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Full Winners List – The Hollywood Reporter



The pioneering Far East Movie Pageant (FEFF), held yearly within the picturesque Northern Italian metropolis of Udine, continued making historical past with its Twenty fifth-anniversary version this yr. On the closing ceremony on Sunday, Malaysian drama Abang Adik, written and directed by first-time characteristic filmmaker Jin Ong, achieved a clear sweep of the best prizes, marking the primary time {that a} movie from the Southeast Asian nation took high honors on the specialty pageant. 

Abang Adik received FEFF’s first-place Golden Mulberry viewers award, in addition to the Black Dragon critics’ prize and the White Mulberry Award for finest first characteristic. Ong is a veteran determine of the Malaysian leisure trade, having labored within the music enterprise and movie and TV manufacturing for a few years (he’s produced well-received movies like Shuttle Life, 2017; and Miss Andy, 2020; amongst others), however Abang Adik is his first movie as a author and director. The film illuminates the world of a few of Kuala Lumpur’s most deprived inhabitants, following Abang and Adi, two undocumented grown-up orphans. Whereas the older brother, a deaf-mute (performed by Taiwanese actor and mannequin Wu Kang-Ren), has resigned himself to a lifetime of poverty, his youthful sibling (Malaysian actor Jack Tan) burns with indignation in opposition to their plight. A brutal accident then upsets their relationship’s fragile steadiness.

After a completely digital pandemic version in 2020, a hybrid version in 2021, and an “almost-back-to-normal” pageant in 2022, FEFF had a lot to rejoice in 2023, ringing in its quarter-century anniversary and welcoming a file variety of film-world visitors to Udine to rejoice Asian cinema. In keeping with organizers, FEFF 2023 attracted 60,000 spectators with its largest movie lineup ever — 78 titles from 14 nations, with 9 world-, 13 worldwide-, 14 European- and 23 Italian premieres. And a few 200 visitors of honor attended the pageant, together with administrators, actors, producers and different movie expertise. 

FEFF’s different prize winners this yr included Korean director Chang Hold-jun’s sports activities drama Rebound, which received the second-place viewers award. Third place went to Japan for Suzuki Masayuki’s heartwarming comedy Yado, a love letter to Japan’s conventional tub homes. The jury for one of the best first characteristic prize additionally gave a particular point out to Hong Kong drama Misplaced Love by Ka Sing-fung. Greatest screenplay honors went to Taiwan’s Fu Tien-Yu for the Day Off, a candy drama concerning the lifetime of a hairdresser, which she additionally directed. And the Purple Mulberry Award, which is chosen by customers of Italy’s main movie fan platform, MYmovies, went Janchivdorj Sengedorj’s Mongolian comedy The Gross sales Woman. 

One of many plain highlights of the Twenty fifth FEFF was the awarding of legendary Japanese actress Baisho Chieko with the pageant’s lifetime achievement honor. Baisho accepted her honor at FEFF’s ceremony in a chic tulle gown and thanked the viewers by breaking into an improvised music.

In a profession stretching again to the Nineteen Sixties, Baisho starred in dozens of Yoji Yamada’s beloved Tora-san movies and in addition served because the inspiration for the lead character of Hayao Miyazaki’s Howl’s Transferring Fortress, amongst many different cinematic milestones. Simply final yr, she received approval for her heartrending efficiency in Chie Hayakawa’s dystopian social drama Plan 75, which competed at Cannes in Un Sure Regard. That movie truly acquired its earliest help from FEFF’s trade program, Focus Asia, the place Hayakawa participated together with her pitch for Plan 75 in 2019. As FEFF steps ahead from its Twenty fifth anniversary, organizers have recognized increasing the occasion’s constructive position as a platform and incubator for the Asian and European movie industries — by way of the Focus Asia initiative, the All Genres Venture Market and the Ties That Bind workshop program, and different supporting occasions — as key priorities for the pageant’s future. 

“Obviously, it goes without saying how happy we are to have been able to celebrate the 25th anniversary of the FEFF without the restrictions and worries of the last three years,” stated the pageant’s two administrators, Sabrina Baracetti and Thomas Bertacche, in a joint assertion.  “And on the wave of these very positive results, we feel it’s essential to invite the institutions to reflect. We believe that given the long journey it has taken to get where it is today, the festival deserves to continue seeing its potential for growth bear fruit: Are public bodies ready to support FEFF with more funding, transforming it into a genuine hub that connects the East and the West? Will the future of FEFF continue to be that of a major international film festival, or can its network of over twenty-year-long relationships be developed into something more wide-ranging?”

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