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Film Archive: Look/See: The Female Gaze in Cinema In celebration of International Women’s Month, AFA invites you to Look/See: […]" /> <meta property="og:url" content="https://asianfilmarchive.org/asian-cinema-digest-55/" /> <meta property="og:site_name" content="Asian Film Archive" /> <meta property="article:publisher" content="https://www.facebook.com/asianfilmarchive" /> <meta property="article:published_time" content="2025-03-14T05:52:17+00:00" /> <meta property="og:image" content="https://asianfilmarchive.org/wp-content/uploads/2025/03/byebyelove_isaofujisawa.jpg" /> <meta property="og:image:width" content="800" /> <meta property="og:image:height" content="544" /> <meta property="og:image:type" content="image/jpeg" /> <meta name="author" content="Natalie Ng" /> <meta name="twitter:card" content="summary_large_image" /> <meta name="twitter:creator" content="@AFA_Archive" /> <meta name="twitter:site" content="@AFA_Archive" /> <meta name="twitter:label1" content="Written by" /> <meta 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data-element_type="widget" data-widget_type="theme-post-title.default"> <div class="elementor-widget-container"> <h1 class="elementor-heading-title elementor-size-default">Asian Cinema Digest #55</h1> </div> </div> <div class="elementor-element elementor-element-6b3530c9 elementor-align-center elementor-widget elementor-widget-post-info" data-id="6b3530c9" data-element_type="widget" data-widget_type="post-info.default"> <div class="elementor-widget-container"> <ul class="elementor-inline-items elementor-icon-list-items elementor-post-info"> <li class="elementor-icon-list-item elementor-repeater-item-43ffbcb elementor-inline-item" itemprop="datePublished"> <span class="elementor-icon-list-text elementor-post-info__item elementor-post-info__item--type-date"> <time>March 14, 2025</time> </span> </li> </ul> </div> </div> </div> </div> </div> </section> </div> </div> </div> </section> <section class="elementor-section elementor-top-section elementor-element elementor-element-78ce091b elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="78ce091b" data-element_type="section"> <div class="elementor-container elementor-column-gap-default"> <div class="elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-3b5c4761" data-id="3b5c4761" data-element_type="column"> <div class="elementor-widget-wrap elementor-element-populated"> <div class="elementor-element elementor-element-1395d563 elementor-widget-divider--view-line elementor-widget elementor-widget-divider" data-id="1395d563" data-element_type="widget" data-widget_type="divider.default"> <div class="elementor-widget-container"> <div class="elementor-divider"> <span class="elementor-divider-separator"> </span> </div> </div> </div> </div> </div> </div> </section> <section class="elementor-section elementor-top-section elementor-element elementor-element-54a55cc9 elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="54a55cc9" data-element_type="section"> <div class="elementor-container elementor-column-gap-default"> <div class="elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-59e26aa" data-id="59e26aa" data-element_type="column"> <div class="elementor-widget-wrap elementor-element-populated"> <div class="elementor-element elementor-element-071c893 elementor-widget elementor-widget-shortcode" data-id="071c893" data-element_type="widget" data-widget_type="shortcode.default"> <div class="elementor-widget-container"> <div class="elementor-shortcode"></div> </div> </div> <div class="elementor-element elementor-element-119bbefe elementor-widget elementor-widget-theme-post-content" data-id="119bbefe" data-element_type="widget" data-widget_type="theme-post-content.default"> <div class="elementor-widget-container"> <p><span style="font-weight: 400;">March 2025</span></p> <p><span style="font-weight: 400;">This issue of the Asian Cinema Digest highlights women-centric works in honour of International Women’s Month, ranging from experimental performance videos to Japanese New Wave finds and flirty Bollywood flicks. </span></p> <p> </p> <h2><b>TO SEE </b></h2> <p><img fetchpriority="high" decoding="async" class="wp-image-118706 aligncenter lazyload" src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" data-src="https://asianfilmarchive.org/wp-content/uploads/2025/02/picnic-at-hanging-rock-still.jpg" alt="" width="800" height="600" /><noscript><img decoding="async" class="wp-image-118706 aligncenter lazyload" src="https://asianfilmarchive.org/wp-content/uploads/2025/02/picnic-at-hanging-rock-still.jpg" alt="" width="800" height="600" srcset="https://asianfilmarchive.org/wp-content/uploads/2025/02/picnic-at-hanging-rock-still.jpg 1200w, https://asianfilmarchive.org/wp-content/uploads/2025/02/picnic-at-hanging-rock-still-1024x768.jpg 1024w, https://asianfilmarchive.org/wp-content/uploads/2025/02/picnic-at-hanging-rock-still-768x576.jpg 768w, https://asianfilmarchive.org/wp-content/uploads/2025/02/picnic-at-hanging-rock-still-300x225.jpg 300w, https://asianfilmarchive.org/wp-content/uploads/2025/02/picnic-at-hanging-rock-still-600x450.jpg 600w" sizes="(max-width: 800px) 100vw, 800px" /></noscript></p> <h3><a href="https://asianfilmarchive.org/event-calendar/look-see-the-female-gaze-in-cinema/"><b>Asian Film Archive: Look/See: The Female Gaze in Cinema</b></a></h3> <p><span style="font-weight: 400;">In celebration of International Women’s Month, AFA invites you to </span><i><span style="font-weight: 400;">Look/See: The Female Gaze in Cinema</span></i><span style="font-weight: 400;">. This programme consists of 13 film screenings, Q&A segments with filmmakers, and a maker’s market on 22-23 March 2025.</span></p> <p><i><span style="font-weight: 400;">Look/See</span></i><span style="font-weight: 400;"> runs till 30 March 2025 and explores how the gaze is challenged, reclaimed, and subverted by female protagonists and filmmakers. Make sure to catch the 50th anniversary screenings of restored classics, </span><i><span style="font-weight: 400;">Picnic at Hanging Rock</span></i><span style="font-weight: 400;"> (1975) and Chantal Akerman’s </span><i><span style="font-weight: 400;">Jeanne Dielman, 23 Quai du Commerce</span></i><span style="font-weight: 400;"> (1975), stirring dramas </span><i><span style="font-weight: 400;">Missing Johnny </span></i><span style="font-weight: 400;">(2018) and </span><i><span style="font-weight: 400;">Saint Omer</span></i><span style="font-weight: 400;"> (2022), and exclusive director Q&A sessions at </span><i><span style="font-weight: 400;">Archaeology of Love </span></i><span style="font-weight: 400;">(2022) and Kimi Takesue’s 3-film special feature </span><i><span style="font-weight: 400;">The Cross-Cultural Gaze</span></i><span style="font-weight: 400;">.</span></p> <p> </p> <figure id="attachment_120630" aria-describedby="caption-attachment-120630" style="width: 800px" class="wp-caption aligncenter"><img decoding="async" class="size-full wp-image-120630 lazyload" src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" data-src="https://asianfilmarchive.org/wp-content/uploads/2025/03/Ullarivu-1.jpg" alt="" width="800" height="600" /><figcaption id="caption-attachment-120630" class="wp-caption-text"><noscript><img loading="lazy" decoding="async" class="size-full wp-image-120630 lazyload" src="https://asianfilmarchive.org/wp-content/uploads/2025/03/Ullarivu-1.jpg" alt="" width="800" height="600" srcset="https://asianfilmarchive.org/wp-content/uploads/2025/03/Ullarivu-1.jpg 800w, https://asianfilmarchive.org/wp-content/uploads/2025/03/Ullarivu-1-768x576.jpg 768w, https://asianfilmarchive.org/wp-content/uploads/2025/03/Ullarivu-1-300x225.jpg 300w, https://asianfilmarchive.org/wp-content/uploads/2025/03/Ullarivu-1-600x450.jpg 600w" sizes="(max-width: 800px) 100vw, 800px" /></noscript> Image still from <em>The Young Ones: Ullarivu</em> (2023, Sumi Mathai)</figcaption></figure> <h3><a href="https://www.nowness.asia/series/the-young-ones/ullarivu" target="_blank" rel="noopener"><b>Nowness Asia: The Young Ones: Ullarivu</b></a><b> (2023)</b></h3> <p><span style="font-weight: 400;">Nowness Asia presents </span><i><span style="font-weight: 400;">Ullarivu</span></i><span style="font-weight: 400;"> (2023),</span> <span style="font-weight: 400;">Sumi Mathai’s contemplation on girlhood and loss of innocence. Set in a semi-rural household in Kerala, this Malayalam-language short follows a young girl on the cusp of adolescence as she navigates her relationship with nature, the complex family dynamics within a patriarchal household, and a troubling encounter with the outside world. Mathai sensitively captures the natural and social world through the young protagonist’s eyes, delivering a nuanced portrayal on the universal coming-of-age experience.</span></p> <p> </p> <figure id="attachment_120631" aria-describedby="caption-attachment-120631" style="width: 800px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" class="wp-image-120631 size-full lazyload" src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" data-src="https://asianfilmarchive.org/wp-content/uploads/2025/03/demon-pond_resized.jpg" alt="" width="800" height="450" /><figcaption id="caption-attachment-120631" class="wp-caption-text"><noscript><img loading="lazy" decoding="async" class="wp-image-120631 size-full lazyload" src="https://asianfilmarchive.org/wp-content/uploads/2025/03/demon-pond_resized.jpg" alt="" width="800" height="450" srcset="https://asianfilmarchive.org/wp-content/uploads/2025/03/demon-pond_resized.jpg 800w, https://asianfilmarchive.org/wp-content/uploads/2025/03/demon-pond_resized-768x432.jpg 768w, https://asianfilmarchive.org/wp-content/uploads/2025/03/demon-pond_resized-300x169.jpg 300w, https://asianfilmarchive.org/wp-content/uploads/2025/03/demon-pond_resized-600x338.jpg 600w" sizes="(max-width: 800px) 100vw, 800px" /></noscript> Image still from Demon Pond (1979, Masahiro Shinoda)</figcaption></figure> <p><a href="https://www.criterionchannel.com/demon-pond" target="_blank" rel="noopener"><b>Criterion Channel: Demon Pond (1979)</b></a></p> <p><span style="font-weight: 400;">Catch Japanese New Wave director Masahiro Shinoda’s stylish adaptation of a classic Kabuki tale into a dimension-shattering folk horror fantasia. Set to the swirling strains of electronic-music pioneer Isao Tomita’s synth score, </span><i><span style="font-weight: 400;">Demon Pond</span></i><span style="font-weight: 400;"> blends theatrical artifice with cinematic surrealism for an aquatic-apocalyptic fable of human love and folly caught in the current of nature’s wrath. Now streaming on Criterion Channel.</span></p> <figure id="attachment_57974" aria-describedby="caption-attachment-57974" style="width: 800px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" class="wp-image-57974 size-full lazyload" src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" data-src="https://asianfilmarchive.org/wp-content/uploads/2023/01/poetry-2010.jpg" alt="" width="800" height="600" /><figcaption id="caption-attachment-57974" class="wp-caption-text"><noscript><img loading="lazy" decoding="async" class="wp-image-57974 size-full lazyload" src="https://asianfilmarchive.org/wp-content/uploads/2023/01/poetry-2010.jpg" alt="" width="800" height="600" srcset="https://asianfilmarchive.org/wp-content/uploads/2023/01/poetry-2010.jpg 800w, https://asianfilmarchive.org/wp-content/uploads/2023/01/poetry-2010-300x225.jpg 300w, https://asianfilmarchive.org/wp-content/uploads/2023/01/poetry-2010-600x450.jpg 600w, https://asianfilmarchive.org/wp-content/uploads/2023/01/poetry-2010-768x576.jpg 768w, https://asianfilmarchive.org/wp-content/uploads/2023/01/poetry-2010-640x480.jpg 640w" sizes="(max-width: 800px) 100vw, 800px" /></noscript> Image still from <em>Poetry</em> (2010, Lee Chang Dong)</figcaption></figure> <p><a href="https://www.criterionchannel.com/directed-by-lee-chang-dong" target="_blank" rel="noopener"><b>Criterion Channel: Directed by Lee Chang Dong</b></a></p> <p><span style="font-weight: 400;">If you missed AFA’s Lee Chang Dong retrospective at Oldham Theatre in May 2024, here’s your chance to catch up on the 6 feature films directed by the South Korean filmmaker and literati. </span><i><span style="font-weight: 400;">Green Fish </span></i><span style="font-weight: 400;">(1997), </span><i><span style="font-weight: 400;">Peppermint Candy </span></i><span style="font-weight: 400;">(1999), </span><i><span style="font-weight: 400;">Oasis </span></i><span style="font-weight: 400;">(2002), </span><i><span style="font-weight: 400;">Secret Sunshine</span></i><span style="font-weight: 400;"> (2007), </span><i><span style="font-weight: 400;">Poetry </span></i><span style="font-weight: 400;">(2010), and </span><i><span style="font-weight: 400;">Burning </span></i><span style="font-weight: 400;">(2018) are available to stream now on Criterion Channel.</span></p> <p> </p> <figure id="attachment_120632" aria-describedby="caption-attachment-120632" style="width: 800px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" class="wp-image-120632 size-full lazyload" src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" data-src="https://asianfilmarchive.org/wp-content/uploads/2025/03/in-love_resized.jpg" alt="" width="800" height="616" /><figcaption id="caption-attachment-120632" class="wp-caption-text"><noscript><img loading="lazy" decoding="async" class="wp-image-120632 size-full lazyload" src="https://asianfilmarchive.org/wp-content/uploads/2025/03/in-love_resized.jpg" alt="" width="800" height="616" srcset="https://asianfilmarchive.org/wp-content/uploads/2025/03/in-love_resized.jpg 800w, https://asianfilmarchive.org/wp-content/uploads/2025/03/in-love_resized-768x591.jpg 768w, https://asianfilmarchive.org/wp-content/uploads/2025/03/in-love_resized-300x231.jpg 300w, https://asianfilmarchive.org/wp-content/uploads/2025/03/in-love_resized-600x462.jpg 600w" sizes="(max-width: 800px) 100vw, 800px" /></noscript> Image still from <em>In Love</em> (2001, Patty Chang)</figcaption></figure> <p><a href="https://www.e-flux.com/film/programs/657994/patty-chang/" target="_blank" rel="noopener"><b>e-flux: Patty Chang</b></a></p> <p><span style="font-weight: 400;">e-flux’s Staff Picks series showcases two experimental performance videos by Los Angeles based artist Patty Chang, which are available to stream on their website in March. Chang’s provocative and darkly humorous films </span><i><span style="font-weight: 400;">Melons (At a Loss) </span></i><span style="font-weight: 400;">(1998) and </span><i><span style="font-weight: 400;">In Love</span></i><span style="font-weight: 400;"> (2001) employ the body as a site of confrontation for femininity and socially constructed notions of desire. Her use of visceral and subversive imagery in these works addresses and challenges the notions of consumption and desire which are projected onto the female body.</span></p> <p> </p> <figure id="attachment_120633" aria-describedby="caption-attachment-120633" style="width: 800px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" class="size-full wp-image-120633 lazyload" src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" data-src="https://asianfilmarchive.org/wp-content/uploads/2025/03/Eat-Drink-Man-Woman-still.jpg" alt="" width="800" height="450" /><figcaption id="caption-attachment-120633" class="wp-caption-text"><noscript><img loading="lazy" decoding="async" class="size-full wp-image-120633 lazyload" src="https://asianfilmarchive.org/wp-content/uploads/2025/03/Eat-Drink-Man-Woman-still.jpg" alt="" width="800" height="450" srcset="https://asianfilmarchive.org/wp-content/uploads/2025/03/Eat-Drink-Man-Woman-still.jpg 800w, https://asianfilmarchive.org/wp-content/uploads/2025/03/Eat-Drink-Man-Woman-still-768x432.jpg 768w, https://asianfilmarchive.org/wp-content/uploads/2025/03/Eat-Drink-Man-Woman-still-300x169.jpg 300w, https://asianfilmarchive.org/wp-content/uploads/2025/03/Eat-Drink-Man-Woman-still-600x338.jpg 600w" sizes="(max-width: 800px) 100vw, 800px" /></noscript> Image still from <em>Eat Drink Man Woman</em> (1994, Ang Lee)</figcaption></figure> <p><a href="https://youtu.be/3jcXIt35EYE?si=2iwGxQeJ9WsxHzl8" target="_blank" rel="noopener"><b>Asia Society: Eat Drink Man Woman: Film Discussion with Tim Squyres</b></a></p> <p><span style="font-weight: 400;">As part of Asia Society New York’s retrospective “Water and Oil: The Movies of Ang Lee” which ran from 14-23 February 2025, film editor Tim Squyres talks about Ang Lee’s movie </span><i><span style="font-weight: 400;">Eat Drink Man Woman </span></i><span style="font-weight: 400;">(1994), a family-centered drama exploring the complex relationships between a widowed chef and his daughters. </span></p> <p><span style="font-weight: 400;">31 years after its release, Squyres shares the process and creative decisions that went into the iconic opening sequence of the film. Squyres also reflects on his extended collaboration with Ang Lee, including the experience of editing in a language he doesn’t speak.</span></p> <h2><b>TO LISTEN </b></h2> <figure id="attachment_120637" aria-describedby="caption-attachment-120637" style="width: 800px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" class="size-full wp-image-120637 lazyload" src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" data-src="https://asianfilmarchive.org/wp-content/uploads/2025/03/the-dirty-picture_still.jpg" alt="" width="800" height="534" /><figcaption id="caption-attachment-120637" class="wp-caption-text"><noscript><img loading="lazy" decoding="async" class="size-full wp-image-120637 lazyload" src="https://asianfilmarchive.org/wp-content/uploads/2025/03/the-dirty-picture_still.jpg" alt="" width="800" height="534" srcset="https://asianfilmarchive.org/wp-content/uploads/2025/03/the-dirty-picture_still.jpg 800w, https://asianfilmarchive.org/wp-content/uploads/2025/03/the-dirty-picture_still-768x513.jpg 768w, https://asianfilmarchive.org/wp-content/uploads/2025/03/the-dirty-picture_still-300x200.jpg 300w, https://asianfilmarchive.org/wp-content/uploads/2025/03/the-dirty-picture_still-600x401.jpg 600w" sizes="(max-width: 800px) 100vw, 800px" /></noscript> Image still from <em>The Dirty Picture</em> (2011, Milan Luthria)</figcaption></figure> <h3><a href="https://open.spotify.com/episode/4Wz0jo74e4UXa05NEE12rE?si=3159bc4b80004a7e" target="_blank" rel="noopener"><b>Filmi Ladies Episode 133: Watching the rainbow: Purple</b></a></h3> <p><span style="font-weight: 400;">Pitu and Beth from Filmi Ladies dive into the colour purple in Hindi Cinema. Bringing in fun trivia about the colour in fashion and popular culture, they trace the shifting connotations of the colour throughout history. Beth’s chosen film, </span><i><span style="font-weight: 400;">Badhaai Do </span></i><span style="font-weight: 400;">(2022), features a lavender marriage between a closeted police officer and a physical education teacher in a sensitive big-screen portrayal of the gay and lesbian community, while Pitu talks about purple prose in the stylishly raunchy musical-drama</span><i><span style="font-weight: 400;"> The Dirty Picture </span></i><span style="font-weight: 400;">(2011), loosely based on the life of Silk Smitha, an Indian actress noted for her erotic roles. They consider the role of vibrant hues in the women and queer characters’ reclaiming of their sexuality, and discuss other iconic purple outfits in Bollywood.</span></p> <p> </p> <h2><b>TO READ </b></h2> <figure id="attachment_120638" aria-describedby="caption-attachment-120638" style="width: 800px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" class="wp-image-120638 size-full lazyload" src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" data-src="https://asianfilmarchive.org/wp-content/uploads/2025/03/seed-of-the-sacred-fig_still.jpg" alt="" width="800" height="450" /><figcaption id="caption-attachment-120638" class="wp-caption-text"><noscript><img loading="lazy" decoding="async" class="wp-image-120638 size-full lazyload" src="https://asianfilmarchive.org/wp-content/uploads/2025/03/seed-of-the-sacred-fig_still.jpg" alt="" width="800" height="450" srcset="https://asianfilmarchive.org/wp-content/uploads/2025/03/seed-of-the-sacred-fig_still.jpg 800w, https://asianfilmarchive.org/wp-content/uploads/2025/03/seed-of-the-sacred-fig_still-768x432.jpg 768w, https://asianfilmarchive.org/wp-content/uploads/2025/03/seed-of-the-sacred-fig_still-300x169.jpg 300w, https://asianfilmarchive.org/wp-content/uploads/2025/03/seed-of-the-sacred-fig_still-600x338.jpg 600w" sizes="(max-width: 800px) 100vw, 800px" /></noscript> Image still from<em> The Seed of the Sacred Fig</em> (2024, Mohammed Rasoulof)</figcaption></figure> <h3><a href="https://mediacommons.org/imr/content/between-fact-and-fiction-reading-rasoulof%E2%80%99s-seed-sacred-fig-documentary" target="_blank" rel="noopener"><b>Between Fact and Fiction: Reading Rasoulof’s The Seed of the Sacred Fig as Documentary</b></a></h3> <p><span style="font-weight: 400;">Michelle Quay discusses </span><i><span style="font-weight: 400;">The Seed of the Sacred Fig </span></i><span style="font-weight: 400;">(2024), Mohammad Rasoulof’s gripping political drama which won the Special Jury Prize at the 77th Cannes Film Festival last year, and received an Academy Award nomination for Best International Feature. Its plot centers on an investigating judge at the Revolutionary Court in Tehran who grapples with paranoia as nationwide political protests due to the death of a young woman intensify.</span></p> <p><span style="font-weight: 400;">Quay argues that Rasoulof’s feature film creates a compelling, complete, and accurate visual account of the Woman Life Freedom protests in Iran by employing documentary-style techniques and strategic leveraging of raw footage filmed on-the-ground. Incorporating powerful anecdotes and comprehensive knowledge of the history of protest movements in Iran and related media, Quay puts forth a compelling argument for the strengths of Rasoulof’s courageous statement against authoritarian suppression.</span></p> <p> </p> <p><img loading="lazy" decoding="async" class="size-full wp-image-120639 aligncenter lazyload" src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" data-src="https://asianfilmarchive.org/wp-content/uploads/2025/03/santosh_still.jpg" alt="" width="800" height="533" /><noscript><img loading="lazy" decoding="async" class="size-full wp-image-120639 aligncenter lazyload" src="https://asianfilmarchive.org/wp-content/uploads/2025/03/santosh_still.jpg" alt="" width="800" height="533" srcset="https://asianfilmarchive.org/wp-content/uploads/2025/03/santosh_still.jpg 800w, https://asianfilmarchive.org/wp-content/uploads/2025/03/santosh_still-768x512.jpg 768w, https://asianfilmarchive.org/wp-content/uploads/2025/03/santosh_still-300x200.jpg 300w, https://asianfilmarchive.org/wp-content/uploads/2025/03/santosh_still-600x400.jpg 600w" sizes="(max-width: 800px) 100vw, 800px" /></noscript></p> <p><a href="https://metrograph.com/sandhya-suri/"><b>Metrograph: Interview with Sandhya Suri</b></a></p> <p><span style="font-weight: 400;">Inney Prakash interviews filmmaker Sandhya Suri about her bold feature debut, </span><i><span style="font-weight: 400;">Santosh</span></i><span style="font-weight: 400;"> (2024). The Hindi-language film centres on the titular character Santosh (Sunita Rajwar), a young widow financially compelled to take over her husband’s former job as a police officer who is tossed headfirst into a hellish pit of corrupt and misogynistic men as she investigates the chilling murder of a teenage girl.</span></p> <p><span style="font-weight: 400;">Suri reflects on the process of transitioning from nonfiction to narrative film, delving into her creative process and influences behind the film, which took 10 years to research and write. Suri shares how she navigates depicting the heavier themes of casteism, misogyny, violence, and Islamophobia within the film.</span></p> <p><span style="font-weight: 400;">Catch </span><i><span style="font-weight: 400;">Santosh</span></i><span style="font-weight: 400;"> at AFA’s </span><i><span style="font-weight: 400;">Look/See</span></i><span style="font-weight: 400;"> programme at Oldham Theatre on 29 March, 5pm. Tickets </span><a href="https://asianfilmarchive.org/event-calendar/santosh-2024/" target="_blank" rel="noopener"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">.</span></p> <p> </p> <figure id="attachment_120640" aria-describedby="caption-attachment-120640" style="width: 800px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" class="wp-image-120640 size-full lazyload" src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" data-src="https://asianfilmarchive.org/wp-content/uploads/2025/03/byebyelove_isaofujisawa.jpg" alt="" width="800" height="544" /><figcaption id="caption-attachment-120640" class="wp-caption-text"><noscript><img loading="lazy" decoding="async" class="wp-image-120640 size-full lazyload" src="https://asianfilmarchive.org/wp-content/uploads/2025/03/byebyelove_isaofujisawa.jpg" alt="" width="800" height="544" srcset="https://asianfilmarchive.org/wp-content/uploads/2025/03/byebyelove_isaofujisawa.jpg 800w, https://asianfilmarchive.org/wp-content/uploads/2025/03/byebyelove_isaofujisawa-768x522.jpg 768w, https://asianfilmarchive.org/wp-content/uploads/2025/03/byebyelove_isaofujisawa-300x204.jpg 300w, https://asianfilmarchive.org/wp-content/uploads/2025/03/byebyelove_isaofujisawa-600x408.jpg 600w" sizes="(max-width: 800px) 100vw, 800px" /></noscript> Image still from <em>Bye Bye Love</em> (1974, Fujisawa Isao)</figcaption></figure> <h3><a href="https://metrograph.com/bye-bye-love/" target="_blank" rel="noopener"><b>Metrograph: Bye Bye Love</b></a></h3> <p><span style="font-weight: 400;">Luke Goodsell delves into </span><i><span style="font-weight: 400;">Bye Bye Love</span></i><span style="font-weight: 400;"> (1974), the Japanese New Wave road movie directed by Fujisawa Isao which was rediscovered in 2018. The film focuses on a doomed romantic couple as they steal, swindle, and murder their way up the east coast of Honshu towards their date with destiny in Aomori. </span></p> <p><span style="font-weight: 400;">Goodsell describes it as an avant garde ballad of lovers-on-the-lam which is subversive and anarchic, questioning ideas of gender, identity, and even nature itself. He discusses the film’s stylistic choices and its use of the road movie trope as a playground for explicit explorations of sexuality, gender, and identity, drawing references to Kabuki Theatre, Ken Takakura, and Yoko Ono’s </span><i><span style="font-weight: 400;">Fly </span></i><span style="font-weight: 400;">(1970). </span></p> <p> </p> <h2><b>TO SUBMIT</b></h2> <h3><a href="https://asianfilmarchive.org/event-calendar/call-for-entries-singapore-shorts-25/" target="_blank" rel="noopener"><b>Call for Submissions: Singapore Shorts ‘25</b></a></h3> <p><span style="font-weight: 400;">Singapore Shorts is an annual showcase organised by the Asian Film Archive that celebrates the boldness and diversity of Singapore short films. The programme will feature a broad range of new works chosen by an esteemed selection panel. There will be online discussions with the filmmakers, critical writings, as well as a special guest curated programme. Screenings will be held at the Oldham Theatre in August 2025. The rules and regulations can be found </span><a href="https://asianfilmarchive.org/event-calendar/call-for-entries-singapore-shorts-25/" target="_blank" rel="noopener"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">, and the deadline for submissions is March 21, 2025. </span></p> <p> </p> <h3><a href="https://ex-is.org/information/exis-2025-call-for-entries" target="_blank" rel="noopener"><b>Call for Submissions: 22nd Experimental Film and Video Festival in Seoul 2025</b></a></h3> <p><span style="font-weight: 400;">Experimental Film and Video Festival in Seoul, a.k.a EXiS, was founded in 2004 by Moving Image Forum in order to screen experimental films and contemporary moving images that explore the unknown forms and territories of cinema. The rules and regulations can be found </span><a href="https://ex-is.org/s/EXiS2025_Regulations.pdf"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">, and the deadline for submissions is March 23, 2025. </span></p> <p> </p> <h3><b>Call for Submissions</b><a href="https://www.objectifs.com.sg/wifp2025opencall/" target="_blank" rel="noopener"><b>: Objectifs Women In Film and Photography 2025</b></a></h3> <p><span style="font-weight: 400;">Women photographers, filmmakers, and visual artists who use film or photography are invited to submit work for Objectifs’ 8th Women in Film & Photography Showcase in 2025. Selected work will be part of the print exhibition, slideshow/video installation, artist talks or screenings at Objectifs (Singapore) from October to November 2025. The showcase centres on the theme “What we carry” and focuses on work from Southeast Asia, East Asia and South Asia. The rules and regulations can be found </span><a href="https://www.objectifs.com.sg/wifp2025opencall/" target="_blank" rel="noopener"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">, and the deadline for submissions is 28 March 2025.</span></p> <p> </p> <h3><a href="https://filmregister.siff.com/#/en-US/Login" target="_blank" rel="noopener"><b>Call for Submissions: 27th Shanghai International Film Festival</b></a></h3> <p><span style="font-weight: 400;">Founded in 1993, Shanghai International Film Festival (SIFF) focuses on awards, markets, forums and film exhibitions so as to build an international platform, and promote the development of the Chinese film industry. The film festival takes place in June 2025 and accepts feature films and short films completed after 1 April 2024. The rules and regulations can be found </span><a href="https://www.siff.com/english/content?aid=101241209104559635755643143196677785" target="_blank" rel="noopener"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">, and the deadline for submissions is 31 March 2025.</span></p> <p> </p> <h3><a href="https://acpacnet.org/news/" target="_blank" rel="noopener"><b>Call for Papers: Launch Symposium of the Association for Curators and Programmers of Asian Cinemas (ACPAC)</b></a></h3> <p><span style="font-weight: 400;">The Association for Curators and Programmers of Asian Cinemas (ACPAC) is accepting abstracts and papers for its launch symposium, </span><i><span style="font-weight: 400;">Rethinking Film Curation in Asian Cinemas</span></i><span style="font-weight: 400;">. The event hopes to ignite discourse between film curators, scholars and industry professionals, and will be co-hosted by AFA in September 2025. The rules and regulations can be found </span><a href="https://acpacnet.org/news/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">, and the deadline for submissions is 15 April 2025.</span></p> <p> </p> <p><i><span style="font-weight: 400;">This edition of the Asian Cinema Digest was compiled by Kuo Yi Quan. The Asian Cinema Digest is a monthly compilation of content taking place internationally involving Asian cinema and the moving image. Featured programmes are not representative of AFA’s views and are unaffiliated to the AFA unless otherwise stated.</span></i></p> </div> </div> </div> </div> </div> </section> <section class="elementor-section elementor-top-section elementor-element elementor-element-e27016e elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="e27016e" data-element_type="section"> <div class="elementor-container elementor-column-gap-default"> <div class="elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-6e208228" data-id="6e208228" data-element_type="column"> <div class="elementor-widget-wrap elementor-element-populated"> <div class="elementor-element elementor-element-4597ed2b elementor-widget-divider--view-line elementor-widget elementor-widget-divider" data-id="4597ed2b" data-element_type="widget" data-widget_type="divider.default"> <div class="elementor-widget-container"> <div class="elementor-divider"> <span class="elementor-divider-separator"> </span> </div> </div> </div> <div class="elementor-element elementor-element-adfdaaf elementor-widget elementor-widget-shortcode" data-id="adfdaaf" data-element_type="widget" data-widget_type="shortcode.default"> <div class="elementor-widget-container"> <div class="elementor-shortcode"></div> </div> </div> </div> </div> </div> </section> <section class="elementor-section elementor-top-section elementor-element elementor-element-3e52f611 elementor-hidden-desktop elementor-hidden-tablet elementor-hidden-mobile elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="3e52f611" data-element_type="section"> <div class="elementor-container elementor-column-gap-default"> <div class="elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-5eef8cd6" data-id="5eef8cd6" data-element_type="column"> <div class="elementor-widget-wrap elementor-element-populated"> <div class="elementor-element elementor-element-4da8adfb elementor-widget elementor-widget-heading" data-id="4da8adfb" data-element_type="widget" data-widget_type="heading.default"> <div class="elementor-widget-container"> <h2 class="elementor-heading-title elementor-size-default">About the Writer</h2> </div> </div> </div> </div> </div> </section> <section class="elementor-section elementor-top-section elementor-element elementor-element-74e127d2 elementor-hidden-desktop elementor-hidden-tablet elementor-hidden-mobile elementor-section-boxed elementor-section-height-default elementor-section-height-default" data-id="74e127d2" data-element_type="section"> <div class="elementor-container elementor-column-gap-default"> <div class="elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-7f3ca9c9" data-id="7f3ca9c9" data-element_type="column"> <div class="elementor-widget-wrap elementor-element-populated"> <div class="elementor-element 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