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Tomorrow night, Visual Communications will kick off its 30th annual Los Angeles Asian Pacific Film Festival. That’s a real milestone and I’m happy to volunteer as one of the programming committee for my second year. So I’ll get to attend the gala opening screening of To Be Takei (I hope I see some Starfleet members) and then get ready to watch some import, indie, and arty movies… On Friday night, I have the pleasure of introducing Lisa Takeba’s The Pinkie. Combining crime, gore, and other genres that I love, it’s as colorful as it is energetic. It’s going to be a kick to watch on a big screen with a hopefully boisterous audience. Yes, Lisa will be in attendance for a Q&A afterward and so will representatives from “Unusual Targets,” a short that will accompany it. That will be cool and that doesn’t happen when you stay home and watch movies on your computer. On Sunday at noon, I’ll get to introduce another indie import. Miko Livelo’s Blue Bustamante addresses the series topic of Overseas Filipino Workers and mashes it up with vintage Japanese sentai shows. You know, masked Power Rangers. There’s no Q&A afterward, but when will you ever get to see a movie like this on the big screen? Of course, this movie and The Pinkie are perfect movies to be presented by Giant Robot. On Sunday night, I present one more movie. Lordville is the latest documentary by the hugely respected arthouse director Rea Tajiri. It’s a spooky and beautiful and real study of her adopted hometown, which happens to be a ghost town. LORDVILLE Trailer from Rea Tajiri on Vimeo. Yes, Rea will be in attendance for a post-screening Q&A to answer the many questions that will arise. Won’t you attend, too? Support indie, imported, and Asian cinema! See you there!
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Tomorrow night, Visual Communications will kick off its 30th annual Los Angeles Asian Pacific Film Festival. That’s a real milestone and I’m happy to volunteer as one of the programming committee for my second year. So I’ll get to attend the gala opening screening of To Be Takei (I hope I see some Starfleet members) and then get ready to watch some import, indie, and arty movies… On Friday night, I have the pleasure of introducing Lisa Takeba’s The Pinkie. Combining crime, gore, and other genres that I love, it’s as colorful as it is energetic. It’s going to be a kick to watch on a big screen with a hopefully boisterous audience. Yes, Lisa will be in attendance for a Q&A afterward and so will representatives from “Unusual Targets,” a short that will accompany it. That will be cool and that doesn’t happen when you stay home and watch movies on your computer. On Sunday at noon, I’ll get to introduce another indie import. Miko Livelo’s Blue Bustamante addresses the series topic of Overseas Filipino Workers and mashes it up with vintage Japanese sentai shows. You know, masked Power Rangers. There’s no Q&A afterward, but when will you ever get to see a movie like this on the big screen? Of course, this movie and The Pinkie are perfect movies to be presented by Giant Robot. On Sunday night, I present one more movie. Lordville is the latest documentary by the hugely respected arthouse director Rea Tajiri. It’s a spooky and beautiful and real study of her adopted hometown, which happens to be a ghost town. LORDVILLE Trailer from Rea Tajiri on Vimeo. Yes, Rea will be in attendance for a post-screening Q&A to answer the many questions that will arise. Won’t you attend, too? Support indie, imported, and Asian cinema! See you there!
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Judging actually matters. The results went to the top part of the Hollywood Reporter article which carries some weight. Great work winners at the LA Asian Pacific Film Festival. Glad to have been part of the Narrative Jury. (Hollywood Reporter – Judged) Director Lee Isaac Chung took top honors at the 2013 Los Angeles Asian Pacific Film Festival, which handed out its awards at the closing ceremonies on Thursday night, May 9. Chung’s Abigail Harm, starring Tetsuo Kuramochi and Amanda Plummer, won the Grand Jury Prize for Best Narrative Feature, and Chung also received the Outstanding Director Award. Additional narrative film awards given out included: Outstanding Screenplay, which went to writer Jeff Mizushimafor the script for Sake Bomb, and Outstanding First Feature Award, which went to Keo Wolford for The Haumana, his feature directorial debut. Acting awards were given for Breakout Performance by an Actress, Vera Miao in Best Friends Forever, and Breakout Performance by an Actor, Jason Tobin in Chink.
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Another year, another Los Angeles Asian Pacific Film Festival. I’ve attended such fests in the past as a member of the press, as a presenter, as a judge, and as a contributor. This was my first time it was a committee member who helped select the movies that were shown, write synopses for the program, and then introduce movies and conduct post-screening interviews. Honestly, it was a little more work than I expected but how could I say no when I was recruited by my friend/Visual Communications Creative Director Anderson Le? And the festival duties have turned out to be a lot of fun. Last night I was assigned to The Sound of Crickets at Night. I chose to write the program’s essay about the movie because I Ioved its honesty, rawness, and creativity when I saw the screener. So it was a real treat to introduce the Marshall Islands indie flick, see it on a big screen, and then have a brief chat with co-producer/co-director/writer/gofer Jack Niedenthal. Jack is a really personable and outgoing guy with a fascinating story (visiting with the Peace Corps, staying and entering local politics, becoming a self-taught filmmaker to represent the culture after his young son asked him why there were no movies about the Marshallese) so, really, I just had to hand him the mic and get out of the way. Almost too easy, but more of him and less of me is what the audience came for. Tonight is the fest’s closing screening of the Japanese dark comedy Key of Life, which will be followed by encore presentations of some of the its most popular movies (none of my pics, oh well) over the weekend. Support indie film! Support film festivals! Who knows when you’ll get to see these films at the movies, meet the filmmakers again, or surround yourself with like-minded cultural connoisseurs and patrons of the arts again? AUDIO REVIEWS The Three O’Clock – Live at the Old Waldorf Sadly, I missed the Paisley Underground band’s reunion shows at Coachella, The Glass House, and The Troubadour. But I couldn’t pass up this limited-edition live album, which captures The Three O’Clock at their arguable peak in 1983 with all of the swirling, ripping songs off their perfect Baroque Hoedown EP (one of the first records I ever bought back in junior high) as well as selections from their more psychedelic Salvation Army era (Befour Three O’Clock) and previews of their yet-to-be-released pop opus, Sixteen Tambourines (alas no “Jet Fighter”). The fact that the wafer-thin audio sounds like a bootleg taped off a Walkman will alienate lesser fans and the merely curious–who should pre-order the 20-track anthology with outtakes and demos from Omnivore Records instead–but this is a real artifact and a must-have for fans and survivors of the mod revival like me. [Burger Records] King Tuff – King Tuff Was Dead While I don’t have one friend who isn’t addicted to King Tuff’s self-titled perfect garage pop album on Sub Pop,...
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Just got back from the opening night of the Los Angeles Asian Pacific Film Festival. The featured flick was the Los Angeles premiere of Linsanity, a real crowd-pleaser of an underdog story that we’re all familiar with, but for a guy like me who doesn’t get out much the highlight was seeing friends. Clockwise from top right are Eric from GR, Working Man/Perfect Time/SGV skateboarding homie John Lee, Patrick from NFS, and Eugenia Yuan, who appears in the movie Chink on Saturday night. Also saw my pal Kristina Wong decked out in a bridal gown and met Judy Lei from the Asian American International Film Festival, who is going to bring the Animal Style skate program that I put together to New York City this summer. More on that later. First comes Los Angeles… Have I ever mentioned that my friend Anderson Le (Visual Communications’ Artistic Director) recruited me to be on the programming committee this year? Part of my duties include introducing films and filmmakers as well as conducting Q&As after screenings. These are the four that I’ll be handling, and it would be cool if you came by to check them out and say hi. Saturday, May 4 (Director’s Guild of America on Sunset) 12:15 – A River Changes Course. Winner of the 2013 Sundance Film Festival’s Grand Jury Prize for World Documentary. 2:45 – Stateless. Like a spelling bee movie on steroids, Duc Nguyen tells the story of Vietnamese War refugees who never made it to America, settled illegally in the Philippines, and are preparing to interview with U.S. State Department officials when the immigration department decides to open new cases. 7:15 – Abigail Harm. Director Lee Isaac Chung does a remarkable job of crafting a compact but open-ended fable that can be as deep as you want it to be. As sad as you want it to be. And as fantastic as you want it to be. But gorgeously and masterfully executed in any case. Thursday, May 9 (CGV Cinemas in Koreatown) 7:00 - The Sound of Crickets at Night. Displacement from home, broken family, loss of identity, and eroding tradition are only some of the themes that are presented dreamily yet effectively in this modest and skillful film from the Marshall Islands. Seeya then. Support independent film! Support film festivals!
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