Helsinki Cine Aasia Festival 2018

Helsinki Cine Aasia festival 2018 presents films that tell stories about society, finding one’s own place in the world and animal encounters from 10 Asian countries

Helsinki Cine Aasia is the only film festival of contemporary Asian cinema in Finland. It has been organised annually since 2013. This year twenty East and South-East Asian films will premiere in Finland at Helsinki Cine Aasia. The festival is held at Korjaamo and Orion from Thursday 15th to Sunday 18th of March.

Helsinki Cine Aasia 2018 opens with the Indonesian The Seen and Unseen (Sekala Niskala, 2017) by the director Kamila Andini. Twin siblings Tantri and Tantra live in a harmonic symbiosis together until brother Tantra falls seriously ill leaving sister Tantri trying to come to terms with the loss. Tantri begins a spiritual journey that also depicts Balinese beliefs, symbolism and rituals.

The Seen and Unseen has been awarded with the main price at TOKYO FILMeX 2017 and – just a few days ago – the Grand Prix of the Generation Kplus International Jury for the Best Film at Berlinale 2018. Director Kamila Andini will also be visiting Helsinki Cine Aasia and attend the screenings of her film and participate in a discussion about films and making of films with Ulla Heikkilä (Women in Film and Television Finland).

From magical realism to everyday realism

In addition to the opening film there are magical elements in several other films in the festival’s this year’s programme: in Japanese cult director Nobuhiko Obayashi’s (best known for his film House, ハウス, 1977) avantgarde wartime film Hanagatami (花筐, 2017) and in Shin Su-won’s Glass Garden (유리정원, 2017), a peculiar romance in the magical realism genre that was also the opening film at Busan International Film Festival 2017.

A prominent theme in this year’s programme, especially in the festival’s Chinese films, is everyday realism and finding one’s place in society. Director Vivian Qu’s (producer of Black Coal Thin Ice, 白日焰火, 2014) latest film Angels Wear White (嘉年华, 2017) discusses the difficult topic of sexual abuse and the hierarchy of privileges where those in the bottom of society are the ones with the fewest options in life. Li Ruiju’s Walking Past the Future (路过未来, 2017) depicts the life of China’s internal migrants who face whole new realities when their jobs are taken from China to even cheaper countries.

In Dark Is the Night (Madilim ang Gabi, 2017), directed by Adolfo Alix Jr., realism comes painfully close when following the lives of the victims of Rodrigo Duterte’s drug war in the Philippines, a war that has already taken the lives of thousands of people. Duterte’s drug policy is also one of the topics of the festival discussion that will feature a representative of the Finnish-Philippine Society, researcher Pekka Borg, and Anu Tuukkanen from Amnesty International.

Gruesome murders and sneaky crooks

Helsinki Cine Aasia 2018 programme also features adventures of small-time criminals and gruesome murders. Based on real events Somewhere Beyond the Mist (藍天白雲, 2017) reveals a side of Hong Kong one rarely sees. Directed by Cheung King-wai the film introduces a pregnant police officer who is sent to investigate a double homicide. In a surprising twist, the daughter of the murdered couple claims responsibility for the murder. Marlina the Murderer in Four Acts (Marlina Si Pembunuh Dalam Empat Babak, 2017) shows us Marlina, a revengeful widower tormented by a bunch of villains. Mouly Surya’s feminist western is linked to the topical #metoo theme that is seen in several other films in this year’s Helsinki Cine Aasia programme.

Hirokazu Kore-eda’s The Third Murder (三度めの殺人, 2017) follows an experienced lawyer Shigemori whose aim is to save his client from the death penalty by all means necessary. The only thing in his way seems to be the accused Mr. Misumi, who keeps on changing his story.

A more lighthearted example of the crime genre this year is Masaharu Take’s We Make Antiques! (嘘八百, 2018). The film takes place in the underworld of antiques where a group of greedy crooks do their utmost to cheat each other. At the heart of it all is the valued tradition of Japanese tea ceremony and one very special tea-cup, that any collector would die for. The theme continues with Lee Joon-ik’s Anarchist from Colony (박열, 2017), a historical blockbuster with a whole lot of action, humour and romance.

Feel good films and black comedies

Japanese director Shuichi Okita charmed Helsinki Cine Aasia audiences already in the early days of the festival with his film A Story of Yonosuke (横道世之介, 2013). This year the master of wholehearted comedy-drama provides us with The Mohican Comes Home (モヒカン故郷に帰る, 2017) where a young couple happily expecting their first child also have to deal with the pain of letting go of a family member. There will also be a parent and baby screening of The Mohican Comes Home on Friday the 16th of March.

Along with Shuichi Okita the festival audience has time and time again been mesmerized by the Watanabe brothers. Their newest Party ‘Round the Globe (地球はお祭り騒ぎ, 2017) is loyal to the stripped-down style and macabre humour that is the trademark of the brothers.

See the full Helsinki Cine Aasia 2018 programme here: All films have English subtitles. The tickets to the Helsinki Cine Aasia screenings go on sale 1st of March 2018 on the festival webpage. A single ticket costs 9 euro, Festival voucher 40 euro (including 5 single tickets) and tickets to the parent and baby screening cost 7,50 euro. During the festival tickets can also be purchased at the festival venues Korjaamo and Orion.



2017,2,A Company Man,1,A Love,1,A Man Vanishes,1,A Simple Life,1,A Tale of Love,1,A Whale of a Tale,1,About Elly,1,Adam J. Symchuk,6,Adam John,2,Aditya Vikram Sengupta,1,Adriana Rosati,3,Alex Oost,1,Amir Masoud Aghababeian,1,Anand Singh,2,Andrew Thayne,1,Anime,1,Anna Bliss,3,Anshul Chauhan,2,Anurag Basu,1,Aqerat,1,Arang,1,Ariyuki Shinbo,1,Armour of God,1,Arrow,1,Article Films,1,Asghar Farhadi,1,Asha Jaoar Majhe,1,Asian Classics,9,Aya Itabe,1,Bad Poetry Tokyo,4,BAMY,1,Bangkok Nites,1,Bangladesh,1,Ben Stykuc,3,Bengal,1,Billy Joe,1,Bloody Muscle Builder in Hell,1,Bollywood,1,Branded to Kill,1,Breathless,1,Burma,1,Burning Birds,1,Camera Japan,5,Children Heaven,1,Chinese Visual Festival,1,Chu Yuan,1,Chungking Express,1,Close-Knit,1,Coffeemates,1,Colette Balmain,2,Confessions,1,Crows Zero,1,Cyrano Agency,1,Daisuke Miyazaki,2,Ddongpari,1,Deadly Outlaw: Rekka,1,Deepak Rauniyar,1,Digger,1,Ding Shen,1,Documentaries,5,Don Anelli,2,Double Life,1,Edmund Yeo,1,Eiji Uchida,1,Erotic Diary of an Office Lady,1,Exploitation,3,Fabricated City,1,Faye Wong,1,Features,7,Festivals,1,Filmdoo,3,Fireworks Should We See It from the Side or the Bottom?,1,Flying Fish,1,Forgetting Vietnam,1,Good -Bye Silence,1,Haunters,1,Helsinki Cine Aasia Festival 2018,1,Hidden Gems,14,Hindi,1,Hirokazu Koreeda,1,Hong Kong,3,Horror,2,I-Lin Liu,3,ICA,3,Imran Firdaus,1,In this Corner of the World,2,Indonesia,2,Interview,1,Interviews,21,Intimate Confessions of a Chinese Courtesan,1,Inugami,1,Iran,4,Jackie Chan,2,Jagga Jasoos,1,James Mudge,1,Japan,53,Japan Cuts,8,Japan Filmfest Hamburg,1,Jithin K Mohan,1,Joe Odagiri,1,Jonathan Wilson,6,Joo Ji-hong,1,Journey of the Tortoise,1,Jun Tanaka,1,Jung Yoon-suk,1,Junichi Kajioka,1,Katsuya Tomita,1,Kengo Yagawa,1,Kenichi Ugana,1,Kim Hyun-seok,1,Kim Min-suk,1,Kingyo,1,Kiyoshi Kurosawa,1,Koji Wakamatsu,1,Kon Ichikawa,1,Konrad Aderer,1,Krzysztof Pietrzak,1,Kwak Kyung-taek,1,Kyoko Miyake,1,Kyriacos Kyriacou,2,Lady Snowblood,1,Laos,1,Like Father,1,Like Son,1,Lim Sang-yoon,1,Lists,6,Little Big Soldier,1,Love,1,Lowlife Love,1,Mahde Hasan,1,Majid Majidi,1,Malaysia,2,Maria Georgiou,8,Masanori Tominaga,1,Masaru Konume,1,Masato Harada,1,Matt Cooper,4,Mermaid,1,Midi Z,1,Midori Impuls,2,Miwa Nishikawa,1,Mototsugu Watanabe,1,My Dad and Mr Ito,1,Myanmar,1,Nanachan,1,Naoko Ogigami,1,Naomi Kawase,1,Nepal,1,New Neighbor,1,News,1,Nicholas Poly,2,Nikola Cekic,1,Niwatsukino Norihiro,1,Nobuhiko Obayashi,1,Nobuhiro Yamashita,1,Noise,1,Non-fiction Diary,1,Norman England,1,NYAFF,4,Old Boy,2,Omar Rasya Joenoes,2,On The Line Festival,2,Orson McClellan Mochizuki,1,Osaka Asian Film Festival,3,Pai Kau,1,Palatpol Mingpornpichit,1,Panos Kotzathanasis,41,Park Chan-wook,2,Park Ki- hyung,1,Park Kwang-hyun,1,Pedro Morata,3,Pieter - Jan Van Haecke,1,Pink Eiga,1,Psychic,1,Pumpkin and Mayonnaise,1,Rabbit and Lizard,1,Railway Sleepers,1,Randy Mckenzie,2,Reviews,30,River of Exploding Durians,1,Roger Lee,1,Ryuki,1,S. Korea,10,San Diego Asian Film Festival,3,Sanjeewa Pushpakumara,1,Sankha Ray,5,Satan's Slaves,1,Satoshi Kon,1,Sayandeep Bandyopadhyay,1,Score,1,Sea Fog,1,Seijun Suzuki,2,Sexy S.W.A.T. Team,1,Shaw Brothers,1,She's the Boss,1,Shigeru Umebayashi,1,Shikhar Verma,2,Shikhar Verna,2,Shim Sung-Bo,1,Shinichi Fukazawa,1,Shinji Iwai,1,Shinji Sômai,1,Shinya Tsukamoto,2,Shôhei Imamura,1,Shoot for the Contents,1,Shorts,8,Shuna Iijima,1,Sidi Saleh,1,Sinophone,1,Sompot Chidgasompongse,2,Song of the Week,17,South Korea,6,Sri Lanka,1,Still the Water,1,StudioCanal,1,Subenja Pongkorn,1,Suffering of Ninko,1,Sunao Katabuchi,2,Susumu Hirasawa,1,Tadashi Nagayama,1,Takashi Miike,2,Takuro Nakamura,2,Tetsuo the Iron Man,1,Tetsuya Nakashima,1,Thailand,5,The Boy and the Beast,1,The elephant and the sea,2,The Inugami Family,1,The King of Pigs,1,The Road Home,1,The Road to Mandalay,1,The Salesman,1,The Snow King,1,The Sower,1,Tokyo Heaven,1,Tokyo Idols,1,Tom Waller,1,Toshiaki Toyoda,1,Train to Busan,1,Tran Ham,1,Trinh T. Minh-Ha,3,various,2,Vietnam,1,Violated Angels,1,Vital,1,West North West,2,Whispering Corridors,1,White Sun,1,Wiman Rizkidarajat,1,Woman of the Lake,1,Woo Ming Jin,1,Yamato (California),2,Yang Ik-june,1,Yeon Sang-ho,2,Yoshishige Yoshida,1,Yoshiyuki Kishi,1,Yosuke Takeuchi,1,Yu Aoi,1,Yuki Tanada,1,Yusaku Matsumoto,1,Zhang Yimou,1,Zuairijah Mou,1,
Asian Film Vault: Helsinki Cine Aasia Festival 2018
Helsinki Cine Aasia Festival 2018
Helsinki Cine Aasia festival 2018 presents films that tell stories about society, finding one’s own place in the world and animal encounters from 10 Asian countries
Asian Film Vault
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