On Thursday 2 May the legendary Chinese director received the Golden Mulberry and hosted a masterclass.
The last two days are packed with unmissable titles: from cult Philippine comedy Becky and Badette
to the world premiere of high-octane Hong Kong actioner Customs Frontline!
A whole year of preparation for nine days of programming: nine joyful, intense days which, once the countdown starts, slip away at the speed of light... Yes, it's already time to announce the Closing Night of FEFF 26. Actually, scratch that - it's already time to announce the Closing Day, because the flames will be burning brightly right from the morning. And what flames they'll be. Thursday the 2nd of May 2024 is more than just a space on the calendar: it's the date when Zhang Yimou will be taking the stage at the Teatro Nuovo “Giovanni da Udine” theatre!
When we talk about him, we're talking about a legend - an auteur around whom there is a "before" and an "after". Talking about him means talking about two Golden Lions in Venice, a Golden Bear in Berlin, a Grand Prix in Cannes and three Oscar nominations - and that's not even all. Talking about him means talking about the giant of cinema who on Thursday the 2nd of May will be receiving the Golden Mulberry Lifetime Achievement Award on the stage of the Teatro Nuovo "Giovanni da Udine" theatre and will also be hosting a masterclass which will be open to all!
“For us,” say FEFF founders Sabrina Baracetti and Thomas Bertacche, “Zhang Yimou's cinema represents two absolutely fundamental turning points. The first was the one that opened our eyes to the cinematic wonders of mainland China when we were little more than kids. The second is that it was one of the sparks, one of the driving forces, which first brought our festival to life! That's why presenting Zhang Yimou with the Golden Mulberry means something more than just recognition of his genius: it's also our way of saying "Thank you, maestro" and of symbolically giving him back some of what he has given to us."
A leading member of the "Fifth Generation", the famously creative group of filmmakers who revolutionised the aesthetics of 1980s China, Zhang Yimou has always pursued a free and total vision of cinema, identifying his own personal aesthetic in the push towards change. A cinema that, without ever surrendering its auteur essence and thematic depth, manages to use the most diverse languages, expressing itself through, and above all going beyond, genres: from rural drama and wuxia to period thrillers and big budget blockbusters. A cinema where individual stories have always been and continue to be a cultural, ethical and political mirror of collective history.
Over the years the FEFF has documented the nuances of Zhang Yimou's gaze multiple times (Red Sorghum, Under the Hawthorn Tree, Cliff Walkers and Full River Red were all screened in Udine) and will be doing so again this year with the presentation of three titles: thriller Under the Light (Wednesday the 1st of May at 14:30) and the world premiere of the restored versions of Raise the Red Lantern (Thursday the 2nd of May at 9:30, as a prelude to the masterclass) and To Live (Thursday the 2nd of May at 19:30
Movie Name – PINKY SWEAR – Whatever She Wants
Director Name – Tau Tau Menghan
Hello Tau Tau Menghan! Welcome to SIFF
1.It is a brilliant movie. What message do you want to pass on with this movie?
Thank you for the warm welcome! ‘PINKY SWEAR – Whatever She Wants’ aims to convey a message of women’s liberation, highlighting the importance of empowerment. While exploring the theme, the movie also delves into the potential toxicity that can arise within the feminist movement, encouraging viewers to reflect on the balance between true feminism and avoiding extremes.
2.Whatever she wants – hopefully this movie is about women’s liberation as in some cases feminism gets too toxic. What’s your opinion about the line between true feminism and toxicity in the name of feminism?
In ‘PINKY SWEAR – Whatever She Wants,’ we intentionally explore a nuanced perspective on women’s liberation. While historical and societal factors, including male domination, undoubtedly contribute to the suppression of women, the movie delves deeper. It uses the powerful confrontation between characters Naomi and Ginger to highlight the importance of women freeing themselves from predefined identities. The film suggests that the journey towards liberation involves challenging internalized notions of ‘what is woman’ and ‘how to be a woman.’ In the context of the movie, the ending emphasizes that the focus shifts from external influences, including men, to the individual’s self-discovery and empowerment.
3.Women are caged and suppressed and not allowed to have their own opinions. Do you feel that it’s all because of male domination?
Certainly, the PInky Swear movie suggests that societal norms and historical structures have often contributed to the suppression of women. While not all instances can be solely attributed to male domination, the movie does shed light on the impact of such power dynamics in restricting women’s freedom and voices.
4.Sometimes women are women’s greatest enemy. What’s your take on this concept?
The concept of women being each other’s greatest enemy is an intriguing aspect explored in the film. It delves into the complexities of female relationships and the societal pressures that can foster competition among women. It’s a nuanced exploration of how ingrained beliefs and expectations can sometimes lead to internal conflicts.
5.Challenging preconceived notions is good, but has the world progressed enough to understand this concept?
Absolutely, I believe ‘PINKY SWEAR’ has the potential to resonate with a diverse audience, including males. The themes explored are universal and touch upon human experiences, promoting understanding and empathy regardless of gender.
6.Do you think this movie will connect with the male audience?
Absolutely, I believe ‘PINKY SWEAR’ has the potential to resonate with a diverse audience, including males. The themes explored are universal and touch upon human experiences, promoting understanding and empathy regardless of gender.
7.What do you think the male reaction would be with this type of movie? Would it be taken positively or would it be conceived as a negative portrayal of the male gender?
The portrayal of male characters in the movie is nuanced, from the name ‘Mr.Salami, Mr.Treas
In this year’s edition of ÉCU we were presented with a vast selection of student films, diverging profoundly from themes, to storytelling, to the visuals of the movies. Exploring our Student Film Selection, we were pleased to be presented with six very different films, all brought together for having one defining characteristic: being academic projects.
Our first contestant was brought to us from Russia. The film is a less than three minutes short-movie named “Love Confession”. Directed and played by Anna Filonenko, this fictional film has a very unconventional format and distinguishes itself by its simplicity, as well as the heartfelt way the character speaks directly to the camera, addressing her now passed away mother and updating her on her personal life. Through recording herself with the intention of sending it to her mother, she is confessing the love she didn’t get a chance to declare when she was still alive.
In an online interview with ÉCU, we had the chance to get to know more details about the making of this film, as for instance, how quickly it was to be produced. She explains: “Well, I think that’s the fastest film production that you’ve encountered. I think from the moment that I got the idea for it, it took me from thirty minutes to one hour (…). The process was very similar to writing a poem”.
When asked if the low lighting of the background also had to do with portraying grief, Anna explained: “It’s a birthday wish video to begin with, right? So, I was thinking about the festive mode and it’s like, how would I celebrate my birthday if I didn’t have anyone else to celebrate it with? So, I was trying to create this sense of being alone in the night with the candles”.
“Love Confession”, by Anna Filonenko, 2023
After “Love Confession”, we were presented with “The Eliminating”, directed by Mengqing Xia. This short-movie from the United Kingdom can be described as a “sinister drama” that we get to understand better as we follow the conversation of four different people who are put inside of a stifling dungeon.
“The Eliminating”, by Mengquing Xia, 2023
Originating from Belgium and Netherlands, an absurdist, comedy, short-movie named “Butterflyman” found its place on this year’s ÉCU edition. Directed by Jeroen Zeegers, this movie is full of color as well as being composed of beautiful imagery. But what truly sets it apart is its eccentrical plot and imaginative story-telling.
“Butterflyman”, by Jeroen Zeegers, 2023
The next film on the list, “Dead Man Walking”, also known as “DMW”, found its way to us from the Republic of Korea. Directed by Jacob Polat, this short-movie goes through a wide range of topics such as physical and gun violence, mafia brutality, internal turmoil, infertility, and all through the eyes of the main character, a Korean spy.
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Even though we’ve been doing this for over 40 years, a spark of excitement rushes through us whenever we reveal the fellows for this year’s labs. It might be because these fresh fellows are joining the ranks of Paul Thomas Anderson, Lulu Wang, Sterlin Harjo, the Daniels, Ryan Coogler, Taika Watiti, A.V. Rockwell, Quentin Tarantino, Ira Sachs, and so many more iconic storytellers. The rush this year also might be due to the fact that these profound and indescribable forays into the world of the purely creative are happening right now.
The 2024 spring/summer labs season is kicking off this morning in Santa Fe, New Mexico, with the start of the Native Lab. This is directly followed by the Directors Lab at the Stanley Hotel in Estes Park, Colorado, and then the Screenwriters Lab in early June online.
Below get a brief introduction to each of the 2024 fellows, click here for more information about this year’s labs including the creative advisors for each, and stay tuned for more stories from the labs this spring and summer.
The 2024 Native Lab fellows
Don Josephus Raphael Eblahan (Writer-Director) with Hum (Philippines, U.S.A.): Haunted by the six-year absence of her missing husband, Esther, a single mother who works as a tour guide for mountaineers, embarks on her own treacherous journey of searching for him in the jungle where he had retreated to live with the beasts.
Don Josephus Raphael Eblahan is a filmmaker from the Philippines. Eblahan’s works explore themes of trauma, spirituality, and nature, told through the cosmic lens of post-colonial spaces and Indigenous identities. His film The Headhunter’s Daughter was awarded the Short Grand Jury Prize at the 2022 Sundance Film Festival.
Ryland Walker Knight (Writer-Director) with The Lip of the World (U.S.A.): When Cassandra discovers a young Indigenous woman washed ashore with no memory, the pair journey into the violent underworld of the Northern California psychedelic culture to uncover her true identity.
Ryland Walker Knight is a Cherokee writer and a filmmaker, and once upon a time he was called a film critic. An avid basketball and audiobook enthusiast, Knight lives and works in Oakland and Los Angeles, California.
Charine Pilar Gonzales (Writer-Director) with NDN Time (U.S.A.): A Tewa college student must master her new dimension-bending abilities to expose the nuclear secrets threatening her Pueblo.
Charine Pilar Gonzales wrote and directed the short films River Bank (Pō-Kehgeh) and Our Quiyo: Maria Martinez. She co-produced the 2024 Sundance Film Festival short doc Winding Path. A Tewa filmmaker from San Ildefonso Pueblo and Santa Fe, New Mexico, she aims to intertwine memories, dreams, and truths through story.
Lindsay McIntyre (Writer-Director) with The Words We Can’t Speak (Canada): A terrible Arctic accident leaves an Inuk interpreter unwelcome in her community. She is forced to weather impossible conditions and hateful prejudices, yet still care for her daughter, when she embarks on a dangerous 1,000-mile journey by dog sled with an inexperienced RCMP constable who fancies her for his wife.
Lindsay McIntyre (Inuit/settler) is a filmmaker whose works explores themes of portraiture, place, and personal histories. After 40+ experimental/documentary films and many festival awards, her recent