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TO SEE Asian Film Archive: Look/See: The Female Gaze in Cinema In tandem with International Women’s Day, Look/See: The Female Gaze […]" /> <meta property="og:url" content="https://asianfilmarchive.org/asian-cinema-digest-54/" /> <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="2025-02-24T08:28:36+00:00" /> <meta property="article:modified_time" content="2025-02-24T08:28:58+00:00" /> <meta property="og:image" content="https://asianfilmarchive.org/wp-content/uploads/2025/02/WADJDA_mainstill.jpg" /> <meta property="og:image:width" content="1200" /> <meta property="og:image:height" content="900" /> <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 name="twitter:data1" content="Natalie Ng" /> <meta name="twitter:label2" content="Est. reading time" /> <meta name="twitter:data2" content="9 minutes" /> <script type="application/ld+json" class="yoast-schema-graph">{"@context":"https://schema.org","@graph":[{"@type":"Article","@id":"https://asianfilmarchive.org/asian-cinema-digest-54/#article","isPartOf":{"@id":"https://asianfilmarchive.org/asian-cinema-digest-54/"},"author":{"name":"Natalie Ng","@id":"https://asianfilmarchive.org/#/schema/person/8d5d03602832eb4ae4e20e835da01049"},"headline":"Asian Cinema Digest 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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 #54</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>February 24, 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>February 2025</p> <p>This issue of the Asian Cinema Digest highlights fresh, alternative ways of looking, interpreting and engaging with cinema, from online streaming and community film clubs to agony aunt columns and meta-cinema discussions.</p> <h2>TO SEE</h2> <figure id="attachment_118838" aria-describedby="caption-attachment-118838" style="width: 800px" class="wp-caption aligncenter"><img fetchpriority="high" decoding="async" class="wp-image-118838 lazyload" src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" data-src="https://asianfilmarchive.org/wp-content/uploads/2025/02/WADJDA_mainstill.jpg" alt="" width="800" height="600" /><figcaption id="caption-attachment-118838" class="wp-caption-text"><noscript><img decoding="async" class="wp-image-118838 lazyload" src="https://asianfilmarchive.org/wp-content/uploads/2025/02/WADJDA_mainstill.jpg" alt="" width="800" height="600" srcset="https://asianfilmarchive.org/wp-content/uploads/2025/02/WADJDA_mainstill.jpg 1200w, https://asianfilmarchive.org/wp-content/uploads/2025/02/WADJDA_mainstill-1024x768.jpg 1024w, https://asianfilmarchive.org/wp-content/uploads/2025/02/WADJDA_mainstill-768x576.jpg 768w, https://asianfilmarchive.org/wp-content/uploads/2025/02/WADJDA_mainstill-300x225.jpg 300w, https://asianfilmarchive.org/wp-content/uploads/2025/02/WADJDA_mainstill-600x450.jpg 600w" sizes="(max-width: 800px) 100vw, 800px" /></noscript> Image still from<em> Wadjda</em> (2012, Haifaa al-Mansour)</figcaption></figure> <h3><a href="https://asianfilmarchive.org/event-calendar/look-see-the-female-gaze-in-cinema/" target="_blank" rel="noopener"><b>Asian Film Archive: Look/See: The Female Gaze in Cinema</b></a></h3> <p><span style="font-weight: 400;">In tandem with International Women’s Day, </span><i><span style="font-weight: 400;">Look/See: The Female Gaze in Cinema</span></i><span style="font-weight: 400;"> invites you to step into the shoes of unique female filmmakers, writers, protagonists from all walks of life, in diverse journeys of chasing desire, contemplation, self-discovery, understanding.</span></p> <p><i><span style="font-weight: 400;">Look/See</span></i><span style="font-weight: 400;"> runs from 8-30 March 2025 and includes 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, 1080 Bruxelles</span></i><span style="font-weight: 400;"> (1975), hard hitting dramas, </span><i><span style="font-weight: 400;">Wadjda</span></i><span style="font-weight: 400;"> (2012), </span><i><span style="font-weight: 400;">Archaeology of Love</span></i><span style="font-weight: 400;"> (2022), </span><i><span style="font-weight: 400;">Saint Omer</span></i><span style="font-weight: 400;"> (2022), and ethereal documentaries, </span><i><span style="font-weight: 400;">Mother and Daughter, or the Night is Never Complete </span></i><span style="font-weight: 400;">(2023) and </span><i><span style="font-weight: 400;">Smoke Sauna Sisterhood</span></i><span style="font-weight: 400;"> (2023).</span></p> <p><span style="font-weight: 400;">The programme also has a special feature on </span><i><span style="font-weight: 400;">The Cross-Cultural Gaze</span></i><span style="font-weight: 400;"> in three of Kimi Takesue’s playful, experimental films, reflecting the act of visiting, touring, exploring – another form of look-see, or perhaps in Singlish, to ‘see see look look’. A casual, instinctive look can sometimes unearth more than a deeply focused one.</span></p> <p> </p> <figure id="attachment_119464" aria-describedby="caption-attachment-119464" style="width: 800px" class="wp-caption aligncenter"><img decoding="async" class="wp-image-119464 size-full lazyload" src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" data-src="https://asianfilmarchive.org/wp-content/uploads/2025/02/the-sky-is-blue-my-lung-is-smiling_riskya-duavania.jpg" alt="" width="800" height="450" /><figcaption id="caption-attachment-119464" class="wp-caption-text"><noscript><img loading="lazy" decoding="async" class="wp-image-119464 size-full lazyload" src="https://asianfilmarchive.org/wp-content/uploads/2025/02/the-sky-is-blue-my-lung-is-smiling_riskya-duavania.jpg" alt="" width="800" height="450" srcset="https://asianfilmarchive.org/wp-content/uploads/2025/02/the-sky-is-blue-my-lung-is-smiling_riskya-duavania.jpg 800w, https://asianfilmarchive.org/wp-content/uploads/2025/02/the-sky-is-blue-my-lung-is-smiling_riskya-duavania-768x432.jpg 768w, https://asianfilmarchive.org/wp-content/uploads/2025/02/the-sky-is-blue-my-lung-is-smiling_riskya-duavania-300x169.jpg 300w, https://asianfilmarchive.org/wp-content/uploads/2025/02/the-sky-is-blue-my-lung-is-smiling_riskya-duavania-600x338.jpg 600w" sizes="(max-width: 800px) 100vw, 800px" /></noscript> Image still from <em>The Sky Is Blue, My Lung is Smiling</em> (2024, Riskya Duavania)</figcaption></figure> <h3><a href="https://www.objectifs.com.sg/lenscapescreenings-2025/" target="_blank" rel="noopener"><b>Objectifs LENScape: Documentary shorts from Southeast Asia</b></a></h3> <p><span style="font-weight: 400;">Curated by In-Docs, Objectifs and Thai filmmaker Komtouch Dew Napattaloong, LENScape surrounds the creative spirit of Southeast Asian documentaries. 14 shorts will be presented, split into three themes: </span><i><span style="font-weight: 400;">Capitalist Dreams: Profit or People?</span></i><span style="font-weight: 400;">, </span><i><span style="font-weight: 400;">Remnants of Time</span></i><span style="font-weight: 400;">, </span><i><span style="font-weight: 400;">Murmurs of Kinship</span></i><span style="font-weight: 400;">. Screened in Indonesia from November 2024 to February 2025, the selected short films will be screening in Singapore throughout March at Objectifs Centre for Photography and Film.</span></p> <p> </p> <figure id="attachment_119466" aria-describedby="caption-attachment-119466" style="width: 800px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" class="wp-image-119466 size-full lazyload" src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" data-src="https://asianfilmarchive.org/wp-content/uploads/2025/02/kamen-rider.jpg" alt="" width="800" height="603" /><figcaption id="caption-attachment-119466" class="wp-caption-text"><noscript><img loading="lazy" decoding="async" class="wp-image-119466 size-full lazyload" src="https://asianfilmarchive.org/wp-content/uploads/2025/02/kamen-rider.jpg" alt="" width="800" height="603" srcset="https://asianfilmarchive.org/wp-content/uploads/2025/02/kamen-rider.jpg 800w, https://asianfilmarchive.org/wp-content/uploads/2025/02/kamen-rider-768x579.jpg 768w, https://asianfilmarchive.org/wp-content/uploads/2025/02/kamen-rider-300x226.jpg 300w, https://asianfilmarchive.org/wp-content/uploads/2025/02/kamen-rider-600x452.jpg 600w" sizes="(max-width: 800px) 100vw, 800px" /></noscript> Image still from <em>Kamen Rider</em> (1971-1973, Shotaro Ishinomori)</figcaption></figure> <h3><a href="https://shoutfactorytvlive.com/tokushoutsu" target="_blank" rel="noopener"><b>TokuSHOUTsu: Kamen Rider Original Series</b></a></h3> <p><span style="font-weight: 400;">Campy grasshopper motorcycle hero </span><i><span style="font-weight: 400;">Kamen Rider</span></i><span style="font-weight: 400;"> (1971-1973) is often remembered for kickstarting a resurgence of the tokusatsu sub-genre in Japanese live-action TV. TokuSHOUTsu, a live streaming channel accessible in the USA and UK, has made all 98 episodes of the original </span><i><span style="font-weight: 400;">Kamen Rider </span></i><span style="font-weight: 400;">series available on their Youtube channel. The channel is also home to a number of other cult series and films, including newer reboots of the </span><i><span style="font-weight: 400;">Kamen Rider</span></i><span style="font-weight: 400;"> franchise and </span><i><span style="font-weight: 400;">Mach GoGoGo</span></i><span style="font-weight: 400;"> (1967-1968).</span></p> <p> </p> <figure id="attachment_119468" aria-describedby="caption-attachment-119468" style="width: 800px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" class="size-full wp-image-119468 lazyload" src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" data-src="https://asianfilmarchive.org/wp-content/uploads/2025/02/night-of-peacemaking_tao-hui.jpg" alt="" width="800" height="448" /><figcaption id="caption-attachment-119468" class="wp-caption-text"><noscript><img loading="lazy" decoding="async" class="size-full wp-image-119468 lazyload" src="https://asianfilmarchive.org/wp-content/uploads/2025/02/night-of-peacemaking_tao-hui.jpg" alt="" width="800" height="448" srcset="https://asianfilmarchive.org/wp-content/uploads/2025/02/night-of-peacemaking_tao-hui.jpg 800w, https://asianfilmarchive.org/wp-content/uploads/2025/02/night-of-peacemaking_tao-hui-768x430.jpg 768w, https://asianfilmarchive.org/wp-content/uploads/2025/02/night-of-peacemaking_tao-hui-300x168.jpg 300w, https://asianfilmarchive.org/wp-content/uploads/2025/02/night-of-peacemaking_tao-hui-600x336.jpg 600w" sizes="(max-width: 800px) 100vw, 800px" /></noscript> Image still from <em>Night of Peacemaking</em> (2022, Tao Hui)</figcaption></figure> <h3><a href="https://www.e-flux.com/film/programs/639562/dear-mom-dear-dad/" target="_blank" rel="noopener"><b>e-flux: Dear Mom, Dear Dad</b></a></h3> <p><i><span style="font-weight: 400;">Queer Strategies and Tentacles</span></i><span style="font-weight: 400;"> is online on the e-Flux Screening Room, with a second section entitled </span><i><span style="font-weight: 400;">The Poetics of Disguises: Fake it! Not Because I Want to Make It</span></i><span style="font-weight: 400;">. The ongoing programme </span><i><span style="font-weight: 400;">Dear Mom, Dear Dad</span></i><span style="font-weight: 400;">, is a triple bill of films that tackle the survival strategy many queer people turn to: “passing” as conventional, heteronormative or otherwise to protect oneself from marginalisation and persecution. As stated, “The films reach out, like tentacles, to make what seems so straight-wardly and unquestionably authentic, if not fake, at least queerly vague.”</span></p> <h2></h2> <h2><b>TO ATTEND</b></h2> <figure id="attachment_119469" aria-describedby="caption-attachment-119469" style="width: 800px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" class="wp-image-119469 size-full lazyload" src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" data-src="https://asianfilmarchive.org/wp-content/uploads/2025/02/dance-of-a-humble-atheist_toh-hun-ping.jpg" alt="" width="800" height="467" /><figcaption id="caption-attachment-119469" class="wp-caption-text"><noscript><img loading="lazy" decoding="async" class="wp-image-119469 size-full lazyload" src="https://asianfilmarchive.org/wp-content/uploads/2025/02/dance-of-a-humble-atheist_toh-hun-ping.jpg" alt="" width="800" height="467" srcset="https://asianfilmarchive.org/wp-content/uploads/2025/02/dance-of-a-humble-atheist_toh-hun-ping.jpg 800w, https://asianfilmarchive.org/wp-content/uploads/2025/02/dance-of-a-humble-atheist_toh-hun-ping-768x448.jpg 768w, https://asianfilmarchive.org/wp-content/uploads/2025/02/dance-of-a-humble-atheist_toh-hun-ping-300x175.jpg 300w, https://asianfilmarchive.org/wp-content/uploads/2025/02/dance-of-a-humble-atheist_toh-hun-ping-600x350.jpg 600w" sizes="(max-width: 800px) 100vw, 800px" /></noscript> Image still from <em>Dance of a Humble Atheist</em> (2019, Toh Hun Ping)</figcaption></figure> <h3><a href="https://www.objectifs.com.sg/filmclub-humbleatheist/" target="_blank" rel="noopener"><b>Objectifs Film Club x Walter Benjamin Reading Group</b></a></h3> <p><span style="font-weight: 400;">Opportunities to read and discuss critical film discourse are far and few between, so literary cinephiles in Singapore might be glad to find Objectifs Film Club back with a second intertextual cross with Walter Benjamin’s writings. Toh Hun Ping’s mesmerizing and unsettling </span><i><span style="font-weight: 400;">Dance of a Humble Atheist </span></i><span style="font-weight: 400;">(2019) is paired with Walter Benjamin’s similarly winding and bewildering essay </span><i><span style="font-weight: 400;">One-Way Street</span></i><span style="font-weight: 400;">. Both fragments of a whole, joined in uncertain collages, without beginning and end.</span></p> <p><span style="font-weight: 400;">Toh’s film is available for rent on the Objectifs Film Library, while Benjamin’s essay can be accessed from the Film Club’s page. Participants can RSVP to a discussion session of the two works, which will take place on 28 February 2025 at Objectifs Centre for Photography and Film.</span></p> <p> </p> <h2><b>TO READ</b></h2> <figure id="attachment_119470" aria-describedby="caption-attachment-119470" style="width: 800px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" class="wp-image-119470 size-full lazyload" src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" data-src="https://asianfilmarchive.org/wp-content/uploads/2025/02/minikino-film-week.jpg" alt="" width="800" height="533" /><figcaption id="caption-attachment-119470" class="wp-caption-text"><noscript><img loading="lazy" decoding="async" class="wp-image-119470 size-full lazyload" src="https://asianfilmarchive.org/wp-content/uploads/2025/02/minikino-film-week.jpg" alt="" width="800" height="533" srcset="https://asianfilmarchive.org/wp-content/uploads/2025/02/minikino-film-week.jpg 800w, https://asianfilmarchive.org/wp-content/uploads/2025/02/minikino-film-week-768x512.jpg 768w, https://asianfilmarchive.org/wp-content/uploads/2025/02/minikino-film-week-300x200.jpg 300w, https://asianfilmarchive.org/wp-content/uploads/2025/02/minikino-film-week-600x400.jpg 600w" sizes="(max-width: 800px) 100vw, 800px" /></noscript> Cynthia Syukur Purwanto, writer and Liaison Officer for the Disabled for Gusde, providing live audio description for a film during Minikino Film Week 10’s closing night</figcaption></figure> <h3><a href="https://minikino.org/articles/dear-me-lets-continue-to-nurture-inclusive-environment/" target="_blank" rel="noopener"><b>Minikino Film Week: Dear Me, Let’s Continue to Nurture Inclusive Environments</b></a></h3> <p><span style="font-weight: 400;">Cynthia Sukur Purwanto documents her candid experiences at Minikino Film Week 10 in an open letter urging for the normalisation of amenities and consideration for disabled audiences. She recounts vulnerable yet tender moments as a ‘Kawan Pembisik’, whose role is to verbalise the films to visually impaired audiences, and as a Q&A moderator paired with sign language interpreters. While recognising the tremendous institutional changes we must surmount to have inclusive and accessible cinema spaces, Surwanto asserts that everyone deserves a level playing field, and we can “still make a difference by being attentive, offering help when needed and possible, and simply speaking about the importance of inclusivity.”</span></p> <p> </p> <figure id="attachment_53866" aria-describedby="caption-attachment-53866" style="width: 800px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" class="wp-image-53866 lazyload" src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" data-src="https://asianfilmarchive.org/wp-content/uploads/2022/09/Dragnet-Girl-02-thumb.jpg" alt="" width="800" height="600" /><figcaption id="caption-attachment-53866" class="wp-caption-text"><noscript><img loading="lazy" decoding="async" class="wp-image-53866 lazyload" src="https://asianfilmarchive.org/wp-content/uploads/2022/09/Dragnet-Girl-02-thumb.jpg" alt="" width="800" height="600" srcset="https://asianfilmarchive.org/wp-content/uploads/2022/09/Dragnet-Girl-02-thumb.jpg 1200w, https://asianfilmarchive.org/wp-content/uploads/2022/09/Dragnet-Girl-02-thumb-300x225.jpg 300w, https://asianfilmarchive.org/wp-content/uploads/2022/09/Dragnet-Girl-02-thumb-600x450.jpg 600w, https://asianfilmarchive.org/wp-content/uploads/2022/09/Dragnet-Girl-02-thumb-1024x768.jpg 1024w, https://asianfilmarchive.org/wp-content/uploads/2022/09/Dragnet-Girl-02-thumb-768x576.jpg 768w, https://asianfilmarchive.org/wp-content/uploads/2022/09/Dragnet-Girl-02-thumb-640x480.jpg 640w" sizes="(max-width: 800px) 100vw, 800px" /></noscript> Image still from <em>Dragnet Girl</em> (1933, Yasujiro Ozu)</figcaption></figure> <h3><a href="https://www.filmcomment.com/blog/youre-projecting-2/"><b>Film Comment: You’re Projecting #2</b></a></h3> <p><span style="font-weight: 400;">The second edition of Film Comment’s agony aunt column for cinephiles answers two woes. The first from a young film programer who worries that they will lose their love for cinema, and the second a request for fashion recommendations that spell confidence on screen. For this, contributor Imogen Sara Smith recommended Kinuyo Tanaka in </span><i><span style="font-weight: 400;">Dragnet Girl</span></i><span style="font-weight: 400;"> (1933), for her office flair and spunky gangster attitude, among others.</span></p> <p><span style="font-weight: 400;">As a note, the recent fashion themed programme, </span><a href="https://asianfilmarchive.org/event-calendar/styled-sutured-fashion-on-screen/"><i><span style="font-weight: 400;">Styled & Sutured: Fashion on Screen</span></i></a><span style="font-weight: 400;"> at the Asian Film Archive also features some lovely apparel inspirations!</span></p> <p> </p> <figure id="attachment_119472" aria-describedby="caption-attachment-119472" style="width: 800px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" class="wp-image-119472 size-full lazyload" src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" data-src="https://asianfilmarchive.org/wp-content/uploads/2025/02/the-ghost-of-yotsuya.jpg" alt="" width="800" height="527" /><figcaption id="caption-attachment-119472" class="wp-caption-text"><noscript><img loading="lazy" decoding="async" class="wp-image-119472 size-full lazyload" src="https://asianfilmarchive.org/wp-content/uploads/2025/02/the-ghost-of-yotsuya.jpg" alt="" width="800" height="527" srcset="https://asianfilmarchive.org/wp-content/uploads/2025/02/the-ghost-of-yotsuya.jpg 800w, https://asianfilmarchive.org/wp-content/uploads/2025/02/the-ghost-of-yotsuya-768x506.jpg 768w, https://asianfilmarchive.org/wp-content/uploads/2025/02/the-ghost-of-yotsuya-300x198.jpg 300w, https://asianfilmarchive.org/wp-content/uploads/2025/02/the-ghost-of-yotsuya-600x395.jpg 600w" sizes="(max-width: 800px) 100vw, 800px" /></noscript> Image still from <em>The Ghost of Yotsuya</em> (1959, Nobuo Nakagawa)</figcaption></figure> <h3><a href="https://culturalgutter.com/2025/01/16/tamiya-iemon-is-the-absolute-worst-ghost-stories-of-yotsuya/" target="_blank" rel="noopener"><b>Cultural Gutter: Tamiya Iemon is the Worst: Ghost Stories of Yotsuya</b></a></h3> <p><span style="font-weight: 400;">Carol Borden, editor of The Cultural Gutter, leads a deep dive into the stage to screen adaptations of kabuki play </span><i><span style="font-weight: 400;">Yotsuya Kaidan</span></i><span style="font-weight: 400;"> (1825). The play, adapted and revised countless times since its first production, surrounds a despicable ronin named Tamiya Iemon who severely wrongs and becomes haunted by the ghost of his disfigured and vengeful wife, Oiwa.</span></p> <p><span style="font-weight: 400;">Borden’s witty exposé on Iemon’s sins is feathered with historical nuances of Japan’s feudal society and gendered politics, as well as quips on the play’s legacy till now. She compares the discourses that have survived or been discarded in three most referenced adaptations of the text: Keisuke Kinoshita’s </span><i><span style="font-weight: 400;">The Ghost of Yotsuya: Part I and II</span></i><span style="font-weight: 400;"> (1949), Nobuo Nakagawa’s </span><i><span style="font-weight: 400;">The Ghost of Yotsuya</span></i><span style="font-weight: 400;"> (1959) and Takashi Miike’s meta-reimagining </span><i><span style="font-weight: 400;">Over Your Dead Body</span></i><span style="font-weight: 400;"> (2014).</span></p> <p> </p> <h2><b>TO LISTEN</b></h2> <figure id="attachment_119473" aria-describedby="caption-attachment-119473" style="width: 800px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" class="wp-image-119473 size-full lazyload" src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" data-src="https://asianfilmarchive.org/wp-content/uploads/2025/02/salam-cinema.jpg" alt="" width="800" height="450" /><figcaption id="caption-attachment-119473" class="wp-caption-text"><noscript><img loading="lazy" decoding="async" class="wp-image-119473 size-full lazyload" src="https://asianfilmarchive.org/wp-content/uploads/2025/02/salam-cinema.jpg" alt="" width="800" height="450" srcset="https://asianfilmarchive.org/wp-content/uploads/2025/02/salam-cinema.jpg 800w, https://asianfilmarchive.org/wp-content/uploads/2025/02/salam-cinema-768x432.jpg 768w, https://asianfilmarchive.org/wp-content/uploads/2025/02/salam-cinema-300x169.jpg 300w, https://asianfilmarchive.org/wp-content/uploads/2025/02/salam-cinema-600x338.jpg 600w" sizes="(max-width: 800px) 100vw, 800px" /></noscript> Image still from <em>Salam Cinema</em> (1995, Mohsen Makhmalbaf)</figcaption></figure> <h3><a href="https://open.spotify.com/episode/44s1n0oVqKbgcYRm2JoeDs?si=71583c1dd33f4678" target="_blank" rel="noopener"><b>Cinema Rex – Iranian Cinema Podcast: Salam Cinema</b></a></h3> <p><span style="font-weight: 400;">Iranian-Canadian filmmakers and Cinema Rex hosts Kaveh Mohebbi and Faran Moradi discuss </span><i><span style="font-weight: 400;">Salam Cinema</span></i><span style="font-weight: 400;"> (1995), a meta hybrid of documentary and fiction. In the film, director Mohsen Makhmalbaf holds an open casting call for 100 actors. When thousands of auditionees show up, causing a riot, he turns the chaotic auditioning process into the film itself. Amidst Makhmalbaf’s intense treatment of the auditionees, goading them to cry on command, berating and manipulating to force a performance, Mohebbi and Moradi take a look back at filmmaking practices in 1990s Iran, questioning </span><i><span style="font-weight: 400;">Salam Cinema</span></i><span style="font-weight: 400;">’s worrying flitting between problematizing and perpetuating the exploitative artifice of cinema.</span></p> <p> </p> <h2><b>TO SUBMIT</b></h2> <h3><a href="https://filmfreeway.com/WomenMakeWavesFilmFestivalTaiwan" target="_blank" rel="noopener"><b>Call for Submissions: 32nd Women Make Waves International Film Festival</b></a></h3> <p><span style="font-weight: 400;">The 32nd Women Make Waves International Film Festival is accepting films directed by at least one female-identifying director completed no earlier than 1 March 2023. For queer films, directors of all genders are welcome to submit. The rules and regulations can be found </span><a href="https://filmfreeway.com/WomenMakeWavesFilmFestivalTaiwan"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">, and the deadline for submissions is 3 March 2025.</span></p> <p> </p> <h3><a href="https://www.taipeiff.taipei/tw/login" target="_blank" rel="noopener"><b>Call for Submissions: 27th Taipei Film Festival</b></a></h3> <p><span style="font-weight: 400;">The 27th Taipei Film Festival is accepting films eligible for their International New Talent Competition. Films must be a minimum of 70 minutes and must be the director’s first or second feature. The rules and regulations can be found </span><a href="https://www.taipeiff.taipei/en/intc" target="_blank" rel="noopener"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">, and the deadline for submissions is 14 March 2025.</span></p> <p> </p> <h3><a href="https://filmfreeway.com/KoreaQueerFilmFestival" target="_blank" rel="noopener"><b>Call for Submissions: 25th Korea Queer Film Festival</b></a></h3> <p><span style="font-weight: 400;">The 25th Korea Queer Film Festival is accepting films that bring light to queer issues produced outside South Korea and after 1 January 2024. The rules and regulations can be found </span><a href="https://filmfreeway.com/KoreaQueerFilmFestival"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">, and the deadline for submissions is 9 March 2025.</span></p> <p> </p> <h3><a href="https://www.nac.gov.sg/support/funding-and-schemes/sustain-the-arts-(start)-fund/how-to-apply" target="_blank" rel="noopener"><b>Call for Projects: National Arts Council Singapore Sustain the Arts (stART) Fund</b></a></h3> <p><span style="font-weight: 400;">The stART Fund is calling for innovative projects from arts organisations that engage audiences and encourage engagements with Singaporean cultural identity. The rules and regulations can be found </span><a href="https://www.nac.gov.sg/docs/default-source/support-files/funding-and-schemes/start-fund/start-open-call-guidelines_updated-2024_ver1.pdf?sfvrsn=ac17c0c8_2" target="_blank" rel="noopener"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">, and the deadline for submissions is 7 March 2025.</span></p> <p> </p> <h3><a href="https://form.jotform.com/250352752099460" target="_blank" rel="noopener"><b>Call for Projects: Docs by the Sea Marche du Film Showcase</b></a></h3> <p><span style="font-weight: 400;">Docs-in-progress 2025 is calling for Asian documentary project submissions for the Docs by the Sea showcase at Cannes in May. The project duration must be over 60 minutes, still in-progress and ready to be distributed in 2026/2027. The rules and regulations can be found </span><a href="https://form.jotform.com/250352752099460"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">, and the deadline for submissions is 3 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 Renee Ng. 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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