[:it]C’è un evento molto particolare che si terrà dal 26 aprile al 4 maggio, stiamo parlando del Far East Film Festival, manifestazione dedicata al cinema asiatico che riempirà la città di Udine e il Teatro Nuovo “Giovanni da Udine”.

Alla sua ventunesima edizione, il Far East Film Festival 2019 percorre ancora una volta la Via della Seta. In apertura il 26 Aprile con un’anteprima mondiale ci sarà Birthday, direttamente dalla Corea. La storia parla del naufragio del traghetto Sewol che ha segnato un “prima” e un “dopo” nella storia della Corea del Sud. Il film racconta il dolore di due genitori che hanno perso il figlio e di una nazione che ne ha persi più di 300. Racconta l’oggi che, nonostante tutto, diventa domani. Sempre. Con Birthday il FEFF rende omaggio a quell’enorme ferita (umana, politica, sociale) così difficile da cicatrizzare.

Chi ricorda il primissimo FEFF è sicuramente uno dei super ospiti di quest’anno, che nel 1999 accompagnò a Udine il mitico Beast Cops di Gordon Chan-Dante Lam e che a Udine fa ritorno per accompagnare due film: My Name Ain’t Suzie di Angie Chan, l’ormai lontano titolo d’esordio (1985), e il magnifico Still Human di Oliver Siu Kuen Chan. Stiamo, ovviamente, parlando di Anthony Wong, divo e leggenda di Hong Kong, che ritirerà il Gelso d’Oro alla Carriera e affiancherà nella hall of fame udinese i nomi di altri giganti come Jackie Chan, Joe Hisaishi e Brigitte Lin.

Per una straordinaria icona hongkonghese, una straordinaria icona cinese: la bellissima Yao Chen, diva (i media amano paragonarla ad Angelina Jolie) e leggenda (80 milioni di follower), grande attrice e instancabile attivista, che salirà sul palco del FEFF a presentare il thriller sociale Lost, Found di Lue Yue (prodotto da Feng Xiaogang). Una vivida riflessione sui diritti civili e sulla condizione femminile nella Cina contemporanea che trova in Yao Chen la protagonista “politicamente” perfetta. Time Magazine l’ha inserita fra le 100 persone più influenti del mondo.

Con 76 titoli in programma (51 in concorso) provenienti da 12 paesi, una retrospettiva, una monografia, un omaggio al nuovo cinema indipendente coreano, 2 “strane coppie”, un restauro in anteprima mondiale e più di 100 eventi tematici organizzati nel cuore di Udine, Il Far East Film Festival si presta come scenario perfetto per una nuova connessione fra Asia ed Europa e più specificatamente, Italia.

Una vera e propria “isola del cinema” dove il cinema non viene soltanto celebrato – 3 anteprime mondiali, 12 internazionali, 18 europee – ma viene anche declinato al futuro. Questo 2019 segna la scelta di 15 progetti scelti per Focus Asia, il market del Festival, e 10 per Ties That Bind, il workshop internazionale Asia/Europa. Oltre 200 i professionisti del settore attesi a Udine, da 36 paesi, e c’è un’importante novità da evidenziare: il Co-Production Day, fissato per il 1° maggio. Un grande tavolo di lavoro che radunerà filmmaker e produttori, europei e asiatici, per analizzare e sviluppare l’accordo co-produttivo Italia/Cina del 2018.

Film di oggi e film “di domani”, film che parlano la lingua dell’attualità, spesso direttamente della cronaca, a iniziare dal racconto collettivo Ten Years (dopo Hong Kong, l’asse narrativo si sposta in Giappone e in Thailandia) e dalle 14 opere prime incluse nella line-up. Film che, a volte, indagano lo stesso tema da angolazioni completamente diverse, come le tre stupende ballate senili Only The Cat Knows di Syoutarou Kobayasi, Romang di Lee Chang-Geun, Heaven’s Waiting di Dan Villegas: una giapponese, una coreana, una filippina. Come cambia la percezione della realtà, da nazione a nazione?

Un affascinante “gioco delle differenze” che non si esaurisce qui e nemmeno nell’atteso remake coreano del nostro Perfetti sconosciuti (Intimate Strangers di JQ Lee), grazie al quale il FEFF 21 ci ha costruito sopra un segmento speciale, The Odd Couples, curato da mister Roger Garcia. Quattro “strane coppie” di gemelli cinematografici dove l’Oriente si misura col proprio “doppio” occidentale e viceversa (My Name Ain’t Suzie di Angie Chan/Il Mondo di Suzie Wong di Richard Quine e City On Fire di Ringo Lam/Le Iene di Quentin Tarantino, omaggio del Festival al caro amico hongkonghese recentemente scomparso).

Se il cinema coreano contemporaneo selezionato dal Festival spazierà dall’epic action (The Great Battle di Kim Kwang-Sik) alla comedy poliziesca (l’irresistibile Extreme Job di Lee Byeong-heon), passando per gli zombie più divertenti dell’anno (The Odd Family di Lee Min-jae), anche il Giappone, pronto a entrare nella Nuova Era – Reiwa – , si divertirà a spaziare tra i generi. Dall’imperdibile documentario Kampai! Sake Sisters di Mirai Konishi, a Udine in prima mondiale, fino al sorprendente Melancholic di Seiji Tanaka (uno dei 14 debut feature di cui abbiamo già parlato), passando per la premer europea di Fly me to The Saitama (Tonde Saitama) di Takeuchi Hideki film commedia basato sul famoso manga degli anni ’80 con lo stesso nome scritto e illustrato da Mineo Maya, Every Day a Good Day di Tatsushi Omori che possiamo considerare l’ultimo, bellissimo, saluto di Kirin Kiki.

La Cina verrà rappresentata, come sempre, da titoli molto forti (citiamo Dying to Survive di Wen Muye, che punta i riflettori sul mercato dei farmaci per malati terminali, e The Rib di Zhang Wei, inaspettato dramma familiare a tematica transgender), mentre Hong Kong metterà in campo tutta l’energia creativa dei thriller “vecchia scuola” (Project Gutenberg di Felix Chong) così come tutta la forza eversiva della scena indipendente (Three Husbands di Fruit Chan), senza dimenticare il ritorno di Herman Yau (A Home With a View).

E sul fronte del Sud-est asiatico, dove il cinema di genere spadroneggia (a Udine, tra i vari titoli, vedremo l’ottimo horror malesiano Two Sisters), ce ne saranno due particolarmente graditi agli spettatori: quello di Chito Rono e quello di Joyce Bernal, cari e affezionati amici del Festival.

Una rete di amici, vecchi e nuovi, sparsi letteralmente per il mondo, un cerchio magico che si apre e che si chiude, anno dopo anno. È allontanarsi dal proprio centro, viaggiare, spaziare, esplorare, alzare le soglie della curiosità e poi tornare con qualcosa di nuovo dentro gli occhi. Uno sguardo preziosamente diverso, questo è il Far East Film Festival 2019. Vi aspettiamo!

Come Partecipare?

È possibile assistere alle proiezioni acquistando il biglietto oppure accreditandosi.

L’accredito è consigliato a tutti coloro che hanno un interesse professionale o culturale per il cinema asiatico e desiderano assistere al maggior numero di proiezioni possibile a un prezzo vantaggioso.

Informazioni

Le proiezioni cominciano alle ore 9.00 per concludersi a notte inoltrata. Il programma prevede infatti due proiezioni al mattino, due al pomeriggio e due o tre film in chiusura di giornata, la sera.
L’ingresso è vietato ai minori di 18 anni, in quanto i film non sono sottoposti al visto censura italiano.

Dove acquistare i biglietti

Teatro Nuovo Giovanni da Udine & Cinema Centrale
Spettacoli mattutini (giorni feriali): € 6,00 per film (oppure 10,00 per entrambi i film).
Spettacoli mattutini (giorni festivi): € 10,00 per film (oppure 15,00 per entrambi i film).
Spettacoli pomeridiani (giorni feriali): € 6,00 per film (oppure 10,00 per entrambi i film).
Spettacoli pomeridiani (giorni festivi e prefestivi): € 10,00 per film (oppure € 15,00 per entrambi i film).
Spettacoli serali: € 10,00 per film (oppure € 15,00 per entrambi i film).
Spettacolo notturno: € 6,00.
Sarà anche disponibile un biglietto daily al costo di € 25,00 che permette di assistere a tutti gli spettacoli della giornata di emissione.

Prevendita: presso la biglietteria del Teatro Nuovo

Orari di apertura:
venerdì 26 aprile: dalle ore 11.00 fino all’inizio dell’ultima proiezione della giornata
da sabato 27 aprile: dalle ore 8.30 fino all’inizio dell’ultima proiezione della giornata

La prevendita per le proiezioni dei giorni successivi è sospesa durante gli orari di inizio film. Per informazioni (dal 24 aprile): tel. 0432-248484[:en]There is a very special event from April 26 to May 4, we are talking about the Far East Film Festival, an event dedicated to Asian cinema that will fill the city of Udine and the Teatro Nuovo “Giovanni da Udine”.

At its twenty-first edition, the Far East Film Festival 2019 once again follows the Silk Road. Opening on April 26 with a world premiere will be Birthday, directly from Korea. The story is about the sinking of the Sewol ferry which marked a “before” and an “after” in the history of South Korea. The film tells the pain of two parents who lost their son and a nation that lost more than 300. It tells the present that, despite everything, becomes tomorrow. Always. With Birthday the FEFF pays tribute to that enormous wound (human, political, social) so difficult to heal.

Someone who remembers the very first FEFF is surely one of the super guests of this year, who in 1999 accompanied the legendary Beast Cops by Gordon Chan-Dante Lam to Udine and returned here to accompany two films: My Name Ain’t Suzie di Angie Chan, with its the now distant debut title (1985), and the magnificent Still Human by Oliver Siu Kuen Chan. We are, of course, talking about Anthony Wong, the star and legend from Hong Kong, who will collect the Golden Mulberry for his career joining the names of other giants such as Jackie Chan, Joe Hisaishi and Brigitte Lin in the Udine hall of fame.

For an extraordinary Hong Kong icon, an extraordinary Chinese icon: the beautiful Yao Chen, diva (the media like to compare her to Angelina Jolie) and legend (80 million followers), great actress and tireless activist, who will take the stage at FEFF to present the social thriller Lost, Found by Lue Yue (produced by Feng Xiaogang). A vivid reflection on civil rights and the condition of women in contemporary China that finds in Yao Chen the “politically” perfect protagonist. Time Magazine has included her among the 100 most influential people in the world.

With 76 titles on the program (51 in competition) from 12 countries, a retrospective, a monograph, a tribute to the new independent Korean cinema, 2 “strange couples”, a world-premier restoration and more than 100 thematic events organized in the heart of Udine, the Far East Film Festival is the perfect setting for a new connection between Asia and Europe and more specifically, Italy.

A real “island of cinema” where cinema is not only celebrated – 3 world premieres, 12 international, 18 European – but it is also declined to the future. This 2019 marks the choice of 15 projects chosen for Focus Asia, the Festival market, and 10 for Ties That Bind, the international Asia/Europe workshop. Over 200 industry professionals are expected in Udine, from 36 countries, and there is an important innovation to highlight: the Co-Production Day, set for May 1st. A large working table that will gather European and Asian filmmakers and producers, to analyze and develop the Italy/China co-production agreement of 2018.

Today’s films and the ones of “tomorrow”, movies that speak the language of current affairs, often directly from the news, starting with the collective story Ten Years (after Hong Kong, the narrative axis moves to Japan and Thailand) and with 14 first works included in the line-up. Films that sometimes investigate the same theme from completely different angles, like the three wonderful senile ballads Only The Cat Knows by Syoutarou Kobayasi, Romang by Lee Chang-Geun, Heaven’s Waiting by Dan Villegas: a Japanese, a Korean, a Filipino. How does the perception of reality change from country to country?

A fascinating “game of differences” that does not end here and not only in the long-awaited Korean remake of Perfect Strangers (by Intimate Strangers by JQ Lee), thanks to which the FEFF 21 built on a special segment, The Odd Couples, edited by mister Roger Garcia. Four “strange couples” of cinema twins where the East is measured with its western “double” and vice versa (My Name Ain’t Suzie by Angie Chan/The World of Suzie Wong by Richard Quine and City On Fire by Ringo Lam/Le Hyenas by Quentin Tarantino, a tribute from the Festival to the recently deceased dear Hong Kong friend.

If the contemporary Korean cinema selected by the Festival will range from the epic action (The Great Battle by Kim Kwang-Sik) to the police comedy (the irresistible Extreme Job by Lee Byeong-heon), passing by the most entertaining zombies of the year (The Odd Family by Lee Min-jae), even Japan, ready to enter the New Era – Reiwa -, will enjoy spacing between genres. From the unmissable documentary Kampai! Sake Sisters by Mirai Konishi, in Udine as a world premiere, up to the surprising Melancholic by Seiji Tanaka (one of the 14 debut features we have already talked about), passing by the European premiere of Fly me to the Saitama (Tonde Saitama) by Takeuchi Hideki a comedy film based on famous manga of the 80s with the same name written and illustrated by Mineo Maya, Every Day on Good Day by Tatsushi Omori that we can consider the last, beautiful, greeting of Kirin Kiki.

China will be represented, as always, by very strong titles (we mention Dying to Survive by Wen Muye, which puts the spotlight on the market for drugs for terminally ill patients, and The Rib by Zhang Wei, an unexpected family transgender-themed drama), while Hong Kong will field all the creative energy of the “old school” thrillers (Project Gutenberg by Felix Chong) as well as all the subversive force of the independent scene (Fruit Chan’s Three Husbands), without forgetting the return of Herman Yau (A Home With a View).

And on the Southeast Asian front, where genre cinema dominates (in Udine, among the various titles, we will see the excellent Malaysian horror film Two Sisters), there will be two guests that the audience will particularly enjoy: Chito Rono and Joyce Bernal, dear and affectionate friends of the Festival.

A network of friends, old and new, literally scattered around the world, a magic circle that opens and closes year after year. It means getting away from your center, traveling, moving, exploring, raising the threshold of curiosity and then returning with something new inside your eyes. A precious different look, this is the Far East Film Festival 2019. We are waiting for you!

How to Participate?

You can watch the screenings by purchasing a ticket or by accreditation.

The accreditation is recommended to all those who have a professional or cultural interest in Asian cinema and wish to attend as many screenings as possible at an advantageous price.

Information

The screenings start at 9.00 am and end late at night. The program includes two screenings in the morning, two in the afternoon and two or three films at the end of the day, in the evening.
Entry is forbidden to children under 18, as films are not subject to Italian censorship visas.

Where to buy tickets

Teatro Nuovo Giovanni da Udine & Cinema Centrale
Morning shows (weekdays): € 6.00 per film (or 10.00 for both films).
Morning shows (holidays): € 10.00 per film (or 15.00 for both films).
Afternoon performances (weekdays): € 6.00 per film (or 10.00 for both films).
Afternoon performances (holidays and pre-holidays): € 10.00 per film (or € 15.00 for both films).
Evening shows: € 10.00 per film (or € 15.00 for both films).
Night show: € 6.00.
A daily ticket will also be available at a cost of € 25.00 which allows you to attend all the shows on the day of issue.

Presale: at the Teatro Nuovo ticket office

Opening time:
Friday 26 April: from 11.00 am until the beginning of the last screening of the day
from Saturday 27th April: from 8.30 am until the beginning of the last screening of the day

The presale for the projections of the following days is suspended during the movie start times. For information (from 24 April): tel. 0432-248484[:ja]There is a very special event from April 26 to May 4, we are talking about the Far East Film Festival, an event dedicated to Asian cinema that will fill the city of Udine and the Teatro Nuovo “Giovanni da Udine”.

At its twenty-first edition, the Far East Film Festival 2019 once again follows the Silk Road. Opening on April 26 with a world premiere will be Birthday, directly from Korea. The story is about the sinking of the Sewol ferry which marked a “before” and an “after” in the history of South Korea. The film tells the pain of two parents who lost their son and a nation that lost more than 300. It tells the present that, despite everything, becomes tomorrow. Always. With Birthday the FEFF pays tribute to that enormous wound (human, political, social) so difficult to heal.

Someone who remembers the very first FEFF is surely one of the super guests of this year, who in 1999 accompanied the legendary Beast Cops by Gordon Chan-Dante Lam to Udine and returned here to accompany two films: My Name Ain’t Suzie di Angie Chan, with its the now distant debut title (1985), and the magnificent Still Human by Oliver Siu Kuen Chan. We are, of course, talking about Anthony Wong, the star and legend from Hong Kong, who will collect the Golden Mulberry for his career joining the names of other giants such as Jackie Chan, Joe Hisaishi and Brigitte Lin in the Udine hall of fame.

For an extraordinary Hong Kong icon, an extraordinary Chinese icon: the beautiful Yao Chen, diva (the media like to compare her to Angelina Jolie) and legend (80 million followers), great actress and tireless activist, who will take the stage at FEFF to present the social thriller Lost, Found by Lue Yue (produced by Feng Xiaogang). A vivid reflection on civil rights and the condition of women in contemporary China that finds in Yao Chen the “politically” perfect protagonist. Time Magazine has included her among the 100 most influential people in the world.

With 76 titles on the program (51 in competition) from 12 countries, a retrospective, a monograph, a tribute to the new independent Korean cinema, 2 “strange couples”, a world-premier restoration and more than 100 thematic events organized in the heart of Udine, the Far East Film Festival is the perfect setting for a new connection between Asia and Europe and more specifically, Italy.

A real “island of cinema” where cinema is not only celebrated – 3 world premieres, 12 international, 18 European – but it is also declined to the future. This 2019 marks the choice of 15 projects chosen for Focus Asia, the Festival market, and 10 for Ties That Bind, the international Asia/Europe workshop. Over 200 industry professionals are expected in Udine, from 36 countries, and there is an important innovation to highlight: the Co-Production Day, set for May 1st. A large working table that will gather European and Asian filmmakers and producers, to analyze and develop the Italy/China co-production agreement of 2018.

Today’s films and the ones of “tomorrow”, movies that speak the language of current affairs, often directly from the news, starting with the collective story Ten Years (after Hong Kong, the narrative axis moves to Japan and Thailand) and with 14 first works included in the line-up. Films that sometimes investigate the same theme from completely different angles, like the three wonderful senile ballads Only The Cat Knows by Syoutarou Kobayasi, Romang by Lee Chang-Geun, Heaven’s Waiting by Dan Villegas: a Japanese, a Korean, a Filipino. How does the perception of reality change from country to country?

A fascinating “game of differences” that does not end here and not only in the long-awaited Korean remake of Perfect Strangers (by Intimate Strangers by JQ Lee), thanks to which the FEFF 21 built on a special segment, The Odd Couples, edited by mister Roger Garcia. Four “strange couples” of cinema twins where the East is measured with its western “double” and vice versa (My Name Ain’t Suzie by Angie Chan/The World of Suzie Wong by Richard Quine and City On Fire by Ringo Lam/Le Hyenas by Quentin Tarantino, a tribute from the Festival to the recently deceased dear Hong Kong friend.

If the contemporary Korean cinema selected by the Festival will range from the epic action (The Great Battle by Kim Kwang-Sik) to the police comedy (the irresistible Extreme Job by Lee Byeong-heon), passing by the most entertaining zombies of the year (The Odd Family by Lee Min-jae), even Japan, ready to enter the New Era – Reiwa -, will enjoy spacing between genres. From the unmissable documentary Kampai! Sake Sisters by Mirai Konishi, in Udine as a world premiere, up to the surprising Melancholic by Seiji Tanaka (one of the 14 debut features we have already talked about), passing by the European premiere of Fly me to the Saitama (Tonde Saitama) by Takeuchi Hideki a comedy film based on famous manga of the 80s with the same name written and illustrated by Mineo Maya, Every Day on Good Day by Tatsushi Omori that we can consider the last, beautiful, greeting of Kirin Kiki.

China will be represented, as always, by very strong titles (we mention Dying to Survive by Wen Muye, which puts the spotlight on the market for drugs for terminally ill patients, and The Rib by Zhang Wei, an unexpected family transgender-themed drama), while Hong Kong will field all the creative energy of the “old school” thrillers (Project Gutenberg by Felix Chong) as well as all the subversive force of the independent scene (Fruit Chan’s Three Husbands), without forgetting the return of Herman Yau (A Home With a View).

And on the Southeast Asian front, where genre cinema dominates (in Udine, among the various titles, we will see the excellent Malaysian horror film Two Sisters), there will be two guests that the audience will particularly enjoy: Chito Rono and Joyce Bernal, dear and affectionate friends of the Festival.

A network of friends, old and new, literally scattered around the world, a magic circle that opens and closes year after year. It means getting away from your center, traveling, moving, exploring, raising the threshold of curiosity and then returning with something new inside your eyes. A precious different look, this is the Far East Film Festival 2019. We are waiting for you!

How to Participate?

You can watch the screenings by purchasing a ticket or by accreditation.

The accreditation is recommended to all those who have a professional or cultural interest in Asian cinema and wish to attend as many screenings as possible at an advantageous price.

Information

The screenings start at 9.00 am and end late at night. The program includes two screenings in the morning, two in the afternoon and two or three films at the end of the day, in the evening.
Entry is forbidden to children under 18, as films are not subject to Italian censorship visas.

Where to buy tickets

Teatro Nuovo Giovanni da Udine & Cinema Centrale
Morning shows (weekdays): € 6.00 per film (or 10.00 for both films).
Morning shows (holidays): € 10.00 per film (or 15.00 for both films).
Afternoon performances (weekdays): € 6.00 per film (or 10.00 for both films).
Afternoon performances (holidays and pre-holidays): € 10.00 per film (or € 15.00 for both films).
Evening shows: € 10.00 per film (or € 15.00 for both films).
Night show: € 6.00.
A daily ticket will also be available at a cost of € 25.00 which allows you to attend all the shows on the day of issue.

Presale: at the Teatro Nuovo ticket office

Opening time:
Friday 26 April: from 11.00 am until the beginning of the last screening of the day
from Saturday 27th April: from 8.30 am until the beginning of the last screening of the day

The presale for the projections of the following days is suspended during the movie start times. For information (from 24 April): tel. 0432-248484[:]