Edmund Yeo

Once again I've been restoring and uploading some of the old short films that Ming Jin and I had made over the past decade onto the Greenlight Pictures Youtube channel. My latest upload is Ming Jin's 2005 short film CATCHING THE SEA, which stars Pete Teo and Liew Seng Tat and served as a precursor (or spin-off) for his feature film THE ELEPHANT AND THE SEA.

This 2005 short film by Woo Ming Jin was made during the height of the period which some had referred to as the "Malaysian New Wave". It was a time when a tight-knit group of filmmakers in the country started making films together, or helping each other by taking different roles in the production. It was the rise of DV cameras and digital filmmaking, which gave many the chance to make their own films. The two leads of this short film are actually fellow filmmakers Tan Chui Mui and Liew Seng Tat, who were a year or two before they each made their breakthrough feature debuts, LOVE CONQUERS ALL and FLOWER IN THE POCKET. Here's the synopsis: In this black comedy about the disintegration of a love affair, a young woman's (Tan Chui Mui) loneliness in the midst of Kuala Lumpur's metropolitan sprawl triggers a tenuous relationship with a naïve salesman (Liew Seng Tat) who has a tendency to please and over-emote.

前几天在脸书发的帖， 今天再补充。 希望可以与大家分享。 7部不能错过的大马中文电影。 之前都一直不知道自己的River of Exploding Durians 榴莲忘返也列在名单里。 因为想到被点名的都应该是院线播放了的作品。 谢谢 The Rakyat Post对本片的注意与欣赏。其实马... Posted by Edmund Yeo on  Wednesday, March 2, 2016 7部不能错过的大马中文电影。 之前都一直不知道自己的 《榴莲忘返》 也列在名单里。 因为想到被点名的都应该是院线播放了的作品。 谢谢人民邮报对本片的注意与欣赏。 其实马来西亚中文电影电影还有很多不能错过的。 例如几位马来西亚新浪潮前辈们的作品。 胡明进的《大象与海》， 《遗情》， 参与康城的《虎厂》， 《The Second Life of Thieves 偷·情》 （他的作品我是当制片以及剪接， 所以推荐比较多啦！） 陈翠梅的《爱征服一切》 刘城达的《口袋里的一朵花》 林丽娟的《理发师的女儿》 （片子没预告片， 我还是分享导演另一部短片好了） 何宇恒的《太阳雨》 李添兴的《美丽的洗衣机》， 《黑夜行路》与《当我们同在一起》， 等等 这些作品都比较文艺， 节奏， 风格与一般的商业电影不一样， 但也值得去看吧。

Back in January, I was on Kenneth Chaw's The Star article "Short Films starting to appeal to a bigger audience", discussing about my thoughts on short films . Filmmaker James Lee and Youtube sensation Jinnyboy were interviewed too. Prior to that, Kenneth had actually done a very lengthy email interview with me in preparation for his article. While a number of my quotes were in the final article, I thought I would like to share our entire discussion with everyone. I'm doing it now, with Kenneth's permission. (In truth, I have wanted to do this since January, but, ah, I never had the time.) So, here we go. Kenneth's questions are in bold . My answers will just be... normal text.

(UPDATED: This blog post was initially a repost of an email on the Malaysian Cinema mailing list from Venice Film Festival programmer Paolo Bertolin asking for the means to contact FINAS (the National Film Development Corporation of Malaysia). Was hoping that posting this in public would help him get a reply. He got it, problem solved, so as per his request, I'll remove his email exchanges in the mailing list. And expand more on my last few paragraphs regarding my thoughts about film festivals. It's sort of a love letter for film festivals, perhaps.)

After only a few days in Malaysia to celebrate Chinese New Year, I'm flying off again in less than 24 hours to Netherlands for the Rotterdam International Film Festival. Both my short film LAST FRAGMENTS OF WINTER (making its European premiere) and another, GIRL IN THE WATER by Danish director Jeppe Ronde and my regular collaborator Woo Ming Jin ("THE TIGER FACTORY", "WOMAN ON FIRE LOOKS FOR WATER"), which I helped to produce and edit, will part of the WAITING FOR SNOW IN MY KAMPONG program.

My short film INHALATION is now playing at the Guanajuato International Film Festival in Mexico. (film page here .) Due to the fact that I was unable to make my trip to Mexico, the festival staff members asked whether I would like them to help me pass a message to the audience after the screening of my film. So I wrote them the following:

The second day of the location scouting began with sheer epic magnificence. We went through an area to seek some photogenic wilderness.

I went to the press screening of Tan Chui Mui's sophomore feature YEAR WITHOUT A SUMMER last night, which was held outdoors at the fields of Sri Petaling school.

After visiting the National Cinema Museum , I saw another group of student protesters. Dum dum dum.

It was snowing on the morning of November 28th.

15th of October, my last day in Pusan. A press conference was held in the morning to announce the award results.

It's not everyday that you get to plug your own SHORT FILM (!!) at the Cannes Film Festival. But I did just that with INHALATION, back in May, during the press conference of THE TIGER FACTORY, when I was asked about it by Jeremy Segay the moderator and programmer.

(What a clunky blog post title) Argh, here lies the problem with my blogging these days. Because I do it so erratically, I have to struggle to remember things. The past few days was a blur. Attending the Tokyo Film Fest, and also editing my film. Heck, it's been nearly 2 weeks since I've gotten back to Tokyo. 10th of October, a day after the Johnnie To Master Class , WOMAN ON FIRE LOOKS FOR WATER world premiere , and Pen-ek teaching me how to roll a tobacco , I went through a less eventful day.

Due to limited internet connection at Pusan, I could only check my emails in one of those public computers at the PIFF center. But now that I'm back in Tokyo, I'll start posting photos I took from the festival. On the 8th of October, Tokyo was hit by typhoon in the morning, classes in university were canceled, some flights were rescheduled, ditto with other public transportation too. My flight was supposedly at 7pm. I headed out of my place at 2pm. To go to the airport. A Narita express would've reached the place in 80-90 minutes, alas all Narita Express trains were canceled that day, so I could only take a longer (but much cheaper) route there. I won't go into details, but I reached the airport at 6pm. The journey to Narita, often a pain in the ass, was an even bigger pain in the ass. I was shocked to find out that the plane was scheduled to 6:30pm. Only half an hour to go? I rushed to the check-in counter, there was someone else who was going to Pusan too.

Love Suicides I have mentioned this briefly back in April, but I'll mention it again since I've gotten more details now that the official line-up of next month's Paris Cinema International Film Festival is out. So yup, LOVE SUICIDES, my first ever Yasunari Kawabata adaptation before I made KINGYO, is one of the 17 short films around the world selected for competition at the Paris Cinema International Film Fest.

My newest short film, LOVE SUICIDES, will be one of the 10 shorts screening at the latest edition of Malaysian Shorts held next Monday. So if you want to catch my film on big screen, here's your chance! Even I myself haven't seen it on the big screen before! Unfortunately, since I'm still in Tokyo until end of this month, I won't be around for the Q and A session. But Ming Jin (who is the producer of the film) will be representing me! Some stills from the film:

More update on the Japanese short film I've been writing lately (read about my seriously comical research on Akihabara maids in preparation for my writing). Being a melancholic tale of an old man and a young girl wandering aimlessly through the empty streets at the span of a night, chit-chatting, and haunted by memories of lost love, missed opportunities etc.

This was forwarded to the Malaysian Cinema mailing list yesterday. It's from a filmmaker named Ahmad Yazid:

I first heard about the PIA Film Festival (English site here ) from my friend Maiko (who is supposed to produce my next Japanese-language short film). It's an important film festival that launched many careers of young Japanese filmmakers, normally when winning an award at the Tokyo PFF, their films end up touring around the nation, and some, of course, get invited to important foreign film fests. There were some winners at the Berlin Film Festival too. Naomi Kawase was a Pia winner, I heard Kiyoshi Kurosawa was one too. Today was the opening of the 30th Pia Film Festival, so I decided to go there and check out two of the films in competition. It's only 1200 yen (300 yen cheaper than a normal film), and I get to watch 2 films, so it's a good deal. The festival is held in a cinema at Shibuya Crosstower, the place was filled with young people, probably university students too. Unsurprising, since the filmmakers are those around my age as well. The cinema was packed, and