 Tokyo Night Sky is Always the Densest Shade of Blue,1,The Weird,1,Tôkaidô Yotsuya kaidan,1,Tokyo Heaven,1,Tokyo Idols,1,Tokyo Vampire Hotel,1,Tolerance Film Festival,1,Tom Waller,1,Tony Leung,1,Toronto International Film Festival,1,Toshiaki Toyoda,1,Toshio Matsumoto,1,Toshiya Fujita,1,Traces of Sin,1,Train to Busan,1,Tran Ham,1,Trinh T. Minh-Ha,3,Twilight Dinner,1,Twitch: You Are My Toy,1,Uncovered,1,Vampire Clay,1,various,2,Victor Vu,1,Vietnam,2,Vikram Zushi,1,Violated Angels,1,Vital,1,West North West,2,Whispering Corridors,1,White Sun,1,Whore Angel,1,Wiman Rizkidarajat,1,Without Memory,1,Wol-Ha: Very Bad Moon Rising,1,Woman of the Lake,1,Woo Ming Jin,1,Yamato (California),3,Yang Ik-june,1,Yang Jong-hyeon,1,Yeon Sang-ho,2,Yiu-wai Chu,1,Yoshishige Yoshida,1,Yoshitaka Mori,1,Yoshiyuki Kishi,1,Yosuke Takeuchi,2,Yotsuya kaidan,1,Your Name,1,Yu Aoi,2,Yu Irie,1,Yûji Tajiri,2,Yuki Tanada,1,Yusaku Matsumoto,2,Yutaka Ikejima,3,Yuya Ishii,1,Zen,1,Zhang Yimou,1,Zoo,1,Zuairijah Mou,1,
Asian Film Vault: Asian Films in the 25th Art Film Fest Kosice
Asian Films in the 25th Art Film Fest Kosice
A list with all the Asian films in this year's edition of Art Film Feest Kosice
Asian Film Vault
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