Fantastic Fest 2008

Brief Summary: A prequel to one of the most graphic and visually creative horror movies in recent times, ART OF THE DEVIL 3 is a tale of unrequited love set amid the exotic world of rural Thai black magic. Full Description: Panor, a seductive rural teacher, longs to live a normal, peaceful life like everyone else in her village. But her beauty becomes her biggest curse as she becomes the object of desire from every man that enters her life. Male colleagues and students alike resort to a variety of black arts and love potions in an attempt to win her favor. To counter their endless menace, Panor herself must turn to witchcraft to combat her supernaturally charged suitors. The ART OF THE DEVIL franchise travels in some seriously demented territory. The bloody carnage isn't delivered by the hatchets and machetes of the American horror tradition, but rather by the ancient mythology and mysticism of Thailand. In part 2, you had flaying, boiling water down throats, lots of needles, voodoo dolls, unexpected eyeballs and a pack of lizards that rip forth from an unsuspecting man's back. The directors know why Part 2 was a smash hit - over-the-top visual mayhem and creepy Thai black magic gore. Check out the stills and watch the trailer...this installment (actually a prequel) is out with a mission: deliver the goods. "ART OF THE DEVIL 3 will be more shocking and violent than our previous films. We still want to send the same messages, though, that the gruesome fates of the characters are the consequences of their desire and lust. Only people with dark intents want to get involved with dark magic. We all believe that these things do exist in our modern world, but we want to warn the viewers that it'll only do them more harm than good to mess around with it," -- Ronin Team ART OF THE DEVIL 3 was directed by the seven-man collective known as "Ronin Team," a group behind numerous Thai smash hits: from the war epic BANG RAJAN to the period piece KUNPUN THE WARRIOR to the two previous ART OF THE DEVIL movies. Collaborating closely, the seven members of the team work together in every step from screenwriting to budgeting, casting and directing. One of the members of Ronin Team is also represented in Fantastic Fest 4 with his solo directorial debut, MUAY THAI CHAIYA. (Tim League)

Brief Summary: A serial killer is preying on call-girls from various escort agencies. In the midst of police indifference and incompetence, Jung-Ho (Yun-Seok Kim), an ex-cop-turned-pimp must dust off his old flatfoot skills to find the killer and save the life of one of his girls who has gone missing. Full Description: I sat on the Asian Features Jury at the Puncheon International Fantasy Film Festival this year. Of the 32 films in competition, our jury unanimously decided THE CHASER to be the grand prize winner. This is a return to form for the Korean crime film after a string of fairly disappointing efforts. The story is gritty and intense, the pacing taut, and the performance of lead actor Yun-seok Kim is phenomenal. Korean genre films sometimes manage to pack in a much wider array of emotional notes and complex character interaction than their American counterparts. In much the same way that THE HOST was a dysfunctional family drama that happened to have a monster running a muck, THE CHASER is a tender portrait of a jaded, hard-boiled ex-cop who realizes that he still has deep pathos and compassion beneath his stony veneer. And there's bloody rampage serial killer on the loose. THE CHASER was a box-office hit in Korea this year, topping the charts until the blockbuster THE GOOD THE BAD AND THE WEIRD took top honors. Look for the American remake, by the same production team behind Scorcese's award winning film THE DEPARTED, to begin production soon. (Tim League) Plot Summary The debut feature from award winning short film director Na Jong-Jin, THE CHASER, tells the story of Jung-Ho, a former cop turned pimp. Think for a moment about what sort of cop would choose to become a pimp in his post-law enforcement career and you have an immediate grasp of Jung-Ho. He is a surly, foul tempered, hard talking man driven by the pursuit of easy profits. And Jung-Ho is in a bad mood because a number of his girls - girls who he effectively owns, having bought out their bad debts - have recently gone missing. Jun-Ho believes a rival pimp is simply stealing his girls and reselling them for profit but the truth is far worse. There is a serial killer on the prowl, one that has not been detected because he preys exclusively on call girls hired from a variety of escort agencies. When the call comes in for a girl one night, Jung-Ho realizes too late that the client's phone number matches the number used to book sessions with a pair of his missing girls, and he rushes off to protect his investment. The rival must be captured and taken out of the picture. But while a chance encounter leads Jung-Ho to the correct man, his girl Mi-Jin is nowhere to be found, and the client - Young Min - is spouting nonsenses about having killed a dozen women. It's enough to bring Young-Min to the police but the killer is smart enough to give them only enough to taunt but not enough to actually charge him or even hold him for an extended period of time. And so the chase is on. It is not a chase to find the killer - he has already been found - it is a chase to find the girl. If they can't find her - or other significant evidence - within twelve hours, Young-Min must be set free. (Todd Brown) Check out the Korean trailer here .

Brief Summary: The director of ONG BAK returns with his new protégé, who was in training for five years for this role. Jeeja Vismistananda portrays an autistic girl who learns martial arts from watching Tony Jaa and Bruce Lee films so as to exact revenge on those who bankrupted her mother. Full Description: It's been a looooong time since ONK BAK first clued us in to the awesome new wave of Muay Thai action films. As fun as it was, the quickly-produced Jaa/Prachya follow-up THE PROTECTOR was honestly a bit of a let down. Meanwhile, two years into production on his directorial debut, Tony Jaa is hermiting in mountain caves trying to meditate his way into a grip on his runaway-budget sequel ONG BAK 2. Director Prachya Pinkaew, however, has kept his vision and is back with a vengeance. For five years, he groomed the cherubic Jeeja Vismistananda into a furious hellcat of a Muay Thai action star. While maybe not up to the raw athletic talent of Tony, she more than delivers in agility, speed and raw charm. Perhaps the most buzzed-about feature of this year's lineup, CHOCOLATE lives up to the hype. Watch the trailer and you know that this is action only developing Asian countries with little to no litigation industry can provide. Bone-shattering, painful, brutal and death-defyingly dangerous stunt work with no wires, no stunt doubles, and full, bloody raw-force contact. The plot...sure, it's a bit by the numbers, a classic revenge story with a novel twist. The heroine is autistic, which subtly plays out in her martial arts style. Honestly though, I can't tell you what ONG BAK was about other than some vaguely-explained idol thievery. The first 3 times I watched it was without subtitles, and it didn't matter one lick. CHOCOLATE follows that vein. Once she develops her rib-cracking Muay Thai chops (from absorbing all required combat skills from a Tony Jaa/Bruce Lee TV marathon), the plot turns Zin (Jeeja) from one battle into the next. The action culminates in two final scenes that are worth the price of admission alone. The first is a classic dojo-style battle against what Toronto Midnight Madness director Colin Geddes describes as a "breakdancing crackbaby." The next, an extended brawl fought entirely on four stories worth of narrow, precipitous ledges, all without safety nets, or seemingly any safety concerns at all. The legend of Jackie Chan lives on in Thailand with a whole new crop of fearless athletes charging recklessly ahead with only one concern: not their lives, nay, our sacred amusement. (Tim League) CHOCOLATE is sponsored by Big Top Candy, Austin's ridiculously addictive vintage candy shop, who will be supplying cocoa goodness at both screenings. If you are in from out of town, do not miss a chance to stop by this quickly established Austin landmark.

Brief Description: After a car accident renders Igarashi free of his short term memory, he abandons his dreams to become a lawyer in favor of becoming a masked wrestler Full Description: That Japanese college students donning wrestling masks and tights to try their hand at flamboyant professional style wrestling would prove entertaining came as no surprise. That it could be touching, heartfelt and emotionally satisfying as it is in GACHI BOY - a very deserving winner of the Audience Award at the Udine Far East Film Festival 2008 - came as a shock of the highest order. Sure to be a huge crowd pleaser as it rolls out on the festival circuit, GACHI BOY is a remarkable piece of work that fully exploits its sublimely ridiculous premise for comic effect while also finding a deeply human heart in the proceedings. Igarashi seems to have it all. He’s young, cheerful, friendly and blazingly intelligent. Though he still has one full year of university remaining, Igarashi has already passed the bar exam and is well on his way to a career as a high-powered lawyer. But Igarashi has one major problem—a serious accident a year before has left him with no short-term memory. He cannot learn anything new and gets by only with the help of detailed notes and photographs taken every day and left for himself to find in the morning. Clearly his dream of becoming a lawyer is impossible now, so what is Igarashi to do? Become a masked wrestler, of course! Yes, kids, GACHI BOY is a film that combines the central plot device of MEMENTO and fuses it into a movie that is equal parts cult comedy, underdog sports movie, and power-of-the-human-spirit inspirational melodrama. It's a bizarre fusion that, bluntly, should never ever have been able to work, but my god it does, each part coming together in ways that surprise despite being familiar and the strengths of each disparate element building up the other parts while cancelling out the typical weakness of each subgenre. Yes, the scenario is goofy as all hell - and riotously fun as a result - but the characters are played with such sincerity and charm that GACHI BOY earns every ounce of the emotional high it hits with its climactic wrestling bout. There's no real need to talk about plot with this film - it hits all the marks you expect any sports film to hit from start to finish - because the charm isn't in the plot, it's in the characters and the young actors who portray them and the equally young director - he's only twenty six - who directs with a confidence well beyond his years. GACHI BOY will draw you in with the wrestling - as it should, the wrestling's a blast - but it'll leave you with the characters you'll want to stand and cheer for for days after seeing it. (Todd Brown) This film is sponsored by Viz Pictures. Director Norihiro Koizumi live in person!

Brief Summary: Directed by Ji-woon Kim (A BITTERSWEET LIFE, A TALE OF TWO SISTERS) and setting an all-time Korean box office opening weekend record this year, THE GOOD THE BAD AND THE WEIRD, an homage to Leone's similarly named classic, is one of the year's most anticipated genre titles. Full Description: THE GOOD, THE BAD, AND THE WEIRD, at face value, is a Korean remake of THE GOOD, THE BAD, AND THE UGLY. However, updated with eye-popping colors, fast-paced editing, explosive action and a slightly different twist on the story, it stands on its own two feet quite nicely. Set in 1930's Manchuria, the intricate plot pits three outlaws against the entire Japanese army and a mob of Russian gangsters in a race to find the "treasure" that will define the outcome of the Sino-Japanese war. (The story is complex; expect to read lots of complaints that it makes no sense, but trust me, it's all there.) Jung Woo Sung is "The Good". While not quite as iconic as the unforgettable Clint Eastwood, he is nonetheless handsome as hell and unflappably suave. He stands for the Korean resistance, determined to use every weapon at his disposal against the Japanese invaders. Lee Byung Hun is "The Bad". More widely known from JSA, A BITTERSWEET LIFE and HERO, he's as bad as villains come and also icy smooth. Employed by a treacherous warlord to waylay the treasure, he has no intention of sharing any of the profit with his employer. The stand-out is Song Kang Ho, who won my heart irrevocably in THE HOST and is also well known from JSA, SYMPATHY FOR MR VENGEANCE, MEMORIES OF MURDER and LADY VENGEANCE. His turn as "The Weird", for my money, outstrips Eli Wallach's Tuco for sheer fun quotient and is a stellar three-dimensional performance that provides most of the buoyancy of the film that sustains the 2-hour plus run time. Apparently just a solo bandit out making a living, he stumbles across the prize and fights off all comers to hold on to it. Last but not least, the desert filming location is a major star. This is a fantastic Wild West location, with an Asian flair. Magnificent scenery and set pieces are beautifully shot and squeezed for every ounce of spectacle. (Karrie League)

Brief Summary: In Gô Shibata’s controversial film, Masakiyo Sumida, a severely disabled mute, is driven to madness and violence by his loneliness and isolation. Full Description: Gô Shibata’s controversial 2004 film LATE BLOOMER (Osoi Hito) appeared on the international festival circuit a few years ago to much acclaim but soon fell off the map. Now, this poignant story of a disabled man driven to madness by isolation and loneliness is ready to be discovered by a brand new audience. Similarly themed films have both preceded (Chang-dong Lee’s OASIS) and followed (Crispin Glover’s IT IS FINE! EVERYTHING IS FINE!) Shibata’s work but there is no adequate cinematic frame of reference for the way LATE BLOOMER explores disability and the frailty of the human body. In this fictional tale, Masakiyo Sumida, a severely disabled mute, portrays himself. Sumida is surrounded by friends but his handicap cuts off his ability to fully interact with them. He falls in love with Nobuku, who becomes Sumida's helper for her college thesis project. Nobuku exploits Sumida and becomes involved with his friend, Takei. Sumida finds refuge in alcohol, and the resulting hallucinations drive him to acts of violence. LATE BLOOMER begins as a story of a disabled man working his way through life with the help of friends. However, his smile is an immovable mask that covers his heartache and pain. The link that LATE BLOOMER draws between this internal suffering, which is rooted in helplessness, and violence is both disturbing and moving. The film’s black-and-white photography is well-suited for such stark content. The hallucination sequences, which are full of quick cuts and sputtering electronic music, recall the video work of Chris Cunningham; one can also detect hints of Sogo Ishii’s ELECTRIC DRAGON 60000V, and Shinya Tsukamoto’s TETSUO: THE IRON MAN throughout. LATE BLOOMER is, at times, difficult to watch but the film is never exploitative. Those who open up to the film will be subject to an emotionally powerful experience. (Rodney Perkins)

Brief Summary: Action-packed Muay Thai fighting drama by Kongkiat Khomsiri (Art of the Devil 2), Cinematography by Wisit Sasanatieng (Tears of the Black Tiger). Full Description: “A pulpy crime actioner about three hopefuls from the sticks mixing it with the big boys in disco-era Bankgok, Kongkait Komesiri’s solo helming debut packs all the mayhem demanded by genre fans and delivers more emotional clout than regular chopsocky fare.” – Variety “Landing a one-two elbow blow that’s hard enough to leave blood in your stool, yet sentimentally sweet and nostalgic enough to bring tears to your eyes, Muay Thai Chaiya was a winner as the closing film of the Bangkok International Film Festival.” - 9/10 stars, WiseKwai, Rotten Tomatoes In the mid-1970s, three boys from a southern Thai village become friends while passing the summer in a beachside boxing camp. Amid the backdrop of the peaceful coast, the three boys train in the regional ancient art of Muay Thai Chaiya with the hope of fulfilling their dream of becoming professional boxers. After dominating the rural boxing rings the trio set off to make it big as fighters in the Bangkok arenas. There’s two things that are important to me about this film. First - it looks great. It’s a 70’s period piece and it really feels right - from the locations, to the clothes to the cars, everything seems to be spot on. Granted, Thailand still has a bit more polyester in their daily diet than the states, but the look and feel of this movie is exceptional. A glance at the credits explains why. Art direction was overseen by Wisit Sasanatieng, director of one of the most gorgeous movies ever to emerge from Thailand: Tears of the Black Tiger. Second, the fighting is strong. It’s not as flashy or mind-boggling as Tony Jaa, but it definitely delivers, and delivers often. You also get a wide range of styles and techniques. The early training and rural matches are straight-forward Muay Thai boxing, but when you get to the underground illegal fight clubs of Bangkok things get truly depraved and frankly downright absurd. It seems obvious to say, but Muay Thai gets a lot more exciting with chainsaws and machetes in the ring. (Tim League)

Brief Summary: An anthology of three 30-minute short films, all reflections on Tokyo by three non-Japanese directors. Michel Gondry’s INTERIOR DESIGN, Bong Joon-Ho’s SHAKING TOKYO and Leos Carax’s MERDE. Full Description: Viva punk cinema! Its spirit is alive and well in the form of TOKYO!, a new anthology film comprised of three 30-minute shorts made by 3 non-Japanese auteurs. These brief movies celebrate the life and energy of Tokyo in much the same way Richard Linklater explored Austin with SLACKER, albeit in their own unique disparate ways and voices. Packed with exploding Sogo Ishii energy and reckless punk abandon, each short feels as if Wong Kar Wai's CHUNGKING EXPRESS were re-imagined and reset in Tokyo, with a lot more mischief. That a film about a city many of us may never set foot in could be the most moving film of 2008 only reminds me even more so that the magic of cinema is universal. Each short represents daring artistic statements void of commercial pandering and should be a welcome ride for filmgoers looking for something alive and fresh. Merde Merde is French for shit, but this short is anything but that. Nothing can prepare you for this assault by French Arthouse director Leos Caraz. It's a film that comes at you 900 miles a second, slapping you each step of the way with an orgy of rebellion and farce. Living in an age when we are supposed to tread lightly and be afraid of everything, it feels damn near cathartic to get an anti-hero in the form of pissed-off wild child Merde. Dressed in an ill-fitting green thrift-store suit with uncombed hair and speaking a foreign language that is far removed from any spoken anywhere on Earth, he embarks each day from random sewer points and heckles the living crap out of everything in his path as he steals passerby's cigarettes, flowers and cell phones. He even tips over baby carts. Soon he has the whole city of Tokyo living on eggshells and fearful of where he will pop up next as he becomes both a media sensation and demon all at once. Things take a sharp and insane turn when Merde suddenly discovers a forgotten World War II arsenal in the sewer. From here on out Tokyo will never be the same. Viva Merde! Shaking Tokyo With SHAKING TOKYO Bong Joon-Ho seems to be running in the complete opposite direction of the kinetic monster mayhem of THE HOST towards a more intimately felt and explored tale. The jolts of action in this segment are few and far between, but don't let that put you off, as this quiet gem has more silent energy and life than most feature length films. A nameless "hikikomori" played by Teruyuki Kagawa (who stole the show in Miike's recent Spaghetti Western SUKIYAKI WESTERN DJANGO) has been hidden away for 10 years, quietly enjoying the simple things in life like visits to the bathroom, pizza boxes and more. The hikikomori are defined as those who alienate themselves from all contacts with society and live in their own self-created jungles of isolation and darkness. In SHAKING TOKYO it takes an earthquake and a pizza delivery girl's love to wake Teruyuki Kagawa up from his reclusive slumber. Interior Design Like SHAKING TOKYO, this segment is a reminder that having our worlds shaken up isn't always a bad thing, as it forces us to more with less. That certainly is the case here as a homeless couple (played in top form by Ayako Fujitani and Ryo Kase of FUNKY FOREST) are unable to make ends meet and are forced to crash at a friends place, an efficiency apartment where they are all crammed into the same room. Ryo plays a burgeoning up and coming experimental filmmaker (with suitably Gondryan ideas) looking to make his big break. As his chances to make it big seem bleak, he takes a job wrapping presents to try and save up enough to break out of his friend's place. Meanwhile his girlfriend Ayako explores suitable living spaces of all types within Tokyo. Each one seems more bizarre and unsuitable than the previous one. This might seem very much like a routine tale of a young couple trying to make ends meet, but with Gondry behind the wheel, INTERIOR DESIGN slowly but surely blurs the line between fantasy and reality. As the fantasy void of all too obvious CGI starts crashing into this short frame it spirals into a dizzying Gondry love letter to both Tokyo and aspiring artists and lovers throughout the world. (Blake Ethridge)