Edmund Yeo

While I'm writing this, S.S. Rajamouli's BAAHUBALI: THE BEGINNING is the 4th top-grossing Indian film of all-time. (It's written by Vijayendra Prasad, the director's father) The first film in a two-part epic, and reportedly the most expensive Indian film ever made, I didn't know about it until the few days leading up to its worldwide release, and was surprised to find out that the film was showing in Malaysia too! After I saw the film last Friday, I couldn't stop raving about it! And I'm proud to say that I managed to convince some other friends to catch it too :D

Because of my love for the Lord of the Rings trilogy (to me, it was the Star Wars of my generation), and the conclusion of The Hobbit has marked the end of a particular moviegoing chapter of my life (... unless The Silmarillion gets adapted too), I decided to post my thoughts on The Hobbit: The Battle of Five Armies on Facebook.

I've been back from Cambodia for nearly a week, but due to a ghastly (and HUGE) blister on my foot, it was nigh impossible to calm myself down enough to do some writing! Anyway, the doctor has popped the blister three nights ago, and I can finally continue writing again, especially about a particular film I caught at the Cambodia International Film Festival. One of the gems of the festival, to me, was John Pirozzi's documentary, DON'T THINK I'VE FORGOTTEN: CAMBODIA'S LOST ROCK AND ROLL. A very comprehensive, feature-length documentary that the director spent nearly a year on. It's about a "golden period" from Cambodia's independence, to just before the country was rocked by civil war and the murderous Khmer Rouge regime.

Pirjo Honkasalo's THE 3 ROOMS OF MELANCHOLIA (2004) is one of the few films I caught in CPH:DOX at Copenhagen last week. I walked into the cinema with high expectations, since the CPH:LAB booklet I was given had recommended us lab people to go to the film, calling it one of the greatest documentaries ever made. Despite the expectations, I was indeed mesmerized by what I saw, with numerous images haunting me long after I left the theaters. The film reminded me that non-fiction cinema can indeed be made with sheer artistry and poetry. I was reminded of Tarkovskian films of yore, even assuming that it was a film made in that time period. I was surprised that it was done merely a decade ago. Perhaps it was shocking to me, to see such things happening so recently.

(Wrote my thoughts on GUARDIANS OF THE GALAXY on Facebook just now, I'll post it here too, with slight revisions)

Once in a while, when I have witnessed something brilliant, I need to post it on this blog just to help myself remember. THE KIRISHIMA THING (桐島部活やめるってよ) is a film that I've been curious about for a rather long time. Last year, my professor, Ando-sensei, told me that this was one of his favourite Japanese films of the year. It ended up winning both the Best Director and Best Film awards at the Japan Academy Awards. After missing its screening at last September's Japanese Film Festival (a festival for Japanese films had been held annually in Malaysia for the past decade), I finally got to watch the film yesterday.

When I was 12, I caught a film on TV. The film follows the lives of a group of elementary school students and their teacher. I was initially interested because the children were my age, and the teacher in the film was dedicated, like the teacher I was having then, Teacher Thor (that's her family name, yeah, but we all call her "Tu Lao Shi", which means Teacher Thor in Chinese). But I was slightly surprised when there were a few time skips in the film. The children suddenly became teenagers, and there was a class reunion with their teacher (that led to tragedy). They then became adults, and had another reunion, this time for a wedding. I remember that one of the main boys was in love with the bride. I didn't exactly finish the film, but a few of these scenes remained vivid until this very day (the teacher's fiancee sacrificing himself to save a drowning student during one of the class reunions, and also the aforementioned wedding). Perhaps the film was

I'm ashamed to admit that prior to the beginning of this month, I have only seen two Hou Hsiao-Hsien films, and both are his latter day works: MILLENNIUM MAMBO (2001) and CAFE LUMIERE (2003). Every time I watch MILLENNIUM MAMBO's opening, my heart flutters. In order to rectify my lack of knowledge regarding Hou Hsiao-Hsien's body of work (and also for filmmaking reasons), I decided to go on a Hou Hsiao-Hsien marathon of sorts. I have heard that his best works are the ones from the 80s to 90s, those were times when he was more interested in making films related to Taiwan's history.

For the past few years, I have always wanted to catch a film by the Filipino director Lav Diaz. Most of his films are longer than four hours (his longest being close to 10 hours), yet he is prolific to make at least a film a year. How is that even possible???

On the October 25th to 29th, I was serving as a jury member at the Xi'An International Folk Video Festival 2013.

The preparation of a new screenplay is filled with challenges, and tiny little joys. The past two days, in order to get into the right mood to write a new story, I was watching films that are relevant to what I intend to do. Two days ago, I finally caught Jia Zhangke's monumental PLATFORM (2000). I was overwhelmed by its ambition and scope, its execution and style reminded me of the earlier works of Theo Angelopoulos (THE TRAVELLING PLAYERS and ALEXANDER THE GREAT came to mind, I think Angelopoulos shifted styles after VOYAGE OF CYTHERA as his stories became more intimate and more focused on one protagonist). I realized I have never seen that many of Jia Zhangke's works. A few of his short films, and maybe just his later film, THE WORLD (2004). But I still keep this 2010 photo of myself with his muse (now his wife) Zhao Tao because of the Jia Zhangke photobomb. Now that I look at it, the year 2000 was an amazing year for Chinese cinema. Wong Kar Wai's IN THE MOO

Izumi Takahashi's (高橋泉) I AM NOT THE WORLD YOU WANT TO CHANGE あたしは世界なんかじゃないから is one of the two Japanese films in competition at the Tokyo Filmex this year. (The other is Odayaka, which I, being the editor of its trailer , have seen much too many times)

Having attended the Tokyo Filmex three times, this year marks the very first time when I actually got to catch the Grand Prix winner in the festival.

The Tokyo Filmex ended a few days ago. I was surprised that I had managed to catch all three of the award-winning films. (well, except Kim Ki-Duk's PIETA, which won the Audience Award) MEMORIES LOOK AT ME 记忆望着我 by Song Fang 宋方 is a Chinese docudrama that received the Special Jury Prize at Filmex. It was also the Best First Feature award winner at the Locarno Film Festival.

I have been attending some screenings at the Tokyo Filmex since it started last week on Nov 24th. The Tokyo Filmex is one of the two major film festivals in Tokyo (the other being the Tokyo International Film Festival held a month earlier). Ever since I moved to Tokyo, I had attended screenings at the 2008 and 2009 editions of the festival, but was unable to do so in the last 2 years because I was either at the Torino Film Festival 2010 or the Golden Horse 2011 . So it's good to finally be back, indulge myself in some films.

I haven't updated this blog the past two weeks because I was busy with my doctorate dissertation. The week that led to the dissertation were spent mostly in my dimly-lit room or my lab in Waseda University. It was a repetitive cycle of writing, researching, drinking lots of black coffee. The topic was something I have been familiar with for the past four years (It's an expansion of my Masters' Thesis), so it's not as difficult as I have worried. But there were still a lot of things to write. Exactly a week ago, on a Friday afternoon, I managed to turn in my dissertation. Whatever happens next is beyond my control. Having not slept for the past 48 hours, I was tired when it all ended. Saturday was a day I chose to recharge my energies. There was nothing else I planned to do except staying on my bed. While doing that, I read on The Playlist about a documentary called PERSISTENCE OF VISION , a documentary about animator Richard Williams' 30-year-long work on his

For my final night in Sapporo, I decided to attend the Sapporo Film Festival's "AFTER 3.11" Special Programme screening. And what a fine screening it was to end my wonderful Sapporo experience. This program is a compilation of short films related to the Tohoku Earthquake and Tsunami that happened in March 11th, 2011. I will recap them one by one, along with my thoughts.

The beauty of a film festival is the opportunity to attend screenings of films that I might not be able to catch anywhere else in the world. Over here in Sapporo Short Fest, I made sure I went to the " Hokkaido Selection " program screening, which featured short films that were either made by filmmakers from Hokkaido, or short films made in Hokkaido.

I saw THE AMAZING SPIDER-MAN two nights ago and enjoyed it. Because of that, and also because of this video below , I am prompted to revisit the original Spider-man trilogy by Sam Raimi.

The Taiwanese director Edward Yang had been one of my biggest influences. He died of cancer at the age of 60 exactly 5 years ago, on the 29th of June, 2007. A few filmmaker friends of mine like Ying Liang and Eva Tang had posted the video below on Facebook to mark this occasion.