Interview with Tang Seng Kiat: We are like frogs being boiled alive, we lose gradually our feelings

We speak with Tang Seng Kiat about Shuttle Life, his life and career, Malaysia and its cinema, and many other topics


Tan Seng Kiat was born in Malaysia. He studied filmmaking at the National Taiwan University of Arts. He is the director of the short 32°C Fall in Love. Shuttle Life is his debut feature film.

On the occasion of his film "Shuttle Life", screening at Vesoul International Film Festival of Asian cinema, we speak with him about the movie in detail, his life and career, Malaysia and its cinema, and many other topics



Can you tell us a bit about the path that led you to become a filmmaker?

 I didn’t have good grades in high school and I worked in my uncle’s hardware store in the meantime. I wanted to work in the store after graduation from school. That could be more stable. From 2003 to 2004, I didn’t use the internet, my only source of information came from the newspapers. I didn’t really think more about my future.

It was my elder sister who asked me if I would be interested to see different things in the world. I thought living in other cities or doing other things could be the same as my life now. I was just seventeen or eighteen years old. Then I decided to go to a cheapcollege to study mass communication to have a degree.

I didn’t make any film yet. I didn’t like watching movies during the college period. One day, I found out I had to work as a director for an exercise. I didn’t go to the class and others decided for me. After the shooting exercise, I found movies could convey feelings. In fact, I didn’t have a good relationship with my parents. Something in my mind was released with that movie. I discovered the energy of cinema. So I was eager to find out additional possibilities regarding filmmaking and decided to go and study in Taiwan.

The college I studied in Malaysia had a connection with another school in Taiwan, so I began my second year in National Taiwan University of Arts.  After going to the Taiwanese film school, I continued making films, up to now. My filmmaking career just happened like that. I discovered my passion for filmmaking quite late. After the first movie, something happened to me. So I would like to explore the world of cinema more.

"Shuttle Life unfolds like an Odyssey, with Qiang travelling from one trouble to the other, without any kind of hope on the horizon. Why did you choose this pessimistic approach for the film?

This film describes things happening in Malaysia. As I studied in Taiwan, the works of Dardenne brothers and Emir Kusturica taught me a lot. All their films talk about their country. So I would like to go back to Malaysia to show what’s happening in our society.

I found a lot of ridiculous things in my country, but people don’t care anymore. We are like frogs being boiled alive, we lose gradually our feelings. When I just returned to Malaysia, I was quite surprised with that. I didn’t understand why people could just do nothing about serious issues. For example, Malaysian Prime minister was found taking 700,000,000 US dollars from a public fund to his personal bank accounts. The Malaysian people couldn’t do anything for that scandal, but Taiwanese politicians could be brought to justice. Our PM could even use the occasion to fight against opponents in politics. So I hope to talk about the Malaysian society through my movies, to talk about the society I have grown up.


The film deals with the lives of the poor in Kuala Lumpur, mental illness, the troubles with the bureaucracy, particularly in connection with the health system, the corruption, and the huge differences between the rich and the poor. Can you tell us a bit about these concepts? Is the situation in Kuala Lumpur so dire? 

The story takes place in Pudu area of Kuala Lumpur. It was very prosperous during the 1990s, but a lot of people have moved out, only old people and foreign laborers stayed there. But Pudu is still part of Kuala Lumpur, even if it’s old now, it’s still breathing, there are still basic activities here. So I like specially this place. There are different populations here, some children could be born here. They are not rich, I would like to talk about its stories.

Being poor doesn’t only mean you don’t have money, you could have less possibilities to good education, have less resources to enrich your mind or don’t have a lot of solutions for problems. Those who are born in Pudu have no choice. Most of tje time, when others are studying, they have to survive in this city. They could feel helpless.

When I have just returned to Malaysia, I felt helpless, too. I was like Ah Qiang in the film. I knew the problems, but I couldn’t find a solution. I felt like a shipwreck’s survivor floating on the sea, pushed by waves without knowing where to go. I returned to my country to make films, but I had no ideas how to begin.

Do you know the main conditions to become a filmmaker in Malaysia? You have to know a lot of influential people. We don’t really care if you have studied in a film school or not, you could make films only if you know some rich people.

The film seems to put male friendship as one of the few true values of the current world. Can you tell elaborate on this concept?

When we grew up in Malaysia, friendship is very important for us. Maybe we’re afraid of being alone and having no friends. It’s easy to influence each other.

I decided Ah Qiang would have two male friends in the film. When we are young, we need to be part of a group to feel comfortable. As we are not alone, we’ll have more confidence and we won’t be afraid. We won’t be afraid of being alone to face problems of growing up. That’s my point of view. Ah Qiang and his two friends live in that area, they are good friends and help each other.


Chin's cinematography is impressive. How was your cooperation with him ?

TSK: The film was shot in Pudu area of Kuala Lumpur. I spent about one year observing the area, I know where the locations for some scenes of the film could be found. I wrote them down. I knew why I chose the places. In fact, I didn’t know this old area, so I spent a long time there. It’s like Báng-kah, the Western part of Taipei in Taiwan. Having played a significant role in the city, it’s not so popular as before. Young people don’t really want to go there. That is why I would like to tell its story.

I knew the relations between some specific locations and the characters. I visited some places several times with the cinematographer. We rehearsed together and imagined the actors’ reactions. Then the actors arrived in the shooting location. We would tell them the situation of the scene and they could act as they liked. However, we already imaged most of their performance, sometimes they played in some way we didn’t expect. We kept shooting all the acting. We prepared a ground plan to indicate actors’ movements and the positions of the camera. But I threw it away with the script when I began shooting. We were waiting for surprises.

I tried to use less lighting. Even when we needed it, it’s set far from the actors. I hope they could play without worrying too much. I didn’t want to bother their performance. There are no real professional actors in Malaysia, so I don’t want the lighting or other shooting equipment to bother them. I prefer they concentrate on their acting. For example, the refrigerator in a scene will be like the real one we use in daily life, the actors could feel comfortable in the shooting location. For the scene of the power outage, all the lights were set on the ceiling, not on the ground. We shot the scene in this way. 

Can you elaborate on the scene with the two siblings riding the bike?

For the riding scene with sparklers, Angela hadn't ridden a motorbike before, so she  practiced several times to get used to it. For the shooting, we attached her to Jack for safety. When she got used to Jack and two other adults, it was easy for them to play together. We just gave her a sparkler and she began to play with it. Most of the time, I didn’t really explain clearly what they were supposed to do, each actor/actress had his/her own mission. If everyone performs naturally his/her own mission, the entire scene will be something in itself.

We usually shooted in the car, it’s difficult to control the acting of actors. The road was small and noisy, a morning market was just next by. Even though we yelled loudly, the actors couldn’t hear our words. They chose one song for the riding, I was OK with their choice, so they sang the song for the movie. All this scene was very natural. It’s quite romantic for me to go riding and playing sparklers. For the poor people, happiness and romantic feeling could just come from small things.

I think my family is middle-class. In fact, I didn’t know quite well the financial conditions of my family. I never like to ask my parents for money. I usually had some jobs as I was a student in high school and in college. When I was studying in Taiwan, I often made a living by making films. When the financial crisis occurred in Asia in 1998, my family was not the same as before. The economy and the relationship between family members were affected. For example, my parents quarreled quite often, maybe for money. We sold out our cars one after another, my elder sister had to ride a motorbike. Maybe my parents and my sister thought I was still young and they didn’t want me to know these problems, but I could feel the changes at home. Our family was different. I didn’t know exactly my family’s financial situation. When I knew better how to deal with money, I didn’t want my parents’ money. Money causes conflicts quite easily, so I prefer making a living by myself. I have lived in this way.

A lot of friends thought Ah Qiang was similar to me. He talks like me and he also has some similar attitudes. Both Ah Qiang and I have such a rage, we don’t have other motivation to do something.


Can you tell us a bit about the last scene? It left me perplexed regarding the "solution" you propose.

The last scene is an “open” ending. The characters were eating and moving. Moving could lead them to a better or worse place, eating is to give themselves energy. I think the motivation is quite strong. They would like to change the situation, they were eager to survive.

In fact, the first scene is similar to the last one. In the beginning scene, Ah Qiang took a risk climbing the high tower to find water. It’s ridiculous, so is the last one. Ah Qiang didn’t find money to make fake documents, but he stole the car. With his mother, they could spend time in air-conditioned car during the rainy night. They could sell the car to have money for the fake document, and then it would be possible to get back the corpse of the little sister out of the hospital. That could be a chance, but he could be arrested. 

The story couldn’t end in a “closed” way, with a clear direction. Ah Qiang is just 19 years old, if I gave him a determined ending, it would be like a trial sentence for him. I don’t come from the same social class as him, I don’t think I could decide their future like a judge. I just hope people continue to live, and they’ll find their way out. 

You chose Jack Tan, who is also a pop-singer for the protagonist role. How did this choice come about? In general, how was the casting process like, particularly for Angel Chan? How was your cooperation with Sylvia Chang, who has the hardest part in the film?

My producer is Jack Tan’s agent, that’s why he decided to choose him for the protagonist role. I have quarreled with the producer for a long time about this choice. I didn’t want Jack to play this role. He’s 19 years old, but Ah Qiang is 16 years old in the script. Such a teenager faces so many problems, it would be quite dramatic. But my producer insisted on his choice, I couldn’t refuse, then I had to change the age of the main character. There are so many limitations when creating films.

I didn’t really dislike working with Jack. I have tried to communicate with him when my producer made the decision. I didn’t want an actor to “play” a role, he just needed to feel how the character’s living at the moment. We can usually use our own experiences to be a character. For instance, he could think of his high school days or his own family life. I told him why I wrote the scene and what I thought about life or some important issues. I preferred Ah Qiang to be similar to Jack, he didn’t need to play the role of Ah Qiang. 
During the first two weeks, we couldn’t communicate with each other, he wasn’t used to my way. He kept asking questions and tried to prove his capacity. One day, I told him he was not my first candidate for the role, he said he knew it. I told him it’s not necessary to prove he’s capable to play the role of Ah Qiang. I have spent one and half year writing the script, and I have met the challenges from different investors, producers and script writers. He just got the script for one month, it’s impossible for him to find quickly a logical way to play the role. He calmed down after the conversation, he began to explore the inside world of the role in a lot of ways.

When we began shooting the film, there was the scene in which the mother attacked the son with scissors. Sylvia Chang didn’t follow any classic rules of acting. The script didn’t mention any scissors, she didn’t use them during the rehearsal. As she saw them, she told me she would use them for the shooting, I agreed. I told the crew to make these scissors less sharp, but they had no idea how to make it. When Jack appeared in the scene, he was surprised with the scissors. The shooting began, and it was quite realistic. We shot the scene three times.


Concerning the scene on the bus, I think it’s a little bit artificial. The mother just needed to grab her son’s hand, maybe because she’s so sad. Sylvia changed the idea of the script and would like to get off the bus. Jack was surprised with her reaction. I told Jack to yell at her, but he couldn’t understand.  He thought the emotion for the bus scene was similar to the one with the social worker after leaving the police station. I was not glad with his idea. How could Ah Qiang know what would happen later in his life? He couldn’t know what’s going on. From that day, Jack didn’t bring the script to the shootings any more. I would not film in a chronological order of the story. I just told him what he could do for the scene.

I am satisfied with the result, everyone thought he’s not a professional actor. When I attended Shanghai Film Festival in China, one member of the jury appreciated the “non-professional actor” who played the role of Ah Qiang. I said Jack was a professional actor, he has played in a feature film and some TV series.

Sylvia Chang joined us as professional actress. She didn’t interfere in my creation except the role of the mother. She respected the team. She prepared for her role and did her work. Since she is not Malaysian Chinese as the mother in the script, I reduced her dialogues a lot, so people wouldn’t find out her Taiwanese accent. It’s more difficult to deal with the unstable mental disorders of the mother. Sometimes she could get mad, and then become a normal person. The role is inspired by an actor’s mother. We asked  him to give us details and then we used them for the film.

The most difficult to work with was Angela. She came to a casting with her elder sister, the casting team encouraged her to participate because she’s quite cute. She’s like a little elf we could keep in a pocket. She could speak a lot of languages, like many kids in Malaysia.

We didn’t have problems in communication in the beginning, but she cried all day long during one shooting. We told her not to be nervous, but she couldn’t help crying. There were not many scenes with her, but we prepared ten days for shooting her. We found a solution. When she felts nervous, we’ll give her a box of Kleenex. She could begin acting after crying. She spent at least one hour crying when she arrived at the shooting place.

We spent two days for the car accident scene. The ground was too dirty for her to lie down on her back. Even when all of the team lied down on their backs on the road, she refused. She asked her mother to sit inside the car. When the car left, she jumped up and called her mother loudly. That’s totally kind of soap opera, we all laughed.

The toilettes scene was also difficult. Angela couldn’t stop crying. She said she didn’t cry for lack of practice. She has practiced a lot and remembered everything, but that’s the first time she played a role. She’s nervous. She replied as an adult. She’s just a kid, but she behaved like a grown-up, we all like her a lot.

Sylvia Chang just gave us six days for shooting. We concentrated on her scenes with Angela. Sylvia knew how to cope with children. Everything was going well. The nightmare began when we finished the shootings with her. Angela refused to play or kept crying from one a ’clock to three a ‘clock in the afternoon. As we were tired, she became “normal” and ready for shooting. You could ask her to act many times and she was never tired.

What is the situation with Malaysian cinema at the moment?

90% of Malaysian films are Hollywood movies or Chinese commercial feature films, there are few “films d’auteur” or alternative artistic films. Malaysian films aren't successful, and the Malaysian people don't support our local productions. I am not optimistic about the Malaysian cinema in Chinese language.

We thought there was a boom in the film industry,  and there are more opportunities to make films now, but it’s just an illusion. If we make a co-production with China or Taiwan, we won’t be able to make films about Malaysia. Some people made horror films, but they couldn’t show them in China.

What’s really the cinema of Malaysia? Maybe other people don’t think about that issue, but I am eager to explore the subject of our country. I have no idea what others are doing, I just make my films slowly.
Some Malaysian directors shoot films every four or five years. People of the film industry don't help each other. Several potential filmmakers tried to made something ten years ago, but generally people prefer commercial films like local comedy or films especially for the Lunar New Year.

Some people continue working for the artistic films. There is no film school in Malaysia, the filmmakers have studied mass communication or audiovisual courses in college. We could study in a foreign film school or learn by ourselves about the cinema and film-making.

Which are your favorite filmmakers/movies?

Dardenne brothers, Emir Kustarica and Ken Loach. 

Are there any other projects you are working on/ planning on working?


I am preparing a new film, "One Fine Day". I would like to adapt a child rape and murder case occurring 30 years ago into a contemporary story.

Ten years ago, a girl was sexually assaulted and murdered in Malaysia. The killer was arrested the day of the crime. His father was an important guy, he ran away to Australia. He was arrested as he came back to Malaysia two years later. He wasn’t found guilty for the first trial since the investigators found other accomplices involved in the crime. The victim’s father was so sad, he wanted to jump off from the second floor of the court, the journalists stopped him. The victim’s family had their hearts broken as the tragedy happened, and they continued suffering from the loss of their beloved one. So I would like to adapt the old crime case to a contemporary story to talk about the victim’s family as they face the media and the society. The murderer was sentenced to death about ten years later.

The justice system is not fair in Malaysia. There are more than 10,000 children rape cases since 2014, only about one hundred cases got solved and the rapists were arrested. We couldn’t hope the police or the justice system will help us, what people could do is to be very careful with their own children

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Tjut Djalil,1,H. Vinoth,1,Haibin Du,1,Han Han,1,Han Jie,1,Hanae Kan,1,Hanagatami,1,Hanging Garden,1,Hanuman,1,Haobam Paban Kumar,1,Hapkido,1,Happiness,1,Happy Together,1,Harikatha Prasanga,1,Harishchandrachi Factory,1,Hashiguchi Takaaki,1,Haunters,1,Have A Nice Day,1,HBO,2,Heart Attack,1,Heather Lenz,1,Heiward Mak,1,Helldriver,1,Hello Goodbye,1,Helsinki Cine Aasia Festival 2018,5,Hema Hema: Sing Me a Song While I Wait,1,Hemlock Society,1,Her Own Address,1,Herman Yau,4,Heung-Boo: The Revolutionist,1,Hidden Gems,77,Hideen Gems,1,Hideo Sakaki,1,High-Kick Girl,1,Highheels,1,Hindi,10,Hiro Aihara,1,Hirobumi Watanabe,2,Hirokazu Koreeda,4,Hiroshi Ando,1,Hiroshi Shoji,1,Hiroshi Teshigahara,1,Hiroyuki Kawasaki,1,Hiroyuki Seshita,1,Hisayasu Sato,1,HKETO,1,Ho Yuhang,3,Holy Island,1,Honeygiver Among the Dogs,2,Hong Ki-Seon,1,Hong Kong,50,Hong Kong Godfather,1,Hong Sang-soo,2,Hongkong,1,Horror,4,Hou Hsiao-hsien,1,Hsien Chun-yi,1,Hsu Hsiao-ming,1,Huang Fend,1,Huang Hsin-Yao,1,Huang Huang,1,Huang Hui-chen,2,HUANG Xi,1,Huang Ying-hsiung,1,Husband Killers,1,Hwang Dong-Hyuk,1,Hwang Jung-min,1,I Am A Hero,1,I Am God,1,I Have Nothing to Say,2,I Lin-liu,1,I Saw the Devil,1,I Wish,1,I-Lin Liu,18,ICA,3,Icarus Films,9,IFFLA,5,IFFR,2,Im Kyeong-soo,1,Imran Firdaus,1,Imran Fridaus,1,Imtiaz Ali,2,In a Defiled World,3,In the Absence of the Sun,1,In this Corner of the World,3,Inchul Lee,1,India,74,Indonesia,21,Initiation Love,1,International Chinese Film Festival,1,International Film Festival Rotterdam,23,Interview,3,Interviews,90,Intimate Confessions of a Chinese Courtesan,1,Inugami,1,Inuyashiki,1,Ip Man: The Final Fight,1,Iran,8,Isao Yukisada,2,Ishmael Bernal,1,Ishqiya,1,Isora Iwakiri,1,Iswar Srikumar,1,J.P. Sniadecki,1,Jaatishwar,1,Jab Harry Met Sejal,1,Jackie Chan,6,Jagat,1,Jagga Jasoos,1,Jailbreak,4,James Mudge,1,Jang Chang-won,1,Jang Hoon,1,Jang Joon-hwan,1,Japan,263,Japan Cuts,15,Japan Film Festival Australia,1,Japan Filmfest Hamburg,16,Japan Foundation Touring Programme,3,Japan the Emperor and the Army,1,Japan. Reviews,1,Japanese Film Festival Australia,2,Jean-Marc Therouanne,1,Jean-Paul Ly,1,Jeong Byeong-gil,1,Jeong Jae-eun,1,Jeong Yun-Cheol,1,Jeonju International Film Festival,3,Jero Yun,1,Jess Teong,1,Jesse V. Johnson,1,Jet Leyco,2,Jia Zhangke,2,Jigoku,1,Jimmy Henderson,4,Jin Xingzheng.,1,Jithin K Mohan,16,Joby Varghese,1,Joe Odagiri,2,John Abraham,1,Johnnie To,2,Johnny Ma,1,Joko Anwar,6,Jonathan Cianfrani,1,Jonathan Li,1,Jonathan Wilson,10,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,2,Jung Sik,1,Jung Yoon-suk,1,Junichi Kajioka,2,Junk Head,1,Junpei Mizusaki,1,Justice in Northwest,1,K-dramas,12,Kaasan Mom’s Life,1,Kala,1,Kam Ka-Wai,1,Kamila Andini,1,Kaneto Shindo,2,Kang Je-gyu,1,Kang Yoon-Sung,2,Kara Hui,1,Karan Johar,1,Katsuya Tomita,3,Katsuyuki Motohiro,1,Kaushik Ganguly,1,Kazuya Shiraishi,2,kdrama,1,Ke Guo,1,Keep Calm and Be a Superstar,1,Kei Chikaura,1,Kei Horie,1,Kei Ishikawa,1,Keishi Otomo,1,Keishimi Oto,1,Ken and Kazu,1,Kengo Yagawa,1,Kenichi Ugaba,1,Kenichi Ugana,1,Kenichi Watanabe,1,Kenji Yamauchi,1,Kentaro Hagiwara,1,Kesang P. Jigme,1,Kfc,2,Khavn,2,Khosla Ka Ghosla!,1,Khushboo Ranka,1,Khyentse Norbu,2,Kiko Boksingero,1,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,5,Kim Kih-hoon,1,Kim Min Su kII,1,Kim Min-suk,1,Kim Seong-hoon,1,Kim Tae-kyeong,1,Kim Whee,1,Kim Yong-hwa,1,King Hu,2,Kingyo,2,Kirsten Tan,1,Kirti Raj Singh,1,Kiss me,1,Kiyoshi Kurosawa,5,Kôbun Shizuno,1,Kodoku Meatball Machine,1,Koji Fukada,1,Koji Wakamatsu,1,Komiya Masatetsu,1,Kon Ichikawa,2,Konkona Sen Sharma,1,Konrad Aderer,2,Korea,2,korean drama,1,Kotoko,1,Kristina Aschenbrennerova,1,Krzysztof Pietrzak,1,Kun-Yu Lai,14,Kung Fu Yoga,1,Kusama Infinity,1,Kwak Kyung-taek,2,Kyoko Miyake,2,Kyriacos Kyriacou,3,Labour of Love,1,Lady of the Lake,1,Lady Snowblood,2,Lam Wingsum,1,Laos,3,Laughing Under the Clouds,1,Lawrence Ah Mon,1,Le Binh Giang,2,Le Bình Giang,2,Leandro E. Seta,2,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 Kyoung-mi,1,Lee Myung-se,1,Lee Sa-rang,1,Lee Seo-goon,1,Leena Alam,1,Legend of the Demon Cat,1,Legend of the Mountain,1,Leo Zhang,1,Leon Lai,1,Leste Chen,3,Leung Wing-Fai,1,Ley Lines,1,Lhaki Dolma,1,Li Cheuk-shing,1,Li Hongqi,1,Li Ruijun,1,Liang Ying,1,Life on the Line,2,Lijo Jose Pellissery,1,Like Father,1,Like Son,1,Lim Kah-wai,2,Lim Sang-yoon,1,Lists,13,Little Big Soldier,1,Little Forest,2,Little Shop of Grotesque,1,Little Shop of Horrors,1,Liu Jian,1,Liu Jiayin,2,Liu Yang He,1,Liu Yang River,1,Liu Yulin,1,Live from Dhaka,2,Live Up To Your Name,1,Loi Bao,1,London Korean Film Festival,5,Los Angeles Indian Festival,22,Lost Serenade,1,Love,1,Love and Other Cults,3,Love Education,1,Lovely Man,1,Lovers Are Wet,1,Lovesick,1,Lowlife Love,1,Lucien Castaing-Taylor,1,Lucky Kuswandi,1,Lyberis,4,Machines,1,Mad Tiger,1,Mad World,5,Made in Hong Kong,2,Madman,2,Mahde Hasan,1,Mahesh Narayanan,1,Mai Chan's Daily Life: The Movie,1,Majid Majidi,1,Makoto Shinkai,1,Malayalam,7,Malaysia,17,Mama,1,Mamoru Hosoda,1,Manish Gupta,1,Manny Araneta,2,March Comes in like a Lion,1,Maria Georgiou,26,Mario Cornejo,1,Mark Gallagher,1,Marlina the Murderer in Four Acts,3,Mary Jirmanus Saba,1,Masaaki Yuasa,2,Masaan,1,Masaharu Take,1,Masahiro Shinoda,1,Masakazu Sugita,1,Masaki Adachi,1,Masanori Tominaga,1,Masaru Konume,1,Masato Harada,2,Masato Ozawa,2,Masatoshi Kurakata,1,Matt Cooper,19,Matthew D. Johnson,1,Matthias Hoene,1,Maundy Thursday,1,Mayaanadhi,1,Mayurakshi,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,Midori The Camelia Girl,1,Mikhail Red,4,Milk the Maid,1,Minamata: The Victims and Their World,1,Ming-Yeh Rawnsley,1,Minoru Kunizawa,1,Mira Nair,1,Miss Zombie,1,Miwa Nishikawa,2,Mohammad Rasoulof,1,Mohammad-Reza Lotfi,1,Mon Mon Mon Monsters,1,Mong-Hong Chung,2,Mongolia,2,Monika S-r,1,Monologue,1,Moon Lovers,1,Moon So-ri,1,Mototsugu Watanabe,4,Mouly Surya,3,Mountains May Depart,2,Mourning Forest,1,Movie,2,Moving,1,Mr Long,1,Mr. Socrates,1,Mrs Fang,1,Mrs K,2,Mukti Bhawan (Hotel Salvation),1,Mumon: The Land of Stealth,1,Museum,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,Nandita Roy,1,Naoko Ogigami,5,Naomi Kawase,3,Naosuke Kurosawa,1,Naoyuki Tomomatsu,3,Nawapol Thamrongrattanarit,2,Neeraj Ghaywan,1,Neko Atsume House,1,Neomanila,2,Nepal,1,Nervous Translation,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,Newton,1,Nicholas Poly,4,Night Bus,1,Night is Short,1,Night is Short Walk on Girl,1,Night of the Felines,1,Nikhil Allug,1,Nikkatsu,1,Nikola Cekic,1,Nila Madhab Panda,2,Ninja Pussy Cat,1,Nirbaak,1,Niwatsukino Norihiro,1,No Where,2,No. 1 Chung Ying Street,2,Noboru Iguchi,1,Noboru Tanaka,1,Noboru Uguchi,1,Nobuhiko Obayashi,2,Nobuhiro Yamashita,2,Nobuo Nakagawa,2,Nobuyuki Takeuchi,2,Noise,2,Non-fiction Diary,1,Norbu,1,Noriaki Tsuchimoto,1,Norihiro Niwatsukino,1,Norjmaa,1,Norman England,2,North Korea,2,Now Here,2,Nurse Diary: Beast Afternoon,1,NYAFF,34,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,4,On the Job,1,On The Line Festival,3,On the Run,1,One Cut of the Dead,1,One Man's China,1,Onibaba,1,Operation Red Sea,1,Ophilia,1,Ordinary Person,1,Orson McClellan Mochizuki,1,Osaka Asian Film Festival,12,Osamu Sato,1,Our Happy time,1,Our Time Will Come,1,Outrage Coda,1,Over the Fence,1,Oxhide,1,Oxhide II,1,Oxide Pang,1,Pad Man,1,Padmavati,2,Pai Kau,2,Palatpol Mingpornpichit,2,Pale Flower,1,Panos,1,Panos Kotzathanasis,293,Paresh Mokashi,1,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,Past and Future,1,Patrick Hofmeister,72,Patrick Tam,1,Pedro Morata,10,Peerachai Kerdsint,1,Pelden Dorji,1,Pema "Tintin" Tshering,1,Pema Tshering,1,Pen-Ek Ratanaruang,2,Peng Xiaolian,1,Pengfei,2,Pepe Diokno,1,Peque Gallaga,1,Perfect Blue,2,Peter Chan,1,Peter Chen,1,Phanumad Disattha,1,Philippines,19,Pieter - Jan Van Haecke,4,Pieter-Jan Van Haecke,8,Pink Eiga,15,PinkEiga.TV,6,pinku eiga,1,Pinneyum,1,Poet on a Business Trip,1,Poolside Man,1,Pop Aye,1,Posto,1,Prakasan,1,Press Release,2,Priya Giri Desai,1,Prophecy,1,Proshoon Rahmaan,2,Psychic,1,Pumpkin and Mayonnaise,1,Queen of Triads,1,R.Balki,1,Rabbit and Lizard,1,Radiance,1,Rage. Lee Sang-il,1,Rahul Jain,1,Railway Sleepers,1,Rainy Dog,1,Raja Mukhriz,1,Rajkumar Gupta,1,Ram,1,Ram Gopal Varma,1,Randy Mckenzie,4,Rape Zombie: Lust of the Dead,1,Rape Zombie: Lust of the Dead 2,1,Ravine of Goodbye,1,Re:Born,1,Real,1,Realism,1,Red Beard,1,Red Persimmons,1,Rei Sakamoto,1,Reipu zonbi: Lust of the dead 3,1,Resistance at Tule Lake,1,Respeto,2,Resurrection,1,Revenge: A love story,1,Review,9,Reviews,306,Reviews.,2,Reviews. Panos Kotzathanasis,1,Rima Das,1,Riri Riza,3,Ritwik Ghatak,2,River of Exploding Durians,2,River's Edge,3,Robin Weng,1,Roger Lee,2,Roman Porno,1,Ronja,1,Rouge,1,Rouven Linnarz,1,Roya Sadat,2,Running on Karma,1,Russia,1,RV: Resurrected Victims,1,Ryoo Seung-wan,2,Ryota Sakamaki,1,Ryu Kaneda,1,Ryuki,1,Ryutaro Ninomiya,2,S. Korea,74,S.Korea,2,Saayak Santra,9,Sabrina Baracetti,1,Sabu,4,Sade Sato,1,Salaam Bombay,1,Samui Song,1,San Diego Asian Film Festival,17,San Diego Film Festival,2,Sanjay Leela Bhansali,2,Sanjeewa Pushpakumara,2,Sankha Ray,33,Sarita Khurana,1,Satan's Slaves,3,Satoru Hirohara,1,Satoshi Kon,3,Satya,1,Satyajit Ray,2,Say Yes,1,Sayandeep Bandyopadhyay,6,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,Shakti Sounder Rajan,1,Shanjhey Kumar Perumal,1,Shanker Raman,1,Shaw Brothers,2,She Remembers He Forgets,2,She's the Boss,1,Shehjar,1,Shiboprosad Mukherjee,1,Shift,2,Shigeru Umebayashi,1,Shikhar Verma,13,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 Swan II,1,Shinjuku Triad Society,1,Shinobi no Kuni,2,Shinsuke Ogawa,1,Shinsuke Sato,2,Shinya Tsukamoto,4,Shireen Seno,2,Shirley Abraham,1,Shock Wave,1,Shôhei Imamura,1,Shoot for the Contents,1,Shorts,9,Shotaro Kobayashi,1,Shu Qi,1,Shuna Iijima,1,Shunji Iwai,2,Shutter,1,Shuttle Life,2,Shyam Ramsay,1,Siddiq Ahamed,1,Sidharth Bharathan,1,Sidi Saleh,1,Signature,1,Silent Mist,1,Silver Spleen,2,Singapore,3,Singh Anand,1,Singing Chen,1,Sinophone,1,Sion Sono,10,Siti,1,Sixth Sense Hooker,1,Slavemen,1,Sleep Curse,1,Small Talk,2,Smriti Mundhra,1,Sogo Ishii,2,Soichi Umezawa,1,Solanin,1,Solitude,1,Solo,1,Someone To Talk To,1,Sompot Chidgasompongse,2,Song Hae-sung,1,Song Kang-ho,1,Song of the Week,22,Sopawan Boonnimitra,1,Sopon Sakdapisit,1,Soul,1,Soul Mate,1,SoulMate,2,South Korea,24,Sri Lanka,3,Sridevi,1,Srijit Mukherji,8,Stammering Ballad,1,Stanley Kwan,1,Stanley Tong,1,Steel Rain,1,Stephen Chow,1,Stephen Fung,2,Steve James,1,Still the Water,1,Stoneman Murders,1,Story in Taipei,1,Strange Circus,1,Studio Ghibli,1,StudioCanal,4,Subenja Pongkorn,2,Suffering of Ninko,2,Sugihara Survivors: Jewish and Japanese,1,Suicide Club,1,Sukita: The Shoot Must Go On,1,Suman Mukhopadhay,1,Summer Snow,1,Sun-ho Cho,1,Sunao Katabuchi,3,Sunday Beauty Queen,1,Sung-hong Kim,1,Sunk Into the Womb,1,Sushama Deshpande,1,Susumu Hirasawa,1,Sweating the Small Stuff,2,Sylvia Chang,1,Tadashi Nagayama,1,Tae Guk Gi,1,Tag,1,Taiwan,28,Takaaki Hashiguchi,1,Takahide Hori,1,Takahiro Miko,1,Takahisa Zeze,1,Takao Nakano,1,Takaomi Ogata,4,Takashi Miike,10,Take Care of My Cat,1,Take Me to the Moon,1,Take Off,1,Takeo Kikuchi,2,Takeshi Kaneshiro,1,Takeshi Kitano,1,Takuro Nakamura,2,Talop Wangchuk,1,Tamil,4,Tamura Senichi,1,Tang Seng Kiat,2,Tanit Jitnukul,1,Tanvir Ashraf,2,Taste of Rice Flower,2,Tatara Samurai,1,Tatsuhi Omori,1,Tatsumi,1,Tatsumi Kumashiro,1,Teddy Soeriaatmadja,1,Teenkahon,1,Teppei Nakamura,1,Tetsuo the Iron Man,1,Tetsuya Mariko,1,Tetsuya Nakashima,1,Thailand,21,Thanatos Drunk,1,That's It,1,The Adventurers,2,The Apology,1,The Bad,1,The Blue Redemption,1,The Boy and the Beast,3,The boy from Ipanema,1,The Brink,1,The Chase,1,The Cinema Travellers,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 Empty Hands,1,The Executioner,1,The Eye's Dream,1,The Forest Whispers,1,The Forsaken Land,1,The Fortress,1,The Gangster's Daughter,1,The Girl Who Never Knew War,1,The Golden Fortress,1,The Good,1,The Great Buddha+,1,The Great Passage,1,The Hole,1,The Hungry Lion,1,The Indian Film Festival of Los Angeles,2,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 Long Excuse,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 Net,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 Truth Beneath,1,The Vanished,1,The Villainess,3,The Violin Player,1,The Way We Are,1,The Weird,1,The Windmill Palm Grove,1,Theeran Adhigaaram Ondru,1,Third WIndow,1,This Is Not What I Expected,1,This Is Not What I Expected!,1,Thondimuthalum Driksakshiyum,1,Thop Nazareno,1,Three Sisters,1,Three Times,1,Tiffany Hsiung,1,Tik Tik Tik,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,Torico,2,Toronto International Film Festival,1,Toshiaki Toyoda,2,Toshihisa Yokoshima,3,Toshimasha Kobayashi,1,Toshio Matsumoto,1,Toshiya Fujita,1,Toshiyuki Teruya,1,Town in a Lake,1,Traces of Sin,1,Trailers,85,Train to Busan,1,Tran Ham,1,Translated articles,1,Trapped,1,Travellers and Magicians,1,Treb Monteras II,2,Trinh T. Minh-Ha,3,Triple Threat,1,True Fiction,1,Tsai Ming-liang,2,Tulsi Ramsay,1,Twenty Two,1,Twilight Dinner,1,Twitch: You Are My Toy,1,Typhoon Club,1,Udine,3,Ulam Main Dish,1,Um Tae-hwa,1,Uma,1,Unbowed,1,Uncovered,1,Up Down and Sideways,1,V.I.P.,1,Vagabond,1,Vaishali Sinha,1,Vampire Clay,1,Vampire Cleanup Department,2,Vanishing Time A Boy Who Returned,1,Vannaphone Sitthirath,1,various,2,Varnyathil Aashanka,1,Verena Paravel,1,Vesoul International Film Festival,20,Victor Vu,1,Vidya Balan,1,Vietnam,6,Vikram Zushi,1,Vikramaditya Motwane,1,Village Rockstars,1,Vimukthi Jayasundara,1,Vinay Shukla,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,3,Wang Chao,2,Wang Lung-wei,1,Wang Ming-tai,1,Warriors of the Dawn,2,We Make Antiques,1,Weeds on Fire,1,Wei-Hao Cheng,1,Wellgo USA,2,West North West,2,What a Man Wants,1,What A Wonderful Family 2,1,What Time Is It There?,1,Whispering Corridors,1,Whispering Star,1,White Sun,1,Who Killed Cock Robin,1,Whore Angel,1,Wilson Yip,1,Wiman Rizkidarajat,1,Wine War,1,Winter Vacation,1,With Prisoners,1,Without Memory,1,Wol-Ha: Very Bad Moon Rising,1,Woman of the Lake,1,Won Shin-Yeon,1,Wong Chun,3,Wong Jing,2,Wong Kar-wai,2,Woo Ming Jin,1,Wrath of Silence,1,Xaisongkham Induangchanthy,1,Xin Yukun,1,Xu Bing,1,Ya-che Yang,1,Yamato (California),4,Yan Pak Wing,2,Yang Chao,2,Yang Ik-june,1,Yang Jong-hyeon,1,Yang Woo-seok,1,Yao Tian,1,Yash Chopra,1,Yasmin-san,1,Yeon Sang-ho,2,Yes Madam,1,Yeti Obhijaan,2,Yim Soon-rye,2,Yin Liang,1,Yiu-wai Chu,1,Yoji Yamada,1,Yoo Ha,1,Yoon-chul chung,1,Yoonsuk Jung,1,Yosep Anggi Noen,1,Yoshihiro Hanno,1,Yoshihiro Nakamura,2,Yoshihiro Nishimura,3,Yoshimasa Jimbo,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,Yu Sang-wook,1,Yuen Chor,1,Yuen Woo-ping,1,Yuji Shimomura,1,Yûji Tajiri,2,Yujiro Harumoto,2,Yuki Tanada,1,Yukihiko Tsutsumi,2,Yukuhiro Morigaki,2,Yusaku Matsumoto,2,Yutaka Ikejima,3,Yutaro Nakamura,1,Yuya Ishii,2,Zakka Films,2,Zen,1,Zhang Lu,1,Zhang Nan,1,Zhang Yimou,1,Zig Dulay,1,Zombiology: Enjoy Yourself Tonight,1,Zoo,1,Zuairijah Mou,1,Zuri Rinpoche. Bhutan. Five Flavours,1,
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Asian Film Vault: Interview with Tang Seng Kiat: We are like frogs being boiled alive, we lose gradually our feelings
Interview with Tang Seng Kiat: We are like frogs being boiled alive, we lose gradually our feelings
We speak with Tang Seng Kiat about Shuttle Life, his life and career, Malaysia and its cinema, and many other topics
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Asian Film Vault
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