Edmund Yeo

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。

No, I'm not dissing a film school. The Very Bad Film School is a one weekend film challenge started earlier this year by Tan Chui Mui with the strong belief that the only way to learn how to make films is... by making films. (which I don't disagree) There are different challenges in each session initiated by different filmmakers, and usually ends with participants making a short film in a day. These sessions include David Lynch film marathons, listening to experimental music from the past decade, lectures etc. Last weekend was James Lee's challenge, and it's a series of challenges that truly mirror his own philosophy as a filmmaker!

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.

An early phone call from Malaysian filmmaker Tan Chui Mui woke me up this morning. It was 7 in the morning, her assistant passed me stuff before I came to Shanghai so I could pass it to her. So I met her 20 minutes later for breakfast. She told me she was going to have an interview of sorts for Japanese filmmaker Iwai Shunji's official website . Like many of my Japanese film lovers of my generation, I was captivated by his works like LOVE LETTER (still a personal all-time favourite) and ALL ABOUT LILY CHOU-CHOU during my youth. I fell in love with LOVE LETTER when I was 13, that was 14 years ago, and my love never wavered. It was through his influences that I make my films that some have considered visually poetic and sensitive. Thus I followed Mui along for their meeting.

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.

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.

The post-production of THE WHITE FLOWER had seriously made me insomniac (or gave me messed up sleep patterns), so aside from being able to catch a nap from 1 to 3am, I've been widely awake since then. So I decided to try to unload the remainder of photos from last month's trip at the Pusan Film Festival. I think I'll finish everything in two posts. After the screening of WOMAN ON FIRE LOOKS FOR WATER , the rest of my days in Pusan were spent on attending functions, parties, meeting people, looking around the Asian Film Market, trying to see a film but missing it in the end (I ended up only seeing MUNDANE HISTORY at the festival, just one film in a festival! A personal low).

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.

No, it's unlikely that I'll pull off what Tan Chui Mui did last year by making 7 short films in 7 months, but I'm trying to shoot at least one short film every 2-3 months. January I shot KINGYO (which you should know by now, is a Japanese production), April I shot AFTERNOON RIVER (Malaysian), and now, in June, I shoot my newest short film called 3PM at Waseda University.

I've actually put aside WOMAN ON FIRE LOOKS FOR WATER in the past two days to finish up my editing on an earlier short film by Ming Jin called THAT DAY WE WOKE UP.

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.

The list of films for the Dubai International Film Festival had came out yesterday on their site. And I was absolutely blown away by their line-up. Now, aside from presenting my own short film, CHICKEN RICE MYSTERY, during its two screenings (I'm also facing some stiff competition under the Muhr AsiaAfrica Short category, and Naomi Kawase's chairing the jury committee for this, wow), I think I'll have plenty of time to catch as many films as possible during my eight days in Dubai. So I will now make a quick list for the films I intend to watch for now.

(Continued from this post ) After a brief stop over at Dubai, we continued our flight to Rome. This trip to the Rome International Film Festival was part of the prize I won from the BMW SHORTIES for Chicken Rice Mystery back in May . I'm traveling with fellow winner Mahaletchumi Tavamany ('Sing in the Rain'), and two judges Zahir (last year's BMW Shorties winner, director of K-HOLE and TEDDY AND I) and famed actress Ida Nerina.