Sunday, 23 October 2016

'Lady of the Lake': Film Review | Busan 2016

In this article we write a complete information hollywood 'Lady of the Lake': Film Review | Busan 2016. In this article we write a list of horer movies missons movies civil war movies based on jungle movies batman movies superman movies Warcraft  movies based on animal movies based on biography drama comedy adventure based on full action movie based on full romance movies based on adventure action and other type of movies details are provide in this article. A good collection of all fantastic movies 2016 are here

watch movies free online


Top Hollywood 'Lady of the Lake': Film Review | Busan 2016 And News:

Award-winning documentary filmmaker Haobam Paban Kumar revisits an endangered Manipur community in this BIFF New Currents entry.
After exposing the fragile state of the ecologically and socially unique Loktak Lake in northeast Manipur State in 2006’s Phum Shang, Indian filmmaker Haobam Paban Kumar returns to the floating phumdi (floating biomass) and the people who live on them, this time for his feature debut. Inspired by government action that razed a huge swath of the community to the ground in 2011 (and then blamed the residents for the pollution that compelled the clearing), Lady of the Lake is fiery but familiar. Though the film is a shoe-in for politically charged festival programs, Lady will be a hard sell, even to art houses and despite Kumar’s sparkling reputation.

Based on a short story by co-writer Sudhir Naoroibam, Lady of the Lake begins on a tranquil note, following a fisherman as he goes about his daily routine. The opening 10 minutes are arguably the film’s high point, as cinematographer Shehnad Jalal effortlessly captures the odd beauty of the phumdi and the languid pace of life on the lake. A house burns, people gather and gossip, the state’s cranes return. It’s rambling, unfussy and willfully unfocused, and it provides an almost palpable sense of place.

But there is anxiety on Loktak, stemming from the continued pressure by authorities to rid the lake of the residents and their continued resistance to being driven from their homes. On more than one occasion, community leaders and the women from each family passionately vow to fight for their livelihoods with their dying breaths. But elsewhere, Tamo (Ningthoujam Sanatomba) one day finds a pistol wrapped in the phum, just around the same time he thinks he starts seeing a mysterious woman on the water. Needless to say, possession of the gun makes him cocky, giving him a sense of power he promptly abuses. It makes him into that which the Loktak residents are fighting, until a final encounter with the lady sets him straight.

Kumar’s documentary roots are all over Lady of the Lake, which are both a strength and a weakness. There’s an undeniable urgency to the assembly sequences that comes from years of watching and shooting life in Kumar’s native Manipur (the violent civil disobedience of AFSPA, 1958, protests over the cover-up of an alleged rape-murder by police in A Cry in the Dark). But the naturalistic performances make much of the film feel like a doc — at best a docudrama — that we’ve already seen. Though the subject matter is still current and the metaphor is apt, there’s not enough narrative muscle for compelling drama, ironic in light of how compelling the nonfiction version of this story is. The film is technically strong despite what was likely a miniscule budget.

Venue: Busan International Film Festival
Production company: Oli Pictures
Cast: Ningthoujam Sanatomba, Sagolsam Thambalsang
Director: Haobam Paban Kumar
Screenwriter: Sudhir Naoroibam, Haobam Paban Kumar, based on the short story “Nongmei” by Sudhir Naoroibam
Producer: Haobam Paban Kumar
Director of photography: Shehnad Jalal
Production designer: Laishram Devakumar Meitei
Editor: Sankha

In Manipuri


Not rated, 72 minutes

'Jamsil': Film Review | Busan 2016

In this article we write a complete information hollywood 'Jamsil': Film Review | Busan 2016. In this article we write a list of horer movies missons movies civil war movies based on jungle movies batman movies superman movies Warcraft  movies based on animal movies based on biography drama comedy adventure based on full action movie based on full romance movies based on adventure action and other type of movies details are provide in this article. A good collection of all fantastic movies 2016 are here

watch movies free online


New Hollywood 'Jamsil': Film Review | Busan 2016 And News:

Director Lee Wanmin’s film makes its world premiere at BIFF and features a dignified performance by Hong Seungyi.
Proving there’s a fine line between deliberate and dull by stepping over it, and employing every textbook trick known to film schools, Lee Wanmin makes her feature debut in the Vision section at this year’s Busan International Film Festival. Ostensibly a portrait of a modern woman’s near collapse and rebirth, Jamsil jumps through space and time (yes, it teases time travel just for the hell of it) en route to nowhere in particular very, very, very slowly. If ever anyone needed proof that there was such a thing as a strictly “festival” movie, Jamsil is it. Writer-director Lee has a real feel for women, and she clearly has something to say, but she’d be well served by a ruthless editor at the script stage. Once Jamsil completes the fest route — and it will find a place there — additional platforms are probably few and far between, even in Asia-Pacific.

The convoluted, frequently opaque Jamsil, the name of a district of Seoul known for its historic silkworm cultivation and being down the road from Olympic Park, begins conventionally enough. Out of the blue one evening, the aimless and untethered thirtysomething Mihee (Lee Sanghee) is told by her boyfriend that it’s time to end their long-term relationship. She quickly moves into a tiny, miserable flat and proceeds to be a spectator to the disintegration of her own life. Landing at fortysomething Sungsook’s (Hong Seungyi) door one evening, Mihee convinces the stranger she is her best friend, Yooyoung, from high school — age gap be damned — before finally breaking down in tears. For whatever reason, it is the beginning of a deep and transformative friendship.

As the disparate women slowly grow closer, the film’s peripheral characters float in and out of the story. Ikju (Lim Hyongkook), Sungsook’s live-in boyfriend (Lee makes sure to note they are not married), enters into an affair with Mihee, despite knowing she’s a fraud. Suspecting adultery, the activist-minded Sungsook’s eye starts to wander, too, eventually landing on a younger journalist, Oh Doomin (Lee Sunho). For some reason that’s never quite clear, Mihee becomes determined to locate her own high school BFF, Keunkyoung, regardless of the ignored phone messages she keeps leaving. Through it all, flashbacks to the women’s younger days do little to bring their characters into focus, though the gold-tinted, sunny, warm images of the past bring the misery of the present — all washed-out gray tones and muted color — into sharper relief.

Women on the Verge of a Nervous Breakdown this is not; however, somewhere buried beneath the dross that makes up the bulk of Jamsil is a thoughtful, resonant and all-too-rare exploration of female friendship. The bond between the two unconventional women in a country the regularly devalues them is the beating heart of the narrative, but writer-director Lee puffs up the “plot” to make space for high school nostalgia (Mihee could easily have fibbed about her past without the flashbacks) and Sungsook’s romance with a younger man (which, blessedly, is devoid of cougar jokes). The vast majority of the film passes the Bechdel test with flying colors, and in Sungsook’s case creates a fully formed, complex character worthy of the unknown Hong’s performance. She brings grace and empathy to Sungsook, finding layer after layer to reveal. Lee isn’t as fortunate, saddled as she is with the more one-note Mihee, whose defining traits appear to be the inability to look anyone in the eye and stalking. By the time Jamsil wheezes to its time-transcending finale (including a major “Ya think?” moment with Keunkyoung), it’s more than worn out its welcome. Here’s hoping Lee’s next film is just as ambitious and less superfluous.

Venue: Busan International Film Festival (Vision)
Production company: Windwellers Films
Cast: Lee Sanghee, Hong Seungyi, Kim Saebyuk, Lee Sunho, Lim Hyongkook, Jung Won, Kim Seunghyun, Lee Juyoung, Lee Juyoung, Choi Jinhyuk, Jeong Kyungim
Director-screenwriter: Lee Wanmin
Producer: Yoon Nakyong
Executive producer: Jang Ilseon
Director of photography: Lee Juhwan
Editor: Lee Dohyun

In Korean

Not rated, 140 minutesDirector Lee Wanmin’s film makes its world premiere at BIFF and features a dignified performance by Hong Seungyi.
Proving there’s a fine line between deliberate and dull by stepping over it, and employing every textbook trick known to film schools, Lee Wanmin makes her feature debut in the Vision section at this year’s Busan International Film Festival. Ostensibly a portrait of a modern woman’s near collapse and rebirth, Jamsil jumps through space and time (yes, it teases time travel just for the hell of it) en route to nowhere in particular very, very, very slowly. If ever anyone needed proof that there was such a thing as a strictly “festival” movie, Jamsil is it. Writer-director Lee has a real feel for women, and she clearly has something to say, but she’d be well served by a ruthless editor at the script stage. Once Jamsil completes the fest route — and it will find a place there — additional platforms are probably few and far between, even in Asia-Pacific.

The convoluted, frequently opaque Jamsil, the name of a district of Seoul known for its historic silkworm cultivation and being down the road from Olympic Park, begins conventionally enough. Out of the blue one evening, the aimless and untethered thirtysomething Mihee (Lee Sanghee) is told by her boyfriend that it’s time to end their long-term relationship. She quickly moves into a tiny, miserable flat and proceeds to be a spectator to the disintegration of her own life. Landing at fortysomething Sungsook’s (Hong Seungyi) door one evening, Mihee convinces the stranger she is her best friend, Yooyoung, from high school — age gap be damned — before finally breaking down in tears. For whatever reason, it is the beginning of a deep and transformative friendship.

As the disparate women slowly grow closer, the film’s peripheral characters float in and out of the story. Ikju (Lim Hyongkook), Sungsook’s live-in boyfriend (Lee makes sure to note they are not married), enters into an affair with Mihee, despite knowing she’s a fraud. Suspecting adultery, the activist-minded Sungsook’s eye starts to wander, too, eventually landing on a younger journalist, Oh Doomin (Lee Sunho). For some reason that’s never quite clear, Mihee becomes determined to locate her own high school BFF, Keunkyoung, regardless of the ignored phone messages she keeps leaving. Through it all, flashbacks to the women’s younger days do little to bring their characters into focus, though the gold-tinted, sunny, warm images of the past bring the misery of the present — all washed-out gray tones and muted color — into sharper relief.

Women on the Verge of a Nervous Breakdown this is not; however, somewhere buried beneath the dross that makes up the bulk of Jamsil is a thoughtful, resonant and all-too-rare exploration of female friendship. The bond between the two unconventional women in a country the regularly devalues them is the beating heart of the narrative, but writer-director Lee puffs up the “plot” to make space for high school nostalgia (Mihee could easily have fibbed about her past without the flashbacks) and Sungsook’s romance with a younger man (which, blessedly, is devoid of cougar jokes). The vast majority of the film passes the Bechdel test with flying colors, and in Sungsook’s case creates a fully formed, complex character worthy of the unknown Hong’s performance. She brings grace and empathy to Sungsook, finding layer after layer to reveal. Lee isn’t as fortunate, saddled as she is with the more one-note Mihee, whose defining traits appear to be the inability to look anyone in the eye and stalking. By the time Jamsil wheezes to its time-transcending finale (including a major “Ya think?” moment with Keunkyoung), it’s more than worn out its welcome. Here’s hoping Lee’s next film is just as ambitious and less superfluous.

Venue: Busan International Film Festival (Vision)
Production company: Windwellers Films
Cast: Lee Sanghee, Hong Seungyi, Kim Saebyuk, Lee Sunho, Lim Hyongkook, Jung Won, Kim Seunghyun, Lee Juyoung, Lee Juyoung, Choi Jinhyuk, Jeong Kyungim
Director-screenwriter: Lee Wanmin
Producer: Yoon Nakyong
Executive producer: Jang Ilseon
Director of photography: Lee Juhwan
Editor: Lee Dohyun

In Korean

Not rated, 140 minutesDirector Lee Wanmin’s film makes its world premiere at BIFF and features a dignified performance by Hong Seungyi.
Proving there’s a fine line between deliberate and dull by stepping over it, and employing every textbook trick known to film schools, Lee Wanmin makes her feature debut in the Vision section at this year’s Busan International Film Festival. Ostensibly a portrait of a modern woman’s near collapse and rebirth, Jamsil jumps through space and time (yes, it teases time travel just for the hell of it) en route to nowhere in particular very, very, very slowly. If ever anyone needed proof that there was such a thing as a strictly “festival” movie, Jamsil is it. Writer-director Lee has a real feel for women, and she clearly has something to say, but she’d be well served by a ruthless editor at the script stage. Once Jamsil completes the fest route — and it will find a place there — additional platforms are probably few and far between, even in Asia-Pacific.

The convoluted, frequently opaque Jamsil, the name of a district of Seoul known for its historic silkworm cultivation and being down the road from Olympic Park, begins conventionally enough. Out of the blue one evening, the aimless and untethered thirtysomething Mihee (Lee Sanghee) is told by her boyfriend that it’s time to end their long-term relationship. She quickly moves into a tiny, miserable flat and proceeds to be a spectator to the disintegration of her own life. Landing at fortysomething Sungsook’s (Hong Seungyi) door one evening, Mihee convinces the stranger she is her best friend, Yooyoung, from high school — age gap be damned — before finally breaking down in tears. For whatever reason, it is the beginning of a deep and transformative friendship.

As the disparate women slowly grow closer, the film’s peripheral characters float in and out of the story. Ikju (Lim Hyongkook), Sungsook’s live-in boyfriend (Lee makes sure to note they are not married), enters into an affair with Mihee, despite knowing she’s a fraud. Suspecting adultery, the activist-minded Sungsook’s eye starts to wander, too, eventually landing on a younger journalist, Oh Doomin (Lee Sunho). For some reason that’s never quite clear, Mihee becomes determined to locate her own high school BFF, Keunkyoung, regardless of the ignored phone messages she keeps leaving. Through it all, flashbacks to the women’s younger days do little to bring their characters into focus, though the gold-tinted, sunny, warm images of the past bring the misery of the present — all washed-out gray tones and muted color — into sharper relief.

Women on the Verge of a Nervous Breakdown this is not; however, somewhere buried beneath the dross that makes up the bulk of Jamsil is a thoughtful, resonant and all-too-rare exploration of female friendship. The bond between the two unconventional women in a country the regularly devalues them is the beating heart of the narrative, but writer-director Lee puffs up the “plot” to make space for high school nostalgia (Mihee could easily have fibbed about her past without the flashbacks) and Sungsook’s romance with a younger man (which, blessedly, is devoid of cougar jokes). The vast majority of the film passes the Bechdel test with flying colors, and in Sungsook’s case creates a fully formed, complex character worthy of the unknown Hong’s performance. She brings grace and empathy to Sungsook, finding layer after layer to reveal. Lee isn’t as fortunate, saddled as she is with the more one-note Mihee, whose defining traits appear to be the inability to look anyone in the eye and stalking. By the time Jamsil wheezes to its time-transcending finale (including a major “Ya think?” moment with Keunkyoung), it’s more than worn out its welcome. Here’s hoping Lee’s next film is just as ambitious and less superfluous.

Venue: Busan International Film Festival (Vision)
Production company: Windwellers Films
Cast: Lee Sanghee, Hong Seungyi, Kim Saebyuk, Lee Sunho, Lim Hyongkook, Jung Won, Kim Seunghyun, Lee Juyoung, Lee Juyoung, Choi Jinhyuk, Jeong Kyungim
Director-screenwriter: Lee Wanmin
Producer: Yoon Nakyong
Executive producer: Jang Ilseon
Director of photography: Lee Juhwan
Editor: Lee Dohyun

In Korean

Not rated, 140 minutes