Visual Communications, the nation’s premier Asian Pacific American media arts center, announced its outstanding program of films and events for the upcoming 34th edition of the Los Angeles Asian Pacific Film Festival (LAAPFF) running MAY 3 – MAY 12, 2018. The all encompassing annual film celebration is presented across Los Angeles in West Hollywood, Downtown LA, Little Tokyo, Koreatown, and Hollywood. Visual Communications proudly celebrates the Film Festival’s 34 years as Southern California’s largest and most prestigious film festival of its kind. LAAPFF launches the celebration of Asian Pacific Heritage Month through this year’s slate of over 100 films from both Asian Pacific American and Asian international artists. For over three decades, the Festival has presented nearly 5,000 films by Asian Pacific American and Asian International talent. This year, 39 feature films and 79 shorts from the over 800 submissions will be showcased during the ten-day fest. The Festival opens with the Los Angeles premiere of Aneesh Chaganty’s feature debut SEARCHING starring John Cho and Debra Messing giving audiences an early chance to see the movie that took the NEXT audience award and the Alfred P. Sloan award at the 2018 Sundance Film Festival. Other programs include CENTERPIECE FILMS will feature two outstanding world premieres with IN THE LIFE OF MUSIC and FICTION & OTHER REALITIES. Centerpiece Films will be presented on Saturday, May 5th at the Aratani Theatre at the Japanese American Community and Cultural Center (JACCC) in Little Tokyo – Downtown Los Angeles. The CLOSING NIGHT FILM will be the Los Angeles premiere of the acclaimed 2018 Sundance World Documentary Special Jury Award winner MATANGI/ MAYA/ M.I.A., directed by Stephen Loveridge. Inspired by her roots, M.I.A. created a mashup, cut-and-paste identity that pulled from every corner of her journey; a sonic sketchbook that blended Tamil politics, art school punk, hip-hop beats and the voice of multicultural youth. Los Angeles Asian Pacific Film Festival Co-Director David Magdael will join us to talk about this years’s exciting festival line up.
Grace Jones: Bloodlight and Bami is an electrifying journey through the public and private worlds of pop culture mega-icon Grace Jones. The documentary contrasts musical sequences with intimate personal footage, all the while brimming with Jones’s bold aesthetic. A larger-than-life entertainer, an androgynous glam-pop diva, an unpredictable media presence – Grace Jones is all these things and more. Sophie Fiennes’s documentary goes beyond the traditional music biography, offering a portrait as stylish and unconventional as its subject. Taking us home with her to Jamaica, into the studio with long-time collaborators Sly & Robbie, and backstage at gigs around the world, the film reveals Jones as lover, daughter, mother, and businesswoman. But the stage is the fixed point to which the film returns, with eye-popping performances of “Slave to the Rhythm,” “Pull Up to the Bumper,” “Love is the Drug,” and more. Jones herself has said watching the film “will be like seeing me almost naked” and, indeed, Fiennes’s treatment is every bit as definition-defying as its subject, untamed by either age or life itself. Director Sophie Fiennes (Pervert’s Guide to Ideology, Legend of Leigh Bowery) joins us to talk about the dynamic in-concert performances, her access to Grace and her startling candor concerning her public and private life and the critical recognition the film has garnered.
90% on Rotten Tomatoes
“Brilliantly and beautifully engaged in the present. A sparkling example of how to document our icons. Allows us to appreciate the reality of the artist in her most candid moments, in her own words, which is way more interesting than what we’d find in yet another standard biopic.” – Daisy Jones, VICE
“Pure energy, fierce, and empowering. If you want a rock-n- roll, sexy, feel good, empowering film, pull up to the theater in your most audacious outfit and get ready for the Grace Jones experience.” – The Huffington Post
“A celebration of art and life. Jones herself has promised the film ‘will be like seeing me almost naked.’” – Michael-Oliver Harding, Interview Magazine
“A sumptuous sensory treat.” – Stephen Dalton, The Hollywood Reporter
“A true testament to the power of style.” – Caitlin Agnew, The Globe and Mail
“The film feels as epic as the artist herself. A mix of concert doc and intimate verité, Fiennes has crafted a film that feels like Stop Making Sense via Frederick Wiseman. As an intimate look at Jones the film succeeds, as a powerful testament to her talent the film soars.” – Jason Gorber, BirthMoviesDeath
The Indian Film Festival of Los Angeles (IFFLA) is a nonprofit organization devoted to a greater appreciation of Indian cinema and culture by showcasing films, supporting emerging filmmakers, and promoting the diverse perspectives of the Indian diaspora. Each year the festival features a rich mix of film programs designed to build and support the growing interest in the Indian entertainment industry. This includes programming that cultivates an audience for Indian films while supporting filmmakers of Indian descent in career development as they navigate the larger studio system in Hollywood. The Indian Film Festival of Los Angeles, runs from Wednesday, April 11 – 15 at Regal Live in downtown Los Angeles, featuring programs that include One-on-One program where film industry professionals from major and independent production and distribution companies are invited to participate in meetings with the IFFLA filmmakers; and panel discussions with speakers from the film industry. We are joined by IFFLA’s Director of Programming Mike Dougherty to talk about the past, present and future of Indian cinema and the increasing acceptance among mainstream American film lovers.
Guy Maddin and collaborators Galen and Evan Johnson made this ode to VERTIGO and the city of San Francisco for the closing night world premiere gala of the 2017 San Francisco International Film Festival. The iconoclastic Winnipeg-based filmmakers, working together since 2015’s THE FORBIDDEN ROOM, set themselves the challenge and constraint to remake VERTIGO, creating what they call a “parallel-universe version.” Using Bay Area-based footage from hundreds of sources—studio classics, ’50s noir, documentary and experimental films, and ’70s prime-time TV—and employing Maddin’s mastery of assemblage technique, seen in work like MY WINNIPEG and BRAND UPON THE BRAIN, the result exerts the inexorable pull of Hitchcock’s twisted tale of erotic obsession while paying tribute to the City by the Bay and the ways it looks and feels through the medium of cinema Composed by Jacob Garchik and performed by Kronos Quartet, the film’s score nods to Bernard Hermann’s classic VERTIGO music as it collides and converses with Maddin and Johnsons’ irreverent and loving footage to create a distinctive musical extravaganza. Through 12 features and many shorts, adventurous artist Guy Maddin exhibits the rare ability to simultaneously subvert and honor the craft of filmmaking. His credits include the Emmy Award-winning ballet film Dracula: Pages From A Virgin’s Diary (2002); The Saddest Music in the World (2003); My Winnepeg (2007) and US National Society of Film Critics Best Experimental Film Prize-winners Archangel (1990) and The Heart of the World (2000). Guy Maddin talks about the “City by the Bay,” scriptwriting, storytelling and his favorite film, Vertigo.
94% on Rotten Tomatoes!
“First and foremost, “The Green Fog” is a marvel of film scholarship that looks backward and forward from the Hitchcock masterpiece.” – Ben Kenigsberg, New York Times
“The Green Fog fairly closely follows the structure of Hitchcock’s film; achieving that in itself is some sort of accomplishment. However, it’s not so much an assemblage as it is a conjuring.” – Bilge Ebiri, Village Voice
“The film is a brilliant exercise in meta-narrative, which raises questions galore about reality and representation, time and space, genre and gender, individual and urban identity, cinematic suture and casting. Mainly, though, it’s just very, very funny.” – Geoff Andrew, Sight and Sound
“The work of a sensibility as impish as it is scholarly, animated by a mischievous sense of the medium’s possibilities” – Justin Change, Los Angeles Times
“It demonstrates the act of creation as a perpetually reconstructive effort…” – Lawrence Garcia, Cinema Scope
When ‘Lady’ Sandra Abbott (Academy Award nominee Imelda Staunton, Maleficent, Vera Drake) discovers that her husband of forty years (John Sessions) is having an affair with her best friend (Josie Lawrence) she seeks refuge in London with her estranged, older sister Bif (Celia Imrie), The Best Exotic Marigold Hotel, Bridget Jones’ Baby). The two could not be more different – Sandra is a fish out of water next to her outspoken, serial dating, free-spirited sibling. But different is just what Sandra needs at the moment, and she reluctantly lets Bif drag her along to a community dance class, where gradually she starts finding her feet and romance as she meets her sister’s friends, Charlie (Timothy Spall), Jackie (Joanna Lumley) and Ted (David Hayman). Director Richard Loncraine talks about his endearing and touching film about seconds chances and finding love.
68% on Rotten Tomatoes!
“The cast lend charm to this feel good fairy tale and Celia Imrie is especially good as the inspiring Bif.” – Allan Hunter, Daily Express
“The cinematic equivalent of a pair of comfy slippers. This is a charming, oft-told tale of second chances in life and love, and it is filled with fine performances only let down occasionally by an indulgent run time and some stunted dialogue.” – Linda Maric, HeyUGuys
“It’s about real adults living ordinary, important and sometimes difficult lives. Finding Your Feet is rightly billed as comedy-drama; yet, although it’s full of rib-tickling dialogue, it’s the drama that cuts deep.” – Stephen Romei, The Australian
“Its love-in-later-life insights are well-worn, but with Staunton on song, Richard Loncraine’s film mines genuine feeling.” – James Mottram, Total Film