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River of Exploding Durians - Trailer 【榴梿忘返】 预告片

《榴槤忘返》主要讲述一群中六生面对即将袭来的稀土厂一阵慌乱,人生产生了变化之余,在反对稀土厂的过程中,这群学生产生革命情感和一些单纯的爱慕情怀。A coastal town is turned upside down by the construction of a radioactive rare earth plant. An idealistic teacher and a group of high school students find themselves battling for the soul of their hometown. Based on real-life events, River of Exploding Durians is a sweeping tale of Malaysian history and its youth, where people are enveloped by politics and sadness while searching for love. #riverofexplodingduriansStarring: Zhu Zhi-Ying 朱芷瑩, Koe Shern 高圣, Daphne Low, Joey 梁祖仪Written, directed and edited by Edmund YeoProduced by Woo Ming Jin and Edmund Yeo Executive producer: Eric YeoDirector of Photography: Kong PahurakProduction designer: Edward Yu Chee BoonMake-up and wardrobe: Kay WongSound: Minimal Yossy PrapapanMusic: Woan Foong Wong

Posted by River of Exploding Durians 榴莲忘返 on Saturday, October 18, 2014

Wednesday, January 26, 2011

Discussing my short film 'EXHALATION' with Toronto J-Film Pow-Wow

Less than two days left before I head off to Rotterdam International Film Festival, so pardon the onslaught of EXHALATION stuff here.

[Exhalation] Sayuri (Tomoe Shinohara) contemplates as Naoko (Kiki Sugino) is asleep


While preparing an EXHALATION press kit for the festival last week, I enlisted the help of Toronto J-Film Pow-Wow's Marc Saint-Cyr to conduct a short interview regarding the film.

Marc Saint-Cyr had previously reviewed EXHALATION.

The short interview is here.

I'll share an exchange from the Q and A regarding why I alternated between black-and-white and colour in the film.

MSC: How did you decide which sequences in the film would be in black-and-white or color?

EY: The black-and-white, was, in fact, a last-minute decision made during post-production. I remembered reading an interview with Andrei Tarkovsky where he pointed out that a black-and-white film immediately creates the impression that your attention is concentrated on what is most important. On the screen, color imposes itself on you.

In order to underline the melancholic undertone of the film, I decided to drain most scenes of their colors. I inserted colours in certain scenes when I needed to accentuate the emotional states of the protagonists. A feeling of brief warmth, or lingering sadness, or an abrupt break from monotony. In the end it was an experiment of sorts for storytelling.

(UPDATED: The Tarkovsky interview I was referring to is here.)
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